CHORAL RANGESPRING 2019 Vol. 40, No. 1THE KANSAS CHORAL DIRECTORS ASSOCIATION NEWSLETTER

President’s Pen ............................2Editor’s Box ..................................3Convention Headliners ..............4

Convention Performances ..........7Convention Reading Sessions .....7Bringing ACDA to KCDA ..............8

In this issuePresidential Nominations .........13Convention Registration ...........18Convention Schedule ................19

2019 KCDA SUMMER CONVENTIONJULY 10-12 , 2019 | TOPEKA CAPITAL PLAZA

Dr. Amanda QuistWESTMINSTER CHOIR COLLEGE

Dr. G. Phillip ShoultzVOCALESSENCE

Dr. Ryan BeekenINDIANA UNIV OF PENNSYLVANIA

Christine BassTEMPLE UNIVERSITY

Charles BruffyKC CHORALE & SYMPHONY

14 READING SESSIONS 15 CLINICS & INTEREST SESSIONSINSPIRING PERFORMANCES WORLD-CLASS CLINICIANS

PAGE 2 n CHORAL RANGE

The President’s Pen

Mark Bartel

KCDA-ing

In 1998 New Zealand-born musician, educa-tor and author Chris-

topher Small suggested that a new word be intro-duced to the English lan-guage: musicking (from the verb to music), mean-ing any activity involv-ing or related to music performance. In his book Musicking (1998) he writes that...To ‘music’ is to take part, in any ca-pacity, in a musical performance, whether by performing, by listen-ing, by rehearsing or practicing, by providing material for perfor-mance (what is called composing), or by dancing. We might at times even extend its meaning to what the person is doing who takes the tickets at the door or the hefty men who shift the piano and the drums or the roadies who set up the in-struments and carry out the sound checks or the cleaners who clean up after everyone else has gone...

The act of musicking estab-lishes in the place where it is hap-pening a set of relationships, and it is in those relationships that the meaning of the act lies. They are to be found not only between those organized sounds which are con-ventionally thought of as being the stuff of musical meaning but also between the people who are tak-ing part, in whatever capacity, in the performance; and they model, or stand as metaphor for, ideal re-lationships as the participants in the performance imagine them to be: relationships between person

VOLUME 40, NUMBER 1

Choral Range is a twice-yearly publica-tion of the Kansas Choral Directors As-sociation, a not-for-profit professional organization affiliated with the American Choral Directors Association.

Reach us at: www.kansaschoral.com

Design and printing of the Choral Range by Vogel Design LLC in Wichita, Kansas.

PresidentDr. Mark Bartelbartel@friends.edu(316) 295-5553

President ElectDr. Dwayne Dunnddunn@usd497.org(785) 766-7985

Vice PresidentDustin CatesCates.dustin@gmail.com(816) 304-0073

Newsletter EditorChristopher Kurtchristopher.kurt@usd497.org(319) 327-0388

SecretaryWendi Bogardwbogard@usd458.org(913) 683-4122

TreasurerSteve Millerstevenmiller55@gmail.com(620) 327-6054

Music Industry RepresentativeMarkel Portermporter@jwpepper.com(620) 330-3808

Exhibits & AdvertisementsCoordinator

Susan Scheiblersscheibleroe@olatheschools.org(913) 780-7120

Membership ChairMargie Lawrencemargiecontact@gmail.com(650) 207-8241

Communications & Social MediaAlexandra Romearome@natoma-usd399.net(785) 639-0565

CHORAL RANGETHE KANSAS CHORAL DIRECTORS ASSOCIATION NEWSLETTER

and person, between individual and society, between humanity and the natural world and even perhaps the su-pernatural world.

Small’s concept may not necessarily tell us things we didn’t al-ready know (of course we understand that his list of activities is part of the choral experi-ence, and that this ex-

perience reaches far beyond music itself), but rather provides a way of putting our knowledge into a mean-ingful framework. Instead of focus-ing on the “how” and the “what,” it points to the “who” and the “why.”

The opportunity to serve as President of KCDA has shown me that, like “musicking,” “KCDA” too is more of a process (a verb) than an object (a noun). For many years, those who serve on the KCDA board have been “musick-ing” on behalf of the Kansas cho-ral community and here are some of the highlights of the their work over past two years:

Organization. The board has been working on updating the official KCDA Bylaws, beginning with the provisions for the terms of service of district representa-tives. Changes will be presented to the membership at the Summer convention.

Involvement. These changes will help to create opportunities for more members to become in-volved in leadership. Two new ACDA student chapters have been

Continued on page 15

CHORAL RANGE n PAGE 3

KMEA State Choral ChairGreg Bontragerhschoir@ksmea.org(316) 772-7338

Children’s ChoirsJennifer Berrothjennifer.berroth@gmail.com(316) 772-7338

Ethnic/Multicultural Perspectives

Dr. Melissa Gradymlgrady@ku.edu(785) 864-9637

Junior High/Middle SchoolErin Stewartestewartprt@olatheschools.org(913) 780-7280

Soprano/Alto ChoirsAngela Loganbillakloganbill@gmail.com620-388-0536Amy Ivesivesmusicteachers@gmail.com(316) 284-6280

Tenor/Bass ChoirsRandy Fryerfrye@usd497.org(814) 758-6827Annika Stuckyannikastucky@usd475.org(785.) 717-4529

Youth and Student Activities

Dr. Tom Winetom.wine@wichita.edu(316) 687-0121

Music and WorshipKevin BoganKCB1stPres@aol.com(913) 660-8935

College and University ChoirsDr. Christopher Smith cmsmith3@mnu.edu(913) 971-3644

Senior High ChoirsJason Sickeljasickel@bluevalleyk12.org(913) 424-6751

Two-Year College ChoirsKerry Kuplickkuplic@dc3.edu(620) 227-9368

Community ChoirsCarolyn WelchCawelch@outlook.com(785) 760-3809

Jazz and Show ChoirsJohn Stafford IIjstafford@kckcc.edu(913) 288-7137(217) 979-3094

Choral CompositionTimothy Tharaldsonttharaldson@benedictine.edu(913) 360-7597

Collegiate StudentRepresentative

Daniel Huynhdxhuynh@shockers.wichita.edu(913) 226-8854

NW District Representative

Dr. Terry Crulltacrull@fhsu.edu(785) 639-3200

NC District Representative

Annika Stuckyannikastucky@usd475.org(785.) 717-4529

NE District Representative

Hillary Mortonhmorton@usd497.org(785) 550-8623

SW DistrictRepresentative

Brandon Wadebrandon.wade@usd382.org(620) 672-4540

SC District Representative

Jenny Potochnikjpotochnik@usd259.net(316) 973-7279

SE District Representative

Sydney Shannonsydney.shannon@galena499.org(620) 783-4499

EC District Representative

Laura VanLeeuwenCoachv719@gmail.com(913) 744-9392

KCDA BOARD MEMBERS 2017-2018

Hello! My name is Chris-topher Kurt and I am the proud new Editor

for the Choral Range. Since I’m relatively new to the state and brand new to this gig, I’ll provide a short biography. I grew up in Independence, IA, and I got my Bachelors in Music Education with a Vo-cal Emphasis from Wartburg College in Waverly, IA, in May of 2014. I taught 6-8 General and Vocal Music in Burling-ton, IA, at Aldo Leopold Middle School for three years; during that time, I was nominated for The Hawkeye’s (the local newspaper) “Teacher of the Year” award in 2015, 2016, and 2017. I presented at the Iowa Technol-ogy and Education Connection (ITEC) Conference in October of 2016. I worked with Central College’s Mu-sic Education Professor, Sarah Van Waardhuizen, on a ukulele unit and co-presented our findings at the Iowa Music Educators Association (IMEA) in November of 2017. I have also been a guest on the Choir Ninja pod-cast twice; both appearances were in 2017.

The past two years, I have been teaching at Lib-erty Memorial Central Middle School in Lawrence. My students have had the opportunity to work with Dr. Brandon Williams, Dr. Elise Hepworth, Tony Silvestri, and Timothy Takach, who wrote a stunning version of “In Flanders Fields,” which we world-premiered this past fall. Excalibur, the auditioned choir at LMCMS, has appeared on KCUR and performed at the National World War I Museum and Memorial. I am also a mem-ber of the Heartland Men’s Chorus. I’m truly grateful for the opportunities I have had thus far in my short career.

This Choral Range’s theme, “Bringing ACDA to KCDA,” clearly stems from the amazing opportunity of hosting the National ACDA convention this past Feb-ruary and March. Personally, I go to conventions and get amped up by the 100+ brilliant and creative ideas hurled at me, then go back to my classroom routine and fail to implement much of anything. Anyone else

The Editor’s Box

Christopher Kurt

Continued on page 15

PAGE 4 n CHORAL RANGE

Headliners

Ryan Beeken proudly serves as Director of Choral Studies at In-diana University of Pennsylva-

nia where he conducts the University Chorale, Chamber Singers and teaches graduate and undergraduate choral conducting. He received Bachelor of

Music in Vocal Performance and Bachelor of Music Education degrees from Drake University and Master of Music and Doc-tor of Musical Arts Degrees in Choral Conducting from Michi-gan State University.

Beeken’s choirs have performed at State, Regional, and National Conventions of the American Choral Directors Asso-ciation (ACDA) and for state and regional NAfME conferences as well. A frequent clinician and festival director, Beeken is regularly engaged as a conductor, clinician and adjudicator throughout the United States; recent engagements include over 50 All-States and Honor Choirs in 17 states and also in the Czech Republic and Austria. In 2020 he will conduct the Dub-lin Choral Festival for Music Celebrations International and the High School Men’s Honor Choir for the Association for Mu-sic in International Schools in Muscat Oman. Beeken regularly

n Dr. Ryan Beeken Indiana University of Pennsylvania

presents sessions for symposia. Recent presentation highlights include the 2018 Together We Sing Session for the Eastern ACDA Division Conference, 2017 International Conference on Arts and Humanities, 2016 and 2015 Na-tional NAfME teacher in-service and a residency at the Academy of Music in Ljubljana, Slovenia.

Prior to his appointment at IUP, Beeken taught at Michigan State Uni-versity where he conducted the Wom-en’s Glee Club and while residing in Des Moines, Iowa, directed the Drake Chorale at Drake University. He also taught elementary, middle, and high school music for 16 years, most recent-ly serving as Director of Vocal Music for Waukee Schools in suburban Des Moines where he lead a program of over 300 students and 12 ensembles to national distinction.

Christine Bass is the Director of Temple University Men’s and Women’s Choruses where she

is also an Assistant Professor of Music Education. Prior to Temple, Christine taught at Cherry Hill West High School for 22 years where her program grew

from 60 to over 320 students in seven choirs. Her choirs have performed at multiple ACDA National Conventions, MENC and ACDA All Eastern Conventions and with Alan Gilbert, Julius Rudel, Rossen Milanov, Philadelphia’s Singing City, Sister Cities

n Christine Bass Temple University

Girlchoir and the Newark Boy’s Choir. Her men’s a cappella group, Men of Note, won three consecutive National Championships for Best of High School A Cappella.

Christine earned her degrees from Westminster Choir College, studied conducting under Robert Simpson, Elaine Brown, Andrew Megill and Jo-seph Flummerfelt, and was a member of the Westminster Choir. She received

CHORAL RANGE n PAGE 5CHORAL RANGE n PAGE 5

One of the most admired cho-ral conductors in the United States, Charles Bruffy began

his career as a tenor soloist, perform-ing with the Robert Shaw Festival Singers in recordings and concerts in France and in concerts at Carnegie

Hall. Shaw encouraged his development as a conductor.He has been Artistic Director of the Kansas City Chorale

since 1988 and Chorus Director for the Kansas City Symphony since 2008. He is also Director of Music for Rolling Hills Pres-byterian Church.

Respected and renowned for his fresh and passionate inter-pretations of standards of the choral music repertoire and for championing new music, he has commissioned and premiered works by composers such as Jean Belmont Ford, Ola Gjeilo, Mat-thew Harris, Anne Kilstofte, Libby Larsen, Zhou Long, Cecilia McDowall, Michael McGlynn, Stephen Paulus, Steven Sametz, Philip Stopford, Steven Stucky, Eric Whitacre and Chen Yi.

Under his supervision, MusicSpoke and the Roger Dean Company, a division of the Lorenz Corporation, publish cho-

n Charles Bruffy Kansas City Chorale and Symphony

ral series specializing in music for professional ensembles and sophisti-cated high school and college choirs. His eclectic discography includes five albums on the Nimbus label and eight recordings for Chandos Records, three of which have been recognized by the Academy of Recording Arts and Sci-ences with Grammy® awards for Best Choral Performance. In 2017, Bruffy was recognized with the Signature Sinfonian award conferred by nation-al fraternal society Phi Mu Alpha, con-ferred upon “alumni members who have achieved a high standard of ac-complishment in their field.”

In his spare time, Bruffy breeds and raises Arabian and Saddlebred horses on his ranch just south of Kan-sas City in Cass County.

their Alumni Merit Award and Alumni Ambassador Award. Christine was a New Jersey MENC Master Music Teacher and received the Governor’s Award in Arts Education. Christine has conducted numerous All State and Honors Choirs includ-ing the 2009 ACDA All National High School Honors Choir. She is a guest conductor, adjudicator and clinician presenting workshops across the country and internationally. Her edu-

cational products are published by Hal Leonard: DVDs Vocal Transformation, and Where The Boys Are, and her new book Front-Loading Your Repertoire: Constructing for Success. For more info please visit: christinebass.com.

Dr. Amanda Quist is Associate Professor and Chair of the Con-ducting, Organ and Sacred Mu-

sic Department at Westminster Choir College. She conducts the Westminster Chapel Choir and Westminster Kan-torei, and she teaches graduate and

undergraduate conducting. Dr. Quist is the recipient of West-minster Choir College of Rider University’s 2014 Distinguished Teaching Award and the 2018 Mazzotti Award for Women’s Leadership, and she is the Carol F. Spinelli Conducting Fellow.

Dr. Quist is Director of the Westminster Vocal Institute,

n Dr. Amanda Quist Westminster Choir College

a highly regarded summer program for talented high school students, and she was previously director of choral activities at San José State University. Her other honors include the James Mulholland National Choral Award and the Audrey Davidson Early Music Award. Her research focus is voice sci-ence and pedagogy in choral singing, and she has presented lectures on this and other topics across the country.

PAGE 6 n CHORAL RANGE

An active guest conductor and clinician, her recent and up-coming appearances include conducting the National Associa-tion for Music Education (NAfME) All National Honor Choir; All State Honor Choirs of Texas, California, Washington, Ver-mont, Missouri, Delaware and Colorado; All-Collegiate Honor Choirs in California, Massachusetts and Georgia; and serving as headliner for music conferences across the United States. Dr. Quist is the National American Choral Directors Associa-tion’s (ACDA) Repertoire & Resources Coordinator for Colle-giate Activities, and her choral series is published through Walton Music.

She has been invited to serve as a conductor as part of the 2019 ACDA International Exchange Program in South Africa, as a clinician for the 2019 ASPIRE International Youth Music Festival in Australia and as a juror for the 2019 Penabur Inter-national Choir Festival in Indonesia.

Dr. Quist earned her Doctor of Music in Choral Conduct-

ing from the University of North Texas and her Bachelor of Music and Master of Music in Music Education and Cho-ral Conducting, summa cum laude, from Western Michigan University. She has held positions on the faculties of Western Michigan University, and the University of North Texas, and she served as associate conductor for the Denton Bach Society in Texas. Before pursuing her graduate degrees, Dr. Quist taught in the Michigan public and private school systems, and she was conductor of the North American Choral Company’s Midwest Chorale, a professional touring children’s choir.

Known for an innovative pedago-gy and ability to inspire singers of all ages, G. Phillip Shoultz, III,

enjoys a multifaceted career as artist, educator, mentor and speaker. Phil-lip is Associate Conductor and Direc-tor of Learning and Engagement for

VocalEssence, where he recently established the Singers Of This Age, an immersive youth choral arts apprenticeship. He serves Good Samaritan United Methodist Church as Director of Music, Worship and the Arts, and frequently appears as a guest clinician, adjudicator and consultant.

The winner of the 2015 ACDA Graduate Conducting Com-petition, Phillip appeared as a Conducting Fellow with the Or-egon Bach Festival, Chorus America, Choral Music Experience Institute, among others. He has prepared choirs for perfor-mances in Canada, England, Estonia, Finland, France, Germa-ny, Mexico and Russia, and was named an ACDA International Conductors’ Exchange Program Participant.

Phillip completed doctoral studies in conducting at the University of Minnesota and earned degrees with High Hon-ors from the University of Georgia and Georgia State Univer-sity. During his time in Atlanta, he served as Artistic Director

n Dr. G. Phillip Shoultz III VocalEssence

of the Gwinnett Choral Guild and the Atlanta Youth Choir, founding director of the Georgia Young Men’s Ensemble (part of the Grammy Award–winning Gwinnett Young Singers) and the As-sistant Director for the professional chamber choir, Coro Vocati. His work in public schools garnered school and county-level Teacher of the Year hon-ors on three separate occasions by dif-ferent organizations.

Phillip enjoys biking, boxing, weight lifting and all things related to sports and food. A proud Board Mem-ber of the VoiceCare Network, he pas-sionately advances the transformative nature of shared singing experiences. Phillip lives in St. Louis Park, Minn., with his wife, Michelle, their five-year-old son, Malachi, and nine-month old daughter, Lydia Grace.

CHORAL RANGE n PAGE 7

Performances

n Cathedral Concert: 2019 All-State Choirs Friday, July 12, 7:30 p.m., Grace Episcopal Cathedral

Pictured: 2018 All-State Soprano/Alto Choir

n KCDA Convention Directors’ Chorus Thursday, July 11, 7:30 p.m., Topeka First United Methodist Church

n 1 12 Days of Christmas

n 2 Headliner Dr. Ryan Beeken

n 3a A Little Deeper Into Treble!

n 3b Kansas PML List, Levels 1-3

n 4a Flexible Voicing

n 4b Advanced SATB & SATB

n 5 Headliner Dr. Amanda Quist

n 6a Sacred Music Session

n 6b Moderate SATB

n 7 Honor Choir Music

Reading Sessions

For the full convention schedule, see page 19

Pictured: 2018 All-State Tenor/Bass Choir

n 8a Moderate & Advanced TB

n 8b MusicSpoke

n 9 Headliner G. Phillip Shoultz

n 10a Getting Into Treble

n 10b A Treble Challenge!

PAGE 8 n CHORAL RANGE

EGACY AND COMMUNITY was this year’s theme at the National ACDA Convention, located in our very own Kansas City. Legacy was prominent everywhere you looked. Whether it was the long-standing legacy of all

those participating in Director’s Chorus or the enthralling new legacy in The Aeo-lians, who “broke ACDA,” legacy surrounded us. The community was welcoming and strong. The personal introductions, the hugs, the laughter, the roar of con-versations after performances. It was all there. How do we, as KCDA, take these brilliant experiences from ACDA and build on our legacy and community at home?

I asked as many KCDA members as I could the following five questions about their ACDA experience. Here is what they had to say.

L

Bringing ACDA to KCDABUILDING A LEGACY AT HOME

Hilary MortonLawrence Free State High School

Ashley CoffmanTopeka High School

Carolyn WelchLawrence Children’s Chorus

Karis DolenzRock Creek High School

Dr. Bradley VogelTabor College

CHORAL RANGE n PAGE 9

1What is one thing that ACDA

taught you that the KCDA com-munity should learn about?

HM I always find great in-terest in the sessions

regarding inclusion, diversity and teaching with more knowl-edge and consideration of what is appropriate literature to teach and how to go about teaching that. I enjoy learning more about best practices with students in the LGBTQIA community, espe-cially those who consider them-selves trans-gender.

AC I loved the session on ear training with jazz

exercises. This is going to be fun and teach my singers how to be smart listeners. I would highly recommend a similar session. Warm-ups are always awesome things for us to see, especially when we can make our kids bet-ter listeners.

CW My biggest takeaway was that choral music

is as powerful and as relevant as ever. I fell in love with my profes-sion all over again — the creative energy in the air during this con-vention was intoxicating.

KD I attended a fantastic session led by Christi

Elsner and Jamea Sale detailing how to talk to girls about their voice change. It really helped me make sense of some of the issues my female singers complain about during rehearsal. The change is more significant than I realized, and I’d love to see more sessions educating Kansas Choir Directors about this so we can have the tools to help our sing-ers.

BV I’m always impressed with not only the quality

of the performances at ACDA — repertoire, musicianship, etc. — but also the mutual support and championing of each other that exists in this organization. It’s clear that the organization exists to sup-port choral music in all forms and in all places -- it’s difficult to find that sort of camaraderie.

GH I had the honor to par-ticipate in the Legacy

choir with my dad. I was awe-struck as I rehearsed under the choral and personal brilliance of the majestic bastions of our choral art. I was entranced and challenged to bring my best to

each rehearsal and to practice the music, applying pages upon pages of rehearsal notes, to the sometimes really difficult pieces. I learned that everything GREAT doesn’t have to be NEW. Some-times GREAT things can even be familiar. I think we have some GREAT Kansas Choral Musicians who have so much to give KCDA, but I believe we are unwilling to hire the Kansas “rock stars” to show us how to be our best. Perhaps, sometimes, we should look for GREAT in our own pas-tures. The other lesson learned that KCDA might benefit from is that, at times, everyone needs a hand. As I participated with my dad, I was constantly monitoring his comfort and endurance. As a choir director, I get so immersed in my own “busyness” that I lose focus that we are an ENSEMBLE art form. A choir of ONE is a lonely place.

DD One thing I really en-joyed during our re-

cent ACDA conference was the opportunity to strike up a con-versation with someone I didn’t know at all. Whether it was sharing a table at a crowded res-taurant or sitting next to some-one as we waited for the next

Dr. Dwayne DunnLawrence High School

Christopher KurtLiberty Memorial Cen-tral Middle School

Dr. Christopher SmithMidAmerica Nazarene University

Gretchen HarrisonFrontier Trail Middle School

Kaycee WatsonStudent, Wichita State University

PAGE 10 n CHORAL RANGE

concert session – I was always fascinated by the many differ-ent choral journeys and back-grounds represented at the con-ference. I met retired conductors currently in Arkansas (but origi-nally from Long Island, NY); conductors from Norway, Texas and many other places, and per-formers from some of the excel-lent ensembles we heard. Even if I didn’t have time for a long conversation, the opportunity to marvel at a just completed performance together, or share an idea sparked by a workshop session was so valuable. I think it is such a treasure for KCDA to remember that we begin with something in common – a value for choral music – and it is al-ways important to take some time during our summer con-ference to introduce yourself to someone new and discover part of their choral journey.

CK While watching many performances,

I learned that the possibilities with my groups are most limited by me. As a teacher, it’s so easy to do what successfully works because I already know it does. It doesn’t involve a huge risk. By not valuing risk as an educa-tional tool, I’m not challenging myself or more importantly, my students, to their full potential. I came back from ACDA and threw myself into cultivating ideas that I had either been hesitant of try-ing or had no idea I could try.

KW ACDA taught me the sense of community

that Choral Directors around the nation share. I feel like in Kansas, many choral directors in their unified school districts will know each other, but out-side of that circle, no one knows

anyone. Some would say that is the way it should be, however, I feel there is so much to learn from everyone and having that larger sense of community is so nice. I had the privilege of meet-ing some really cool people and in the process I was able to learn and grow from people who will be my future colleagues not only in Kansas, but in the nation.

CS There is a treasure-trove of new composers

who want to write music for all kinds of choirs, from middle-lev-el to professional. Living com-posers rely on commissions to keep writing and sharing their music, and they really love to write for specific groups who have an affinity for their music. It has also become much easi-er to commission pieces from composers using a consortium, a group of commissioners who collectively commission a piece, enabling a choral program with little means to help bring a new musical work into being. Most composers will do a consortium commission. There are also new tools, such as the website con-sortio.io, created by composer Paul Rudoi, that connect choirs and conductors wanting to par-ticipate in a consortium and composers working on current projects looking for sponsors. It is easier now than ever before to work with composers to create new works of art.

2How can KCDA take the ACDA Convention and use it at the

KCDA level?

BV I think that KCDA al-ready does a great job

of creating the same mutual sup-port and encouragement that one finds at ACDA -- probably even more so given the smaller, more intimate nature of it. I ap-preciate that we are both col-leagues and friends, who rejoice in the success of one another.

GH I think that KCDA does a great job with

our Interest Sessions. Honestly, I’ve been more pleased with the KCDA Reading Sessions re-cently than I was with the Na-tional Reading Sessions. From first-hand experience, the nec-essary time between literature selection and the actual Reading Session can cause some of the chosen pieces to lack the “spar-kle” of a new find. If I had any challenge to address, I think that with KCDA and our sister orga-nization, we choose too many options. Perhaps rather than choosing so many “maybe this will work for our members”, choose fewer options with a higher degree of usability. I’d go even farther to suggest that our own KCDA might benefit from some “pop up” type of in-terest sessions. One of the best examples of that would be the year that Barbara Baker was the Women’s Choir conductor and, while we were sitting in the bar, broached the question, “where are all the girls of color”? That was one of the best KCDA ses-sions I ever attended.

CK I really liked the use of the ACDA App. It was

clean, efficient, and easy to ac-cess. I think we should use it, not only for our KCDA Conven-tion, but for other things. Let’s explore what we can do with it!

CHORAL RANGE n PAGE 11

HM It is important to go see what people are

doing on a national level, and bring that back to my teaching, whether it be programming, making connections for future clinicians, or learning from ses-sions. We are all professional life-long learners and ACDA is another opportunity to learn even more on a bigger level.

KW I think that KCDA could encompass

some of ACDA’s glory by having more opportunity for schools in Kansas to perform for one another. I think providing an annual event where schools in Kansas can perform for each other would be a great way to widen a sense of community, but also provide an avenue for peo-ple to ask questions about oth-er choral directors in the state and the way that they teach in a classroom in order to provide new ways of teaching in every classroom.

AC I’m not sure about this...I think it could

be cool to bring in ensembles that teach us things like better standing arrangements, or how far students should stand apart, or what voice types should be in the front or back etc. I also think it would be great if we brought in research posters to the exhib-its at the summer convention.

KD I think it’s important to network and discuss

with our colleagues the knowl-edge we gleaned from the ACDA Convention. Even if you weren’t able to attend, you can still pick up an idea or two from a friend who was in attendance.

3Throughout all the performanc-

es & reading sessions, what is one piece the KCDA community

should look into? Why?

CS I would encourage all choirs and conductors

throughout KCDA to find the piece that’s right for them. One thing I noticed throughout the conference is that the groups that made the deepest impact performed repertoire that ex-pressed the personality of their choir and the conductor. If a piece doesn’t affect you as a con-ductor, it won’t affect your sing-ers, and if it doesn’t impact your singers, it won’t impact your au-dience. The Aeolians’ wonderful performances were wonderfully programmed to express the voic-es of that particular group, and they sang quite well too!

DD I liked having interest sessions offered more

than once, so that I had the op-portunity to attend two sessions that were of interest to me. We have accomplished some of this with our “Pick 2” sessions, and because our conference isn’t large enough to do this too much, I think it is a good reminder that when sessions are offered simul-taneously it makes a really dif-ficult choice for some attendees.

KD If you work with young singers check out Pic-

nicka o vrabci - Song About a Sparrow by Petr Eben. It’s a uni-son piece that details the pre-cious story of a sparrow trying to stay warm behind a chimney during the cold winter months. The children sing “put another log on the fire, let us keep the sparrow warm.” The Czech tune

includes an English translation and frequent meter changes to keep you on your toes!

CK I was blown away by Fire (from “Elements”)

by Katerina Gimon, performed by the Vancouver Youth Choir. Whether you attended the Na-tional Convention or not, I rec-ommend going through the Feb-ruary 2019 Choral Journal and looking through the ACDA Pro-gram. Each performed piece is listed and is a great way to learn about composers, arrangers, and the performing groups. Some other pieces I would recommend is Dulaman by Michael McG-lynn, The Rose by Ola Gjeilo, You Are My Song by Michael Zook, & Mimi ni Nuru by Christi Jones.

HM The Aeolians from Oakwood University

stood out to me. It is an all-black, Seventh Day Adventist institu-tion, and they programmed the most diverse literature and sang with 100% commitment, enthu-siasm and precision. They have been around for quite some time, but the ACDA community is just learning about the exqui-site work going on there. I want to know more about how they rehearse and have a chance to see their director at work. I was blown away. They broke ACDA.

GH I may be prejudiced with my response, but

I believe that the Andrea Ramsey commission “Common Threads”, commissioned by Allegro Choirs of Kansas City, is a piece that we could all stand beside. The mes-sage is critical for today. The mu-sic isn’t that hard. It’s applicable to hugely varied performance situations. And when the four

PAGE 12 n CHORAL RANGE

opening concert choirs con-cluded the Kaleidoscope concert with a short “Common Threads” reprise, it was heart stopping.

4If you have been to a National ACDA Convention in the past, how was being near or in the

hosting city different than other conventions?

DD I chose to commute to the conference, so it

made for very long days with-out a place to crash and rest. On the other hand, I was able to save the cost of a hotel and some meals, and found great parking for a total of $15 for the entire 4 days I went! I wish the weather had been better, but the facilities in KC were outstanding!

HM It was cheaper, con-sidering I didn’t buy a

plane ticket. I did decide to get a hotel room to fully immerse my-self in the ACDA experience. I also offered restaurant suggestions. Other than that, it was pretty much like most other conventions.

KD While in college, I at-tended the National

Conference in Salt Lake City and I was hooked! I was so proud of our city and the opportunity to show off not only our impressive spaces such as the Kauffman, but also the local talent. It felt like I was part of the welcoming committee for our city.

GH I was so very, very proud to show people

OUR city! I was so pleased to give ideas and directions to res-taurants and so on. I felt like I smiled for 5 straight days!!! As I was on the Steering Committee,

I’d been part of the planning for at least 2 years. To have the con-ference come off as relatively smoothly as it did was a great blessing.

BV It’s nice to drive to it rather than fly! (I felt

the same way about the OKC convention!) You feel so much more at home when it’s nearby, and more comfortable in the surroundings. I’d be willing to have KC host it every time -- you really can’t beat Kauffman Cen-ter for performances!

5Share your favorite ACDA mo-

ment from this year.

KD I’ll always remember the feeling of serene

peace while singing classic sa-cred choruses under the baton of John Rutter at Grace and Holy Trinity Cathedral.

CS My favorite moments at ACDA were getting to

chat with composers Paul Rudoi and Michael McGlynn. The great thing about ACDA is that most people at the convention genu-inely want to get to know others within the choral family, and most composers are no exception. Chat-ting with Michael McGlynn over lunch about our backgrounds, discovering that we have much in common, and nerding-out on our methods of training singers was a highlight for me. Those kinds of interactions are available to all convention attendees if one is open to them.

KW My favorite ACDA mo-ment from this year

was by far volunteering in Kauff-man Stadium for the first two

days I was there (Wednesday and Thursday), not only did I get to meet just about every choral director that had a performing group at KMEA, but I also got to meet Andre Thomas, Jeffery Red-ding, and so many are and just sit and ask them questions. I also got to work with one of the most well known middle school teach-ers in the nation, Clint Pianalto, and work with him throughout the process of volunteering. Not to mention, basically the whole trip was FREE just by volun-teering AND I got 11/11 reading packets from JW Pepper! I will never go to an event like ACDA and NOT volunteer; it was so amazing.

AC The concerts were fan-tastic. I just really en-

joyed the amount of time I was able to sit and listen and enjoy fabulous music making

HM I introduced myself to Jeffrey Redding, high

school choral director of West Orange High School outside of Orlando, Florida, and recent Grammy-Award winner for Mu-sic Education. He was the first all-state clinician I saw when I began teaching high school, and remains one of the finest I’ve seen work. I’ve seen his choirs perform at national ACDA con-ventions and I have great re-spect for him. He was incredibly warm, and even followed up and messaged me after the con-vention. We have a lot to learn from so many, but rarely do we have actual High School teach-ers serve as clinicians, and I’d like to work with him more in the future.

Continued on page 17

CHORAL RANGE n PAGE 13

President-elect candidatesIntroducing the two candidates up for KCDA President

Dr. Christopher M. Smith is Director of Choral Activities at MidAmerica Naza-rene University and conductor of Al-legro con Spirito, a middle and high school young men’s choir, of Allegro Choirs of Kansas City. His teaching is described as innovative, inspiring, en-ergetic and fun, and he brings creative and unconventional methods to each

rehearsal. Christopher is passionate about fostering a family at-mosphere in rehearsals, believing that when singers trust one another, they will perform more effectively together.

His scholarship interests include tenor-bass teaching effec-tiveness, music and worship and the interpretation of spirituals and gospel music. He believes conducting is first and foremost about servanthood, and serves the choral community in leader-ship roles at the state and regional levels of ACDA (Men’s Choir R&R for SWACDA and College/University R&R for KCDA). MidAm-erica Nazarene University awarded him the 2018 Faculty Member

n Dr. Christopher M. Smithof the Year Award. His output includes conducting appearances in wide-rang-ing venues from the American Choral Directors Association national conven-tion to the major-league stadiums of the KC Royals and KC Chiefs.

A native of North Carolina, Chris-topher has a servant’s heart, and will-ingly takes on challenges with attention to detail and contagious passion. He be-lieves in the power of the human voice to bring people together and connect us to the Creator.

DMA in Choral Conducting, Univer-sity of Kansas, 2016. MM in Choral Con-ducting, East Carolina University, 2013. BM in Piano Performance summa cum laude, East Carolina University, 2006.

Melissa L. Grady is an assistant profes-sor of music education at The Universi-ty of Kansas. She received her Ph.D. in Choral Pedagogy from The University of Kansas and both her undergraduate degree in Music Education and Masters in Music Education with an emphasis in Choral Conducting from Wichita State University.

Before her appointment at KU, Grady served as assistant pro-fessor of music education and the coordinator of the music edu-cation program at Valdosta State University and taught courses at the graduate and undergraduate levels. She previously served as Visiting Assistant Professor of Music at Lake Forest College where she taught courses in music education and acted as Director of Choral Activities. During her 11-year public school teaching ca-reer in Kansas, Grady taught at all levels of music education.

At KU, Dr. Grady teaches undergraduate courses in choral methods, choral conducting, diction for music educators, student

n Dr. Melissa L. Gradyteaching, and conducts the University Singers. Her graduate teaching duties comprise choral methods, history and philosophy of music education, musi-cal values and aesthetics, diction for the music educator, and adolescent voices. Dr. Grady’s research interests include effects of choral conducting gestures on choir sound, choral warm-ups, ado-lescent voices, choir spacing, and hear-ing dosage and hearing conservation in choir contexts. Dr. Grady’s research is published and she regularly presents at refereed conferences and symposia.

Grady is an active clinician and adjudicator in the Midwest for middle school and high school choirs. She is a member of NAfME and ACDA.

PAGE 14 n CHORAL RANGE

KANSAS CHORAL DIRECTORS ASSOCIATION AWARDS

Award nominations submitted online at www.kansaschoral.com.Yearly nomination deadline: May 1.

The Harry Robert Wilson Award is awarded annually to one outstanding member of the Kan-sas Choral Directors Association. Awardees will demonstrate:

Excellence in choral music training, performance and scholarshipCommitment and contributions to choral music in the state of KansasPositive and supportive collegial interactionActive participation, leadership and service to KCDAMust have a minimum of 20 years in the Choral Music Profession

Selection ProcedureNominations will be solicited from the general membership of KCDANominees must be current members of KCDA (posthumous nominations accepted)Nominators must submit biographical information, a letter of nomination and may be asked to submit additional letters of support from KCDA members and/or colleagues, stu-dents and familyThe KCDA Executive Board will select the most qualified nominees which will be present-ed to the current full boardCurrent members of the KCDA Full board will vote to determine the HRW Award WinnerCurrent members of the KCDA Executive Board are ineligible for nominationNominations are carried forward for two subsequent years and thereafter may be resub-mitted

Formerly the Young Director Award, the Prelude Award will be given annually to one outstanding member of the Kansas Choral Directors Association with at least three and no more than five years of experience as a choral director in the State of Kansas. Awardees will demonstrate:

Successful teaching and performance in choral music in KansasProfessional demeanor in interactions with colleaguesPotential as an exemplary professional with an extended career in choral musicA spirit of service through active participation and involvement in KCDA and/or KMEA

Selection ProcedureNominations will be solicited from the general membership of KCDANominees must be current members of KCDA in their 3rd, 4th or 5th year of experience as a choral director in KansasNominations must include biographical information, a letter of nomination from a cur-rent member of KCDA and a letter of support from an administrator, supervisor or mentorThe KCDA Executive Board will serve as the selection committee for reviewing nomina-tions and voting to select a recipientCurrent members of the KCDA Executive Board are ineligible for nominationNominations may be resubmitted anytime during the eligibility period (3 to 5 years) but are not automatically carried forward for future consideration.

Harry Robert Wilson Award

Prelude Award

there with me? (Envisions read-er sheepishly raising their hand.) Well, I want to help shape these brilliant and creative ideas into realities for all of us, even if it’s just one new idea to implement for you and your students.

Following Brad Vogel’s foot-steps in molding the Choral Range will be no small task. As I get more familiar with what works for me as an editor, I want to hear from you, the reader, and my colleagues. Please reach out and give me your perspective on the Choral Range. I’ll gladly take the positives, the improvements and the critiques. Thank you for your time and effort as an un-der-appreciated educator. You do not get told it enough. You are amazing. You make a difference. Thank you.

KURT, continued from page 3

BARTEL, continued from page 2

founded (Barton County Com-munity College and the Univer-sity of Kansas) and there is a new collegiate student position on the board.

Relationships. As an affiliate of KMEA, KCDA has had direct representation and involvement in important choral develop-ments in our state, including the recent addition of the new All-State High School Treble Choir and related matters of choir alignment. KCDA has been inten-tional about bringing together K-12 educators, collegiate edu-cators, church musicians, com-munity choir directors, choral composers, and music industry representatives.

Communication. In order to improve our communication, KCDA has engaged a webmaster and added a social media repre-sentative to the board.

Gathering. The annual sum-mer convention remains at the heart of what we do and most of our efforts are focused on this special gathering. We are excited about some of the changes in store for this Summer, including the re-vamped convention sched-ule which starts on Wednesday at noon and concludes with the Friday night concert.

Over the course of the past two years, as I have seen ideas and people come together for a common and worthy cause, I too

am ready to invent a new word: “KCDA-ing.” Here are the mean-ingful lessons I have learned (or re-learned) through the action of KCDA-ing:

Choirs are people who sing, not singers who “people.” How we connect with, learn from, and support each other is just as important as our musical and educational accomplishments. I can’t imagine doing what I do on a daily basis without the people and programs of KCDA. I hope you feel the same way!There are as many new, good ideas and better ways of doing things as there are members of KCDA. The Kansas choral com-munity is a rich and generous resource.The future of KCDA is insured and inspired by the young-er (collegiate students, high school honor choirs, new edu-cators and directors) and man-aged and molded by those who have a little more experience: the less young. This “balancing act” must be recognized and nurtured.KCDA is small enough to make changes and try new ideas rel-atively easily, yet big enough to make a difference in the choral community. We are of greater service to each other and to our profession than our membership numbers and budget size might suggest.Hearts and hands go together in the way people get involved

with KCDA, especially when I think of the incredible service of KCDA Treasurer Steve Miller and Secretary Wendi Bogard.

I am deeply grateful to have had the opportunity to learn these and many other lessons while serving as President of KCDA. I hope that this “conven-tion issue” will inspire you and others in your sphere of influ-ence to come to the convention to do some “KCDA-ing.” See you in Topeka!

REGISTER ONL INE TODAYKANSASCHORAL.COM/SUMMER-CONVENTION

PAGE 16 n CHORAL RANGE

New Membership 1.

Renewal: # (Please print clearly)

Mailing Address

Address 1:

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City:

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Choir & Activity Types - Mark your current areas of involvement. Mailings are based upon these selections

Primary Choir Type: Primary Activity Type:

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Children & Youth Community College & University

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Girls Elementary

Jazz Junior High / Middle School

Men Music in Worship

SATB / Mixed Professional

Show Choir Sr. High School

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Two-Year College

Youth & Student Activities

Online Renewal: www.acda.org Fax or mail:ACDA545 Couch DriveOklahoma City, OK 73102-2207Phone: 405-232-8161 x110Fax: 405-232-8162 (no cover sheet please) membership@acda.org

Name First Name Middle Name Last Name Suf x Last 4 # of SSN

© ACDA Revised June 28, 2017

ACDA Membership - Including Choral Journal Subscription One Year Two Years Three Years

Active (US and Canada) $125.00 $250.00 $375.00

Active Iowa (Active members who live in the state of Iowa) $128.00 $256.00 $384.00

Active Minnesota (Active members who live in the state of Minnesota) $140.00 $280.00 $420.00

International (Those outside the US & Canada - payment must be in U.S. dollars) $45.00 $90.00 $135.00

Retired $45.00 $90.00 $135.00

Retired Minnesota (Retired members who live in the state of Minnesota) $60.00 $120.00 $180.00

Student (full and part-time students at any level) $35.00 $70.00 $105.00

Associate (Choral Singers, Administrators & non-directors) $45.00 $90.00 $135.00

Associate Minnesota (Administrators & non-directors who live in Minnesota) $60.00 $120.00 $180.00

Institution (Ensemble or School/Church Music Dept.) $125.00 $250.00 $375.00

Industry (Music-related businesses) $150.00 $300.00 $450.00

Paying Life** (Make a lifetime commitment) $3,000.00 Annual Installment of $200.00 for 15 years $__________

**(To qualify for life membership, you must have been an active member of ACDA for a minumum of 10 years)

Donation: ACDA Endowment $___________ Fund for Tomorrow $___________

Payment - Payable to ACDA in US Dollars. Total Amount Paid $

Check #_________________ (Enclosed) Do not fax if mailing a check PO_______________ (PO form & this form must arrive together)

Visa MasterCard Discover American Express Membership will be renewed upon receipt of payment.

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I agree to pay the total according to the credit card issuer agreement and acknowledge that all sales are nal unless duplicate payment is made,

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Visit our web site for a description of these types. www.acda.org/membership

CHORAL RANGE n PAGE 17

The articles in ChorTeach are designed for those who work with amateur singers of all levels, and are selected to provide ideas and techniques to encourage directors and to help them help their singers to achieve choral excellence. The spring issue of ChorTeach is now online. Go to acda.org and click on ChorTeach.

In the current issue: A Conductor’s Greatest Untapped Resource by William Hienz n A Community Divided: Gendered Discourse in the Ensemble Classroom by Eric Rubinstein n The Unique Attributes of a Collegiate Ensemble Director by Sarin Williams n Asking Facebook Colleagues What Enhances Choral Sound - A Pilot Study by Derrick Thompson n Sight Singing for Others at Your School by Lindsay Brazell

Read ChorTeach,ACDA’s Online Magazine

Read it online: acda.org/publications

GH I absolutely loved going up as high as I could in

the Grand Hall at the Kauffman Center. Once there, I looked over the edge and saw people of all col-ors, religions, experiences, identi-ties, etc., blending into one thank-ful, grateful organism. I’ve heard comments since regarding the inclusiveness of the Conference. For that, I am so proud. There is no place like home.

CK Even as the author, I cannot come up with

simply one moment. The Aeo-lians had me so emotionally invested that I was exhausted watching them. I not only wrapped myself up in the com-munity that I’ve gained from my first five years of teaching, but I met some incredible people I now consider friends. I came home with easily 200 copies of free music. The sheer talent,

ACDA, continued from page 12creativeness, and raw emotion that each performance healed me in ways I did not know were needed. I soaked up information like a sponge in the high-quality sessions I attended. I could go on and on about my favorite expe-riences, but I know that I do not want to miss a National ACDA Convention ever again.

BV Undoubtedly, my favor-ite moment this year

was the same as literally hun-dreds of people: The Aeolians from Oakwood University. From tonal power and control in ev-ery style of music to the absolute passion they bring to their sing-ing . . . they’ve got it all. And it was clear they had both abso-lute joy and an absolute focus to share GREAT MUSIC with people, and understand the power mu-sic has to touch the soul. It was a wonderful, and necessary, expe-rience for me.

DD My favorite moment this year was the per-

formance by the Aeolians from Oakwood University (wasn’t that everyone’s?). The program-ming variety and execution was matched only by the growing ex-citement in the hall as they per-formed. The standing ovation that went on and on was of the most genuine and robust responses from an audience that I can re-member. I was also quite moved by Seraphic Fire’s performance.

CW A favorite moment: I met a man from San

Francisco who was attending the conference with his wife. They appeared to be in their forties. Neither are musicians; both are physicians. He said the National ACDA conference is their favorite vacation and they attend every one. For the price of registration, they attend concert after glorious concert, and go home happy.

PAGE 18 n CHORAL RANGE

Date ACDA Membership # Exp. Date Name Guest Name School/Institution or town (for badge) Home Address City/Zip Home Phone ( ) School/Institution Name Work Address City/Zip Work Phone ( ) Cell Phone, opt. ( ) Email: Alt. Email: Please circle areas of interest: Elementary Middle Level High School Collegiate Church Community Jazz/Show Choir Women’s Choir Men’s Choir Pre-Registration (before June 1, 2019) Active Members* $100.00 Retired Members* $70.00 New Members* (since Sept.) $55.00 Student Members* $20.00 Guests (reading packets not included) $25.00

After June 1/On-Site Registration Active Members* $125.00 Retired Members* $85.00 New Members* (since Sept.) $30.00 Student Members* $30.00 Guests (reading packets not included) $40.00

*Registration includes 10 reading packets (not including Honorable Mention titles). Select reading packets below. Additional reading packets may be purchased for $5.00 (per packet). If you do not include payment for extra packets your 10 packets will be given out at the KCDA board’s discretion.

Special Offers KMEA Special - $85.00

One-Day Members – Pre-Registered: (circle one) Wednesday Thursday Friday - $50.00 One-Day Workshop – Non-Members – On-Site Registration - $65.00

Reading Session Packet Selection Members registered before June 1st will be guaranteed reading packets. KCDA cannot guarantee packet availability for registrations after June 1st. Simultaneous Reading Sessions Single Reading Sessions ❑ #2a Beginning treble ❑ #2b Advanced SSA/SSAA ❑ #4a Moderate treble SA/SSA ❑ #4b PML levels 1-3 ❑ #5a Flexible voicing ❑ #5b Advanced SATB divisi ❑ #6a Sacred ❑ #6b Moderate SATB ❑ #8a Musicspoke ❑ #8b Honor choir

❑ #1 12 days of Christmas ❑ #3 Headliner – Amanda Quist ❑ #7 Headliner – G. Phillip Shoultz ❑ #9 Moderate/advanced TB music ❑ #10 headliner tenor/bass choir – Ryan Beeken

Purchase Orders Not Accepted. Online registration (with credit card) may be completed at:

www.kansaschoral.com If your ACDA membership expires before July, please renew your membership before registering for the convention.

If paying by check--renewing or new members must write two checks: one payable to KCDA for registration and one to ACDA for membership dues. Visit acda.org for membership forms and fees.

Mail-In Registrations (with payment): Wendi Bogard, KCDA Secretary, 1322 159th St. Basehor, KS 66007

Summer Convention Registration Form Capitol Plaza Hotel & Convention Center | For Reservations: 1.800.579.7937

For special hotel offers, go to www.capitolplazahoteltopeka.com

CHORAL RANGE n PAGE 19

Schedule-at-a-Glance

Wednesday, July 1012:00 PM Registration

1:00 PM Reading 1: The 12 Days of Christmas at KCDA

2:00 PM Reading 2: Dr. Ryan Beeken

3:00 PM Plenary Session I: Dr. Christine Bass

4:00-5 PM Round Tables: Variety Shows and Pops Concerts; Choir and Classroom Culture; Re-cruiting & Retaining Singers; New Repertoire: Hidden Treasures; Your Community: Building Bridges & Opportunities

4:30-6:30 PM Director’s Chorus Rehearsal

7:30 PM Beer Choir The Norseman

Thursday, July 117:30 AM Registration

8:00 AM Reading 3a: A Little Deeper Into Treble! Moderate SA/SSA/3pt Treble

Reading 3b: Kansas PML List, Levels 1-3

9:00 AM Plenary Session II: Dr. Amanda Quist

10:00 AM Reading 4a: Flexible Voicing

Reading 4b: Advanced SATB & SATB divisi

Director’s Chorus Rehearsal

11:00 AM Clinic 1/Reading 5: Dr. Amanda Quist

12:00 PM Lunch (on your own)

New Director/Student Luncheon

1:30-2:30 PM Director’s Chorus Rehearsal

2:00 PM Clinic 2: Dr. Amanda Quist

3-5:30 PM Exhibitors Hall Grand Opening

3:30 PM Reading 6a: Sacred Music

Reading 6b: Moderate SATB, no divisi

4:30 PM Reading 7: Honor Choir Music

5:30 PM Dinner (on your own)

7:30 PM Director’s Chorus in ConcertTopeka First United Methodist

8:30-11 PM KCDA Soirée

Friday, July 127:30 AM Registration

8:00 AM Reading 8a: Moderate & Advanced TB music

Reading 8b: MusicSpoke

9:00 AM Visit the Exhibits

9:30 AM Plenary Session III: Dr. G. Philip Shoultz

10:30 AM Break/Door Prize Drawings

10:45 AM Clinic 3: Dr. G. Philip Shoultz

11:45-1 PM Exhibitor’s Luncheon and Elvis!

1:00 PM Clinic 4/Reading 9: Dr. G. Philip Shoultz

2:00 PM Exhibitor’s Last Call

2:30-3:10 & 3:15-3:55 PM n YOU PICK TWO SESSIONS: Session 1: So You Want to Get a 1 Rating

Session 2: Technology Show and Tell

Session 3: Research-Based Choral Warm-Ups

Session 4: Sight-singing Strategies & Success

4:00 PM Reading 10a: Getting Into Treble: Entry-Level Unison/2pt/SA

Reading 10a: A Treble Challenge! Advanced SSA/SSAA

5:00 PM Dinner (on your own)

7:30 PM Cathedral Concert: All-State Soprano/Alto & Tenor/Bass Choirs, HRW Award PresentationGrace Episcopal Cathedral

Saturday, July 139:00 AM KCDA Board Meeting

This schedule is up-to-date as of publication. The most current version will be posted on kansaschoral.com.

PAGE 20 n CHORAL RANGE

Kansas Choral Directors AssociationChristopher Kurt1400 Massachusetts St.Lawrence, KS 66044

Stay up-to-date online at kansaschoral.com