CHORAL JOURNAL: Choral Reviews Format

About the format: Choral reviews written for the Choral Reviews column of Choral Journal and for its online counterpart, choralreviews.com, are divided into a three-part format. The heading, which is single-spaced, lists standard information that would be identical regardless of the reviewer. The body of the review contains the reviewer’s description of essential elements of the work, salient and distinguishing features of the work, and an informed perspective on the work’s functional educational/performance role in music, and opinions with regard to its strengths, weaknesses and usefulness for our readership. Footing information includes R&S areas into which this work may be placed and a few (usually electronically searchable) resources for hearing and researching this work in greater detail.

To sum: Heading information

- essential/standard ‘nuts and bolts’ of the work, including the composer, arranger, editor, publisher name and contact information, current price, vocal ranges, language, instrumentation; composer’s dates and—if available—date of the work

Body of the Review - the primary text of the review, concluded with the author’s name, ACDA position, etc. - contains the reviewer’s informed perspective Footing information - more variable information, especially suggestions, such as suggested weblinks (to YouTube or other performances) and suggested R&S areas which could benefit from knowledge of this piece

Scope and Focus of a Review: Reviewers are asked to focus on a single work or edition within a review. You are, of course, free to compare editions, but keep in mind that each edition, arrangement, or printed review will be listed under one review entry. If you hold compelling reasons for reviewing several editions, arrangements, etc. within a single review, contact the Choral Reviews Editor for format alterations. Since entries are placed in a searchable online database at choralreviews.com, the format of a review can impact the manner in which your entry can most effectively contribute to that valuable electronic resource.

General Issues: - Place one review per page and per e-mailed file. - If the information is in the heading to the review, avoid replicating the information in the body of the review (for example, reiterating ranges) unless you are addressing an aspect of that information. - Please proofread carefully; then have someone else proofread. - Pitch designation: Choral Reviews policy is to use the following pitch designations: Examples: Middle C = c4. High A for tenor = a4. High G for soprano = g5. Low F for bass = f2. - Write out notes with accidentals, ex. = b-flat, g-sharp, etc.

A generalized format appears on page two of this document; additional samples of formats are provided at the end of the document.

Sample, presented in parallel format

HEADING (Single spaced)

FORMAT GUIDE: Heading APPLIED SAMPLE: Heading

Composition, Opus/K/D (etc.)

Composer (dates: yr. of composition) Arranger/editor, if any (year of

work)

Voicing, divisi/soli, accompaniment (approximate length) Vocal Ranges

Publisher Catalog#, $ (Orchestration follows Luck’s Music

notation)

e: < Publisher’sWebAddress >

s: <ScoresWhenAvailable>

t: < text when available>

sacred/secular, language: source

Begräbnissegesang, Op. 13 Johannes Brahms (1833-1897: 1858) ed. Walter Borner (2010) SATBB, piano (7’)

Breitkopf & Härtel, EB8312, $10.20 e-address: www.breitkopf.com - Instrumental Accompaniment- WW and Brass: (0.0.1.1/1(Eb).0.3.1.1 + 2Timp), PB8225, $11.00 - Full Score: OB3225 WINDS, $19.95 score: www.breitkopf.com/feature/ausgaben/5461 (click on “sample score”) text: www.recmusic.org/lieder/get_text.html?TextId=26522 sacred, german: Michael Weisse

BODY of REVIEW (single spaced)

standard review, concluded with: Name of Reviewer

City, State

ACDA position, if any

FOOTING (Single spaced)

FORMAT GUIDE: Footing APPLIED GUIDE: Footing

Connections (resources to be linked online)

Suggested R&S areas: List all areas of R&S for

which this work may be of interest! (All-State Use: OK10 )

Suggested Keywords: Genre, Key/Mode, Style,

Liturgical/Social Function(s),

Salient Subject of the text, etc (Later: Review date in Journal; Author’s Name;

reviews of same piece, different edition, etc.)

Suggested External Links:

A/V:<WebAudioAndVideoFilesWhenAvailable>

Connections: websites with additional

information regarding this work its text, etc.

R&S: HS, 2Yr, Col/U, Wrshp

Keywords: funeral, Brahms, death, C

Minor, hope

Links: performance by John Eliot Gardiner http://www.youtube.com/watch?v=80ZA0l1a7Fg

HEADING The heading contains only incontrovertible, informational items. Items which can change

in content should not be included in the heading; in a sense, the content of a heading should be identical, and

is not dependent on the perspective, opinion, or experience of the reviewer. This area will be searchable at

choralreviews.com.

- The heading of the review should be single-spaced.

- A double space should be placed between the heading and the body of the review.

- The heading should follow the model format as closely as possible.

MODEL for HEADING: Begräbnissegesang, Op. 13

Johannes Brahms (1833-1897: 1858)

ed. Walter Borner (2010)

SATBB, piano (7’)

Breitkopf & Härtel, EB8312, $10.20

e-address: www.breitkopf.com

- Instrumental Accompaniment- WW and Brass:

(0.0.1.1/1(Eb).0.3.1.1 + 2Timp), PB8225, $11.00

- Full Score: OB3225 WINDS, $19.95

score: www.breitkopf.com/feature/ausgaben/5461

(click on “sample score”)

text: www.recmusic.org/lieder/get_text.html?TextId=26522

sacred, german: Michael Weisse

Specific Items, line-by-line First Line: Title of Composition, Catalog Number

- Title of Composition: Capitalize first word and all other words except prepositions, articles, and coordinate conjunctions (Wade in the Water). Capitalize and italicize titles in foreign languages as in proper prose (Ave Maria, Ave verum corpus). Do not italicize titles that are in English. When in doubt, use the capitalization used in the octavo itself. - Opus/Deutsch/Kochel/S. etc.: If the work has an opus number or other catalog or works designation, list it following the title. Use abbreviations whenever possible, “Op.” for “Opus”, “D.” for “Deutsch”, etc.

Second Line: Composer, Composer’s Dates, Date of Composition - Composer, Editor, Arranger: List the composer’s full name. If an arranger, follow the name with (arr.), for example: Kirby Shaw (arr.). Editors should be treated similarly. If the work has both a composer and an arranger or editor, list them on separate lines, beginning with the composer. - Dates: List the composer’s dates when possible. If the composer is alive, use (b.1956) to indicate the year of birth. If no longer living, use the format (BirthYear-YearDeceased). If the dates are uncertain, “ca.” can and should be used. -Date of Composition: For composers whose catalogues are well-documented, include the date of the composition when possible. Spirituals and folksong would not be dated in many cases, although when a general dating is possible, the use of such listings as (17th c.) for a 17th century folksong is suggested. -Date of Arranging/editing: When possible, list the year of edition or arrangement on the editor/arranger name line.

Third Line: Arranger/Editor: If an arranger, follow the name with (arr.), for example: Kirby Shaw (arr.). Name of editor appears in the heading as ed., Name of Editor

Fourth Line: Forces, (length of work) - Forces: SATB, two-part, unison, followed by solo parts and accompanying instrument(s). Please do not indicate "unaccompanied" if the work is listed as “a cappella”; give only the voicing as above. Accompaniment should be designated as “piano” or “organ” if clearly intended for one or the other, “keyboard” in the case of sacred works, where either instrument could be used. If a work is available in more than one voicing, please focus your review on only one of them, mentioning the existence of the others (and any of their important features if you had the chance to examine them) in the body of the review. (Catalogue numbers for those other voicings may also be included in the body of the review. We are only reviewing the single edition—other voicings may not be as successful.) - Length of Work: If the length of the work is listed in the publication, use the listing. If not, search for a publisher’s recording of the work, and use its performance length. If no recording is available, use your best estimate of the performance length, rounded to the nearest minute, based on tempi and the number of measures.

Fifth Line: Vocal ranges List the ranges of the voices; middle c is c4. Notation will be assigned during the editing stage.

Sixth Line: Publisher’s name, Catalog Number, price Publisher's name: If the music indicates that the publisher is a division of a larger company (or is distributed by another company) that second company should be listed as “agent.” Example: Thomas House (Intrada Music Group, agent). Catalogue number and price:. If price is an even dollar amount, do not include the zeros: “$1” instead of “$1.00.” If no price is indicated, please attempt to get the price from your local music dealer or over the Internet. "No price listed" should be used as a last resort. If you are reviewing an international publication, please include a website address or other ordering information, as well as the price (as current as possible) in the foreign currency.

Seventh Line: publisher’s website List the e-address: www.publisher.com

Eighth Line: instrumental forces - Instrumental Accompaniment- WW and Brass: (0.0.1.1/1(Eb).0.3.1.1 + 2Timp), PB8225, $11.00 - Full Score: OB3225 WINDS, $19.95

For orchestrations, use traditional abbreviation systems; For other combinations, use the following formats: a) for harmonic instruments and others, list the harmonic instrument first: such as: guitar and flute; harp and oboe; organ and trumpet b) for ‘combos’, as with jazz works, list the instruments c) for small or large ensembles, list it if easily described by common terms: such as: string quartet; flute trio; concert band d) for other ensembles, list as seen in the sample header (above) or consult with the choral reviews editor. See http://www.lucksmusic.com/cat-symph/ecat-symph.asp If soundtracks or electronic accompaniments are available, they should be mentioned.

Ninth Line: actual and online scores, if available

Check two online resources for these resource: a) the publisher’s site b) JW Pepper. If the reader must type in any information or if additional links must be followed, please offer directives such as “(click on “sample score”)” in parentheses.

Tenth Line: text Can the text be found online? If so, please identify and list the link EX. text: www.recmusic.org/lieder/get_text.html?TextId=26522 sacred, german: Michael Weisse

BODY (Reviews Content - single spaced)

The body of the review is the area in which a reviewer’s expertise and perspectives are shared with our readership. Writers should be thorough in their investigation of the technical and aesthetic aspects of a work before writing about it; an attempt to seek the potential of a choral composition with regard to its use in educational, religious, performance, and scholarly settings is also important to undertake. As a policy, the Choral Reviews column will not expend space on works that may be deemed to be average or less-than-average in quality: this column is one of advocacy for works of potentially lasting value to the greater choral community. Style guidelines and suggestions for writing about music for Choral Journal are provided below. Included with these guidelines is a reference chart that contains a list of content requirements. Many reviewers have found this guide useful as they begin the review process. Please go through the music and fill out the chart as you begin the writing stage of your review. You will then be able to write the review quickly and in an organized manner. However, be sure to write in prose so that your review does not sound like a list.

Writing Style and Content Guidelines for the BODY of ACDA Choral Journal Reviews, by Carroll Gonzo, Editor, with Paul Laprade, Choral Reviews Editor

• General Items - The body of the review should be single-spaced. - Use numerals for named singing parts (soprano 1) but spell out numbers for terms such as “part one,” “part two,” etc. - Use the word “unaccompanied,” not a cappella, within the body of the review. - Use “ca.” not “c.” for the abbreviation of the word "circa." - When in doubt, use full names for people mentioned within the text (text authors, composers, etc.) rather than just last name. If the person is very well known (Brahms), the first name need not be included. • Be concise. Avoid unnecessary words and redundancies. Use “generally,” “basically,” and other such words only if they add meaning. • Though passive voice is often useful for describing a piece, avoid staying in the passive voice too long. passive: The piece is based on an old Russian folk song. active: The composer based the piece on an old Russian folk song.

• Watch for excessive repetition, particularly when referring to the “work” in question. Try to incorporate synonyms such as “piece,” “composition,” or the name of the genre (anthem, motet, mass).

• Use commas for: descriptive clauses, introductory clauses, lengthy independent clauses, and in a series, employing a comma before the “and.” Short clauses shouldn’t be separated by commas unless the conjunction “but” is used. “The work, which was written in 1967, includes optional accompaniment by flute, oboe, and bassoon, and may also be performed without piano accompaniment.” “The accompaniment is simple and the piece is quite short.”

• Keep adverbs close to the words they modify. awkward: “The writing in this passage very nearly, to the untrained ear, sounds atonal.” perhaps: “To the untrained ear, the writing in this passage sounds very nearly atonal.”

• Use ‘while’ to introduce a clause if you are referring to time, otherwise use ‘though’. “ While the basses are intoning the main theme, the sopranos enter with a quiet counterpoint. “Though the basses carry the main theme, the harmony remains static.”

• Italicize titles of all works, no matter how small; never italicize movements or sections. “Brahms’s Wiegenlied is charming; it reminds me of the second theme in the Allegro from his second symphony.”

• Spell numbers (including intervals!) less than 100, except in time signatures, tempo indications, measure numbers, and publication numbers. “The center section of the piece, beginning in m.25, switches to a 6/8 meter and introduces seventh- chords and flatted-fifth harmonies.”

• Hyphenate century references only when used as adjectives: “vocal writing in the twentieth century” “twentieth-century vocal writing”

• Abstract pitches are capitalized, without quotation marks; keys are always capitalized, and are hyphenated only if the key precedes a generic title. Pitches referring to a specific register use standard formula (c1, c2) “Beethoven’s famous C-Minor Symphony ends in C Major.” “From this point, the basses maintain a D pedal tone for twenty-three measures.” “The soprano part ascends twice to g4, but is otherwise not challenging.”

• Relative pronouns: use “which” if the clause it introduces is descriptive in nature, in which case it takes commas. Use “that” if the information contained in the clause is essential to the meaning of the sentence. “The pieces that were performed most frequently in Vienna in 1900 were all written by Austrians.” “These pieces, which were the most frequently performed concert works in Vienna in 1900, were written for mixed chorus and orchestra.” Note Exceptions! Use “which” if: a) the clause modifies the noun “that” (“That which is harmful should be avoided.”) b) if the relative pronoun is the object of a preposition (“The chair on which you are sitting is about to break!”).

• CLICHÉS TO AVOID—REPHRASE these and similar phrases when possible:

“...is sure to please both singer and listener alike and will find use in both church and school settings.”

“These pieces will be well worth the challenge.” “A composition that is a true gem.”

“The time spent in polishing and learning the music would be well worth the effort.”

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FOOTING This area of the review contain items that are less scholarly, items over which we have less

control in content, and items which some opinion regarding a work’s details may enter into discussion. The

interactive/online version of this section contains links and keywords; when this change occurs, the print

version of the footing will contain less matter.

- The footing of the review should be single-spaced.

FORMAT GUIDE: Footing APPLIED GUIDE: Footing (examples)

Connections: (online resources of reasonable

content for research or context)

Suggested R&S areas: List all areas of R&S for

which this work may be of interest! (All-State Use: OK10 )

Suggested External Links:

A/V:<WebAudioAndVideoFilesWhenAvailable>

Connections:

http://kellydeanhansen.com/opus13.html

R&S: HS, 2Yr, Col/U, Wrshp

Performance Links: performance by John Eliot Gardiner http://www.youtube.com/watch?v=80ZA0l1a7Fg

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FINALLY, place your name and address (as you wish it to appear in the Choral Journal) at the end of

each review. The standard we have used is:

Reviewer’s Name

City, State

ACDA position, if held

Thank you for your interest and efforts in sharing your expertise with the readers of Choral Journal.

Dear Reviewer:

Thank you for your interest and willingness in writing reviews of choral works for our readership.

ACDA appreciates your contributions deeply, as choral reviews are a primary vehicle through which

our organization advocates new works to our membership.

If you are a reviewer who has contributed reviews to our journal in past years, you will find that we

have developed a new format for the heading and footing for reviews found in the Choral Reviews. Two

factors underlie the need for this change: a) a recent survey of our R&S membership raised several

areas which need to be addressed more fully or consistently in our reviews; and b) a new format

would be more compatible with a desired move toward the web-enhanced experience we hope to

deliver in the near future. The new format is included in this webpage. Other pages on this site

describe other aspects of writing reviews for the journal, such as process.

I hope you will contact me should any questions arise regarding your reviews or should you have any suggestions for improving our column. Thank you for your expertise and time in making our column a success.