cd march 2011

MARCH 2011$5.00

21 Highland Cir. Ste. 1Needham, MA 02494Change Service Requested

Jeff Nesseth

Survey: Travel DestinationsTechnology: Videoconferencing

Travel Dreams Come True

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www.festivalsofmusic.com

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www.festivalsofmusic.com

14

Features

Cover photo by Jan Nohling, Elgin, Ill.

3 Opening Notes

4 Headlines

31 New Products

34 Vocal Tip

35 Classifi eds

36 Ad Index

Choral Director® Volume 8, Number 2, is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781)453-9310, publisher of School Band and Orchestra, Musical Merchandise Review, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: $20 one year; $30 two years. Rates outside U.S.A. available upon request. Singles issues $5 each. Resource Guide $15 Standard Postage Paid at Boston, MA and additional mailing offi ces. POSTMASTER/SUBSCRIBERS: Send address change to Choral Director, 21 Highland Circle, Suite 1, Needham MA 02494. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher.Copyright © 2011 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

Columns

Contents March 2011

8 FROM THE TRENCHESBob Morrison takes a look back at the origins of the modern music advocacy movement, which began in earnest 20 years ago.

11 GUEST EDITORIAL: TRAVELTwo seasoned veterans of school music travel examine the intricacies of taking an ensemble on the road.

14 UPCLOSE: JEFF NESSETHJeff Nesseth, director of choirs at Burlington, Illinois’ Central High School, chats with CD about the nuts and bolts of the overseas performance tours that have become an integral part of his choral program.

20 SURVEY: TOP TRAVEL DESTINATIONS

23 REPERTOIRE FORUM: GENERAL CONCERT SELECTIONSIn this fi nal installment of a series focusing on music from 2009 and 2010, forum editor Drew Collins reviews general concert selections.

26 TECHNOLOGY: VIDEOCONFERENCINGDr. John Kuzmich presents the ALIVE project, a videocon-ferencing project for music educators, and its application to choral programs.

2 Choral Director, March 2011

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Choral Director March 2011 3

Opening Notes

Score One for the KidsD

uring their annual holiday concert on December 16, 2010, the fi fth grade cho-rus of Staten Island’s Public School 22 received quite a surprise. Actress Anne Hathaway, a New York City native and co-host of the recent Oscars, came out of the wings of the stage to inform the group and the audience that arrangements had been made to fl y the PS22 chorus out to L.A. to perform live at

the 83rd Academy Awards. The revolving cast of young singers who make up the

PS22 chorus aren’t strangers to fame at this point. Their clips on YouTube have been viewed tens of millions times, and they have been featured in a wide range of major me-dia outlets (including the November 2009 edition of this publication), performed onstage alongside superstar musi-cians, and even sung at a special event in front of the cur-rent President of the United States. Yet, even for them, their performance in front of Hollywood’s brightest stars was a

mammoth achievement. And, as most readers probably saw, the kids delivered, closing the show with a teaching performance of “Over the Rainbow.”

While this undeniably adorable troupe of youngsters was greeted with a standing ovation by the movie industry elite, not everyone was pleased by their presence. “It was just bad. It was awful. It was just horrible,” said Andy Cohen, Bravo’s senior vp of original programming and development, on the MSNBC talk show, “Morning Joe.” This apparent rancor caught many by surprise, igniting a fi restorm of criticism against Cohen, who quickly came to his senses and apologized the next day. And while such pointed comments directed at a group of 10-year-

olds are clearly a little misguided, Cohen clarifi ed that he didn’t mean anything personal against the kids, just that he felt it was inappropriate for a bunch of children in neon t-shirts to perform at the black-tie affair often referred to as the Hollywood Prom.

In any case, score another one for public school music education. Regardless of one’s opinion on their wardrobe or the campy arrangement and production of the tune they sang, those were real kids up on that stage, largely from economically disadvantaged back-grounds. What they were sharing at the Academy Awards were the fruits of a gift given to them by their inspired choral director: passion, creativity, and opportunity. While there’s a good chance that many of the children in the PS22 fi fth grade chorus may be too young to fully appreciate the enormity of their performance, one can only hope that what they represent – the concept that through music, anything is possible – will resonate deeply for years to come.

®

March 2011Volume 8, Number 2

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Member 2010

“What they were sharing at the

Academy Awards were the fruits of a gift given

to them by their inspired choral

director.”

RPMDAEliahu SussmanEditor • [email protected]

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HeadLines

Registration Open for 7th World Choir Games

I NTERKULTUR, the International Organizing Committee of the World Choir Games, has announced that the registration documents for the 7th World Choir Games in Cincinnati are now available to all amateur choirs, world-

wide. For the fi rst time in the history of the World Choir Games, the competition will be held in a U.S. city (July 4 - 14, 2012).

The World Choir Games is the largest international choral competition in the world, taking place every two years. The event is expected to attract 400 choirs from 70 countries. The registration documents offer an overview of the competi-tion, qualifi cations for participation, and the method of adjudication. Participants have ranged in age from 6 to 96. There are multiple opportunities for partici-pation, including International Friendship concerts and non-competitive evalu-ations for choirs that prefer not to compete, but would like to participate. The Champions Competition and the Open Competition are two separate and distinct competitions, each with its own awards system.

The Champions Competition is for choirs that meet qualification stan-dards that can be found in the “Competition Information.” The Open Com-petition is for any choir – regardless of artistic achievement – wishing to participate, pending approval from INTERKULTUR.

In 2012, there will be 23 musical categories: Children’s Choirs, Young Children’s Choirs, Youth Choirs of Equal Voices, Mixed Youth Choirs, Male Choirs, Male Chamber Choirs, Young Male Choirs, Mixed Boys Choirs, Female Choirs, Female Chamber Choirs, Mixed Choirs, Mixed Chamber Choirs, Musica Sacra, Music of Religions, Contemporary Music, Popular Choral Music, Folklore, Scenic Folklore (with choreography), Show Choirs, Jazz, Gospel, Spiritual and Barbershop.

INTERKULTUR has ties to 120,000 choirs made up of 4.8 million choral singers around the world. In more than 20 years since INTERKULTUR was es-tablished, more than 5,500 choirs and some 250,000 singers from 100 nations have taken part in the World Choir Games and INTERKULTUR’s regional choir competitions. The World Choir Games are dedicated to the Olympic ideal that participation is the highest honor. Previous World Choir Games have taken place in Austria, China, Germany and the Republic of Korea.

Learn more at the new 2012 Games website, www.2012worldchoirgames.com.

Disney’s “Ear for the Arts” Badge

D isney Performing Arts is now celebrating and commemorating students that take part in the program with the new Ears for the Arts badge of honor.

Participants in Disney Performing Arts programs, which include per-formance opportuni-ties, workshops, festivals and com-petitions for every-thing from march-ing bands to jazz ensembles, dance to choral, theatre and everything in between, will now receive an exclusive Ears for the Arts pin and become a

part of an elite group of students. The pin is intended to commemorate the confi dence, character and camaraderie required for an ensemble to be able to come together and perform in front of an international Disney audience.

Learn more at www.disneyyouth.com.

Hal Leonard debuts App for “Double Dream Hands”

H al Leonard has announced that a Double Dream Hands iPhone app is now for sale in the iTunes

App Store. Jointly created with Char-lottesville, Virginia-based mobile web developer WillowTree Apps, the appli-cation lets users paste their faces – bob-ble-head style – on John Jacobson’s body as he performs the famous dance routine viewed by millions on YouTube and beloved around the world. They can then upload their video to Facebook and YouTube, save it to their iPhone library, or email it to friends.

The Double Dream Hands pop cul-ture phenomenon started in December, giving Hal Leonard an unexpected pres-ent. A choreography video from the company’s Music Express magazine site – featuring renowned educator, clinician and composer John Jacobson – went vi-ral on YouTube. Now a bona fi de world-wide Internet sensation, “Double Dream Hands” has more than 2.3 million hits to date, and has spawned dozens of en-tertaining mash-ups and response clips – bringing total hits to over 3 million.

Best Buy gives $1.24mmfor Music Ed

B est Buy Co. Inc. and its children’s foundation have announced a $1.24 million donation to the

Grammy Foundation to support music education in high schools.

Pittsford (N.Y.) Mendon High School students were the fi rst offi cial recipients of Disney’s new Ears for the Arts badge of honor. (Photo by Gene Duncan, Walt Disney World Resort)

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www.klchoirs.com


Paula Prahl, one of Best Buy’s vice presidents, issued a statement saying, “Mu-sic is a foundational piece of Best Buy’s DNA and our commitment to the music industry extends well beyond the products we sell in our store. We salute all of the great work the Grammy Foundation is doing to advance the music industry, especially giving young people access to music education.”

Nashville Schools “Keep the Music Playing”

M etro Nashville Public Schools have received almost $5 million in funding for music programs from the Nashville-based Country Music Associa-tion since 2006, and this week students put on a show to celebrate the

impact that this funding has had. Hosted by country music star Luke Bryan, hundreds of Metro Nashville Public

School students shared the stage of the Schermerhorn Symphony Center this past Tuesday in a motivation concert demonstrating that music continues to thrive in Nashville schools, despite tough economic times.

Learn more about this collaboration at www.cmaawards.comHal Leonard immediately set up www.DoubleDreamHandsDance.com to ac-

commodate fans from around the globe, selling the sheet music and audio tracks to the song, and even Jacobson’s signature yellow Music Express polo shirt. A link to the new app – which sells for 99¢ – is also available from that site.

March is ‘Music in our Schools Month’

M arch marks the annual celebration of music in our nation’s schools. MENC, the National Association for Music Education, which is a more than 100-year old sponsoring organization, has announced “Music Lasts

a Lifetime” as the theme for Music In our Schools Month (MIOSM) 2011.Says MENC, “Music programs nationwide are in danger. State and local legislators

are attempting to make up for funding shortfalls in this diffi cult economy by cutting education budgets, and music programs are often the fi rst to be considered. Advocacy takes place on many fronts, and advocates for music education need to learn to speak to different audiences, each of whom has a key contribution to make. Now’s the time to get involved and do your part to ensure that America’s students have access to a com-prehensive, sequential music education taught by exemplary music educators!”

Learn more by visiting www.menc.org.

HeadLines

Listen to the MTA Google engineer and artist Alexan-

der Chen has created a fascinating musical art project titled “Conductor” using a map of the New York City Sub-way system. In short, Chen animates the various train lines and when one line cross-es another, it gener-ates a sound like the plucking of a string, with the resulting tone depending on the length of the line being crossed.

Visit www.mta.me to explore this unique project.

Online Survey Results

Visit www.choraldirectormag.com and let your voice be heard in the current online poll – re-sults to be published in the next issue of CD.

Did you attend the ACDA convention in Chicago this March?

Yes56%

No44%

WaltDisney

WorldTravel to

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Around the World

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DisneyPerformingArts.com

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.

MYADPACD11

Disney YouthPrograms

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CDFrom the Trenches

“It was 20 years ago today…” “Just as there can be no education without learning; no education is complete without music” – Growing Up Complete (1991)

BY BOB MORRISON

As we celebrate March as “Music in Our Schools” month, some readers may not be aware

of the events that occurred 20 years ago to help preserve music education in our schools

and launch the modern era of music and arts education advocacy – thus, the homage to

the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.

In March of 1991, several hundred people from music education, the record business (yes, they did sell records at one time), the music products industry and government leaders all gathered at the JW Marriott Hotel in Washington D.C. to release a groundbreaking report to Congress and the Bush I administration, Growing Up Complete – The Imperative for Music Education.

The release of this report, and the rec-ommendations embedded in it, served as the fi rst public salvo of the modern day music and arts education advocacy movement. This was the culmination of two years of organizing of the broader music community against the threat of marginalization in our schools.

The threat came from the estab-lishment of the “National Education Goals” by the National Governors As-sociation. The goals, released in the summer of 1989 and as stated at a meeting chaired by then Governor of Arkansas, Bill Clinton, were:

Goal Three: “children will demon-strate competency in core subjects English, math, science, history and geography.”

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How do you get rich when you’re not getting paid?

Protecting music is good.Have your students tell us why Copyright Counts andthey could win big!A $10,000 scholarship is waiting for a student who can help usget the message out. Why is it wrong to use others’ workwithout permission or pass it off as your own? Why iscopyright important? Get creative! Make an advertisement,do a video, record a song… you decide.

Stealing music is bad.If you are a composer or writer you don’t get paid for yourwork if people are making copies. You never “hit it big.”That’s why buying and paying for music is so important.

Enter the MPA/MENC “Copyright Counts” Scholarship Contest for a shot at a $10,000 grand prize, a $3,000 second prize,or a $2,000 third prize. We want students age 13-25 to create a campaign illustrating the importance of copyright. Why is itwrong to use others wor without permission or pass it off as your own? We want your most creative answer in audio,video, or PowerPoint format. Entries must be submitted no later than May 1, 2011 to be eligible. For the official rules andentry forms, visit mpa.org or menc.org.

Tell yourstudents!TOP PRIZE IS$10,000!

243 5th Avenue, Suite 236, New York, NY 10016 [email protected] www.mpa.org

TM

Go to:

facebook.com/MPAoftheUSAmenc.org/gp/menc-copyright-

awareness-scholarship-program formore information about the contest.

Entries must be submitted no laterthan May 1, 2011

mpa.org or visit:

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www.mpa.org


This is the fi rst time our nation had at-tempted to codify core subjects. Notice-ably absent was music and arts education. This served as a clarion call to some key leaders in the music community.

A breakfast meeting was convened in 1989 between Mike Greene, president of the National Academy of Recording Arts and Sciences, Inc. (the Grammy folks), Larry Linkin, president of NAMM, and Karl Bruhn, director of market develop-ment for NAMM. These three meet to discuss the problems that music educa-tion had been facing over the previous decade: declining enrollments, gutting of programs, and outright systematic removal of music programs around the country. Recognizing that the current trend would be devastating to music in our culture the three gentlemen decided to take action.

These leaders then contacted John Mahlmann, executive director of the Music Educators National Conference (MENC) and together the four of them and the three organizations that they rep-resent went to work to create the Nation-al Commission on Music Education.

The National Commission was a blue ribbon panel of 60 national dignitaries from all walks of the music community, including high profi le names like Henry Mancini, Quincy Jones, Wynton Marsa-lis, and Leonard Bernstein. Three forums were held (one in each in Los Angeles, Chicago, and Nashville) to gather testi-mony before the commission during the fall of 1990. Petitions were signed from coast to coast to show public support for music education and materials were being prepared for a national campaign. These activities culminated in a symposium in March of 1991, entitled “America’s Cul-ture at Risk.” The results of all of the forum testimony were brought together in the commission report, “Growing Up Complete: The Imperative for Music Education.” Along with the report came 150,000 petitions for all corners of the nation. The two daughters of Nashville congressman Bob Clements pulled them into the ballroom on little red wagons.

The petitions and report were deliv-ered to President George H.W. Bush, all members of Congress, and the Gover-nors of all 50 states, as well as the chief education offi cers in the Department of Education in each state.

At that point, the Commission, with its work complete, was disbanded. A new group was formed out of this meeting to lead the national campaign and thus be-gan the National Coalition for Music Ed-ucation. MENC, NAMM, and NARAS were joined by the American Music Conference (AMC) to lead the push to

implement the recommendation from Growing Up Complete. The Coalition developed state level affi liates in 43 states with thousands of local advocacy groups around the country working to support music education in the schools.

Major accomplishments from those recommendations included:• The Development of National Stan-

dards for Music and Arts Education (March 11, 1994)

• The Establishment of Music and the Arts as a Core Subject (March 31, 1994)

• National Assessment for Educational Progress in the Arts (1999 and 2009)

• Sustained National Media Campaigns (NARAS, NAMM, MENC, AMC 1993-2002)

• Greater Investments in Scientifi c Re-search (NAMM – ongoing)

• Embedding Advocacy Efforts at the State and Local Level (1992- present)

This collaboration, born at that break-fast meeting in 1989 and cemented in the release of Growing up Complete in 1991, has led to tremendous group ef-forts among these organizations benefi t-ing the music education community and, in many instances, helping save music programs. The addition of music and the arts as a core subject at the national level and the establishment of national standards for arts education are two of the most signifi cant moments of the last century in music education – efforts that were an outgrowth of this work. I share this story for a couple reasons:1. Many people do not know this back-

ground (and there is more to share), but more importantly

2. To illustrate that all of us in music education and the music community

have the potential to create change. The challenges we face today pale in comparison to the threats of 1989.

Contrary to popular opinion, we have more music and arts programs in our schools today than we did 20 years ago. Most children in the United States

have music and visual art as a part of their basic education (with a few notable exceptions, like California). I will go fur-ther to say that the quality and diversity of the programmatic offerings in music has never been greater. Guitars, mariachi, keyboard labs, technology stations, and rock bands – all in the classroom – are initiatives over the past 20 years.

Do not let all the doom and gloom of threatened budget cuts take our eyes off the prize of realizing a system of educa-tion where every child has access to an education that includes music. Although it may not at times feel like it, we are clos-er to this goal than ever before.

It is up to all of us to fi nish the impor-tant work the was launched 20 years ago and write the positive ending to this story future leaders will write about 20 years from now. It is our responsibility. It is our obligation because:

“Just as there can be no education without learning; no education is complete without music”

And that means music… for all.

Note: There are plenty of resources to help you and your parents groups advocate for music education in your community at MENC.org and SupportMusic.com.

This collaboration has led to tremendous group efforts among these organizations benefi ting the music education commu-nity and, in many instances, helping save music programs.

Robert B. Morrison is the founder of Quadrant Arts Education Research, an arts education research and intelligence organiza-tion. In addition to other related pursuits in the fi eld of arts education advocacy, Mr. Morrison has helped create, found, and run Music for All, the VH1 Save The Music Foundation, and, along with Richard Dreyfuss and the late Michael Kaman, the Mr. Holland’s Opus Foundation.

He may be reached directly at [email protected].

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Choral Director, March 2011 11

CDGuest Editorial: Travel

While students can learn plenty in the classroom and at school perfor-mances, the education they receive on the road is priceless and simply cannot be duplicated. Most educators are likely already well aware of the benefi ts stu-dents and teachers alike receive from performance-based travel, but may be uncertain where to begin when planning a trip, or how to justify the undertaking to parents and administrators in today’s economy. By getting an early start and carefully considering all aspects of the trip, making the case for bringing stu-dents on a once-in-a-lifetime experience should be no trouble at all.

With A Little Help from My Friends

The fi rst decision to make once it has been determined that a trip is right for

your students is whether to go it alone or bring in a tour operator to help plan the details. It’s important to fully under-stand all the elements that go into planning a trip before making this decision, as it will great-ly impact the amount of work and time commit-ment required in order to ensure the trip’s suc-cess.

With the plethora of travel websites that have cropped up in the past decade or so, it is easier today than ever before to go online and book many components of the trip, including travel, hotel and restaurant reservations. How-ever, those are just a handful of the con-siderations that go into planning a trip. Other plans that need to be coordinated include on site transportation, arrange-

ments for safe loading and unloading of students’ instruments, ensuring appro-priate security at the hotel, managing

and tracking student payments, creating rooming lists, and de-veloping a detailed itin-erary that includes not just the performance/competition elements the group will be at-tending, but also keeps the students occupied during down time. Ad-ditionally, it’s impor-

tant to have a plan in place to cover the “what ifs,” such as a student who gets sick, a fl ight that gets cancelled, or a bus that breaks down.

While many music directors do de-cide to take on planning these elements on their own, for others the simplifi ca-tion of working with a tour operator is

“Concerns from administratorstypically include cost to students and the school, district liability, and student time

out of the classroom.”

Should I Stay or Should I Go?BY DEAN MCDOWELL AND JIM GIBBONS

In today’s environment of budget cuts and ever increasing demands on teacher time, this song

from The Clash seems like an appropriate anthem for music programs across the country.

For decades, performance travel has been a cornerstone of the school music experience. The

benefi ts for students are undeniable, but are they justifi able in the current climate?

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worth what is usually some additional expense. A good tour operator will han-dle the bulk of the logistical issues noted above, which become more nuanced as groups become larger. Having the histo-ry and experience of planning multiple trips, tour operators often can negotiate better deals from vendors, such as ho-tels and restaurants. They should also be able to anticipate anything that may not go according to plan and be ready to address issues with alternative plans, on-site support, and liability insurance. In addition, some tour operators of-fer opportunities and experiences that wouldn’t be available to a teacher trying to plan on his or her own.

Right Where I BelongOnce the decision has been made

whether to use a tour operator or go it alone, the next step is the fun part of planning: fi guring out where to go and what to do once you get there. There are a multitude of destinations to choose from, from Disneyland to New York City, and everything in between, and a variety of experiences for students, in-cluding performances, competitions, and workshops, as well as museums and other cultural sites. But how do you choose what’s right for your students?

While there is no single answer or resource that can make this decision for you, there are several factors that, when taken into account, can narrow down the

options. Size of the group, goals for the students, budget, and the school’s loca-tion may all impact where the best place to go might be. Once these elements have been decided, other teachers are often some of the best sources for rec-ommendations and information on trips. There are numerous online forums, such as those at MENC.org, where teachers are discussing travel and can help educa-tors better understand the pros and cons of various locations. Alternately, if for those who choose to work with a tour operator, most travel companies can pro-vide custom options for trips that address a group’s specifi c needs.

Let Me GoOnce the decisions of where to go

and how to plan the trip have been decided, there is still one more critical step before you can offer a trip to your students – securing buy in from admin-istration. While each district is unique, concerns from administrators typically include cost to students and the school, district liability, and student time out of the classroom. And while many schools have specifi c paperwork that needs to be fi lled out to secure approval, often the best course for addressing these con-cerns is to develop a proposal for travel that can be presented to the administra-tion. This should include:

Who is planning and taking respon-sibility for the trip?

How will liabilities be handled – is it the district’s responsibility, or will someone else cover liability?Destination, trip length and itinerary.Anticipated number of students par-ticipating.Where will chaperones be secured (will it be parents or other teachers) and how many will there be?Educational bene ts (or how the trip addresses speci c curriculum re-quirements if appropriate).Cost (to students and the school) and how costs will be covered (e.g. fund-raisers).

By providing these details to the dis-trict, they will be able to better under-stand all the elements of the trip and your commitment to it, making it easier and faster for them to provide approval.

Ain’t Got a Lot of MoneyMany great school music programs

aren’t in particularly wealthy districts, and even with the full district’s support, typically students will need to cover much of the cost for their trip. But in today’s economy, it can be harder than ever to ask parents to cover the full cost of travel for their students. However, there are many opportunities for raising money, ranging from bake sales and soliciting donations from local business to selling products like candy, wrapping paper, or pizza. A good resource for information on a vari-

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www.charmsofice.com


ety of fundraising options is www.bright-sparktravel.com/fundraising.

These activities will not only enable students to participate, but provide valu-able lessons to students and build your program’s community even beyond what would organically happen on the trip. When students work to raise mon-ey to achieve a goal, they are able to un-derstand the benefi ts of hard work and how working as a group can bring about a desired result, skills that will remain valuable well into adulthood. Students also gain a better understanding of the value of their money, and saving in or-der to get what they want.

Jim Gibbons has been a music instructor for the last 19 years and is currently the director of bands at Oxford High School in Oxford, Mich. Jim has continued Oxford’s tradition of travel for the past 13 years, having taken his bands to the Mackinaw Islands, Mich., New York City, and Disney World in Orlando, Fla.

Dean McDowell is a tour consul-tant with Brightspark Travel (formerly New Horizons Tour and Travel) and has planned hundreds of cultural and performance tours, as well as more than 60 Bowl Game and Holiday Parade tours, during his 20-year tenure with the com-

pany. Dean left teaching in 1986 after 11 years at Fort Jennings Public Schools and Ada Public Schools, where his concert and marching bands consistently received su-perior ratings at the local and state level, to pursue a career in travel after traveling with his own students for many years.

Travel TipsIf you are planning a student trip, here are a few tips we’ve picked up over the years to ensure your trip is a success:

Look for a perfect blend of fun and education. Make sure you’re doing things that appeal to your students, but provide educational opportunities in disguise. For instance, some groups include a clinic about the music profession and basic music skills as part of their regular Disney trip. Be-cause of the environment, the kids actually take away more information than they would in the classroom and don’t dread the lecture.Always keep the kids busy. While you don’t want to burn your stu-dents out, be careful not to give them too much free time, where they can get themselves into trouble. It’s key to fi nd the perfect balance between planned activities and downtime. Make sure you have enough chaperones. This is important to having a successful, safe trip. It also gives parents’ peace of mind in knowing someone is checking up on their children.

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Travel DreamsCome True

UpClose

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by Eliahu Sussman

Jeff Nesseth, director of choirs at Central High School in Burlington, Illinois, loves to travel. Since taking over the CHS choral music program in 1996, he’s brought his vocal groups across Europe, with stops in Great Britain, Italy, Ger-many, and Eastern Europe, among other locations. Jeff was introduced to the excitement of traveling with a school music group when a local colleague and mentor invited him to come along on a performance tour of England, Scotland, and Ireland that she was planning for her own choirs.

Trevi Fountain, Rome.

Jeff Nesseth in Tuscany.

Santa Maria della Salute, Venice, Italy.

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Travel clearly has tremendous potential for fostering person-al growth among participating students, and the possibility for some great life experiences for all involved. In addition, these adventures provide a fantastic boost to the choral program at CHS in terms of both notoriety in the school and community, and bonding within the choirs themselves. Of course, there are also plenty of incredible performing opportunities abroad, as well. Recognizing of all this, Nesseth has continued to make travel an integral part of his program’s focus, even through dif-fi cult economic and geopolitical environments.

For the inside scoop on how Jeff turns his travel dreams into reality, CD recently caught up with the esteemed direc-tor, who was happy to share the details of the goings on in the CHS choral department.

Choral Director: When did the adventure fi rst begin for you at CHS?

Jeff Nesseth: After college, I had a hard time getting a job right away. I spent my fi rst year as a teacher’s aide, and then I ended up getting a call by chance – literally two days before the school year was going to start – from someone here at Cen-tral High School. The previous choral teacher had decided she wasn’t going to come back, so they brought me in for an inter-view, offered me a job that day, and I had 48 hours to prepare for the year. That was 15 years ago and I’ve been here ever since!

CD: Tell me about the program that you walked into 15 years ago.

JN: The previous teacher had just begun an honors en-semble called “Chorale,” but I wasn’t terribly happy with how that had been set up, so I had to basically start from scratch. I thought that I needed to make good on the prom-ise that I had made to administration when they hired me, which was to rebuild the program, so I just started at the beginning. It turns out that the teacher I was replacing was exceptionally popular among some of the choral students, so it was a little rocky at fi rst.

There were maybe 100 students in two sections of chorus, as well as the honors group, which was a new curricular choir that had 13 students in it. The fi rst thing I did when I came on board was to start an extracurricular girls group, which was in addi-tion to the three groups that met during the day. They met at 7 a.m. twice a week, and it was by audition. We built that up and then four years later started a guys group, called Men of Note. The reasoning behind that was I had a group of hoodlums and I needed to know where they were – I started that group just to get them off of the streets. Now, it has blossomed into the “thing to be a part of.” There are about 60 members in the Women’s Chorale and 45 guys in the Men of Note.

CD: And when did you fi rst catch the travel bug?

JN: My fourth year here. In some ways, it was almost a cel-ebration of having made it through my fi rst set of students. We did the traditional bus trip to New York City and we saw some shows and took in some sights. It was an opportunity to get the kids out of the Burlington bubble. There was no performing whatsoever; it was purely an end-of-the-year reward. The next year, one of my mentors invited me along on her school’s choir trip, which was to England, Ireland, and Scotland. She said to

me, “I know you’re about to turn 30, this will be a great expe-rience for you, it might help to broaden your horizons, and it might be something that you’d like to do with your kids down the line.” I went on the trip and, immediately upon returning, started planning a trip of my own.

The fi rst trip we took was in 2002. My fi rst parent meet-ing to discuss this trip was scheduled for September 12th, 2001. It felt like the world was coming to an end and, let me tell you, that was a tough sell. [laughs] I ended up tak-ing 30 participants, 15 adults and 15 kids. I had this great European connection whom I had met on the trip I went on with the other high school. He was the one who set up the performing venues and hotel accommodations, just re-ally solidifying the whole itinerary. We were over here send-ing him ideas, and he was on the other side of the Atlantic Ocean trying to make them happen for us.

I’ve done a trip every two years since then. We’ve gone to Ireland, England, Scotland, Czech Republic, Austria, Ger-many, Switzerland, Italy a couple of times – it’s just been a great experience.

CD: Typically, there are a number of hurdles that need to be cleared in order to make a trip of that magni-tude happen, including planning, parental and admin-istrative clearance, fundraising, and so on. Would you tell me a bit about your process?

JN: We typically start planning 18 months ahead of time. We sit down with a trip advisor, who is someone whom I feed

I’m always looking for amazing perfor-mance experiences.

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my information to. He’s another teach-er in the area – ironically, he’s a former student of the woman who fi rst invited me to travel with her school group. He isn’t a professional travel consultant or anything, but he’s done a million and a half trips and organizing is his thing. As a side note, for travel to Europe, the costs are in Euros, and we’re bidding on a trip 18 months ahead of time without really knowing what the exchange rate is. So we’re praying that the Euro isn’t going to skyrocket and we won’t have to go back and ask people for more money.

Anyway, 18 months ahead of time, we take out a big map, look at the plac-es we’ve gone and think about where we want to go next, asking ourselves, “What’s the dream?”

CD: What about your administra-tion – how do keep them fully sup-portive of these adventures?

JN: As long as I have everything covered and I walk them through it and make sure that everyone is clued in to all of the details, they have been great. I’ve had several trips where ad-ministrators came along – not neces-sarily because they needed to be the heavy, but because they wanted to go experience the world as well.

I come up with a fi rst draft of a pro-spective itinerary, and then call a parent-student meeting. There, I tell them what I’m thinking and give them a rough estimate of the expected price. I tweak things throughout the summer, and then right in the fi rst week of September, we meet again. At this point, we go over the adjustments that have been made, and people start to get excited. The next step is to start raising money. I do a minimum of three or four fundraisers.

CD: What types of fundraisers have you found to be most suc-cessful?

JN: Entertainment books that sell for 20 or 25 bucks and include every coupon under the sun are pretty good. Now those books come with a card for even more discounts online. We also raise money at our holiday concerts. We do a poinsettia sale, and a whole portion of that, as well as other holiday greenery – wreathes and that sort of thing– goes to the travel ac-count. We do the traditional candy sales,

Central High School Choirs at a glanceLocation: 44W625 Plato Road, Burlington, Ill.On the web: www.burlington.k12.il.usStudents in school: 1200 Students in Vocal Music program: 200

EnsemblesIntroduction to Choir: 50 Chorus: 120Chorale: 45Men of Note: 40Women’s Chorale: 60Vocal Velocity: 30

Recent CHS Choir Events:Co-Curricular event with a local high school (Bartlett High School): Performance of Schubert’s “Mass in G” w/orchestraPerformance at St. Mark’s Basilica in Venice, ItalyUpcoming: Festival Disney, Orlando, Fla.

Chorus“Cantate Domino” (Hassler/Arr. Norman Greyson, pub. Bourne Co./New York)“Three Madrigals” (Emma Lou Diemer, pub. Boosey & Hawkes)“Freedom Trilogy” (Paul Halley, pub. Pelagos)“Praise His Holy Name” (Keith Hampton, pub. earthsongs)

Men of Note“The Bells” (Mary Lynn Lightfoot, pub. Heritage Music Press)“The Morning Trumpet” (arr. Michael Rich-ardson, pub. Mark Foster Music Company)“Grace” (arr. Mark Hayes, pub. Beckenhorst Press, Inc.)

Women’s Chorale“A Praire Woman Sings” (Eugene Butler, pub. Carl Fischer)“La Lluvia” (Stephen Hatfi eld, pub. Boosey & Hawkes)“Snow by Morning” (Joshua Shank, pub. Santa Barbra Music Publishing, Inc.)

Chorale“Kyrie (Mass in G)” (Franz Schubert, pub. G. Schirmer, Inc.)“In Remembrance” (Eleanor Daly, pub. Gordon V. Thompson Music)“Lamentations of Jeremiah” (Z. Randall Stroope, pub. Alliance Music Publications, Inc.)“I’m Gonna Sing ‘til the Spirit Moves in my Heart” (Moses Hogan, pub. Hal Leonard Corporation)

Next Program:

CHS choirs at the Colosseum, Rome.

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too, as well as a walk-a-thon, where stu-dents will get pledges per lap or even an open pledge. That has proven to be very lucrative. If the kids really try, they can make a lot of money doing the walk-a-thon. Some kids have paid for over half their trip doing just that one fundraiser.

CD: That’s pretty impressive. When choosing a destination, what ele-ments do you focus on?

JN: I rely heavily on outside advice and recommendations. I articulate what I am looking for and then my advisors tell me about other adventures they’ve done that fi t the bill, or that they think might work for what I’m looking for, as well as the parameters and limita-tions of some of the prospective ven-ues (for example, if a certain cathedral will only allow performances of sacred music, and so on). I’m always looking for amazing performance experiences. “Oh my goodness, here’s a 13th-century cathedral we could sing in, how amaz-ing!” Sometimes you fi nd those by tour-ing, where you just happen to stumble around a corner and fi nd something that makes you say, “Everyone, stop! We need to sing right now!”

You have to keep the kids in mind, too, of course. Something that I or some of the other adults might fi nd en-joyable isn’t necessarily the same thing that the kids will fi nd enjoyable. I’m also trying to educate the kids and give

them some kind of cultural experience along the way. Sometimes that comes in the form of an exchange concert or going to sing in a school. Sometimes you can get tied into a community event or a festival in a particular city, and those can be great opportunities, as well.

CD: What’s the ratio that you go for in terms of cultural opportuni-ties versus performance opportu-nities?

JN: I would say it’s about fi fty-fi fty between cultural and performing. The nature of our trips have defi nitely changed over the years. At the very

beginning, I had a choir of only 15, so we did a lot of chamber stuff. We’ve now been invited to places, because we’ve gone out and met people and made connections. Before, we were trying to fi nd performance venues – an open park, you name it.

CD: Do you have any advice for someone who might be interested in exploring travel with a school music group?

JN: I would say call upon your col-leagues. Ask around if there’s anybody who has done a trip or worked with a particular company that they feel com-fortable with. I personally planned my early trips by taking looking at a number of early itineraries that my

colleagues had done. I would let them know what interested me and ask them to walk me through the trip. I would ask about the highlights and what the kids really got out of it. Relying on the advice of colleagues would be my number one piece of advice. Start ask-ing questions and going online and looking up information about places that you might dream of going. Start taking a look at what may or may not be practical for a school trip.

Some places are more expensive than others to visit. It’s important to establish a budget early on – or at least think about what might or might not be possible.

Culturally, you should look at wheth-er a trip is to a distant village in northern Germany, where maybe no one speaks English, and ask yourself, “Would every-one be comfortable with that?”

And as you’re doing your research and preparation, you should also be-gin building excitement among your students about this adventure – be-cause that’s what it is, an adventure. You have to sell it. Maybe parents have never done anything like that, as well, so there may be some fear tied into it.

CD: That brings up another point: what’s your rule of thumb for chap-erones?

JN: I would say that the hierarchy of the whole event is that I am in charge. I’m in charge of the discipline and I’m in charge of the music making. There’s someone who I bring along on my trips, the guy who arranges a lot of the details from over here, and I delegate a lot of things to him. He comes along for free and basically serves as the tour coordi-nator. He’s the one who makes sure that we get where we need to be. With the parents – because for so many of them, this is also the trip of a lifetime – if I need them to help, I do enlist them. But I also understand how much they are also get-ting out of the trip, so I do leave them to do their own thing at times. As for the amount of chaperones, I do a screen-ing process to determine who I want to come with us.

CD: Have you had any incidents with chaperons being problematic?

JN: No, but I have had many tough conversations. I usually take care of it

As much as we’re trying to soak in other cultures, we’re trying to share a little bit of ours, as well.

Vienna, Austria.

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in the screening process. For example, if someone is the kind of person who is used to a strict routine where they wake up, go to work 9-5 and has to eat every night at 6pm, then going on the trip is not for them. If there’s someone who might be uncomfortable if, after several days of rain, we completely change the itinerary, they should also not be on the trip.

CD: So it’s all about setting expec-tations beforehand?

JN: Absolutely. A lot of chaperones get themselves worked up because we may have had the chaperone meeting, but not doled out all of the specifi c responsibili-ties – they think that they’re going on the trip to work. I know a lot of people have different philosophies about this, but my philosophy is that I am in charge of everything on the trip. It’s nice to have extra sets of eyes and ears, but I like to handle most things myself.

CD: Is there anything that you’ve learned to avoid or things that might not have worked so well?

JN: The last couple of trips I’ve done, I’ve only programmed all a cappella music. I do that because you never know what the venue is going to have in terms of backing instruments, or what condition they’ll be in. Also, sometimes you’re just on the spot. I would say always have one or two pieces in your back pocket that your kids can sing anywhere. You could be at a dinner and the kids are all dressed up and there are other tour groups there as well, and everyone decides that singing right then and there would be a good idea.

Repertoire is huge. Make sure you know what your destinations – and audiences – are. I do a fair balance of performing music that is native to wherever we’re going with, but it’s also really interesting to bring a Co-pland piece or an “Oh Shenandoah.” The audiences usually think that these pieces are the most interesting things in the world. As much as we’re trying to soak in other cultures, we’re trying to share a little bit of ours, as well.

One other point is that I don’t take freshman. It’s a maturity thing. By and large, they just aren’t ready yet. So I only take sophomores, juniors, and seniors.

CD: What kind of impact have these trips had on your program?

JN: The coolest thing is that it’s a great recruiter for keeping your pro-gram strong. It is a nice carrot to dangle. The students that come with us have to be in the top tier of the ensembles, the auditioned groups. They also have to be involved in the school. They’re part of the fabric of what makes our school run. When they come back from a trip, it of-ten takes them a while to readjust because they’re perspective has usually changed. They’ve seen a bigger picture – dare I say a global picture? I see the students often become a bit kinder, and a bit more ad-venturous, and that feeds into the next school year. The stories that come out of those experiences get the whole group excited, even those who haven’t yet par-ticipated in one of the trips.

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TravelDestinations“So much to see, so little time to see it,” goes the

age-old saying. And it’s true: it’s a big world out there, full of opportunity to learn and ex-

plore. For school choral groups, there is no single “right” or “wrong” place for an ensemble trip or performance tour. (Actually, there may be a wrong place or two, but there are many, many right places.) Both domestic and abroad, the potential performance venues, eye-popping experiences, cultural learning opportunities, and peer bonding possibili-ties are limited only by the imagination and planning prow-ess of those in charge.

To determine the top destinations for vocal music groups both near and far, Choral Director turned to its readership with this recent survey. The votes have been cast and counted, and the results are in. And – surprise, surprise – N.Y.C. is at the top of the list in the U.S., due surely to Broadway, the host of museums and other sites to be seen, and, of course world-class venues and performance opportunities. And beyond our borders, the birth-place of pasta and opera was voted “il numero uno” among the intrepid choral directors who have ventured beyond the oceans with their students. Read on for the rest of the top destinations at home and abroad, as selected by readers, as well as some comments from vocal music educators on how they choose the best locations for their choral groups’ adventures.

Top 5 Domestic Destinations:as selected by CD readers

1. New York City2. Disney World

(Orlando, Fla.)3. Chicago, Ill.4. Washington D.C.5. Pennsylvania

“New York City is a microcosm of the entire globe, and represents what I consider the cultural center of the world on many levels. It also gives my students a taste of what they have to look forward to as they continue in the arts.”

Ken AhlbergHermantown High School

Hermantown, Minn.

“Disney World is a great trip for all. It is very af-fordable and the Disney people really work with your group in a very personable manner to make your trip easy. You really don’t even need a travel company!”

Carrie TaylorDover Jr/Sr High Schools

Dover, Ark.

“In Chicago, we often do an exchange concert with one of their many fi ne choral programs in their Public Schools. There’s also lots of great sight-see-ing – don’t forget to include a visit to Medieval Times while in that area!”

Marshall Butler, Jr.Jesse O. Sanderson High School

Raleigh, N.C.

“There are so many great sites and free things to do and see in Washington DC!”

Lori TemansonWestfi eld Area High School

Westfi eld, Wis.

“Philadelphia is a compact city with arts, history, and so much more.”

Fran DepalmaCaldwell Public Schools

Caldwell, N.J.

CDSurvey: Travel

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Top 5International Destinations:as selected by CD readers

1. Italy2. England 3. Austria4. France5. Canada

“Italy is the birthplace of Western musical traditions.”

Teresa I. IrwinIronwood Ridge High School

Tucson, Ariz.

“In London, the language is easy, obvious-ly, and the architecture, cathedrals, focus on music, and West End shows are fantastic.”

Jena DickeyYoung Voices of Colorado

Littleton, Colo.

“In Salzburg, music and Mozart are every-where!”

Carolyn HensonCentral Davis Junior High

Layton, Utah

“France has strong choral traditions and wonderful concert venues. Also, it has many museums, historic buildings, parks, and ca-thedrals to visit.”

Sallie FerrebeeConnecticut Children’s Chorus

West Hartford, Conn.

“There is a lot of culture and music in Canada.”

Annice BenamyElizabeth Public Schools

Elizabeth, N.J.

How far do you typically travel with your choral groups?

Which piece of criteria is most important when selecting a destination?

Do you have any advice on narrowing down the plethora of potential destinations?

“Pick what will work best for your group and your budget. If you have a small group, fundraising can be an issue. Try to fi nd sources of funding outside your normal realm. Businesses are always looking to help out schools when needed.”

Ken KleagerJane Addams Middle School

Bolingbrook, Ill.

“Choose a place that you are comfortable taking a group to, and that you think your students will fi nd exciting. Make sure you have something fun planned for them to act like teenagers.”

Beth MassengaleLuella High SchoolLocust Grove, Ga.

“I always stick to one country. I never country hop (like those London, Paris, Rome trips). I want my students to spend as much time as possible in the country, not on the bus/train/air-plane. They respond best to places they have some connection with, a place they have learned about. Italy is always a favor-ite; the Roman Coliseum, Pompeii – they’ve studied these places since elementary school. Normandy Beach and a concentration camp – we have been to Dachau and to Terezin – have also made huge impacts on my students.”

Elaine ShurleyMarshall County High School

Benton, Ky.

41%Proximity/cost

27%Quality performing venues

22%Cultural learning opportunities

8%Opportunity to hear/meet other ensembles

2%Opportunities to blow off steam & have fun

16%In-state only

Nearby states 38%Across the country 27%Internationally/Overseas 19%


SCD_21 21 3/11/11 2:05:54 PM


“So what is manageable for you. All of my trips have the same features (concert, clinic, competition, broadway show, shopping). The students care most about having time together, not the destination.”

Dan BrillShady Side Academy

Pittsburgh, Pa.

Is there anything to be wary of when deciding where to take a school music group?

“Most of my ‘wary and worry’ have come from the hotels. The hotel location/neighborhood – is it safe? Is the hotel clean, well staffed and secure for students? Are there other conventions or events booked when you’re there? What are they, and in what relation to your rooms? This is also where an experienced agent can help. They know what to ask and often have a track record with certain hotels.”

Bryan MarksCohasset High School

Cohasset, Mass.

“Student safety is always an issue, but some places people may think are threatening really are not at all once you go and see them for yourself. Looking at the types of experi-

ences students will have when not performing is very, very important, as well. Different places offer different opportu-nities and some offer many more than others!”

Shawn LawtonMona Shores High School

Muskegon, Mich.

“Be sure there are enough activities for the students when they are not rehearsing or singing. We pack our itiner-ary with walking tours, museum visits, fun activities – such as pizza-making, gelato tasting, discos, swimming, horse drawn carriages, and so on – to balance our tours between religious activities, musical activities, cultural activities, and recreational activities.”

Brother Joshua DiMauro, OSFSaint Anthony’s High School

South Huntington, N.Y.

Additional thoughts?“Be creative. There are so many great venues available

if you will take the time to think about it. Singing on the rim of the Grand Canyon can be just as moving as singing in Carnegie Hall. A local chapel may have better acoustics for your group than the stage of a fancy theater miles away. And remember, it isn’t about the destination, it is about the preparation. You can excel at an outdoor amphitheater just as easily as you can crash and burn in a historic hall.”

Joseph AllredGunnison Valley High School

Gunnison, Utah

“Traveling with choral groups creates memories that last a lifetime and enriches the lives of every student and parent who participates. The adventure of traveling with your choir is priceless if you prepare, preplan, and pre-view!”

P. FulkSurry Central High School

Dobson, N.C.

“We are a small rural community school and travel only every four years. Music trips are often the only traveling our students may ever make – and best of all is the awaken-ing of the student to the outside world and the spark that sets their eyes to a bigger picture and goal.”

Ruth NovakSeymour High School

Seymour, Mo.

SurveyIf you are interested in

participating in upcoming Choral Director

music education surveys, please contact editor

Eliahu Sussman at [email protected]

SCD_22 22 3/11/11 4:35:15 PM

www.sepapparel.com


New Releases

General Concert Selections IIBY DREW COLLINS

TREBLE (EASY)I Am a Cloud (Neil Ginsberg) — pub. Santa Barbara

This was commissioned by a high school treble choir, but it’s perfect for elementary and junior high choirs as well. It is scored for SA non divisi with piano accompaniment. This setting of a Sara Teasdale poem features subtle text painting, a beautiful melody, soft syncopations, and open harmonies. Though hardly formulaic, it will ap-peal immediately to singer and listener. The ranges are compact, but there are

plenty of teaching tools such as syn-copation, hemiola, super triplets, and off-beat entrances. The piece might be best described as mellow, but it is cer-tainly not boring. The music and text fi t one another wonderfully, and will have a transporting effect on the lis-tener. Visit www.SBMP.com to see the score and hear a MIDI fi le.

Sarasponda (Dutch, arr. Perry & Perry) — pub. Heritage

Sarasponda is a Dutch folk song about a spinning wheel; it is popular as a scout-ing song and campfi re song. The rhythm

speech section will be fun for young sing-ers, and they will love the syncopations in the melody as well. There are several arrangements available for either unison or two-part (one standard arrangement is by Boshkoff, pub. Santa Barbara). The Perrys’ arrangement is also for two-part chorus and piano and features indepen-dent harmonies ideal for developing singers. Full-length performance can be heard at www.Lorenz.com, where you can also view a score sample.

Also strongly recommended:“For the Beauty of the Earth” by •

Only the Best: A repertoire forum for the discriminating choral educator

This is the last of a series of columns featuring re-

leases from 2009 and 2010. Previous articles in

this series featured holiday, general concert, cross-

cultural, and American Heritage selections. Each

has included a variety of voicings and diffi culties. This column returns to the general concert

theme, with works useful throughout the year. My next series of columns will feature new releases

for the 2010-2011 school year.

CDRepertoire Forum: General Concert Selections

SCD_23 23 3/11/11 2:06:33 PM


René Clausen for SA and piano (pub. Roger Dean).

TREBLE (MEDIUM)Music, Spread Thy Voice Around (Handel, arr. Mayo) — pub. Shawnee

This is a chorus from Handel’s ora-torio Solomon, originally for SSATB. It is available in a variety of editions and voicings, including several ver-sions for SSA chorus. Becki Slagle Mayo has created this new SSA ar-rangement, and it works quite well. Regardless of the edition or arrange-ment, tempo is always a challenge with this piece: too fast and it sounds like a waltz; too slow and it loses its lilt. Handel’s original begins with a solo exposing the melody, and Mayo gives this option on the fi rst page of her arrangement as well. See and hear samples at www.HalLeonard.com.

Musica Dei Donum Optimi (Dvor-ak, arr. Sieving) — pub. Santa Barbara

Originally for violin and piano, Bob Sieving has superimposed this standard Latin text on Dvorak’s origi-nal instrumental line, and added some vocal harmonies. It is scored for SSA with piano accompaniment. Visit www.SBMP.com to see the score and hear a full performance.

Also strongly recommended:“It Was a Lover and His Lass” by Thomas Morley, revoiced for SSA by Russell Robinson (pub. Carl Fischer).“Weep You No More” originally by Roger Quilter, with new vocal harmonies by Robert Sieving (pub. Roger Dean)

TREBLE (CHALLENGING)In the Sweet By and By (arr. Daniel Hall) — pub. Walton

This is an old nineteenth century hymn, recast in a fantasia-like ar-rangement for SSAA and piano. The original song is itself wonderful, and

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in Hall’s arrangement becomes all the more transcendent. The sacred nature of the text is not so overtly religioso as to be objectionable even in the most secular of communities. The piano part is quite involved, and demands a large group of singers singing with full-bodied sound to be heard over it. Visit www.WaltonMusic.com to hear a full-length recording, and www.Hal-Leonard.com to view a score sample.

Lauda Jerusalem (Porpora, ed. Ban-ner) — pub. Alliance

Martin Banner has a wonderful touch with editions of masterworks, produc-ing clean, practical editions. He often manages to unearth a new and worthy addition to the repertoire. Lauda Jeru-salem certainly falls into this category. Nicola Porpora, an Italian Baroque composer is best known for his op-eras. However, like Vivaldi (but a few decades later), Porpora worked at an all-girl orphanage, and composed music for services and concerts performed by the residents. Vivaldi’s famous Gloria is believed to have been composed for an all-girl orchestra and chorus, and this work by Porpora likely was as well. The orchestration is available, but it may be performed with Banner’s piano reduc-tion. Visit www.AllianceMusic.com for score and audio samples.

Also strongly recommended:“Dios Te Salve” by Ricky Ian Gor-don from his opera The Grapes of Wrath (pub. Carl Fischer). It is scored for SSA.

MIXED (CHANGING VOICES)Ritorni Al Nostro Cor (Pergolesi, arr. Liebergen) — pub. Alfred

This is the fi nal chorus from the opera Salustia. It has a joyful, celebra-tory feel. Originally scored for SATB, Liebergen has created this three-part mixed voicing. The triple meter has a pleasant lilt that should be neither rushed nor dragged. Form is ABA, which greatly eases the teaching and learning process. This is a good intro-duction to singing in Italian, however, a very nice singable English translation is also included. This publication holds a unique place in my column, as it rep-

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resents the fi rst time—to my knowl-edge—that an arranger has released a revoicing of the same piece of music. Liebergen released a 3-part mixed voic-ing of this same piece under the title “O Sing This Festive Day” (pub. Shawnee). There are several signifi cant differences between the two, but it is nonetheless the same source composition revoiced by the same arranger…just eight years later. Both work well for changing voice choirs. Visit www.Alfred.com for a free score sample (partial) and beginning-to-end recording. Perfor-mance/accompaniment CD is available for purchase.

Also strongly recommended:“Exultate Jubilate” composed by Earlene Rentz (pub. Carl Fischer).“Now My Heart,” a madrigal ar-ranged for three-part mixed with optional baritone by Patrick Li-ebergen (pub. Carl Fischer). Text is in English.“America” arranged by Ruth Elaine Schram (pub. BriLee) for three-part mixed optional baritone.

MIXED (MEDIUM)Little Lamb (Adolphus Hailstork)— pub. Theodore Presser

Dr. Hailstork has done a fantastic setting of this poem by Paul Laurence Dunbar, one of three in Hailstork’s new cycle “Three Dunbar Hymns.” All three are unaccompanied, and all are terrifi c. This, the third movement, is scored for SATB unaccompanied (it doesn’t divide until the last chord). It would sound good performed by any size ensemble from chamber groups on up. Take care to pronounce the di-alect correctly, and be precise with dy-namics from the fi rst rehearsal. Hear a full performance and view a complete score at www.CarlFischer.com.

Wie der Hirsch schreit (Mendels-sohn, ed. MacPherson) — pub. Roger Dean

This is the opening chorus from a cantata by Mendelssohn. Originally for orchestra and organ, this edition has a piano reduction. The text is from Psalm 42; the original German is included with a singable English translation. See

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all pages of the score and hear a be-ginning-to-end performance at www.Lorenz.com. The only other available published edition of this chorus is an im-port published by Carus-Verlag.Also strongly recommended:

“Where Your Bare Foot Walks” composed by David N. Childs on a text of Rumi (pub. Walton).“Beatus Vir” by Claudio Monte-verdi, arranged by Catherine Dela-noy (pub. Carl Fischer).“The Telephone” by Michael Lar-kin on a text of Robert Frost (pub. Hinshaw)

MIXED (ADVANCED)I Would Live In Your Love (Nathan Jones) — pub. G. Schirmer

This setting of the beautiful Sara Teasdale poem is scored for SSAA-TTBB chorus unaccompanied. The dynamics, harmony and texture all expand and contract in a compelling way. Absolutely not to be missed.

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Also strongly recommended:“Song to the Moon (La Luna)” by Z. Randall Stroope (pub. Walton).“Cantate Domino” by Hans Leo Hassler and edited by David Giar-diniere (pub. Walton).“Tota Pulchra es Maria” by Ola Gjeilo (pub. Walton).“The Stars Stand Up in the Air” by Eric William Barnum (pub. Walton).

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Forum editor Drew Collins is on the faculty of Wright State Univer-sity (Dayton, Ohio) where he con-ducts choral ensembles and teaches music education courses. He is ac-tive as a festival conductor, author, and composer. Contact him directly at [email protected].

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CDTechnology: Videoconferencing

The ALIVE Project and You

While giving a presentation in Stockholm

for the Swedish chapter of the Percus-

sive Arts Society’s Day of Percussion

in 2004, Allan Molnar stated, “Back

in the 1980s, musicians began taking computers

to gigs so they could replace live musicians with

MIDI instruments. Now musicians can take com-

puters to gigs and replace MIDI instruments with

live musicians!”

He recalls, “The virtual musicians I took to that gig were from Kansas State University. I played vibraphone onsite in Stockholm with the Kansas State University Latin Jazz Ensemble under the direction of Dr. Kurt Gartner. The gig was very traditional in every way ex-cept for the fact the KSU musicians were in Manhattan, Kansas. They joined me via videoconference in perfect real time.”

This performance launched the Accessible Live In-ternet Video Education (ALIVE) Project, under the direction of Allan Molnar and Stewart Smith. This series of videoconference presentations used these trans-Atlantic performances as a vehicle to demon-strate the potential for working together on musical projects. Allan Molnar says, “Today, we are chal-lenged to integrate technology into our teaching methodology without compromising the traditional music education paradigm. Just imagine: where would you go if you could take your students on a fi eld trip anywhere in the world? If you could invite

BY JOHN KUZMICH, JR.

SCD_26 26 3/11/11 2:07:09 PM


anyone to teach a lesson to your class, whom would you ask? Imagine the ability to connect your students with students from other schools in distant cities and countries. One of the technologies the ALIVE Project uses to bring these ideas to fruition is the technology of computer-based distance learning!”

For the past 15 years, I have been intrigued with the capabilities of vid-eo conferencing and its instructional benefi ts with guest lecturers – without the complications of travel, housing,

meals and timelines. Colleges have advocated for distance learning as a surefi re delivery system for asynchro-nous lecturing. Today, interactive synchronous instruction over the In-ternet is readily available as Internet bandwidth has increased and cost is more attractive. Opportunities for videoconferencing have also become realistic because computer hardware, operating systems, and software appli-cations are more powerful and practi-cal. For example, since 2003, Skype,

a quality delivery software system for Internet videoconferencing, is free for both registered PC and Mac platform users, allowing two locations to inter-act via simultaneous, two-way video and audio transmissions. Family and friends obviously benefi t from skyp-ing, and music educators can, too.

Consider the following venues for vid-eoconferencing that the ALIVE Project has featured since 2004: • Choir rehearsals with guest conduc-

tors• Day-long events with multiple guest

artists• Individual lectures on a variety of

topics• Show choir rehearsals and clinics• Joint performances spanning conti-

nents• Lecture series culminating in live

performances• Interviews with renowned vocalists• Live concerts to remote locations• Vocal master classes• Music technology classes• Private lessons• Section rehearsals• Supervision of student teachers• Combo rehearsals and workshops• “Virtual” music festivals

In October of 2010, Dr. Fraser Linklater and the University of Mani-toba Wind Ensemble spent about 75

Allan Molnar (in Winnipeg) performs onsite at the “Virtual Percussion Festival” with KoSA founder, Aldo Mazza (in Montreal).

“This kind of interaction allowed us to access the talents and experience of

someone who, due to cost and time factors, would normally be unreachable for our ensemble.”

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minutes via Internet communication with Al-lan McMurray from the University of Colorado. Dr. Linklater remem-bers, “I was quite ex-cited about the outcome of this fi rst distance ensemble workshop. I had previously spoken with Allan McMurrary about the repertoire to be rehearsed and given him a brief history of the group. Prior to this rehearsal, Stewart Smith was in contact with him regarding the audio and video aspects of the ses-sion. Consequently, the technology was seam-lessly integrated into the workshop and it was as if Mr. Mc-Murray was in the room with us, lis-tening and commenting. Granted, he wasn’t conducting up at the front of the ensemble, but his perceptive com-ments told us that he could distinctly hear the sounds we were producing.

“This kind of interaction allowed us to access the talents and experi-ence of someone who, due to cost and time factors, would normally be unreachable for our ensemble. It was also a challenge for me to conduct and make happen the suggestions that Allan provided. The students were intrigued and focused. They enjoyed the experience and everyone grew musically. We will be doing this again in the second semester with H. Robert Reynolds from the University of Southern California. I would defi -nitely encourage ensemble conduc-

tors at all levels to consider the pos-sibilities offered by distance learning of this type.”

General Video Conferencing Equipment Options

The component parts required for a video conferencing system include:• Video input: video camera or Web

cam• Video output: computer monitor,

television, or projector • Audio input: microphones, CD/

DVD player, cassette player, or any preamp audio outlet source

• Audio output: loudspeakers associ-ated with the display device or tele-phone

• Data transfer: analog or digital tele-phone network, LAN or Internet

There are basically two kinds of videoconferencing sys-tems: dedicated, sophis-ticated and expensive systems often used by businesses, and portable desktop systems, which are perfect for educa-tors. Allan and Stewart both use the Apple plat-form, but have also suc-cessfully made the Mac to PC link. The ALIVE Project primarily uti-lizes the technological

resources that already exist in most schools.

Imagination and Video Conferencing

At the 2011 Jazz Educators Net-work (JEN) National Conference in New Orleans, Stewart Smith, who teaches at St. John’s-Ravenscourt School in Winnipeg, Canada, Provi-dence College, and the University of Manitoba, and Allan Molnar, who lives in New York, teaches at Lehman College, runs www.percussionstudio.com, and freelances with KoSA (www.kosamusic.com), presented a clinic on the ALIVE Project, “Jazz Education via Distance Learning.”

Through the medium of Internet videoconferencing, they presented concepts and examples of live Inter-net links for musicians and students around the world. Over the past seven years, they have nurtured re-lationships between teaching artists and schools worldwide with classes in elementary schools, middle schools, high schools and universities using iChat, a free conferencing application for Mac users.

Allan and Stewart demonstrated how they took their iChat-equipped laptops to their respective schools, plugged in, and began team teaching music classes. It’s really that simple, and to date they have been involved

Stewart Smith (in Winnipeg) joins Aldo Mazza and Allan Molnar in a presentation at the KoSA International Percussion Workshop in Vermont (www.kosamusic.com).

Allan Molnar (in NYC) teaches a jazz

improvisation lesson to a student in Winnipeg.

SCD_28 28 3/11/11 2:07:20 PM


with well over 100 training sessions throughout the U.S.A., Canada, Eu-rope, Australia, and Asia. They cre-ated ALIVE because they found that previous videoconferencing initia-tives that had been explored in some districts were cost-prohibitive to all but a few schools. However, this has changed dramatically as technol-ogy has continued to develop. The vast majority of the schools now involved in the ALIVE Project have never invested in dedicated video conferencing equipment. By and large, the technology costs are non-existent because schools can employ existing infrastructure. Most schools have high-speed Internet access and personal computers with cameras, and the iChat and Skype software is free.

The cost for professional artists will be a budget consideration. This ex-pense will vary based on the demands of the artist and any technical support that might be needed. Many schools have some kind of clinician fee struc-ture in place. Yet, because transporta-tion, accommodations, meals, and so on are no longer an issue, bringing in a guest artist will be more affordable than ever –with no geographic limita-tions.

Allan Molnar reminded us at the JEN Conference, “The value of net-working cannot be measured and the concept of connecting classrooms by way of video conferencing is exciting. Teachers sharing ideas, techniques and resources, as well as students meeting students in other schools, cities and countries, make the pos-sibilities limitless. ALIVE encourages students and teachers to develop the networking skills needed for success in today’s highly competitive world. Every teacher and many students can afford to use this technology at home! Music provides an excellent model for the implementation of this idea because in addition to the rich educational value of the subject area, music is a social, interactive and a hands-on discipline. We are build-ing on this music-based model by es-tablishing connections with teachers from other disciplines. The possibili-ties are limitless.”

Initially, they conducted sessions with traditional jazz improvisation les-sons where Stewart Smith’s students in Winnipeg successfully traded fours in real time with Allan Molnar in New York. Additional instructional sessions have included brass, percussion, mu-sic listening and appreciation, general music and technology workshops.

Video Conferencing Equipment

By introducing iChat and the iSight fi rewire Web conferencing camera, Apple opened the door to a new era of communication. While this technology is still evolving, we have reached a point where video-conferences are both effective and satisfying. The PC world is catching up. Here are six basic needs for large group videoconferencing: 1. Apple computer (G3 600 MHz or

faster) Any Mac purchased within the last seven years will have the minimum capability to videocon-ference.

2. Web camera, either external or built into the computer. There are many bands with varying capabilities, so take the time to shop around. Apple’s original iSight camera has been out of production for several years although the can be found on eBay and similar sites. A regular DV video camera will work.

3. iChat account. While free, it can be bundled with a MobileMe account to include Web-based e-mail and web access to fi les for about $129 per year.

4. High speed Internet connection.5. LCD projector (not essential but

very useful in a classroom with a larger audience).

6. Sound amplifi er (again, not essen-tial but very useful in a larger set-ting).

“We have always been interested in fi nding the confl uence of digital technology and music education,” says Allan. “Music teachers are busy enough and the simplicity of what we have done with the technology in the ALIVE Project is, I think, a big part of its appeal. To paraphrase

Stangeland Family

at the Oregon Bach Festival

YouthChoral

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AUDITIONS: By CDSend a recording by April 11

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Jamey Aebersold, ‘Anybody can vid-eoconference.’”

Videoconferencing Highlights The ALIVE Project has produced

over 100 videoconferencing sessions since 2004. For an overview of the 15 different venues, go to www.kuzmich.com/TheALIVEProject.pdf In addi-tion, you will fi nd suggestions for how to structure your own successful video-conferences in these three categories: Preparation, Technology and Delivery.

The Big Apple… online was a vir-tual jazz festival involving the Univer-sity of Manitoba Faculty of Music in cooperation with the ALIVE Project. Interactive, online clinic sessions were presented live involving leading pro-fessional musicians from N.Y.C. and around the world.

Neal Berntsen, trumpet player with the Pittsburgh Symphony Orchestra and Chairman of the Brass Department at Carnegie-Mellon University, was very impressed with his videoconference

experience with Stewart Smith’s music class. He remarks, “I found the entire event to be fascinating. Under Stewart’s direction, both the class and the technol-ogy went very smoothly. I am very im-pressed that a school is on the cutting edge of such an endeavor. Clearly, these online master classes are the wave of the future and I was honored to be initiated to the process in such a seamless man-ner. Students will benefi t greatly from the myriad of ideas that they will be ex-posed to in future classes.”

Allan ([email protected]) and Stewart ([email protected]) can be contacted directly for more information. More details and insight about Allan and Stewart and their videoconferencing can also be found at www.kuzmich.com.

Closing CommentsJust think of the possibilities for vocal

ensembles. How about having a com-poser create an original composition for your singers and videoconference in to

explain the composition, as well as ob-serve and comment on rehearsals? This was recently done in Manitoba in 2010 with director Darrell Chrisp.

Headmaster Dr. Stephen Johnson says, “The online learning sessions that have occurred at St. John’s-Ravenscourt School have been a tremendous asset to our music program. Being in direct con-tact with musicians in some of the fi n-est music schools in world is a unique experience for our students, and fi rst-rate professional development for our faculty. These enrichment opportunities have been second to none in the prov-ince, and all for a very affordable cost. I would strongly encourage all schools to explore what the ALIVE Project has been doing for the last seven years”

Videoconferencing technology elec-trifi es how teachers teach and how stu-dents can learn and share their music. Classrooms, no longer limited by walls, are opening up a world of possibilities, which is fi tting for the universal lan-guage of music.

Dr. John Kuzmich Jr. is a veteran music educator, jazz educator and music technolo-gist with more than 41 years of public school teaching experi-ence. He is a TI:ME-certifi ed

training instructor and has a Ph.D. in comprehensive musi-cianship. As a freelance author, Dr. Kuzmich has more than 400 articles and fi ve textbooks published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S., Europe, Australia, and South America.

For more information, visit www.kuzmich.com.

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34 Choral Director March 2011

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