Lest We Forget Part I

Download Lest We Forget Part I

Post on 30-Mar-2016

214 views

Category:

Documents

0 download

DESCRIPTION

A Pantheon of Texas Choral Directors Introduction by Charles Nelson Completed December 2004

TRANSCRIPT

Their diligence challenged. Their excellence dazzled.Their passion inspired.Their foresight showed the way.we orgetestL FContentsIInnttrroodduuccttiioonnWWiillffrreedd CC.. BBaaiinnMaterial prepared by Charles NelsonEEuueellll PPoorrtteerrMaterial prepared by Maurice AlfredJJuulliiaa DDeeaann EEvvaannssMaterial prepared by James R. NanceFFrraannkk MMccKKiinnlleeyyMaterial prepared by Charles NelsonMMiicchhaaeell JJoohhnnssttoonneeMaterial prepared by Karl Hickfang123612614620011Lest We Forgetby Charles NelsonOn the stage of Lila Cockrell Hall, in the splendor of the HenryGonzales Convention Center in downtown San Antonio, the 1999 editionof the Texas Music Educators Associations superb All-State Choir pol-ished the final phrases of its program to a splendor well beyond sixteen,seventeen and eighteen year old vocal and artistic norms. For the past fortyyears, in addition to an impressive array of octavo music, this choir hasperformed a repertoire of choral masterworks including Masses by Haydnand Beethoven, Stravinsky's Symphony of Psalms, even Brahms grandGerman Requiem. This in itself is remarkable, but there is more.The process which produces this highly select body of student singersalso produces a hand-picked choir of one hundred twenty voices in each ofthe twenty-three TMEA Regions. These region choirs, for the most part,perform the All-State Choir music. This means, that in the year the All-State Choir performed the Beethoven Mass in C Major, there were 2500+high school students in Texas who could sing every note of his/her part tothat masterwork!Contrast this with the TMEA All-State Choir which met in MineralWells fifty years earlier. Those singers were selected by a letter sent to allTMEA choir teachers, which said, Select a quartet of your best singers andbring them to the convention to sing in the All-State Choir. Whatbrought the great change in the quality of the teaching of choral music inTexas? Who was responsible? Any astute observer of Texas school choirsfor the past sixty years can point to a number of teachers whose musical tal-ent, devotion to excellence and charismatic personalities inspired theirstudents with a passion to become, and teach others to become, music mak-ers.Lest we forget highlights some of those who have gone before us whohave sown the seeds which have produced the bountiful musical and choralharvest which we now enjoy.IntroductionWilfredC. BainMaterial prepared by Charles Nelson44Biographical SketchNorth Texas State Teachers CollegeDenton, Texas 1938-1947In the fall of 1938, the Music Department at North Texas State Teachers Collegein Denton, Texas, was housed in several houses on the east side of the campus. Thefaculty consisted of Mary Anderson and Gladys Kelso who taught piano, FloydGraham who directed the orchestra, the marching band and the stage band, andLillian Parrill who directed the choir. They shared the classroom teaching for thetwenty-five music majors they served.Dr. Joseph McConnell, the president of NTSTC, hired Wilfred Conwell Bain, athirty four year old musician with an Ed.D. in Music Education from New YorkUniversity, to head the Music Department. Born in Canada, son of a minister,Wilfred Bain had attended Westminster Choir College in Princeton NJ where he fellunder the influence of the schools founder and president, John Finley Williamson. Movie star handsome, with a deep, resonant speaking voice, in the flower of man-hood, Wilfred Bain conveyed an air of confidence that was infectious. When he talkedto students, they believed him. When he talked to the mother of a prospective stu-dent, her child was destined to enroll at NTSTC. He talked to a lot of mothers andmusic major student enrollment grew by 109% in the first year of his administration. By 1939, the NTSTC music department was awarded associate membership in theNational Association of Schools of Music; only the second teachers college in theUnited States to be so designated. Two years later, NTSTC became a full member ofNASM. Dr. Bain was elected national vice president of the organization and wasappointed to a three-member committee to reevaluate the music curriculum for the150 member schools. The Music Teachers National Association elected him as amember of its national executive committee.Though all this happened in the heart of the great depression, when the econ-omy of the United States was at an all time low, a college education was still afford-able. Tuition was just $25.00 a semester for all the hours a student could take. Thecollege owned the textbooks and loaned them to the students without fee. AppliedWilfred C. Bain55music lessons were free. Many students did menial work for the college to pay for theirtuition and incidental expenses.Since WCBs early training was in choral music, it wasnt long until he had estab-lished an a cappella choir which was impressing the local citizens with its power andpolish. He recruited singers from the college at large and in no time at all, everyoneon the campus, who was interested in singing, was singing in the choral program. Practical, rather than musical, reasons determined the size of the touring choir.Since a charter bus held forty passengers, the touring choir numbered forty. Buseswere available for charter, but money was not. Since WCB wanted to advertise theNTSTC music department in the larger towns in the area, something must be done.He contacted a large church in downtown Fort Worth and offered them a concert forthe price of a bus charter. Since they, too, were short of funds, his offer was reject-ed. As the son of a minister, he well understood how churches operated. He offeredto sing a concert for a free will offering. They accepted. WCB gambled the bus fareagainst a free will offering and won. A large and generous audience contributed morethan enough money for bus fare. As news of the quality of the choir spread, church-es, schools and community organizations were willing to help with travel expenses ifthe choir would come and sing for them.Floyd Graham directed the NTSTC symphony orchestra. WCB knew that anexcellent orchestra was essential to the establishment of first-rate music department.Besides recruiting within the State, he sent Floyd Graham to high schools in Chicagoand St. Louis, to recruit strings players. In turn for playing in the NTSTC orchestrafor four years, these players would be given jobs on campus which would allow themto earn their expenses. A significant number of string students responded. The sizeand quality of the orchestra grew. With a more than competent orchestra and a significant number of well trainedsingers, WCB challenged the students with a week long Bach Festival which broughtBachs masterworks to the North Texas community. The festival opened on a Sundayafternoon with the presentation of the Passion According to St. Matthew. Each day ofthat week, afternoon and evening concerts were given featuring church cantatas,motets, organ works and concertos. The festival closed the following Sunday with aWilfred C. Bain66performance of Bachs B minor Mass.Not only did WCB know how to plan and build a music department, he knew howto advertise. The afternoon and evening concerts during the festival were well attend-ed, but the Sunday performances of the St. Matthew Passion and the B minor Mass,played to a full house. Large numbers came from Dallas and Ft. Worth. JohnRosenfield, music critic for the Dallas News and Clyde Whitlock, music critic for theFt. Worth Star Telegram, attended the concerts and wrote complimentary reviews intheir respective papers. This festival was a phenomenal achievement for a musicdepartment which, just three years earlier, had a faculty of four music teachers and ahandful of music majors.In a short time the music department outgrew the several houses where they metclasses and practiced. A new three-story music building was planned and built. TheNTSTC Music Department was on the move.Dallas and Houston had professional symphony orchestras. WCB visited JacqueSinger, conductor of the Dallas Orchestra and Ernst Hoffmann, conductor of theHouston Orchestra and offered the NTSTC Grand Chorus as a choral instrument toperform the fourth movement of the Beethoven 9th Symphony. Since neitherorchestra had an organized choir available for major choral works, they were happy touse the NTSTC resources. The advanced college singers sang the solos.Dr. Bain felt that it was a privilege for students to have the opportunity to per-form great choral masterworks. He felt so strongly that he required ALL musicmajors, regardless of their chosen instrument, to sing in the Grand Chorus. Strictattendance was taken and excessive absences were penalized by deducting points fromthe offenders applied music grade. Though the instrumentalists complained aboutthis requirement, years later, they would boast of having sung the Beethoven 9th andBrahms German Requiem with professional orchestras.Multiple copies of all the standard collections of etudes, sonatas and vocalanthologies for all voices and instruments were available from an applied music loanlibrary in the music building. On the way to the practice room, or lesson, the stu-dent would check out music and return it when finished. A schedule was posted onall practice room doors with assigned names and hours. The practice rooms wereWilfred C. Bain77checked hourly and students who failed to meet their practice period were reported tothe office. Excessive absences resulted in loss of points on their applied music grade.There were complaints about this enforced practice, however, most of the studentsimproved significantly each semester.Following the tremendous success of the 1941 Bach Festival, a Brahms Festival wasannounced for the spring of 1942. This festival encountered a severe impediment onDecember 7, 1941, when the Japanese attacked Pearl Harbor. The majority of the col-lege male population rushed to join the military service. Like all other colleges anduniversities in the country, NTSTC was left with only men who were too young to bedrafted or physically unable to serve. The festival was presented but with modest suc-cess.Though the men of the A Cappella choir were committed to military service, ittook some time for the mechanics of the draft to call those who did not volunteer.Long before Pearl Harbor and the declaration of war, a four state, twenty-one daytour was planned for March of 1942. Among the stops were: Abilene; Odessa;Amarillo; Roswell NM; El Paso; Alpine; Blanco; Houston; Galveston; ShreveportLA; Russellville and Searcy AK. One can only guess what discussions must have goneon between WCB and the school administration to allow a trip of this magnitude inthe middle of a semester. Somewhere near midpoint on that trip, the Chapel Choir,also on tour, joined the A Cappella Choir in Houston and performedRachmaninoffs The Bells with the Houston Symphony Orchestra.In 1943, WCB made an arrangement with the Texas Quality Network to broad-cast a Bach Church Cantata every Sunday morning for six months. In addition toother music, a cantata was prepared for each Sundays performance. Often, there wasalso a Saturday rehearsal. In effect, for one six month period, the choir was rehears-ing six days a week and performing on Sunday!As gasoline and tires were rationed, it became impossible to charter a bus to toura choir. WCB found creative ways to get his choir about the State. Because of thefavorable weather conditions in Texas, Army Air Corps training fields and ArmyInfantry camps were placed all over the State. Thousands upon thousands of soldiersin these military installations needed some diversion from their military training, soWilfred C. Bain88their commanders were eager to have nonmilitary entertainment groups come andperform for their troops. WCB made a deal with the U.S. Army for his choirs to tourthese military posts if the Army furnished the transportation. The Army had all thegasoline and tires it needed so the NTSTC A Cappella Choir continued to tour dur-ing W.W. II. under the auspices of the U.S. Army.Though the male population of the school grew fewer, WCB was not willing todiscontinue performing the larger choral masterworks with the Grand Chorus. Heinvited the male faculty members to join the chorus. The invitation was present-ed in such a way that, though they complained behind his back, none of themdeclined. A performance of the Bach Passion According to St. Matthew was sched-uled. The work calls for a double choir and a double orchestra. There were enoughwomen to accommodate two choirs, but only enough men for one choir. Since, forthe most part, the choirs sang antiphonally he placed the men in between the womenof the two choirs, and had them sing both choir parts. There always seemed to be away to continue performing great music in spite of a world war and depleted forces.Some four and a half years after Pearl Harbor, W.W. II came to an end and bythe grace of the G.I. Bill of Rights, a flood of veterans enrolled in colleges and uni-versities all over the country. NTSTC was no exception. These were unusual fresh-men. Men from 20 to 30 years old who had been ship commanders, piloted warplanes, lead troops into battle and even some who had been prisoners of war, enrolledas music students. These were men with a purpose. They knew what they wanted todo with the skills they were developing. Many new faculty members were added to accommodate the burgeoning studentpopulation. To give some idea of the flurry of vocal activity within the school, in addi-tion to regular music classes, in 1946-1947, the A Cappella Choir:1) toured a memorized choir program (for two weeks) throughout Texas and New Mexico;2) performed the choruses from Glucks Orpheus with the Houston Symphony with Anna Kaskas from the Metropolitan Opera, in the garden of Miss Ima Hoggs estate in Houston. Wilfred C. Bain99The Grand Chorus performed: 1) the Bach B minor Mass with the Houston Symphony;2) the Brahms German Requiem with the Dallas Symphony;3) the Verdi Requiem with the Dallas Symphony. 4) The Opera Workshop presented Gounods Faust to a Denton audience, then toured the show to a number of different towns. Considering that the entire A Cappella Choir was also in the Grand Chorus, andwere, basically, the entire Opera Workshop, this is an astounding amount of music tohave performed in one year, while taking enough classes to earn from 15 to 18 hoursof college credit!In the spring of 1947, a rumor was heard, then verified that Wilfred Bain hadaccepted a position as Dean of the School of Music at Indiana University. Their offerdoubled the salary he was making at NTSTC. The School of Music he developed forIndiana University is a matter of record. In the nine years he headed the Music Department in Denton, the departmentgrew from 25 to 450 music majors. The solid foundation he laid has sustained agrowth that has made the UNT College of Music one of the largest music schools inthe United States.He had high standards and expected faculty and students alike to uphold thosestandards. Those who adopted the standards he set were among those who had animpact upon the choral climate in the State of Texas, and beyond. His work was sig-nificant and should not be forgotten in the grand scheme of the history of choralmusic in Texas.Wilfred C. Bain1100Wilfred C. Bain Rememberedby Charles NelsonThe sources of lifes influences are often obscure and frequently complex.However, sometimes a stimulus that causes a certain consequence stands out in oneslife in bold relief. It is easy to trace the inspiration for the work I did, in forty-eightyears of teaching, directly to North Texas State Teachers College (North Texas StateCollege/North Texas State University) in Denton, Texas and Wilfred. C. Bain. During the 1939-1940 school year, while living in Fort Worth, my sister and Iheard that a choir from North Texas State Teachers College in Denton, was going togive a concert at the First United Methodist Church and that we should make an effortto hear this fine choir.At the appointed time we were seated in the sanctuary watching forty singers,dressed in purple velvet choir robes, process onto the risers, followed by their con-ductor, an elegant gentleman dressed in a tail coat and white tie. It was the mostimpressive choir I had ever seen in all my thirteen years. Their singing lived up to theimpressive picture they presented. Their distinguished conductor gave a verbal intro-duction to each piece they sang, in a vibrant bass voice. To me, he looked and sound-ed like a giant! When my family moved to Denton in October of 1940 I registered as a fourteenyear old sophomore in the Demonstration School at NTSTC. Since I had taken vio-lin lessons and singing lessons, I joined Margie Staffords choir, which was superiorto the choir I had sung in at Handley High School in Fort Worth. We got to sing inthe big Bach Festival the NTSTC Music Department presented the following spring.During that festival I heard the great choral masterpieces, Bachs St. Matthew Passionand B minor Mass, for the first time. It was the beginning of a life-altering experi-ence. That Bach festival had been conceived, promoted and accomplished by thatgiant I had seen and heard in Fort Worth a year or so earlier.The next big change in my life came when my sister, who was a music student inWilfred C. Bain1111college, insisted that I continue studying singing. The first week of school, she madean appointment with a new voice teacher on the faculty, Frank McKinley. Followingmy audition, he agreed to take me as a voice student. After my first lesson, he invit-ed me to sing in the college Chapel Choir which he was conducting. I was ecstatic.Following the Thanksgiving holidays, there came an opening in Dr. Bains A CappellaChoir. I won the audition for that position, and continued studying singing withFrank McKinley. Between September 1941 and August of 1944, besides learning the great motetsof Palestrina, Victoria, Bach and Brahms, and other choral music for concert tours,I learned and performed great masterpieces like Handels Messiah, Beethovens NinthSymphony, Brahms German Requiem, Alto Rhapsody and Schicksalslied,Rachnaninoffs The Bells, Verdis Manzoni Requiem, Mendelssohns Elijah, FaursRequiem, Bachs St. Matthew Passion and participated in singing a Bach ChurchCantata over the Texas Quality Radio Network every week for six months. We sang thefirst choral/orchestral work the NTSTC Grand Chorus sang with the DallasSymphony, a collaboration which lasted for decades. We also sang with the HoustonSymphony. I know of no other place in the country where one could have sung thisvolume of choral masterworks in three years. It was an experience which left me giddywith excitement for singing.Following two years in the U.S. Army (1944-1945) I returned to Denton andearned two degrees in music. Because of the flame Wilfred Bain lit within me, I choseto dedicate my life to the discipline and integrity involved in reproducing magnificentchoral art and continued to sing its praises to anyone who would listen.Wilfred C. Bain1122Respectful and Grateful Memories of Wilfred C. Bainby J. Carter Murphy Prof. of Economics EmeritusSouthern Methodist University December 5th, 2003If I have made any mark at all on the history of my time, it has been through mywork as an economist, in academia and in government. Certainly it has not been as amusician. On the other hand, of all the years of formal education that prepared mefor my career, those that made the greatest mark on me may have been my final twoyears as a college undergraduate at North Texas State College where I was a major inmusic and a member of Dr. Bains A Cappella choirThroughout my youth I sang. On the small farm to which my family had retreat-ed in the Great Depression, I sang to myself in the barn and on my horse. In churchI sang. As a freshman and sophomore at Texas Christian University, I sang in the GleeClub. My education had no direction. When I was a college freshman and was askedabout my degree plans, I answered business, since that didnt seem to be much of acommitment. In the second year, I could reply more bravely, premed. But somewhere in the second year I began to think that what I really wanted to do... the onlything I really wanted to do...was sing. The choir of Trinity University came to FortWorth, and I was thrilled. The St. Olaf choir appeared in concert, and I was in elec-trified. Then the A Cappella Choir of North Texas State came, using a picture of therobed choir in the shape of a cross on the cover of its printed program, and I was con-vinced that maybe, just maybe, I could, with proper training, make a career of direct-ing such a choir in a college setting. In the fall of 1941, I transferred to North Texas State in Denton and declaredmyself a music major. My father was displeased with my decision, but he tolerated itbecause the costs of educating a son were so much less at a state than a private school.The three floor music building had just been completed on the Denton campus, andthe top of floor was in use as a mens dormitory -- a financing arrangement to fundthe building. I moved into the third floor and joined the company of men as diverseas the lovable pianist who tried suicide twice but who otherwise consoled himself play-ing eerily romantic and beautiful midnight piano music in a practice room on theWilfred C. Bain1133second floor, to the more stern and ambitious baritone who could not tolerate thehigh jinx that frequented the long hallways. It was a good fellowship that had one pow-erful bonding agent-- music. What was instantly clear to me was my lack of musicaltraining. A high achiever throughout my high school and early college years, I wasnow a babe in the woods, years behind my cohorts in professional skills. But I wanted to sing. Places in the A Cappella choir were filled, and there weremany voice major seeking to join. Those of us in waiting were assigned to the ChapelChoir under the direction of Frank McKinley. Mr. McKinley (his easy-going naturemade it easy to call him Frank, although the serious Wilfred Bain was always Dr. Bain)was a voice teacher to most of us, and presumably made suggestions to Dr. Bain whenhe thought a student might be useful for the a cappella choir. It was sometime in thespring that I was invited to in to join at the top Choir, and I couldnt have been moreproud and relieved had I won election to a major political office. I could mastermusic theory, music appreciation and musicology and could stumble through Pianoand amusedly experiment in the requirement courses in strings, but I mostly wantedto sing, and joining Dr. Bains choir was fulfillment. Wilfred Bain was a distant authority to most of us in the music department. Hewas like a military officer who inspired but did not over fraternize with his troops. Itwas Mary, his wife, who was his soft glove, taking a caring interest in us all. In dailychoir rehearsals, however, all eyes were riveted on Dr. Bain, and there was a kind offlow of energy between him and every singer. He was a severe taskmaster, findingnuances in the polyphony and brooking no sloppy phrasing or careless entrances.When the choir tuned, we held the chord until the overtones throbbed. A choirsecret, like the fraternal handshake, was the dissemination of the opening pitch. Ishall not even now revealed the secret, but it was the source of amusement to manyin our audiences who inquired about the techniques of a cappella singing. On sever-al occasions, when the choirs work at practice seemed undisciplined, Bain requiredeveryone to come down from the choir stands to do pushups on the choir room floor.The two years I was in Denton were exciting ones. The big production in my firstyear was the Beethoven 9th which we did with the Houston symphony. In the secondyear, the great production was the Brahms Deutsche Requiem, which I believe we per-Wilfred C. Bain1144formed with the Dallas Symphony. On tour we opened with the great Bach MotetSing Ye to the Lord. On hearing recordings of these massive compositions, I stillfind myself humming, or imagining, the tenor lines. I remember, too, the excite-ment of working on a new Bach cantata every week for many weeks, each for a one timeSunday broadcast. While I subsequently sang in the Midshipmen choir at Riverside Church, NewYork, was cantor in the choir for Rockefeller Chapel at the University of Chicago, andjoined a small professional group at Chicago's First Unitarian Church, never againdid I enjoy such a richness of musical experience as I did in those Denton years.Wilfred Bains use of his A Cappella Choir and a Great Chorus to attract attention tohis burgeoning program at North Texas, garnered many of us who yearned to be partof a fine choral instrument and who had a few other choices in those years. Sometimeduring World War II, I abandoned the idea of seeking a profession in music in favorof becoming a student of international affairs and public policy. But I shall ever bearthe imprint of fine fellowships and musical discipline that I found at North Texas. Bains transformation of the North Texas program in only a few years was a featof academic entrepreneurship at its best. I believe he helped lift and refined tastesand expectations of many Texans who previously had accepted glee club renditions ofpopular tunes as the norm for university music. His high performance standards, andhis flair for marketing them, probably lifted academic norms and expectations inother departments at North Texas State College now University and helped propel theinstitution along the path to excellence it has since followed. I am convinced that talented academic leaders make a great difference in quality,as well as size, of institutions they serve. Wilfred Bain built a great music programfrom scratch at North Texas and in doing so, changed his university, the state and theregion. A great many of us are the beneficiaries of his legacy.Wilfred C. Bain1155Close Up of Wilfred Bain1947-1948by Herbert L. Teat Wilfred Bain ... when I think of Wilfred Bain, I see a highly dignified, hand-some man of great bearing, walking on the stage in front of the greatest choir soundId ever heard...Thus spake Euell Porter, a legend in choral music in the State of Texas. I visitedMr. Porter in his retirement home in Waco. Friends told me not to expect him toremember anything when I go to visit. Sure enough, when I said ,Euell, remem-ber... " Right away he waved me off and said, Herb, I never can remember anything."Not satisfied, the next visit I avoided the word remember and said, I was thinkingof Wilfred Bain the other day, and I ... Right away, Euell said, Wilfred Bain... whenI think of Wilfred Bain, I see a highly dignified ...It was the same with me, and I dare say many, who got the same impression. In1941 as a senior in Ysleta High School in far west Texas, I went to a choir concert atthe auditorium one evening. The curtain opened on a robed choir beyond anythingI had seen before. A very suave director in a cut away tuxedo came forward to intro-duce and conduct the program. His presentation and the choral singing was beyondall I had experienced, and proved unforgettable.Being of typical high school mentality, all I remembered factually was a greatchoir from a college in Denton, Texas. The name of the college, the name of thedirector and the repertoire escaped me with the exception of one composition, Balladfor Americans.Like many young American men in 1946 I went back to college to find my placein the sun. I transferred my prewar credits from Hardin-Simmons University toNorth Texas State Teachers College. I abandoned the dreaminess of a composer forthe more accessible employment in the field of instrumental music education. Biased though it may seem, I could not have attended a school anywhere betterthan what we had at North Texas. Dr. Bain had the most progressive ideas of any musiceducator ever to come to the State of Texas. After an interview with him as to my sta-Wilfred C. Bain1166tus in light of the two years of music I had studied at Hardin Simmons Universitybefore the war, he classified me as a Junior, and I was off and running, and I do meanrunning. As an undergraduate, I took the required courses in conducting. Dr. WilfredBain, Dean of Music, required everyone to take both choral and instrumental con-ducting. He taught the choral conducting and had a peculiar way of testing for thefinal grade. We students often referred to him as Mr. God, so you can imagine mylevel of nervousness.I presented myself at the appointed time in his office. He instructed me to go toa music stand across the office from his desk with a piece of choral music on it, closed.As per his instruction, I opened the piece of music and studied it for a short pre-scribed time. "If you're ready, Mr. Teat. Please conduct the piece," he said fromacross the room.I took a deep breath and imagined a choral group before me, waiting for me tolead them through the music. Dr. Bain observed the way I acted out conducting thepiece as a finished product. As if his observation weren't enough, I had to conduct apiece of music I had not seen before. What I saw appeared to be written by a starving composer who was still starving.But Dr. Bain allowed me no time for intimidation. The music had multi-metered measures that began in four, followed by measuresof twos, or fives, threes, fours, sixes and more mixed meters. All the hours I pouredinto building those conducting patterns into my motor memory came to my rescue. Icould not have done it with anything less than complete abandon.When I finished, I closed the music, stood drained and heard Dr. Bain say, witha satisfied smile, Youre a choral man. "Thank you, Dr. Bain, but Ive investedmuch in the instrumental area of my training. "That may be, Mr. Teat, but I main-tain that you're a choral man."I left his office that day, at first reminding myself of my love of band, of theinstruments and the drama of band music, but I found myself contemplating Dr.Bain's words. For the first time I began to think of the human voice as an instrumentas well. From Bain's insight and to paraphrase, our nature will out. Within fourWilfred C. Bain1177years my transition to choral music education ensued.On another day, I asked Dr. Bain, "How is it that you get everybody to do somuch?" "First, you get them to want to," he said, following a satisfied chortle, "andbalance that with afraid not to." "Beyond that," he continued, "If you have time tothink and realize how much you are doing, you might be afraid you couldnt do it, andyoud quit."At the beginning of my second year, during the registration process I saw howDean Bain cared for each individual among his 400 music majors. When I complet-ed my schedule with a required course in the Education Department, I presented myregistration card to Dr. Bain for his approval. He showed his disapproval of anEducation course when he got up and walked over to have a chat with the Dean ofEducation. His secretary explained that they scheduled me for observation of a teacher in theDemonstration School. Dr. Bain proposed that music majors take a Psychology courseinstead. The upshot of the Deans conversation resulted in my taking the course"Seven Schools of Psychology, that contributed greatly to my approach to the teach-ing / learning process.A neutral time in Music Building activities came every afternoon at 5 o'clock.You might hear a couple of pianos practicing, but even Dr. Bain appeared at the frontentrance to be picked up by Mrs. Bain. Occasionally I stood waiting there, and onceheard Dr. Bain carry on a conversation with the janitor, Mr. Key. He revealed how heconducted his personal business when he told Mr. Key he bought his new Chrysler inKrum. Maybe it's the sound of the word, but I found it incongruous when I imaginedthat Mrs. Bain bought her clothes at Neiman Marcus in Dallas, and the elegant DeanBain bought his car from a dealer in Krum.Wilfred C. Bain1188Wilfred Bain Rememberedby J.W. (Jubby) JohnsonI was a senior at Denton High in the spring of 1939 and my piano teacher, MissMary Anderson, thought I should consider majoring in music. There was a newdepartment chairman at NTSTC named Dr. Bain. I got an appointment with him,and since I had roles in the high school musical, I sang for him. He gave me a workscholarship for half of my tuition. That was fine with me because I already had a halfgrant from the tennis team.I was in the A Cappella choir as a baritone my freshman year. Frank McKinleycame in the fall of my sophomore year and was my voice teacher. He put me in theChapel Choir which he had formed and from then on I was a tenor. Through myjunior and senior years I was in Dr. Bain's choir.During those years several of us from the choir sang in pop vocal groups. I wrote(or copied) the charts. By my junior year I was playing piano in Fessor Graham'sstage band and we appeared occasionally on the Saturday night stage show.In the spring of my senior year, 1943, Dr. Bain was booking the choir at variousmilitary bases. He asked me if I would write "something popular" for these perform-ances. I wrote an a cappella arrangement of "Stardust" and he liked it well enough touse it. I went on active duty in the Army before he used it and never heard it per-formed.After discharge from the Army in January of 1946, I went by the music buildingto visit. I was given a packet of music and in a few days was on tour with what was thencalled the North Texas State College Choir. After the tour I started work on a mas-ter's degree which I received in June of '47. With the graduate study I also taught sec-ondary piano and directed the stage band and the Saturday night stage show in thesummers of '46 and 47 I taught at Wharton County Junior College from 1946 to1953 and Tyler Junior College from 1965 to 1998.I have said many times how incredibly lucky all of us were at the time we were atNorth Texas. We were taught and influenced by such outstanding, talented people asWilfred Bain, Frank McKinley, Floyd Graham, Walter Hodgson, Myron Taylor andWilfred C. Bain1199Walter Robert. And then there was blessed Mary Anderson, who took a skinny littleleft handed tennis player and put up with him through junior high, high school, col-lege and graduated school.Wilfred C. Bain2200The Influence of Dr. Wilfred Bainby Bob IrbyIn the early 1940s Plainview High School brought Ms. Herman Vaughn to ourschool to teach Choral Music. She had just graduated from North Texas StateTeachers College where she had been a member of Dr. Bain's A Cappella Choir. AtP.H.S. there had been very little student participation in the Choral Music program.Ms. Vaughn did a masterful job of recruiting, enlisting football players, cheerleadersand other popular students. Many of us who were not in that category rushed to jointo be with the, elite. This was my first time to sing in a group that the directorrequired musical discipline. To me the music we produced was wonderful and I was,hooked. She selected me to sing in small ensembles and at church I was asked to singmy first solo. Even the football players and the cheerleaders seemed to take me intotheir circles, which gave some much needed strokes to my self image. All this was anearly turning point in my life.In 1944, my senior year, I was informed by my choir director that the NorthTexas State Teachers College Choir was going to present a concert in Plainview. As Isat and listened to the most beautiful music I had ever heard I decided that I was goingto North Texas and maybe someday get in that choir. I was also greatly impressed whena young baritone soloist stepped out from the choir and sang, The Ballad forAmericans. It knocked me out! That soloist was Charles Nelson. I didnt know itat the time but Charles was still in high school and traveling with the choir. We werethe same age.In January of 1945 I graduated from P.H.S. and enrolled immediately in theMusic School at North Texas where Dr. Bain placed me in the baritone section of hisA cappella Choir. It was such a valuable experience to have had the opportunity tosing under his direction the last full year of his teaching at North Texas and to be inthe choir for his last tour prior to his leaving the school.Wilfred C. Bain2211Wilfred Bain Rememberedby Rowena (Turney) TaliaferroDr. Wilfred C. Bain was most certainly the dominant figure in my four years as amusic education major at the North Texas State Teachers College in Denton, Texas.As a freshman in the fall of 1942 I arrived in time to sing in the Bach Cantatas on theradio on Sunday mornings and to this day, it is easier for me to sight-read Bach thanany other composer. We were divided into two choirs and thus had two weeks to pre-pare a cantata, but it still took all our sight-read skills to perform them for radio.With this beginning activity, my music education progressed, ala Bain, untilgraduation with a Bachelor's in the summer of 1946. Whatever Bain advised me to door take, I did, never occurring to me to question him in any way, but then no one elsedid either. We all respected him as a musician, as a Dean, and as a man of great abil-ity and energy. That energy transferred to us in A Cappella Choir. The boys had todo push-ups on the floor, and we females had to push-up against the wall. That gaveus strength and aided in the breathing of long phrases. We even became capable ofstanding for 2 hours at a time for rehearsals and performances. From then on Iexpected my own choral students to be strong in the diaphragm area as well as opentheir mouths.Our repertoire always was of the highest standard which again remained with meduring my teaching years, even to the point of having my choirs sing such numbers asDeep River and of course, every concert ended with The Lord Bless You and KeepYou. I will always love it and my students felt the same way, even the junior high choirslearned it as well as Lamar High School Varangian Choir (I have already requested thatit be sung at my memorial!)The choral sound that originated with the Westminster Choir College, butaltered somewhat, stayed with me. Naturally, I could not expect very young voices tocompletely imitate the more mature sound, but my choirs were encouraged to covertheir tone, especially for some repertoire. This also helped the blending of the voic-es which Dr. Bain always obtained with his choirs.Other than the choral experiences, Dr. Bain insisted upon an all-round goodWilfred C. Bain2222music education. With the faculty he hired: Walter Robert (piano and theory) Dr.Walter Hodgson (theory and composition) Mary McCormic (opera and voice) MyronTaylor (voice) Dr. Ralph Appelman and Dr. George Morey (symphonic literature wholater became my husband Lloyd's major professor in composition), were all veryinstrumental in my education. I will always appreciate these wonderful faculty mem-bers for their knowledge and helpful friendships.And those choir trips! Singing for military installations and the civilian concertsprovided each of us experiences that could not be matched anywhere. What a greatidea to work with the U.S. Army so that not only did we do our patriotic duty to per-form for the "boys in uniform" but we could advertise North Texas all over Texas andparts of New Mexico, Oklahoma and Louisiana. Many a young high school studentdecided to major in music at North Texas after hearing us sing in concert. That alonestarted the movement to further and improve the cause of choral music in Texas.When Dr. Bain resigned to become Dean of Music at Indiana University, we allthought the end had come, but he left North Texas in good hands and a formidablemusic program established. We gave a party for him and presented him with a new carand all our well wishes and grateful thanks for a job very well done.With this background it was natural that all my choirs would benefit from my ownexperience and efforts. I know that any success that came my way was partly due to Dr.Bain's wonderful influence and energy.Wilfred C. Bain2233Wilfred Bain Rememberedby Ira SchantzDr. Bain opened to me a new standard of excellence in choral music and its per-formance that I never dreamed of. Because of Dr. Bain, I was introduced to great choral masterpieces of which I hadnever heard, especially the Bach Passions and the Mass in B minor, etc., which wouldlater play a big part in my vocal and musical development. Dr. Bain helped me to build my personal and musical confidence by assigning mea solo in one of the pieces the North Texas State Teachers College A Cappella Choirsang on its autumn tour, 1946, a solo which I would not normally have expected to begiven since I was a freshman and it was my first tour with the choir. I appreciated not only Dr. Bains outstanding ability as a choral conductor butalso his equally excellent expertise as an administrator in his capacity as Dean of theNorth Texas State Teachers College School of Music. His record at North Texas andlater at Indiana University, speaks for itself.Wilfred C. Bain2244Wilfred Bain Rememberedby Ann Everett EverestMy first and foremost debt to Dr. Bain was the way he took an interest in my per-formance attitude. I must have been somewhat of a simpering wimp, and he thought,"Something should be done about that." He taught me how to present myself, withpoise and assurance when I sat down at the piano. His very manner was so dignified.I shall never forget the first time I saw him. It was on campus on his daily walk to themusic hall. I had never seen a man in a homburg and come to think of it, not onesince. Had it been an alien from outer space I couldn't have been in complete andtotal awe!I am grateful that he took the time to coach me on my mien. He stressed first,complete control of my material (and I know he gave the same consideration to hisvoice students) then develop a calm and assured air. To this day I feel his beautifulpresence when I perform and it has helped me through a lot of nervous momentsbefore a performance.In 1943 we sang the Beethoven 9th with the Dallas Symphony and HoustonSymphony. When we went to Houston for our performance, I came down with a ter-rible case of laryngitis. Not wanting to miss the chance of a lifetime, I swore myfriends to secrecy and did a super lip-sync job. Dr. Bain, I'm sure, was not fooled fora minute, but, being the kind and gracious person that he was, he let me go on. (Anafterthought: what if we had all had laryngitis!)Wilfred C. Bain2255Wilfred Bain Rememberedby Kay SmithAny success my various choirs have experienced is due largely to what I learnedfrom Wilfred C. Bain. Here are some of the things he preached that I tried to prac-tice.Every person in a choir is important. The total sound is a blend of individualstrained to listen and fit themselves into this blend.Learn to manage breath easily and noiselessly. Relax while inhaling to matchspeed of intake to speed of output and to not take more breath than you need. Over breathing is a common fault.Good diction insures good tone. Learning to sing a foreign language helps usrecognize and control our colloquial speech habits which can so easily wreck the choraltone.Good music encourages good singing. Choose from the best of choral literatureif you want to best from your choir.Wilfred C. Bain2266Wilfred Bain Remembered by Jesse Hensarling1944-1945Dr. Wilfred Bain was the reason I attended North Texas State Teachers College in1944. I had heard the A Cappella Choir and wanted to sing in it. Encouraged by my high school choir director, Euell Porter, I enrolled as a MusicEducation major and did get accepted into the choir. Through the Choir and GrandChorus I had opened up to me choral literature and orchestral music that I had neverheard or dreamed of. I learned discipline to stand and sing with my hands at my sideno matter what happened, the importance of physical condition, and many othervaluable lessons. Dr. Bain used me in the bass section but encouraged me to expandmy range to baritone in personal studies.I did not become a professional musician. My vocation turned to accounting andministry. But Dr. Bain prepared me for a lifetime of enjoyment through singing andgave me an appreciation good choral music. I am grateful and desire to honor him.Wilfred C. Bain2277Wilfred Bain Rememberedby Cecelia (Cunningham) BoxI almost missed the A Cappella Choir. I was a senior music major when Dr. Bainarrived at NTSTC in 1938 and announced a new choir that required actual auditions.Scared to death, I went in to audition for the alto section, but he convinced me to singsoprano. I was ecstatic!My musical memories began with the sound of my father leading the singing inchurch. Growing up, music always just seemed where I was going. Now, I realize moreand more that music tells the story of where I've been. I can't imagine a life withoutmusic. Even the saddest tune soothes the heart and joyful music is irresistible. Butjoining voices to make beautiful music puts you right next door to heaven.My teaching career involved positions at St. Jo and Sherman, Texas. The train-ing I received at North Texas gave me the confidence to lead my student choirs to thedistrict championship in 1940.Following World War II my husband, Joe Box, (SMU '40) and I moved toGrapevine, Texas where he was in the Banking business for fifty-two years. TThhrreeee ooff DDrr.. BBaaiinn''ss FFaammoouuss AAddmmoonniittiioonnss11.. KKeeeepp yyoouurr eeyyeess oonn mmee..22.. BBeeffoorree yyoouu ffaaiinntt,, ssiitt ddoowwnn..33.. UUssee mmuumm!!Wilfred C. Bain2288Wilfred Bain Rememberedby Wilma (Thiele) DorseyDuring World War II we could only get transportation to travel courtesy of thegovernment by singing concerts in Army camps, as well as in schools and churches.On at least one tour, the bus was a trailer which had long bench seats down either sideof the aisle so we faced each other all day. As Bill Sparks would say, "That was so bor-ing!" Once we were in Amarillo when they had a heavy snowfall. We all had to get offthe bus and the male choir members had to push it when we got stuck in the snow.Singing in Dr. Bain's choir enriched my life immeasurably.I spent four years (1947-1951) teaching at John Tarleton College in Stephenville,Texas. I married Harold Dorsey in 1948. We moved to Waxahachie when Haroldbecame the band director there in 1951. I was an independent piano teacher inWaxahachie for many years. Both our daughter and our son have earned degrees formNTSU.Wilfred C. Bain2299Wilfred Bain Rememberedby K.C. NewellSinging choral music with Wilfred Bain gave me an appreciation for music which,through the years, has not waned. Im still singing in all male choruses affiliated withBen Hur Shrine Temple in Austin, Texas. I spent 30 years with the Texas Departmentof highways, an engineering organization, retiring in 1979 at the age of 53. I began my brief but memorable experience with the College of Music in 1946right after being discharged from service following World War II. Although my majorbegan with pre engineering courses, I still found time to take voice lessons under avery capable Thomas Hardy and piano lessons under Ray Haney, a graduate studentwho was then pursuing a masters degree in music. I also took a course in musicappreciation but can no longer remember who taught the course. It was through thisexposure that I became interested in singing in the Grand Chorus. This interest wasexpressed to Dr. Wilfred Bain who was Dean of the School of Music as well as direc-tor of the Grand Chorus and I believe the A Cappella Choir as well. Dr. Bain sug-gested (insisted) that I audition for him and a time was set up for this purpose. At theappointed hour I entered a large practice room in the music building which was voidof all furniture except for one very large concert grand piano and Dr. Bain seated onthe bench. The good doctor then handed me a sheet of music and told me I was tosight read this as he accompanied me on the piano. I was simply petrified because Inever considered myself to be an accomplished sight-reader. Apparently I did wellenough as I was told to begin attending rehearsals. The first performance the Grand Chorus made while I was a member, was withthis Houston Symphony Orchestra. We performed Bachs B minor Mass. We were allvery excited about this opportunity to sing with such a renowned orchestra led by con-ductor Ernst Hoffman. We became even more excited when we learned that thefamous and wonderful contralto Marian Anderson, diva with the MetropolitanOpera, was in the audience. We performed well and received rave reviews in theHouston papers. Our next performance was with the Dallas Symphony, then conducted by AntalWilfred C. Bain3300Dorati. We performed my favorite of all choral works, the Brahms Requiem. Just tobe in the chorus singing this exquisite piece of music by such a masterful composer,was an emotional experience that I will never forget. Following the performance how-ever it seemed that the entire chorus wanted the autograph of conductor and AntalDorati who willingly obliged, using my pen to sign his name. I still have the pen whichserves to bring forth many delightful memories. Wilfred C. Bain3311Wilfred Bain Remembered by James R. NanceThe first time I saw Dr. Bain was the fall of 1943 or spring of 1944, my senioryear in high school. Amarillo Air Force Base was one of several military bases includ-ed on the itinerary of the North Texas A Cappella Choir tour that year. Fortunately,Dr. Bain arranged for the choir to perform a short concert for Amarillo High Schoolduring morning assembly time from the usual thirty minutes to a little over an hour.I had never heard any musical organization perform as professionally as theNorth Texas Choir. I had never been so moved. The concert was more than inspir-ing to me, I was awed and at that time I didnt dream that one day I would be a mem-ber of that great choir. I dont remember everything the choir sang but I do remem-ber two selections. The Ballad for Americans, two years later I learned CharlesNelson was the soloist, and we became friends. The choir closed the concert withThe Lord Bless You and Keep You.Following high school, like most young men in those World War II days, I spenttwo years in military service. I volunteered for the navy. Following my discharge, Idecided a college degree should be my next challenge. The question was, just whatshould be my major?I came from a family who loved music. My parents played the piano and sang.Both my sisters and I started piano lessons at an early age and we sang in church andschool choirs. My main interest in music however became the trumpet. I began play-ing trumpet in the fifth grade, played in our Junior High School Band, High SchoolBand and our local Symphony Orchestra. During my sophomore year in high schoolI began playing in dance bands six nights a week. I quit the school band in my senioryear but was a member of Mrs. Deans A Cappella Choir. During my last year in thenavy, I sang in a Navy Church Choir. My short-term goals were to enroll in NorthTexas as a music major, and if at all possible, qualify for the choir which meant drop-ping trumpet and concentrating on voice.The first time I met Dr. Bain was at my audition for the choir in late August1946. It was immediately apparent that Dr. Bain was a confident, very well organizedWilfred C. Bain3322man who knew where he wanted to go, what he wanted to do and how to do it. Beforesaying a word his powerful personality was like an aura surrounding him and filled thesmall studio room used for auditions. A young lady was sitting at a table next to himand another was at a piano.I did not realize it was customary so I had nothing prepared to sing. Dr Bain, inhis rich, resonate voice. said Well, lets test our range. After being led by the pianistthroughout a series of vocalizations, my sight-reading skills were tested. The next dayI was notified to be at Choir practice that afternoon.The choir tour that year began in Late September or early October, allowing justa few weeks for the new members of the choir to memorize all the music. Many of thechoir members were previous members of the choir, and attended summer school andhad some of the music memorized before the new members were selected and invitedto join the choir. Dr. Bain informed the new choir members that memorizationmeant knowing the music well enough to be able to write out our parts and that wewould be tested as the final qualification to go on tour. I believed him. Initially Idoubted I would be able to achieve this feat, but after many hours of daily choir prac-tices, plus additional preparations on my own, I was confident I could meet thisrequirement. Whether Dr. Bain was satisfied we knew our music, never really intend-ed to test us, or just ran out of time, the test never occurred.There were many things I learned that single year before Dr. Bain left NorthTexas to become Dean of Music at Indiana University. I was introduced to music I hadnever before heard or performed. In addition to the A Cappella Choir, I participat-ed in the Grand Chorus which sang Verdis Requiem with the Dallas Symphony, andI also sang in the chorus of Gounods opera Faust, produced by Mary McCormicand directed by Dr. Bain. I met many of the old Masters that first year at NorthTexas on a level I had never before experienced.In addition to music, I received my first lessons in serious planning, organiza-tion and preparation from Dr. Bain, who was a master of each. These prove to be avaluable foundation for my later business studies and career.Wilfred C. Bain3333Wilfred Bain Rememberedby Eddie Lou (Haug) NeelI feel Dr. Bain deserves every honor and recognition and that can be bestowed ona music educator of his stature. I had the honor of having him as a professor anddirector at the then North Texas State Teachers College in Denton, Texas. I was enrolled at North Texas State Teachers College from 1941 to 1945. Ireceived both a Bachelor of Music Education and Master of Music Education degreeswith a concentration in voice and piano. Almost immediately my love became choralmusic. Dr. Bain was the Dean of the Music Department and the choral director ofthe top A Cappella choir. I was fortunate to make his top choir my freshman year andwas a member until my graduation with a bachelor and master of music degrees in1945. Dr. Bain was a tough and demanding director and highly respected by the staffand students. He demanded respect and dedication. Choral rehearsals were twohours long in addition to physical warm-ups which included a hundred push-upsfrom the men and 50 modified push-ups from the women. All the music assigneddaily was to be memorized before the next rehearsal. Testing was conducted over theassigned literature daily in quartets. One memory of interest I have in the conducting class. I am left-handed. Inconducting class he moved me into another room and changed my conducting habitfrom left to right. I thought I might be terminated but the private sessions made mea very good conductor and the second semester I was able to join my classmates. Dr. Bain spent very little time in his office. He was very visible and ready to shareyour problems, physical as well as academic. If you could not obtain the standardsrequired by the music department, after several conferences, you were advised tochange your major field. He had a yearly schedule for major performances and weekly schedule for majorworks that were performed with major artists and the Dallas Symphony. We did nottravel out of state due to limited transportation during World War II. We broadcastBachs cantatas weekly on Sunday with a radio hookup in the rehearsal hall. Wilfred C. Bain3344Dr. Bain was constantly upgrading the School of Music, bringing in new profes-sors in performance and research. The stage band program was phenomenal! Otheruniversities, both in state and out of state, were seeking to draw him away from NorthTexas. Im sure he had additional goals of achievement for the Music School of NorthTexas before he left for Indiana University. In conferences with him during my college days he only made one impossibledemand of me. At 56 and 106 lbs., he insisted that I come back to school in the fallwith an added 15 lbs. In September during registration each year he would only lookat me, shake his head and sigh!!!In 1985 a special banquet for ex-members was scheduled at the North Texashomecoming event. There were quite a few of us present and a special recital wasscheduled featuring Charles Nelson. At the banquet I met with Dr. Bain andremarked, I finally gained those 15 lbs. He was quite amused!I am a retired Music Supervisor from the San Angelo Independent SchoolDistrict in San Angelo, Texas. My teaching experience spans 52 years at every level. Iretired with 36 of those years as Supervisor of Music. I feel I owe my success as a musiceducator and supervisor to the training and self discipline Dr. Bain demanded. Whatan educator and model for future performers and directors. Wilfred C. BainEuellPorterMaterial prepared by Maurice Alfred3388Biographical Sketchof Euell Porter1910-1998by E. Maurice Alfred, Ph.D.Edwin Euell Porter was born October 10, 1910 near Franklin, Texas and diedSeptember 23, 1998 in Waco Texas. He was the last of six children born to George W.and Alma Parker Porter. His parents worked a small farm outside of Franklin inRobertson County. George W. came from Missouri and was a second generation Irishimmigrant. Euells mother was of Cajun descent with hair as black as coal. His twinsisters, Addis Mae and Gladys Faye, and his brothers, Richard Bland, Samuel Lewis,and George Felton, took care of their little brother almost from his birth.When Porter was about six, his mother became bedridden with influenza and heremembered his mother saying bring that baby here and let him stand by the bed andsing for me. Though his mother was ill, the Porters sang and made music each night,with his sister Addis or his brother Sam playing the piano, and the rest of the familysinging. His mothers illness became progressively worse, and she died when he waseight. After her death, the family moved to a farm near Pettaway, Texas.Their new house and farm were much larger, with one room set aside for music.In the music room there was a pump organ and a five pedal upright piano. The fam-ily continued its tradition of singing, with his sister Addis Mae playing the organ andbrother Samuel Lewis playing the piano. In the early 1920s, Porter attended a singingschool in Boone Prairie and it was there he learned to read shaped notes. Portersfather remarried and moved back to Franklin with his new wife. At this time Euellwent to live with his oldest brother Richard and wife Irene Porter.The following year, Porter moved to Calvert where he attended high school, liv-ing with his sister Addis Mae and her husband, Edward Lockett. His main interestswere basketball and football, but he also took four years of Latin. The Latin teacherwas school superintendent J. I. Moore. Porter said his studying in Moores Latin classwas when he first began to enjoy language and poetry. He said he learned more aboutEnglish in the four years of Latin than in any English classes in high school or college.Euell Porter3399Superintendent Moore took an interest in the young Porter, and tutored himthroughout high school. Porter also played basketball and football at Calvert. Moorewas the basketball coach. Porter described Moore as a hump-shouldered, ugly facedman who later became his best friend.In 1925, Porter became a Christian at a tent revival and then joined CalvertsFirst Baptist Church. There he met Mrs. Peeler, a Sunday school teacher and newfriend. While listening to him sing hymns, she was impressed by the quality of hisvoice. Just as he had sung with his family and in church as a boy, he now was singingin church as a tenor. Peeler and Moore encouraged him to take voice lessons from alocal teacher and Euells brother-in-law, Edward Lockett, arranged for the lessonswith Miss Stella MacIntosh. Porter was quick to point out that his playing sports keptthe other kids from thinking singing was sissy. Porter continued to be active inchurch and school activities until his graduation from Calvert High School in 1928.The Lockett family did not have the means to send Porter to college and he beganto work in the local Calvert grocery store. In December of 1928, SuperintendentMoore came to Porter and asked, If I get you a scholarship to Simmons College, willyou go? Moore was a graduate of Simmons College and had family in Abilene. Inearly January of 1929, Moore returned from a visit to Abilene having arranged for afull scholarship for Porter to attend Simmons College. The next week, Porter went toSimmons College to study English and walk on as a basketball player. As it was too late to make dormitory arrangements Porter boarded at the house ofMrs. S. O. Reister. He also found a job in a grocery store and began classes atSimmons. Though it was unknown to Porter, Superintendent Moore contactedWilliam James Work, chair of Vocal Music and Choirs at Simmons. During the firstfew weeks of school, Work came to Porters boarding house and said You, come andgo with me. They went to the music building and Work convinced Porter to major inmusic. Work and his wife took a special interest in Porter, and treated him as theirown child throughout Porters years at Hardin-Simmons. Mrs. Work accompaniedthe choirs and taught basic theory and music history. Porter believed that Work taughthim to utilize small groups to build a choir. In the 1931-32 school year, Porter sangfirst tenor with the Simmons University Male Quartet, along with Bernard Richards,Euell Porter4400second tenor, Mack Carden, baritone, and Tyler Cagle, bass. This was during thedepression and Porter found himself working all night in a filling station, working inthe Post Office in the morning and jerking sodas in the afternoon one summer inorder to be able to attend school the following fall. Porter was a popular student andwas elected president of his junior class. He had also been vice president of his soph-omore class. In his senior year, 1933, the quartet was Porter, Richards, Guy Shaw andCagle. These quartets sang in Baptist churches throughout West and Central Texas,and at the Texas Baptist Conventions in 1930 and 1932. The 1933 quartet went to theWorlds Fair in Chicago; Shaw said they left Abilene with $10 between them and sangin churches for food and overnight lodging. Shaw also said they had more moneywhen they got back than when they left. Porter thought Works method of teaching the basics of vocal production, prima-rily breath management, was worthy of emulation. Work encouraged Porter to con-duct choirs.During his junior and senior years, Porter was the primary soloist for theUniversity Choir, President of the Debate Squad and active in the Baptist StudentUnion. Though he never played basketball for Hardin-Simmons, his intramural bas-ketball team, (the quartet and two other musicians,) won the intramural champi-onship in 1932 and 1933. He graduated in 1933 with a major in voice and a minor inEnglish. Porters older brother Sam lived in Hearne, Texas, which was twelve miles southof Calvert. Sam made arrangements for Porter to teach five classes of English atHearne High School and direct the music at Hearne First Baptist church. Porter con-vinced the high school principal to approve the formation of a male chorus, girlschorus, male trio and girls trio, which would be considered extracurricular activities.His first recruit was the all-conference center on the football team. After that, Porteralways had plenty of boys in the choir. He was allowed to rehearse the choirs beforeschool and during study hall. There were about 200 students at Hearne High School,and 150 of them showed up for auditions. Porter chose thirty girls and thirty boys forthe first chorus groups at the school. Using the pattern he had learned from WilliamJames Work at Hardin-Simmons, Porter formed a girls trio and a male trio from theEuell Porter4411choruses to sing in the community and at school functions and community churches.The glee clubs were successful, and they and the trios performed throughout CentralTexas. Their repertoire included cowboy songs (ballads), hymn arrangements andnovelty songs, accompanied by a piano.[21] Porter, in addition to his other duties,coached basketball and baseball in the afternoons. His baseball team won the statechampionship and the basketball team took regional honors. Porter also created the Hearne Community Chorus. It was comprised of thetowns Baptist, Methodist and Presbyterian Church choirs. The chorus was formed fora town revival in the spring of 1935, and after the revival, the choirs met annually fortown hymn singing festivals. They would perform at the school auditorium or at FirstBaptist Church, singing hymn arrangements exclusively. When Porter was a senior at Hardin-Simmons, he was invited to lead the singingfor a revival in Muleshoe, Texas. On the first night of the revival, he met ChristineDennis, a sixteen year-old junior in high school, and a friendship developed. Aftergraduation from high school, Christine enrolled at Hardin-Simmons University inthe fall of 1934. Porter would visit her while working in Hearne, and at the beginningof her junior year, Christine and Euell drove to Shreveport, Louisiana, elopingAugust 26, 1936. Rev. H. M. Ward, the pastor who introduced them in Muleshoe,performed the ceremony.When Hearne High School did not place the choirs in the normal school day forthe 1937 academic year, Porter moved to Bryan, Texas as the new choir director atStephen F. Austin High School. Miss Wesa Weddington, high school principal, hadheard Porters Hearne glee clubs perform at First Methodist Church of Bryan and shewanted her school to have a choral program. Porter also became the Music Director atFirst Baptist Church.Porter taught four classes of English while the choral program was being devel-oped. He began by creating mens and girls glee clubs that met before school one daya week. On Fridays, a large number of students had study hall, and Porter chose fiftyof those students to be in a mixed choir. The remaining one hundred students had tosit in the auditorium while the choir rehearsed on stage. Porter said he would not evencall this group a choir; they were just a true mixed chorus. Then, in September,Euell Porter4422Porter and his wife Christine attended a concert by the North Texas State TeachersCollege Choir under the direction of Wilfred Bain. Bain had brought the style of theWestminster Choir and its director, John Finley Williamson, to North Texas. Portersaid that he had sung in glee clubs and mixed choruses before, but he had never hearda choir like this one. The choirs diction was clean, the tone was full, dark and reso-nant, and they rarely used the piano. Porter said to Christine, Id like to have one ofthose.On the following Friday, Porter began rehearsing a sacred song Blessed Be theTie. He had the tenor, Edward Carson sing a descant with the choir singing on thevowel [u]. He worked on balance, to keep the female voices from overpowering themale voices. Then, without a piano, they put the piece together with an opening solowhile the choir sang the four parts of the hymn on a [u] vowel. Then the choir sangthe second verse using the text of the song and closed by singing with a tenor descantfloating above the choir quietly singing. The hundred students in the auditoriumbegan to applaud, and Porter went to the office and asked the school superintendent,Topsy Wilkerson, to come and listen.Mr. Wilkerson had been the football coach when Porter played football at CalvertHigh School. Following his years at Calvert, Wilkerson went to Reagan as a schoolprincipal, and then came to Bryan as Superintendent of Schools. He only knew Porteras a football and basketball player. As he listened to the choir, tears began to comedown his face, and he said, Do it again.Porter identifies this moment as the beginning of his first a cappella choir.Wilkerson gave Porter the funds necessary to send the choir to a competition atSouthwest Texas State Teachers College in San Marcos, Texas. The contest was fivemonths away and the choir began to practice. They earned the highest score at thatcontest, and principal Weddington made plans to make choir a part of the class sched-ule for the next year.The new A Cappella Choir began before the 1938-39 school year, rehearsingbetween football practices twice daily. This choir is credited with being one of the firsthigh school a cappella choirs in Texas, and by 1940 Porter had five choirs and 300students involved in the choral program.Euell Porter4433Richard Euell Porter was born in March of 1940. Prior to the birth, Christinedeveloped diabetes. With complications from the diabetes and not receiving enoughoxygen during delivery, the baby was born prematurely and severely injured. A bloodclot from the cesarean section caused Christine to have a stroke which resulted inbrain damage and partial paralysis. Christine was now totally dependent on outsidehelp to do the simplest of tasks and her mental capacity was that of a child. Richarddied one day later. With help from friends, Porter continued to teach and care forChristine, while filling the next two summers with course work at Texas A & MUniversity. He completed a Master of Education Degree in Social Studies in 1942.In 1941, Porter began a choir program at Bryan Junior High School. Here, healso continued the practice of forming trios and quartets from the chorus. With hischoral music programs gaining regional and state recognition, Archie Jones invitedPorter to study at the University of Texas in Austin.Porter stated that Archie Jones was the person who most affected his approach inrunning a choral program. He attended the University during the summers of 1943,1944, and 1945, but did not complete the degree. He studied privately with Jones,and did course work that included choral literature, conducting, choral methods andBaroque and Renaissance literature.The Stephen F. Austin A Cappella Choir toured throughout Texas, and Porterintroduced plays and operettas to his high school students and audiences in Bryan. In1944, the choral department presented Gilbert and Sullivans The Pirates ofPenzance. The Choir was invited to sing for the opening of the February (1945) ses-sion of the Texas State Senate and was recognized as one of the most outstandingchoirs in the state (Texas State Senate Resolution No. 14.)In the spring of 1945, Archie Jones recommended Euell Porter to the Presidentof Sam Houston State Teachers College in Huntsville, Texas. The SFA A CappellaChoir received top honors at the choir contest in March 1945 at Sam Houston. Afterthe contest, the president of the college came to Porter, inviting him to be the voiceteacher and choir director at Sam Houston. Porter accepted, and after twelve years ofpublic school teaching, he and Christine moved to Huntsville. In addition to hisduties at SHSTC, Porter was also appointed Music Director at First Baptist Church.Euell Porter4444The pastor was Rev. H. M. Ward, the same man who introduced Euell and Christinein Muleshoe and married them in Shreveport.Porter taught at Sam Houston for three years (1945-1948). He was hired to teachvoice and direct the Sam Houston Mixed Chorus. He changed the name from MixedChorus to the A Cappella Choir of Sam Houston State Teachers College. He contin-ued his practice of forming ensembles from the choir. In the first year (1945-46)there was a Girls Quartette and a Mens Double Sextet. The A Cappella Choirmade trips to the Texas Capitol, Houston, and toured the valley in the spring.In the spring of 1947 (second year at SHSTC) the Choir sang 17 concerts on aten day tour of West Texas and New Mexico. Leaving Huntsville on March 6, the choirsang an afternoon concert at Fairfield High School and an evening program inMexias First Methodist Church. Other performances included Gatesville,Brownwood and Coleman on March 7; Abilene Christian College, March 8;Presbyterian Church and First Baptist Church, Abilene, March 9; Merkel HighSchool and First Baptist Church in Snyder, March 10; Lamesa High school,Brownfield High School and Eunice High School, New Mexico, March 11. Thesingers took a day off on March 12 to visit Carlsbad Caverns. The return trip includ-ed programs at Grand Falls High School and First Baptist Church, Big Spring March13; Winters High School and Lampasas High School March 14.Euell Porter had an unusual ability to book choir tours that were exceptionallyenjoyable for his students. And he could do it without cost to the singers or the neces-sity for non ending fund raising drives for the students. The following is a quote fromCharles Downey on his experiences at Stephen F. Austin High School in Porterschoirs: He was always able to raise money to send his groups on tours without a penny fromthe students pockets. The community loved Euell Porter and would cheerfully par-ticipate financially and in any other way to see that his choral programs were wellsupported.In the spring of 1947, the a cappella choir was also invited to present a concertfor the prestigious Lyceum Concert Series at the University of Texas. This series wasusually reserved for professional performers. Euell Porter4455Dr. Porter always formed smaller ensembles from within the large choir. In histhird year (1947-48) at Sam Houston, he had two male quartets: the FreshmenQuartet (four freshmen, all from Bryan) and a Sophomore Quartet. Also during thisyear, Porter became the first choral director to be elected President of the Texas MusicEducators Association, serving in that position for the school year 1948-49. In pre-vious years this office was always filled by a band director.During this third year, Porter accepted the position of Chair of the VoiceDepartment and Director of Choirs at Hardin-Simmons University. He had beenoffered the job of choral director at H-SU in 1945 by President Dr. Rupert N.Richardson. Porter did not accept because of a philosophical conflict with theHardin-Simmons Chair of voice. When the said chair left in 1948, the presidentcombined the vocal chair and choir positions and again offered the job to Porter. Hiswords to Porter were, I remember your quartet from 1933 and Ive heard your choirsin Houston and Dallas. I want a great quartet like that, and I want a choral program.So Porter accepted the position, and brought fourteen of his Sam Houston studentswith him, including what was to be the University Male Quartet. It was made up of thebass and second tenor from the Sam Houston sophomore quartet and the baritoneand first tenor from the freshman quartet.During the summer of 1947, Porter began an association with Dr. John FinleyWilliamson, attending the 1947, 1948, 1949 and 1950 summer sessions atWestminster Choir College in Princeton, New Jersey. During the summer of 1948, hebrought Williamson to Hardin-Simmons for the first of a series of summer choirclinics.Also during that summer (48), with the help of H-SU President Richardson,Porter became the new Minister of Music at First Baptist Church, Abilene. Porterconsidered the strong link between H-SU and FBC an important part of his plan.The H-SU School of Music began a strings program and diverted most of the schol-arship money to orchestral students. The association with FBC solved the scholarshipproblem by giving Porter access to community resources needed to recruit studentsfor the H-SU choral ensembles. Two of his new choir members at FBC, P. A. Hookerand Wendell Foreman, developed a strong friendship with Porter. Both were interest-Euell Porter4466ed in strong choir programs at both the church and the university. Porter askedHooker to manage the financial elements of the FBC Sanctuary Choir and the soon-to-be Hardin-Simmons A Cappella Choir. Foreman offered funding, and Porterthereby created several scholarships for H-SU student singers at FBC.Following is Porters plan to build a Choral Program at Hardin-Simmons as list-ed in the excellent doctoral dissertation on Euell Porter by John Simons:1. Create small ensembles: University Quartet for men and University Trio for women.2. Use financial support from private sources to offer scholarships to the quartet and trio members.3. Have the quartet and trio perform throughout campus, at athletic events, and in churches.4. Recruit students and strengthen the mens and womens glee clubs.5. Disband current mixed chorus.6. Select a new mixed group called the Hardin-Simmons A Cappella Choir and organize choir officers.7. Perform music with all the ensembles and choirs that appealed to the students and the community.8. Plan recruiting tours to schools and churches.9. Create events for public school and church musicians.10. Give lectures and workshops throughout the state for public school and church musicians.11. Become involved in the community.[45]The success of the small ensembles (quartet and trio) gave Porter immediatecredibility with the administration. When he held auditions for the A Cappella Choir,there was enough student interest to build a balanced forty-six member choir. Afterthe ensembles sang on campus, the choirs received the funding needed to tour. In thefall of 1949, Porter created a forty voice Chapel Choir and the A Cappella Choirbecame a sixty-voice ensemble.Euell Porter4477Between 1948 and 1950, the Hardin-Simmons A Cappella Choir sang at theAnnual Meeting of the Southern Baptist Convention, the National Conference of theNational Association of Teachers of Singing, the Annual Meeting of the BaptistGeneral Convention of Texas, and the Texas Music Educators Annual Convention. Intwo years, Euell Porter had moved the Hardin-Simmons choral music program fromobscurity to regional and state prominence.In addition to being president of TMEA during 1948-49, Porter was also VicePresident and Vocal Division Chairman of TMEA from 1948-1951. As Vocal DivisionChairman, Porter brought John Finley Williamson to direct the Texas All State Choirat the TMEA 1950 Convention in Mineral Wells. Porters H-SU A Cappella Choiralso sang a one hour concert at that convention. In 1951, Porter again brought inWilliamson to direct the All State Choir at the state convention, this time inGalveston. Porters affiliation with TMEA and his H-SU summer choir schools pro-vided a great connection with public school music. He used Baptist conventions, stateand national, singing schools and church service appearances as a platform for churchmusic. The Hardin-Simmons A Cappella Choir became the standard performinggroup for the Annual Meeting of the Baptist General Convention of Texas from 1951-1955.As Porters reputation grew, both Howard Payne and Baylor attempted to gain hisservices as their director of choral music. After hearing the H-SU choir at the 1950Southern Baptist Convention meeting in Chicago, Baylor president W. R. Whitecommunicated continually with Porter trying to convince him that he could do moreto promote his ideas of choral music and to improve church music by working atBaylor. At a meeting following the 1954 Annual Meeting of the Baptist GeneralConvention of Texas, White persuaded Porter to move to Baylor.Porter left Hardin-Simmons University in July of 1955, joining the faculty atBaylor on September 1 as a professor in the Department of Sacred Music and alsobecoming the new minister of music at Seventh and James Baptist Church. Porterasked President White to find a job for P. A. Hooker, his long time friend fromAbilene and White responded by giving Hooker a job as Porters business manager.There were still two major problems to overcome: Porter was placed in an adversarialEuell Porter4488role with some of the music faculty members because he was hired without theirknowledge or consent, and he could not implement any changes to the choral areabecause he was neither a department head nor conductor of a School of Music choir.Richard Pop Hopkins directed the A Cappella Choir, Martha Barkema direct-ed Bards (mens choir) and Rhapsody in White (womens choir), and Dean DanielSternberg directed the Oratorio Choir. According to Sternberg, Hopkins andBarkema did not work in any coordinated way and refused to work with Porter.[51]During the first quarter, Porter taught choral literature and choral methods, and atthe end of that quarter he asked the university presidents office to fund a new choir.Permission was granted and he created the Chapel Choir and male and female smallensembles. The Chapel Choir sang at Baylors daily chapel service and in local Baptistchurches. Then Porter arranged for the Chapel Choir to sing at the Annual Meetingof the Baptist General Convention of Texas. By the third quarter, the Chapel Choirhad over 100 members and was the largest choir on campus.The next year, Porter persuaded Sternberg to make Chapel Choir an officialensemble of the School of Music, and he brought his Summer Choir School to Baylorand Seventh and James Baptist Church. Hopkins died in February of 1957 andSternberg chose Porter to reorganize the A Cappella Choir in the fall of 1958. Theofficers for the reorganized choir came from transfer students from Hardin-Simmons, including the new president, Jakie Shirley. With over 150 singers audition-ing for the new sixty-voice A Cappella Choir, Porter channeled all freshman and less-experienced upper classmen into the Chapel Choir. The new choirs first year includ-ed joint Christmas and Spring Concerts with the Chapel Choir and performances atthe annual meetings of the Baptist General Convention of Texas, the Texas MusicEducators Association and a tour to Florida with appearances on two television pro-grams and the Annual Meeting of the Baptist World Alliance in Miami.In 1959, Porter was named Director of Choirs. He established a self-supportingsystem of mixed choirs that stayed intact from 1960 to 1974. In 1960, he created theFreshman A Cappella Choir, changed the membership of the Chapel Choir toinclude only sophomores, and changed the A Cappella Choir to a junior, senior andgraduate student choir. All of the choirs toured twice a year and sang at countlessEuell Porter4499Baptist meetings and conventions. The combined choirs gave annual concerts atChristmas and at the end of the spring quarter. During either the Christmas or sum-mer vacation, Porter combined his Seventh and James and Baylor choir members forinternational tours.Porters wife Christine, an invalid since her stroke in 1940, was at his side untilher death in 1976. He arranged his collegiate teaching schedule so that he could gohome to see her numerous times during the day. He brought her to concerts, foot-ball games, choir schools, lectures, etc., and she even traveled with the choir on con-tinental and European tours. He was genuinely admired by students, colleagues andfriends for the tender, loving care he provided for his wife. In 1978 Dr. Porter was given the Texas Choral Directors Associations firstDistinguished Texas Choirmaster award in appreciation for his service to his profes-sion and his accomplishments in choral music. He was a past president of the TexasMusic Educators Association and a member of the Choral Conductors Guild ofAmerica, the American Choral Directors Association and the National Association ofTeachers of Singing.Porter announced his retirement at the beginning of the 1979-80 academic year.From 1955 to 1980, Porters Baylor choirs sang in more than forty states and ten for-eign countries in such places as Carnegie Hall and Town Hall in New York City,Orchestra Hall in Chicago, Cobo Hall in Detroit, the Mormon Tabernacle in SaltLake City and Jones Hall in Houston. He received applause and recognition duringhis last concerts at the Annual Meeting of the Baptist General Convention of Texas,the Texas Music Educators Association and tour to New York. At his final concert inthe spring of 1980, Porter received proclamations from the Governor of Texas, theMayor of Waco and Baylor University. During the summer, he led an alumni tour ofEurope with performances in Vienna, Salzburg, Innsbruck, Zurich and Oxford.After retirement, Porter led Baptist workshops and served as interim minister ofmusic in area churches. In 1983, with a new Dean of Music (Robert Blocker) and anew Director of Choral Activities (Hugh Sanders), Porter developed the BaylorUniversity Senior Adult Choir as a community-based senior adult choir funded by auniversity. In cooperation with First Baptist Church and the Baylor University SchoolEuell Porter5500of Music, the choir had free rehearsal space and publicity to announce the choirs for-mation. Porter began this choir with three goals: never sing slow songs, produce qual-ity choral music and never sound old!Shortly after retiring from the Baylor University Senior Adult Choir post in1994, Porter suffered a series of strokes that diminished his mental and physical abil-ities. He was moved to the Ridgecrest Retirement Center of Waco in November of1995 and he died September 23, 1998.[59] Euell Porter conducted choirs from 1933until 1994, touching the lives of thousands of students and inspiring many genera-tions to love the art of choral music.It seems appropriate to end this discourse with the anonymous poem that Dr.Porter seems to have quoted to every choir that he directed, sometimes in rehearsals,sometimes in concerts and sometimes at professional music meetings.For the common things of every day,God gave man speech in a common way.But for higher things men think and feel,God gave the poet words to reveal.For height and depth no tongue can reach,God gave man music, the souls own speechEuell Porter5511Biographical SketchSources and Acknowledgments Simons, John A. "Euell Porter, Profile of a Choral Musician: An Analysis of HisMusical Philosophies, Techniques and Leadership Style." DMA dissertation, TheUniversity of North Carolina at Greensboro, 1999. A very special gratitude is extended to Monte Ray Porter West (Dr. Porter's niece)and her husband Farris for the hospitality extended to me at their home. She provid-ed access to sound recordings of Dr. Porter's choirs, as well as letters, photographs,marriage licenses, citations and awards. Theiss L. Jones, retired Minister of Music at First Baptist Church, Tyler, Texas, pro-vided concert programs and lists of choir members from Dr. Porter's last years atHardin-Simmons and from 1955-1959 at Baylor University. Kevin Hays, Director of Alumni Relations at Sam Houston State University and hisstaff were very helpful. Leah Winfield spent time locating information about Dr.Porter during his days at Sam Houston. Barbara Kievit-Mason, University Archivistat Peabody Memorial Library sent many programs and photographs of Porter's 1945-48 choirs at Sam Houston State Teachers College. Brit Yates Jones Assistant Vice President for Advancement and Director of AlumniRelations at Hardin-Simmons University, and her staff helped with articles, programsand other research material from H-SU. Carol Hamner at the Richardson LibraryHistory Center furnished a great number of articles about Porter from the H-SUNews and Views, the Baptist Standard, the H-SU Brand the Bronco yearbook and theAbilene Reporter News. Dr. Randy Lofgren, Vice President for Alumni Affairs at Baylor Universitywas most helpful in locating alumni that they might participate in the lettersof tribute for Dr. Porter. Thanks to the many students, friends, and colleagues who sent letters sharingtheir memories to Dr. Porter.Euell Porter5522Euell Porter Rememberedby Charles NelsonAs I recall, Dr. Porter told me that he was a Latin teacher in Bryan High School,teaching five sections of Latin, when he formed an extra curricular choir. Within myrange of knowledge, this was one of only two high school choirs which established areputation outside their own communities. (The other was Amarillo High Schoolchoir directed by Julia Dean Evans). His excellent work brought him to the attentionto the Music Department at Sam Houston and they hired him to be their choir direc-tor. From Sam Houston he went to Hardin-Simmons and then to Baylor where hefinished his teaching tenure.When I began my teaching career at Carthage High School, Euell Porter was theTMEA State Vocal Chairman. I had heard of him and his work, but did not know himpersonally until the TMEA State Convention in 1952, when several of the ambitious,hot blooded young choral directors, in our 20s, decided that TMEA was treating thechoral division like a step child. At the business meeting at that convention, it wasmoved that the Choral Division withdraw from TMEA and continue under our ownauspices. Dr. Porter (and cooler heads) prevailed and our insurrection gleanedonly three votes. With so many impetuous young men flooding the choral field, itwas a good thing for our profession that there was a seasoned man of good judgment,like Euell Porter, at the helm.As I grew to know him, and his students, I became aware of what a tremendousinfluence he and they had in the propagation of choral singing in the public schoolsof Texas. He was able to convey his passion for choral music to those young men andwomen who availed themselves of his pedagogy. His reputation as a human being was legendary. His gentleness and compassionwas unsurpassed. His life was a model for us all. I consider it an honor to call him afriend and colleague. All young choral directors could use him as an example of howto conduct themselves toward their students and colleagues.Euell Porter5533Euell Porter Rememberedby Broadman WareIt is with great joy that I participate in this remembrance of our friend and men-tor Dr. Euell Porter. Dr. Porter enjoyed the thought that he, along with members of the 1955 ChapelChoir, was a freshman at Baylor University. It was at this time that I, a true freshman,began my learning experiences with choral music and vocal production. Dr. Porterwas my conducting professor, my voice teacher, and the flame that brought light andwarmth to both. I would like to highlight two of Dr. Porters teachings that have been life chang-ing for me. First, he taught that you sing with your total self, not just your voice, butwith your heart, your eyes, and your total countenance. Much great solo and choralmusic is ruined by poor interpretation and performance by the singer or singers.Second, he taught that the conductors hand should remain in a relaxed position andthat you should confine your motion to a small box area. He felt that too mucharms and body movement took away from the over all beauty of the performance. Most of all, Dr. Euell Porter was a great inspiration to all who knew him. Heloved his Lord and felt blessed to present Him to any and all. Thank you for your contribution to a great teacher and friend. Thank you foryour continued contributions to music that touches the heart and changes lives. The following is one of Dr. Porters favorite poetic thoughts:For all the common things of everyday,God gave man speech in a common way,For higher things men think and feel,God gave poets words to reveal;But for heights and depths no tongue can reach,God gave man music the . . . the souls own speech.Euell Porter5544Euell Porter Rememberedby Francis Bryant SimpsonBaylor Class of 69 I could write all day about adventures with Dr. Porter but I'll try to be brief andtell you some that are dearest to my heart. We were the great freshman class of '65 andor course one of the largest that had come to BU in a while. My high school days ofchoir had been in girls chorus because Clyde Wolford could not fit us into his sched-ules for choir and I had been terrible disappointed about it so when the same thingbegan to happen at Baylor, I almost just walked away. There were 150 of us in fresh-man choir but he managed to get us all in and keep us in for several years. I was scaredto death of him and never opened my mouth until the first Christmas program inWaco hall. Everyone had the "jumps" and rounding all of the choirs up was a rodeofor sure. The alto next to me, one of his favorites, sang over a note because she was-n't paying attention and I just turned to her and said way to go, Kay or something andhe pointed at me and started yelling, get out, you, get out!! Now I was of course onthe back row and had to wind down all of those steps, walk across the stage, down thesteps, down the aisle and out the swinging doors while he continued to yell at me!!! Iwanted to die of course and was so hurt because I really wasn't the trouble maker tobegin with but I gutted up and went to see him the next morning. Of course, I hadbeen used as the scape goat to quiet the masses and there wasn't a peep out of anyoneelse the entire rehearsal and he proceeded to tell me so and how sorry he was that itcame to that so he and I jelled after that and of course Christmas was always the high-light of the year for me. My next set of butterflies in the stomach came when I drewDr. Porter for my first voice test at the end of the semester but I think he found outI could sing a lot better than he thought!! My choir director at FBC in Tyler, JoeCarrell, was not one of his favorites and now I know why he favored all the kids fromBryan and Abilene!! Anyway, I learned so much from him and the importance thatmemorizing poetry and piano pieces in childhood would play in my music career. Hetook the freshman choir on tour with two buses and found homes for us to stay in allthe way to St. Louis where we sang on television and Colorado Springs for the nation-Euell Porter5555al music convention and all over Texas and the opening of Jones Hall. What a placeit was for this East Texas gal to see and sing in. I'll never forget how he would pass outmusic and about three weeks later he would take it up and call us up by groups of 6 or8 to sing it by memory. I never got called up but I always knew my music--------eventhe whole score of The Peaceable Kingdom!!! I can see it now with all the animals ingreen. You had to constantly keep your eyes on him because he directed with his handsin front of his stomach but we really were an awesome group to be so large. Even afterwe left Baylor, we heard he talked about us all the time!!! I loved the old choir roomin Waco Hall and the quaintness of Baylor during 1965-1970. I had to stay an extrayear because I flip flopped my major and minor but those memories are etched intomy heart and soul forever. I did come back to live in Tyler and joined a wonderfulgroup called Tyler Civic Chorale directed by Richard Herr. I was with him almost 30years and he has now moved on to Buffalo and Westminster Presbyterian Church andmy heart and soul may never be the same again. Times change for the masses but notfor those of us who know what good music is all about. Even though the group haschanged it's name to Tyler Chamber Chorale, it's young director was mentored atSMU by Lloyd Pfautsch, as was Richard Herr, so we are in pretty good hands. He isalso the music director at Marvin United Methodist Church and I sing with him forspecial events. I've been asked to sing with First Christian Church this spring so I staybusy inspite of what's happening at my own church!!! I do hope this sheds some lightabout choir days and Dr. Porter. Just wish he could have heard me sing as an adultbut maybe he knew what potential I had and that's all that mattered to him. I cannothear Lutkin's The Lord Bless You and Seven Fold Amen without tears running downmy face and remembering it all as if it was yesterday. Thank you for this project so wenever forget all of these wonderful people. I have also sent you E-mail addresses forRichard and Fred in case you want their input about Pfautsch. Oh, I did want to men-tion that my very FIRST encounter with Dr. Porter was in Jr. High when Joe Carrelltook us to Waco to the state Jr. Choir Festival and we met kids from all over Texas andmost of us ended up in this freshman choir together. Dr. Porter would finally get usall still and he could tell if you had gum or candy in your mouth and he'd send youout even then!! I think the big group piece we did was Let All Things Now Living andEuell Porter5566I can still sing the descant part of that to this day!! Oh, and staying in the old RaleighHotel!! Oh my, what memories-----well, one more link in my musical career I'll notshare with you today!! My piano teacher was Nina Overleese if you have a recollectionof her. Oh, the stories there!! Better run on for the day and it's going to be a gor-geous oneEuell Porter5577Euell Porter Rememberedby Ed NicholsHardin-Simmons University 53I am sure that all of us who shared the special experience of singing under EuellPorter (as I did at H-SU until graduation in 1953) can still feel what it was like. Therewas a sense of subtle energy and never-shrill controlled intensity and same wavelengthdynamics that characterized that sublime musical blend Mr. Porter (he wasnt Dr.Porter then) was able to elicit from his a cappella singers that almost raised us to ourtoes (or brought us to our knees). And, as it has stayed with us, we have tried to con-vey some of that same sense of energy and controlled, unshrill intensity to those withwhom we have worked musically, a kind of passing along of the Porter torch.I always appreciated Mr. Porters solicitous attitude toward his fragile wife, and Iremember this anecdote: Once at some sort of banquet in Abilene where Mr. andMrs. Porter were present, perhaps as honorees, he was invited to sing a love song, andhe began to sing When I Grow Too Old To Dream. No sooner had he completedthe first phrase than Mrs. Porter broke down into deep, uncontrollable wails andsobs. Mr. Porter not only immediately stopped singing; he cradled his wife in hisarms and walked away from the hall with her and never looked back.The poem Phil Briggs referred to For the Common Things . Has also stayedwith me for these fifty-plus years, and Ive used it myself time and again. I also holdfast in my memory the unusually haunting poem turned choral composition I AmMusic by Macon Sumerlin which Mr. Porter had our a cappella choir to sing. I hopeothers remember it as well.Euell Porter was an uncommon man who had a certain genius for choral music.Like most of us, he was not incapable of bias or favoritism. But he gave us wonderfulmusic and lasting memories. It is good for us to remember him together.Euell Porter5588Euell Porter Rememberedby Martha Brittain Pausky, Baylor class of 59 My memories of Dr. Euell Porter take me to my freshman year and his first yearat Baylor. Before I came to Baylor I received information about the new choir whichwould be forming, and how I could audition. I was extremely excited to have anopportunity to be in a choir at Baylor. I had not heard of Dr. Porter, but learnedquickly what he was like as I auditioned for the Chapel Choir. I was extremely nerv-ous and excited. I did not make the cut as far as selection for the first 62 who wouldbe in the choir, but I was named as an alternate. I was told that I could attendrehearsals if I wanted to. Did I ever! I attended every rehearsal and stood in the wingsready to step in every time the choir performed at chapel. I guess my faithfulness andeagerness counted, because it was only a couple of weeks before Dr. Porter put me inthe choir as a permanent member.What an experience! It is one that will be with me for all of my life. You knewyou were doing something special, and that Dr. Porter was someone special. It wasobvious that many people thought so, because of the students and staff that followedhim from Hardin-Simmons. You did not fool around. He knew if your eyes werenot on him during rehearsal. He was serious, but it was fun. Other than the thrill Ialways felt when we were performing, there were three things in particular that Iremember. The first one is the feeling I got when Dr. Porter would direct the choirwithout using his hands. After starting us out, his hands would drift to his sides andhe would direct you with his eyes and a slight movement of his body. Second, to thisday when I sing Beautiful Saviour, I remember the way we sang it at the end of everyconcert and the way he directed it. Third, the choir always had fun. At performanc-es in schools, especially, the trio of Hugh Sanders, Ralph Gibson, and Bill Hardagewould sing Earth Angel. Ill never forget how funny they were.Much to my regret I had to move to Dallas the next year because I was a nursingstudent. I hated to leave the choir. It was the best memory of my freshman year. Dr.Porter has always had a special place in my heart and memory because of his love forChrist and the way he expressed it through his work with the choir. I was in the BaylorChapel Choir of 1955-56. Thank you for asking for my memories.Euell Porter5599Euell Porter Rememberedby Wyley M. PeeblesBaylor University, 1964-1969The first time I heard one of Euell Porters Choirs, I was there because I lovedchoral music, and I knew someone in this choir from Hardin Simmons. The musicwas wonderful, and I was impressed. I found myself wishing that I had had the priv-ilege of being in one of his choirs. I had already graduated from Baylor and was onmy way to a career in church-related vocations.Fourteen years later I found myself re-entering Baylor as a freshman in churchmusic. This turned out to be the most important step in my life. I was scared, but Ifound Euell Porter not only to be the teacher and choral director I expected, but hewas soon my confidant and friend.Dr. Porter had an amazing supply of practical experiences that seemed to coverany situation. I also took voice from him, so I found it easy to ask questions aboutmany of his techniques. I remember one particular time when we were on tour. Heinspired the choir so much in the warm-up with a certain method that we went intothe church and sang our hearts out. I wanted to know more about it after wereturned to the campus the next day. You can do that with junior high and highschool choirs about as often as you need to, he said, but you have to be carefulabout using it with college and adult choirs. I never knew of his using it again.There was a time in graduate studies that an undergraduate student asked me totake over his church choir for the summer, while he toured the revival circuit. Iwent one Wednesday to meet with the choir and to rehearse them a bit. On our wayback to the campus he paid me one of the finest compliments I ever received. Youreminded me of Dr. Porter, he said. How many former students are out in theworld through whom Dr. Porter still works and inspires?During twenty-five years as choral director at Cisco Junior College and twenty-one years as minister of music at First Baptist Church, Eastland, Dr. Porter wasoften by my side. For this I am truly grateful.An unusually fine choral conductor, a teacher, a friend, a Christian gentleman,that was Dr. Euell Porter.Euell Porter6600Euell Porter Rememberedby Paula Constantine PerronI was grateful for the opportunity to sing in Dr. Porters Chorale at Baylor University(in 1959 and 1960). I am very glad he is being honored.Euell Porter6611Euell Porter Rememberedby Sam PrestidgeEuell Porter made a tremendous contribution to the growth and effectiveness ofYouth Choirs in Texas Baptist Churches as he directed State Youth Choir Festivals onthe Texas Baptist College Campuses beginning in the late 1950s and continuing oninto the 1970s. These Festivals and Camps were planned and sponsored by theChurch Music Department of the Baptist General Convention of Texas.Many of these festivals brought together over 2,000 youth for a two-day eventand it was something else to see the 2,000 youth sitting or standing in rapt attentionand responding to every meaningful motion and suggestion from Euell Porter. Thesechoirs returned to their home churches rejuvenated and inspired to make a greatercontribution to Worship.These festivals were not only exciting experiences for the youth but a great labo-ratory learning experience for the directors. Many Young People made life changingdecisions as a result and many of them determined to attend a Baptist College. I amtold that when Dr. Porter moved from Hardin Simmons to Baylor he had over 400students audition for his first Chapel Choir. Wonder why!Dr. Porter was very active in Texas Baptist Music Camps started by J.D. Riddle atLueders Baptist Encampment (now Big Country) in the late 1940s and continued byV.F. (Pete) Forderhase as these camps grew from one to eight during the fifties andsixties. Paisano Music Camp, in the big bend country, became a tradition for manyBaptist Music Groups from all over Texas.When the Senior Adult Choirs started coming into existence in the early seven-ties who do you think was at the forefront in influence and leadership? You are right it was Porter again leading the way to becoming bigger and better.Because of Euell Porters keen insight and understanding of Choral Music andbecause of his wisdom and knowledge of Churches and because of his untiring min-istry and influence, we have all been blessed. May God continue to bless the memo-ry and influence of Euell PorterEuell Porter6622Euell Porter Rememberedby Fern Wiese QuebeSam Houston Choir, 1945-46 & 1946-47.Euell Porter was responsible for some of the happiest hours that I had at SamHouston.He instilled in us a love and appreciation for music and harmony in our lives.We looked forward to daily choir practice, concerts and those wonderful choir trips.So many friendships were made that still survive today.When asked to perform for us on one of our outings he sang Without a Song.How true those lyrics are. He certainly put a song in our hearts.It was a privilege to be in a choir under the direction of Mr. Porter.Euell Porter6633Euell Porter Rememberedby Lora Thomas RobisonBME 67 Baylor Universtiy I was a student of Dr. Euell Porters at Baylor University from 1963-67. Duringthat time I can say that his life had a profound influence on me.Dr. Euell Porter was foremost a dedicated Christian whose busy music careernever interfered with his loving care of his beloved invalid wife. In this care all of hisstudents learned about a servants heart. We saw and experienced this in the life ofEuell Porter.Dr. Porter always upheld the character of excellence in whatever musical proj-ect we were working. He never ceased to be excited about the next concert whether itwas for the students at the Methodist Childrens Home, the local or nearby Baptistchurch, or our once-in-a lifetime concert at Carnegie Hall! He inspired all of uswith his wonderful sense of humor as well as his depth of sensitivity in his artisticapproach to understanding the music we were singing.He was a gifted musician who always had a goal of ministry in his music. Howgrateful I am to have had him as choral music director and instructor of conducting!Euell Porter6644Euell Porter Rememberedby Carolyn Pittman Sager, PLS CLA CLSSIn January 1950, I was a sophomore in high school at Lutcher Stark High Schoolin Orange, Texas. At that time, the high school was privileged to employ MauriceAlfred who had just graduated from Hardin-Simmons University in Abilene, Texas.This was my first introduction to the then Mr. Euell Porter who was head of theChoral Department at Hardin-Simmons.During the next two years of my high school days, Mr. Alfred saw that all mem-bers of the high school choir became acquainted in some manner with the teachingmethods and techniques employed by Mr. Porter in his conduct with his students.During that time, I was privileged to attend a summer choir camp in Abilenewhere I auditioned for a scholarship at Hardin-Simmons. I was accepted for thescholarship and enrolled in September 1952. These next two years were the best yearsof my college life.Mr. Porter was a strong willed person who set high standards for his students andachieved amazing results. During his years at Hardin-Simmons, the choir becamenationally known and traveled extensively. The tours were great fun and much hardwork.Fifty years have passed since I was privileged to work with Mr. Porter but my mem-ories of him remain strong. I dont remember all the places we traveled but I doremember the fun that was had by all choir members who were chosen to travel withhim.Euell Porter6655Euell Porter Rememberedby Rinky SandersThis time of year we hear give the gift that lasts, or give the gift that keeps ongiving. What could this special gift be? One man in particular comes to mind. Heis one who has given of himself to others throughout his lifetime. He is now 82 yearsyoung and continues to be of service.This same man helped my husband receive a college education. Whenever timecame for registration, and there wasnt enough money, my husband would go to himand he would simply hand him his billfold. This single unselfish act not only affect-ed my husband, myself and our children, but also affected the lives of hundreds ofstudents my husband has taught and influenced through the years.He was best man in our wedding. During the holiday period, and many othertimes through the years, there is a place set for him at our table. Our son loves to talksports with him. I once accused him of knowing more sports trivia than HowardCosell. He is lovingly accepted as a member of our family.When our daughter cameto Baylor as a freshman, he once again said he wanted to help. The gift was to beanonymous, as always. Who knows how many students he has helped through theyears.A few years ago, my husband was going to attend a music conference in Vienna,Austria. This same man came forward and said, I think you should be able to go toVienna with Hugh. He wrote a check for the amount of my plane ticket.He goes around daily helping senior adults all over this community. It may betaking them a meal, driving them to the doctor, or simply taking someone for a driveso they can get outdoors for a while. He gives new meaning to the word, sharing.I dont think I have ever seen a more loving and caring husband. His wifeChristine has been gone many years now. But I think everyone who ever knew them,knows he did everything humanly possible for her while she was alive. He not onlymade her comfortable, he made her happy.This mans name is Euell Porter. I know of no one on this earth who has affect-ed more lives in a positive way. He has been my example for years. He has shown meEuell Porter6666what is really important in life. His Christian charity is an inspiration to us all.I think I can speak for all the many churches, schools, communities, ex-students, anda multitude of friends, in saying we love, respect and admire him. This world is trulya better place because of his example and spirit. I believe it is his intention that noperson, regardless of their station in life, be lonely or uncared for.If you count currency with the heart, he is a millionaire. God must be veryproud. He gave, and continues to give, the gift that keeps on giving.Euell Porter6677Euell Porter Rememberedby Andrea Hall SavageFreshman choir, 64; Chapel choir, 65;A Cappella Choir, 66 What I remember most about Dr. Porter is his expression: he had a glint in hiseyes and wanted us to, also. He often said No dead eyes!Another favorite memory is singing a 16-part Heinrich Schutz number, standingin groups of 4 (I believe I stood close to tenor Bruce Teel, among others). After that,I could always carry my part no matter who stood next to me.Euell Porter6688Euell Porter Rememberedby Robert (Bob) Segrest,Tennessee Baptist Childrens HomesGood choral music has been an important part of my life largely due to the pos-itive influence of Dr. Euell Porter. My initial introduction to his kindand sensitive Christian spirit came as a young person at 7th and James Baptist Churchin Waco, Texas when he was called as Minister of Music. Dr. Porter was a bivocation-al minister who shared responsibilities with the church and the Music Department ofBaylor University.Since I had been involved in choral music at University High School in Waco, Dr.Porter invited me to join the Sanctuary Choir at 7th and James as a tenor. That wasan extremely heady honor for me to become a part of that excellent choir as ateenager. I felt I was sitting under the leadership of a master, and truly was. QuicklyI learned the disciplines necessary to be a useful part of an excellent choir. Rehearsalsand the weekly presentations of our choir were spiritual experiences for me. Dr.Porter led the choir with loving dignity. He knew what he wanted from us and knewhow to motivate us to always give of our best to the Master.Upon graduation from High School, I continued my education at Baylor prepar-ing for the Gospel ministry. One day Dr. Porter came to me at church and asked if Iwould like to be a member of the Chapel Choir at Baylor he directed. I was honoredbeyond words and readily accepted his invitation. For two years I sang in that largechoir and served as choir president for a year. We were not just a choir. We were min-isters of the Lord Jesus Christ as we sang to His glory at school and on various tours.In my junior year at Baylor, Dr. Porter invited me to audition for the A cappel-la choir. Somehow I passed the audition and began a new and thrilling adventure ofsinging with the master for the Master. In my mind I can still see Dr. Porter stand-ing before the choir dressed in his black tux. From time to time he would drop hishands and lead us with his facial expressions. I never hear Beautiful Savior sung thatI do not see him leading us to close a concert.Not only was Dr. Euell Porter a godly choral director, he was a godly man. IEuell Porter6699watched with deep admiration as he lovingly cared for his afflicted wife. His commit-ment to her helped me understand the depths of love a man is to have for his wife.His influence as a silent mentor in marriage has helped me in my 40 years of lovingcommitment to my wife, Barbara.Dr. Porter will always be one of the most important Christian men in my life.Today, some 42 years after graduating from Baylor and spending 30 years in pastoralministry, I am once again singing in an excellent church choir in Chattanooga,Tennessee where I serve as Regional Vice President of the Tennessee BaptistChildrens Homes, Inc. My ability to make a contribution to the tenor section of mycurrent choir has much to do with Dr. Euell Porter who taught me to love qualitychoral music and to glorify God while singing it.May our Lord richly bless Dr. Euell Porter. His life has made a lasting contribu-tion for Jesus Christ in so many lives for so many years, mine included!Euell Porter7700Euell Porter Rememberedby Jakie ShirleyMy first association with Dr. Euell Porter was in the summer of 1954 when I trav-eled to Abilene with my parents and church pianist to audition for a voice scholarshipwith Dr. Porter. After the audition, he asked me how much I weighed and said,Young man, you need to gain some weight. Well, I will never hear that again.After that first year, he announced that he would be taking the position at BaylorUniversity. There were four present choir members that transferred with him to thenew position. They were: Ralph Gibson, Barbara Ralls, Hugh Sanders and I, JakieShirley. Some who had been with him before and had gone to the military came later.How well we all remember his unusual but effective techniques the duck walksaround the auditorium, the hot potato in the back of the throat and the strict atten-tion to keeping our eyes on the director.At his recommendation, I became the minister of music at First Baptist Churchof Lampasas, where I served all my Baylor days. Mrs. Porters parents lived inLampasas where we visited on some occasions.He had a fond affection for every choir member, remembering our names andour hometowns. He seemed to have a fond affection for our age for we would havebeen about the age of the child he lost. We were humbled and blessed by the carefulattention he gave Mrs. Porter on the choir tours when she could go.Because we knew his heart, we were often brought to tears when he sang HowTedious and Tasteless the Hours when Jesus no Longer I See. I began to totallyunderstand the meaning of those words when we lost our own daughter two years ago.I was student conductor of the Chapel Choir in 1957-58. He would oftenremind me not to sing with the choir, a suggestion that I followed all my forty sixyears as a minister of music. After the reorganization of the A Cappella Choir, I waspresident in 1959.We never had discipline problems in rehearsal or on tour. We had such a greatEuell Porter7711respect and love for Dr. Porter that no one ever wanted to be out of fellowship withhim or each other. He had control. He had our attention. He often directed thechoir with his eyes. We did not realize it then, but those were indeed some of ourfinest years. The world needs the influence of great men like Dr. Euell Porter.Euell Porter7722Euell Porter Rememberedby DeAnna VenableI am proud to be one of the many young people taught by Dr. Euell Porter. Hewas a grand man and a marvelous teacher.I graduated from Baylor University in May of 1960 with a degree in music edu-cation. I have now retired from 32 years of teaching in the field of public schoolmusic education, and I am currently the Childrens Choir Coordinator at FirstBaptist Church in Garland, TX, a position Ive held for the past four years. During the years since I left Baylor, I have drawn heavily from the wealth of expe-riences I received from having been in Dr. Porters first A Cappella choir the last twoyears I was at Baylor. Trying to describe and enumerate all he taught me is very diffi-cult. There were so many things I observed and admired about him, I feel quite inad-equate to recall them all. I am sure his life affected mine in ways I dont even realize.I loved him as a remarkable man. The love he had for Mrs. Porter was soimpressive. He was a kind and thoughtful man, a godly man. Ill always rememberthe twinkle in his eyes and his little smile. We loved and respected Dr. Porter unre-servedly. I remember the fun and excitement of the choir tours. I have many, manyhappy memories of my time with Dr. Porter.Dr. Porter was without a doubt the most memorable teacher I had during my fouryears at Baylor. He was more responsible than anyone else for developing in me theskills I have used as I have worked with my own choirs over the years. I can still see himin my minds eye. so controlled and intense as he stood before us. He taught uswhat excellence was. He showed us how to give our very best to perfect the gift we pre-sented to those who would hear us sing. I owe a lot to Dr. Porter.I am pleased to be a part of this project to honor Dr. Porter as a truly outstand-ing teacher and an honorable Christian man.Euell Porter7733Euell Porter Rememberedby Sharon VickreyWhen I think of Dr. Porter and I always called him Dr. Porter, I think of - hisstudents What a legacy! Our family was blessed by Maurice and Glenna Alfred whocame to our church as part-time minister of music when I was in the 4th grade. Onlythere a year I got to sing in Mrs. Alfreds childrens choir. Her blessing of my voiceis one of the pivotal points of my childhood. Dr. Alfred was choral director at OdessaHigh and Mrs. Alfred taught elementary music. In high school and junior college Isang in Dr. Alfreds choirs and many times Mrs. Alfred helped me with singing. Ourfamily considers them a rich treasure.A place for everyone- I never sang in Dr. Porters Baylor choir even though I ama vocal performance graduate of Baylor. That did not matter. Dr. Porter got me amusic scholarship and a job accompanying in the music school. Anyone who wantedto sing, could find a place in one of his choirs. I was amazed at how many barelyable to sing people filled his choirs and how he made lovely music with them.Encourage your gift I sang in Dr. Porters 7th and James Baptist Church choir.They were so many gifted composers and singers. Dr. Porter used everyone all thetime. He seemed to attract talent, encouraged and grew it. When I started teachingvoice privately he sent me students. The next year two of these students decided tobecome music majors. When they auditioned for voice scholarships, Dr. Young, headof the department, looked at me and said Where did you get these students?Pageantry - Christmas concerts and special events. I remember my firstChristmas concert at Baylor the stage was covered with greenery and poinsettias. Thechoirs sang beautifully then processed out and caroled us as we left. The Dr. Portertouch!Processing- The 7th choir always processed in. The last time I sang in Dr.Porters choir I was 9 months pregnant with our first son. We ran up the stairs to thebalcony to sing the call to worship and then back down during the introduction to thefirst hymn. How many times did we all do that?What a blessing! We will never forget!Euell Porter7744Euell Porter Rememberedby Marilyn J. Walker, Ph.D. 1953 Graduate H-SUMy first awareness of Euell Porter was when as a freshman, I attracted his atten-tion by singing Somewhere Over the Rainbow, at some kind of talent show, andsubsequently was invited to join the A Cappella choir. What a thrill for me. I havemany happy memories of touring with that group, sometimes as a soloist. I enjoyedhis sense of humor. Once during a concert, I surprised him by clucking like a chick-en. Thou surprised, he smiled and walked over to pet my head like it was planned.From then on, that was part of the show when singing that particular song. What afine man. I especially admired his loyalty to his handicapped wife. Thank you, EuellPorter. One of these days we will all sing with you again.Euell Porter7755Euell Porter Rememberedby Bobby WatkinsDr. Porter was my mentor at Baylor University from 1969-1974. I was studentconductor of a cappella choir for two years under his leadership.Dr. Porter taught me much about the art of music and conducting, but moreimportantly he showed me how a Christian man should live. He made Baylor for me.Euell Porter7766Euell Porter Rememberedby Andrew WhiteDear Euell:As you already know, one of the first things that came to my mind when I was con-sidering the option of joining the faculty of the College-Conservatory of Music of theUniversity of Cincinnati was Where can I ever find a friend like Euell to go with tothe ball games.Ever since first meeting you a number of years ago at Glorieta, New Mexico, dur-ing Music Emphasis Week, it has been a privilege to know you as friend and colleague.The numerous oratorios that I have sung with you were always an inspiration to me,and the versatility that you displayed at Paisano made me appreciate you even more.You allowed LaRue and me into the inner sanctum of your friendship and intothe wonderful fellowship of your home life.I know that you recognize the depth of feeling that we and our three daughtershave had for you and for Christine. The beauty of yours and Christines love has beenreflected countless times in the lives of those you touched.God bless you in your new work, and let me close with a thought by Beecher,Tears are often the telescope through which men see far into heaven.LaRue joins me in wishing for you the best, and always know that our home isyour home.Cordially,Andrew B. White, Dieterle Professor Emeritus of MusicProfessor Emeritus of VoiceEuell Porter7777Euell Porter Rememberedby Kay Norsworthy SzenasiI graduated from the music department of Baylor University in 1959. I had aconducting class under Dr. Porter my sophomore year. It was a very large class ofabout 50 or more students. He always wanted us to stand up, first as an entire class,and conduct with him, and then in groups of 3 or 4, and finally as solo. I rememberthat I was petrified to stand up in front of the whole group and conduct and I felt veryinadequate in comparison with others. However, Dr. Porter always tried to help mefeel at ease. He was so great I always wished I could take that same class again.Whenever I saw Dr. Porter anywhere in the music building he always knew myname and chatted with me. He knew my uncle and some of my family from WichitaFalls, where my cousin was a long-time Baptist pastor at Lamar Baptist Church and hisfather was a music conductor there and in Oklahoma City. So we first had a conver-sation about them, because Dr. Porter recognized my name.My memories of Dr. Porter are very pleasant and happy ones, and I will alwaysremember him as a great teacher, conductor, Christian, and friend.Euell Porter7788Euell Porter Rememberedby C. Bruce Teel, Class of 67, Baylor UniversityDr. Porter taught his classes with strength and serene joy. Once he quoted some-one to us, and Ive never found the source, Music is the language of the soul. Hegave us a brief explanation of this, and immediately I had a newer, deeper and truerappreciation of music in all its forms than ever before. Now I could see how impor-tant my small part in that choir would be. I would be speaking mysteriously to theinnermost depths of those who would hear me sing! What imprint would I leave?How would I touch their souls? How important for me to do my best!Your best. Dr. Porter could bring that out in you, if only you would let him. Hewas not sternly demanding or forced. He had that compelling persuasion which onlycomes from a gentle, kind spirit but one who strives for the best in himself and hispupils. Many have prayed, God grant me serenity. God had granted him serenitylong before I crossed his path. Even so, he taught me that music is manly, as least formen, and that every man should develop his musical sense to be fully a man. He alwaysconducted himself and his choirs with gentlemanly calm, keeping his hands near hisface, close to his mouth and at times beside his face so that you looked into his eyes.There, in his hands and his eyes you read the directives: the soul of the music youwere singing. You were swept up into joy, power and beauty of the music with himand your fellow choir members. Yes, you felt, you knew you had done your best, andit was wonderful.How wonderful, too, the music Dr. Porter led us into Heinrich Schutz,Palestrina, Bach, Handel and modern giants of Choral splendor such as RalphVaughn Williams. We even sang a musical version of some of Robert Frosts poems.That gave me a much greater love for and insight into Frosts poetry. Indeed, singingfor Dr. Porter was always a learning experience. And in his lessons we learned aboutthe best life has to offer.Euell Porter7799Euell Porter Rememberedby Charles Downey, Stephen F. Austin High SchoolEuell Porter came to the Bryan Public School System in the late thirties or earlyforties. His background before coming to Bryan was in Athletics as a coach and as aLatin Teacher and as Choral Director. In Bryan, he taught Latin and Choral music.His wife Christine had suffered catastrophic complications in childbirth, inwhich she lost the child. This event left her totally disabled and dependent. In addi-tion to his duties as a school teacher and also as choral director for the local FirstBaptist Church, he always faithfully cared for his wife with great affection.Dr. Porter was not only interested in Choral Music. He was a regular at all theathletic events and was always a favorite on the sidelines. He loved sports almost asmuch as he loved music.He developed choral organizations in the junior high and the high school as well.He was a pioneer in a cappella singing and most of his choirs were unaccompanied.Since he was interested in sports, he was always able to attract the athletes to his musicprograms which was a miracle in itself. The "back row" of his choirs always includedburly football players, basketball players and athletes from every sport.He had a well-rounded program. He had groups for the talented and groups forthe less talented. No one was left out. In addition to choral concerts, his program alsoalways included choir trips and the presentation of operettas as well.He had an uncanny ability to communicate the subtle nuances of choral singingto his students. They knew about intonation, blend, phrasing, breathing and all therest. The result was that he produced some of the finest a cappella choirs which werealways top rate winners in regional and state adjudications.The quality of his main choir at the high school brought an invitation for themto sing at the Lion's Club International Convention to be held in San Francisco in1947. He trained them and prepared them for that great trip, but because of his moveto Hardin Simmons University, he was unable to accompany them on the trip, whichwas made (through his planning) by charter train!He always was able to raise money to send his groups on tours without a pennyEuell Porter8800from the student's pockets. The community loved Euell Porter and would cheerfullyparticipate financially and in any other way to see that his choral programs were well-supported.These were truly his formative years. He moved from being a sometime coach,sometime Latin teacher and part time choral director to being one of the leadingchoral directors in the state as well as in the nation producing high school choirs thatwere models for other choral directors and the envy of all. That he was a man of greatstature in his field was obvious to even the casual observer.Euell Porter8811Euell Porter Rememberedby C. William (Bill) ThomasParticipating in Dr. Porters choir program at Baylor University from 1965 (myfreshman year) through 1967 (my junior year) represented the closest thing to formalvocal training I ever received, although I have been singing constantly since age 10. Igrew up in Granger, Texas (a small town about 70 miles south of Waco on the CentralTexas Prairie). I attended the First Baptist Church, and our organist, a Baylor grad-uate, worked with me as a youth to help develop my talent and skill. My older sister,Lora Anne Thomas, now Lora Robison was a music major at Baylor, and had been amember of Dr. Porters choirs since she went there as a freshman. My mom and Iused to drive to Waco for Dr. Porters traditional candle-lit Christmas concerts, aspectacle that we had never seen before. We were awestruck at their beauty. Partly forthat reason, I decided to attend Baylor, rather than North Texas State University. Mysister arranged an audition for me for Dr. Porter. After hearing me sing, he askedme to join Freshman A Cappella Choir. I was thrilled.Although I was an accounting major, singing was then, and still is, my passion.Some have said I have a gift. Dr Porter was not as profuse in his praise as others.He didnt single me out for solos, always being careful to ask the music majors to dothat work. Nevertheless, choir was one of my favorite times of the week. I lovedwatching Dr. Porter direct. He could do more with his eyes than most men could dowith their arms. Although he didnt much like horseplay when we had work to do, hehad a great sense of humor. I can still see that wry grin whenever someone cracked ajoke that he just couldnt ignore. One time during the spring semester of 1966, I hadthe flu and went to choir sick. I passed out about halfway through the rehearsal. I canstill remember waking up, flat on the floor, with Dr. Porter hovered over me. Hecould be gruff at times, but it was at times like this when I saw beneath that exterior toone of the most warm hearted and generous men I ever knew. I still remember hiskindness with his wife, who was an invalid. He adored her, and his countenance total-ly changed whenever he was around her. I worked hard for his approval because I hadso much respect for him.Euell Porter8822I could tell that Dr. Porter liked my voice when, during the fall of my sophomoreyear, an opening occurred in the Junior/Senior A Cappella Choir (a select group)and Dr. Porter asked me to join them. They were planning a trip (Baylors first) toCarnegie Hall in New York City, in the spring of 1967. My sister, a member of the ACappella Choir, was ecstatic that I had been asked to join the group. She had beenselected as one of the pianists to accompany the choir, as well as a member of the sec-ond soprano section. I was a second tenor. We worked hard that whole fall and win-ter season, honing our intonation and pitches, practicing difficult pieces, and takingshort tours to what seemed an endless stream of Baptist churches, raising love offer-ings to help defray airfare and hotel costs. Our mother attended several of our con-certs, anxious to see her kids do well. Our family didnt have much money. Ourfather had retired from the Navy about 8 years before I entered Baylor. Both of myparents sacrificed greatly, borrowing on dads life insurance, skimping on personalthings for themselves, so that we could attend Baylor without incurring debt ourselves.Our father had to take a job out of state to help make ends meet. In the summer of1966, at age 63, he had a heart attack, which prevented him returning to his job.Things were tight at home, but our parents were determined to scrape the moneytogether so we could have our big chance on the big stage at Carnegie Hall. We had agenerous aunt and uncle who lived in Washington, D.C. who were better off than wewere financially. Secretly, without my sister and I knowing, they sent our mom themoney for airfare to Washington. Then they drove her to New York. Just after wearrived at the Waldorf Astoria Hotel, we turned around and saw mom as she emergedfrom behind a marble column to surprise us. Dr. Porter was standing beside us, andIll never forget his face as he saw her come up to us. I still remember the love andaffection in his eyes as he saw us tearfully embracing our mom.This trip, getting to sing in Carnegie Hall, knowing that our mom and familymembers were in the audience watching us, was one of the most memorable occasionsof my life. Our final song of the concert was Choose Something Like a Star; ahauntingly beautiful piece. I felt that was just what I had done. I will never forget thatsong.Through my adult years, I have been a member of many churches in many cities,Euell Porter8833and I have never failed to join the choir in any one of them. I am still singing, and Ibelieve, singing pretty well for a 57 year old man, still using the vocal techniques thatDr. Porter taught me. Although I have had many directors, Dr. Porter has stood outin m mind as the best of them all. His life and dedication have helped shape my ownin ways I never imagined. I thank God that my path crossed with his almost 40 yearsago. I have now been a member of the faculty of Baylor University for 28 years, notin music but accounting. Euell Porter and professors like him were role models forme. They inspired me to become a professor myself, and to continue the tradition ofinfluencing young people from humble backgrounds to choose something like astar. I believe that Dr. Porter embodies the spirit of Baylor University that we stillstrive to keep alive today? To light the ways of time.Euell Porter8844Euell Porter Rememberedby Frances B. ThorntonWhen I entered Sam Houston, I had had nine years of piano lessons, but very lit-tle experience singing in a choir. Dr. Porter expressed his confidence in me whichmade me feel comfortable and welcome.I was impressed with his hard work and dedication. His attitude has stayed withme in all things I have done. It was an honor to have been a part of his choir and tohave known himEuell Porter8855Euell Porter Rememberedby Elena Ann DonaldFOR THE COMMON THINGS OF EVERYDAY,GOD GAVE MAN SPEECH IN THE COMMON WAY,FOR HIGHER THINGS MEN THINK AND FEEL,GOD GAVE THE POET WORDS TO REVEAL,FOR HEIGHT AND DEPTH NO TONGUE CAN REACHGOD GAVE MAN MUSIC, THE SOULS OWN SPEECH.Those six lines came to mean so much to me because in many ways, they explainthe depth Mr. Porter gave his students, not only in music, but in life. Of course, manyof you remember that when he finished quoting this poem, the touching strains ofBeautiful Savior followed and there wasnt a dry eye in the house.Why did I come to be so moved by all of this? In the course of less than four years,Mr. Porter came to be one of the most influential people in my professional life.When I enteredHardin-SimmonsUniversityin the fall of 1951, I had never even heardof Euell Porter. It takes quite a while for news to get from Abilene to Goodnight. Ifyou ever saw the bus that went from Abilene to Childress where my mother wouldpick me up you would understand the slow communication and news delivery. I wasa music major but I didnt really know exactly what my concentration of study wasgoing to be I had to be in an ensemble, so he let me be in Chapel Choir. At thatpoint, I would not have dared to even think about auditioning for the A CappellaChoir.I muddled along for a couple of years and my knowledge of Mr. Porter was pret-ty well limited to Chapel Choir rehearsals and that short tour each spring. I did makepoints with him on those tours when he found out I was a pretty good 42 player what else was there to do in Goodnight,Texas.By my junior year, I had mad THE choir and what a joy that was. I had gotten tothe point I was taking some courses from Mr. Porter and was studying voice with him.I was beginning to see just how special he was and what a positive and inspiring expe-Euell Porter8866rience it was to be around him. The more I was around him, the more I appreciatedhim and all that he was.My senior year was the one that really brought me to the realization of just howmuch I was benefiting from the opportunity to learn from him in so many ways. I did-nt have to carry a very heavy course load and as a result, I was asked to accompany quitea bit for his voice lessons. I was able to observe him while sitting on the piano bench.I felt like I was in a Seminar all the time. He had accepted me as more than a studentand I was deeply honored and grateful. I vividly remember him giving me his car keysone day and asking me to go to the beauty shop and pick up his wife Christine and takeher home. I was so glad he trusted me enough to ask me to do that errand, but I wasalso quite nervous about it. Everything went well, thankfully, and I was so pleased thathe felt comfortable enough to ask me to do such a personal errand. His love and devo-tion for that dear lady was beautiful to behold and it showed what a tender and caringman he was.During the summer of 1955 after I had graduated he called me at my parentshome and invited me to join him at Perryton and participate in a workshop he wasdirecting at the First Baptist Church there. What fun that was. Of course, my ego gotfed quite well with his invitation to participate.Ive sprinkled several special memories into this piece and there is no way I canreally explain just what he meant to me professionally. He showed me in so many wayshow music can reach people and how important it is to believe in your craft. He alsotaught me that you couldnt succeed in teaching music to young people and howimportant it is to believe in your craft. He also taught me that you couldnt succeed inteaching music to young people if you cant get yourself out of the way and let musicbe the important thing. Ive proudly told people for years that Euell Porter is one ofthe most influential people in my life and I would never have gone into teachingchoral music had it not been for him and the influence he had on me while I was astudent at Hardin-Simmons. I truly thank God I had the privilege and pleasure ofbeing one of his students.Euell Porter8877Euell Porter Rememberedby Dorothy and John BatesDuring each of the years from Baylor Summer Music Camp, 1963,throughBaylor University Graduation, 1977' you had one or more of our four daughters withyou in both Baylor Summer Music Camp and Baylor University.John and I appreciate so very much all you did to provide thebest of musicaltraining and experiences for each of our daughters. We appreciate too, your person-al dedication, your standards of excellence and. all your personal interest in the lifeof each student. Your Christian witness (and. that of Mrs. Porter during her lifetime)in both words both in words and by example, continue to serve as an inspiration toall.Thank you for many wonderful memories, and be assured, that our prayers andbest wishes are with you always.Euell Porter8888Euell Porter Rememberedby Charles FullerAfter my roles as husband and father, the highest and most undeserved privilegeof my life has been to be mentored and befriended by both Euell Porter and HughSanders. My wife, Cindy, and I first met singing in one of Dr. Porter's choirs. Hebecame friend and family to us and a shining example of both faith and excellence.I sang for Dr. Porter from 1976 through 1980. I served as his last graduate assis-tant during his retirement year of 1979-80. He showed me how to deal with loss. Helost his dear wife, Christine, during my first year of singing for him. He showed mehow to prepare for change as he finished his career and transitioned to an activeretirement. He showed me how to challenge people without alienating them. He chal-lenged us toward excellence in our music and in our lives, sometimes with great inten-sity, but always with the intention that it was our best interest he had in heart, not hisown glory or reputation.Dr. Porter's life was a model of excellence, both in challenging us to do our bestand to use the very best musical materials. He challenged church choirs to do thesame. He understood the importance of meeting church people at their musical taste,but always took them toward better music. He loved people with a genuine love andchallenged us to be better as people as well as musicians. He never hesitated to tell youwhat he was thinking. If he thought you were headed in a direction that wasn't in yourbest interests, he would certainly tell you, but even when we were talking about "seethe blazing Euell before you," we knew that that special grin with the twinkle in his eyewas just under the surface and would return soon.Dr. Porter was a man of genuine faith whose faith empowered him to face thechallenges of life: the challenges of tragedy and the challenges of "raising" countlessyoung people who sang in his choirs. It's almost silly for me to talk about how I try toemulate him because his influence on me was like a father, it's so much a part of whoI am that, after almost thirty years, I can no longer separate what I was before fromwhat I've become since knowing him.He was quite simply, the finest man I've ever known.Euell Porter8899Euell Porter Rememberedby Jack Yates '51Hardin-Simmons Range Rider, Winter, 1998-1999The Abilene Reporter-News for September 25, 1998, carried the news of thepassing of Euell Porter, former Director of Choirs at Hardin-Simmons Universityand First Baptist Church of Abilene, choir director extraordinaire. The obituaryreferred to him as Dr. Porter, an honor accorded to him by two universities, but thetitle with him somehow seemed superfluous. Euell Porter needed no "Doctor" infront of his name to command respect. You merely had to listen to one of his choirsto know his stature.Mr. Porter and I came to Hardin-Simmons at about the same time, in the late1940s, he as Director of Choirs, and I as a student. He was a graduate of Hardin-Simmons and had met his beloved wife there, and he had greatly desired to return toHSU as choir director.When he came from his position at Sam Houston State College, he was held insuch high esteem by the members of the choir there that a large number of themtransferred with him. He never had to build or rebuild a choir program at Hardin-Simmons. The choir arrived virtually full-blown with him.As a young man (and also as today) I loved good choir music. The late1940s were something of a golden age for collegiate choirs. There were manyof excellence. A national radio network had a weekly series of programs featuring col-lege choirs from around the country. First and last I heard in person, by radio, andby record many great and noted choirs. With that background, the first time I hearda Euell Porter-directed a cappella choir, I was simply enthralled, and although I laterheard scores, perhaps hundreds, of performances by his choirs, that feeling never leftme. They sang as with one voice, and the tones and cadences that his choirs producedwere magnificent.Mr. Porter was at that time in his thirties. He was handsome and hadthe build of an athlete. When he directed a choir, it was like poetry just to watch hisrhythmical and fluid directing. He never liked the style of conducting used by someEuell Porter9900very good directors who used large, dramatic flourishes. With him, that was unneces-sary. It was not so much discipline (although his choirs were disciplined), as it was thathis choirs were devoted to him, and gave him their undivided attention and bestefforts.Part of this devotion arose from Mr. Porter's care for his wife. Not long aftertheir marriage she had suffered an illness that left her unable to have children and dis-abled for the rest of her life. He was always extremely sensitive to her needs and feel-ings.Part of this devotion arose from his being a dedicated Christian. His choir pro-grams revealed that. There was such an aura of devotion to Jesus Christ in his concertsthat, even though the sounds of the choir were wonderful, you always were aware it wasfirst of all a Christian choir that you were hearing. He loved the classic anthems of theChristian faith by the great choral composers. Such songs never grew old with hischoirs singing them. Every concert ended with the song "Beautiful Savior," alsoknown as "Fairest Lord Jesus."The Hardin-Simmons choir sometimes rehearsed in Behrens Chapel.Occasionally, as an audience of one, I would sit in during rehearsals just to hear themsing. He also directed the choirs at Abilene's First Baptist Church. I was not a mem-ber there, but I always enjoyed going there, for I knew I would hear an outstandingchoral selection. Since he also directed the congregational singing, I also would havethe privilege of singing under his direction.In 1955, Mr. Porter moved to Baylor University. I do not think he ever wanted toleave Hardin-Simmons. Circumstances had come about, however, that made themove a good one for him. Hardin-Simmons' loss was truly Baylor's gain and that ofTexas Baptists, since the Baylor position gave him a much wider influence. Thus it wasin churches all across Texas and the Southwest that the Porter "sound" became known.I think he left a big piece of his heart at Hardin-Simmons, however. When he wasinterviewed by the Baptist Standard, shortly after his retirement from Baylor, andasked which one of all of his choirs was his best and favorite, he remembered his 1950-51 choir at Hardin-Simmons as his finest choir.It has now been 50 years since I first heard a Euell Porter choir. Many of theEuell Porter9911singers from those choirs, such as the ebullient Charles Downey '51, the tall basses,Jimmy Loden '50 and Maurice Alfred '50, Cooper High School's Jack Glover 51'/'66and Bobbie Noles Summerlin '51/71 themselves went on to be outstanding choirdirectors, and they are now reaching or have reached retirement age. But in my mem-ory I can still hear the inspiring sounds of those first choirs at Hardin-Simmons. Ofall the good and great choirs I have heard throughout my life, and there have beenmany, in my judgment few if any have surpassed those at Hardin-Simmons, beginningin 1948 and I will agree with Mr. Porter that they were my favorites.Euell Porter has now passed from the earth at the age of 87. He is now reunitedwith the beloved bride of his youth, who has been released from that disabling illnessfrom which she (and he) suffered during most of their marriage. Most significantly,he is now in the presence of the one who was always the focus of his choirs' concerts,his "Fairest Lord Jesus," and somehow I feel that the music of heaven has just becomea little sweeter.Euell Porter9922Euell Porter Rememberedby O.D. Hall Jr. BM Baylor 1957Dr. Porter came to Baylor when I was a sophomore music major. He changed every-thing. Euell Porter was the greatest single influence in shaping my standards of choralperformance, my conducting style, and my convictions related to the Ministry ofmusic. In the spring of my senior year I enjoyed the great honor of serving as a co-student conductor with Hugh Sanders. What a thrill to stand before the choir andconducting and singing Rejoice" in the final concert! Twenty years later it was aneven greater thrill to send my daughter Debbie (BM '77) to sing in the Baylor ACappella Choir under Dr. Euell Porter.Euell Porter9933Euell Porter Rememberedby Rence Fast Heathclott, Baylor 1968I had one year of Choir under the direction of Dr. Euell Porter. That has been40 years ago. Every time I sing, even today, I refer in my mind to the principles andtechniques of singing I learned under Dr. Porter. It was a wonderful year. I respect-ed him greatly for his unending devotion to his wife never, but never complaining.There could not be a better caregiver. He loved her to the end.Euell Porter9944Euell Porter Remembered by Alton and Patricia Berryhill Hassell, Baylor 1969I was in a Porter choir for five years ('64 to 69) at Baylor University while I gotmy chemistry and physics BS degree. My wife, Patricia Berryhill Hassell, sang with himfor two years. We were also in the choir at Central Baptist Church at Bryan when hewas interim director in the '70s.How do you describe a man who was such an inspiration? He demanded that youdid each thing to the best of your ability. If you sang with him long, you learned howto push yourself, how to work with others, how to be responsible for yourself and youractions and you learned to sing and appreciate music, good music. You also learnedhow to treat others with respect, how to behave in public and how to have pride indoing things well. He had a major part in taking the rough edges off of a lot of uscountry kids. He took us on tours so we could see new places and grow.He came to Roscoe and sang for our wedding. Patricia lost her voice. He doc-tored her so she could sing with me at the wedding. I know he never understood howspecial that was to two young kids. Not a week goes by that I don't think of him, orsomething that I learned from him.I have my Ph.D. in nuclear chemistry and teach chemistry and archeology atBaylor. My wife teaches in the Family Consumer Science Department also at Baylor.Euell Porter9955Euell Porter Rememberedby Dorothy Bernson H-SU 1953-1956I had the privilege of singing under Dr. Porter for two years. I was in the chapelchoir at H S U during '53 - '54. I was in the A Cappella Choir '54 - '55. Mr. Beachydirected the choir the next year. I also sang in the choir at the First Baptist Church,Abilene and Dr. Porter directed that. It was an inspiration to sing under him even ifit was a lot of work. I remember one amusing thing. I have a twin sister named Normaand we never have looked alike. When I was trying out for the A Cappella Choir, Dr.Porter looked at me and said: "Now I know what is alike about you and Norma theexpression between your eyebrows". I remember how Dr. Porter was so considerate ofhis wife in poor health.Euell Porter9966Euell Porter Rememberedby John MageeEuell Porter was my teacher, mentor, role model, friend and was like family. Ifirst met him when I enrolled in Sam Houston State teachers College September1945. It was his first year to teach there and he had been promised that band musicmajors would be allowed to audition for the choir if their schedules allowed the time.I did audition, made his choir and my life took an entirely different path. Next tofamily, choral music became most important as my life's vocation.I think that these were "golden years" of choral music in Texas public schools andEuell Porter, Archie Jones, Frank McKinley, and a few other great men, should begiven credit for the advanced training that they gave their students at that time, asschool and church choir directors.Mr. Porter placed scores of his students from Sam Houston, Hardin--Simmonsand Baylor in schools and churches of Texas and other states as well.He didn't just graduate us, give us a degree and send us on our way but stayed intouch, wrote letters, telephoned, gave clinics for us and our neighboring schools. Hebrought his university choirs on tours of our school and churches helping us instillthe love of beautiful choral music in people and choirs.World War II ended August 14th 1945. My wife, Agnes and I, entered SamHouston that fall and our lives changed after meeting Euell Porter. He helped infinding us housing and gave me a job the next summer painting his house. He camewalking up to our front door one day with a stack of dress shirts of his (it was just afterthe war and you could not buy a dress shirts anywhere) which he gave Agnes to give tome.At the beginning of Christmas recess the following year, he asked us to call himcollect when our first child was born. Well, our daughter was born December 22ndand first person I called was Mr. Porter (collect). She grew up and entered Baylor inthe fall of 1965 where she sang in his A Cappella Choir and served as one of hisaccompanists.I recall that just after the great storm "Carla" had raked the Brazos port area,Euell Porter9977where we were teaching at the time, Dr. Porter (as well as I knew him, I never calledin anything other than Mr. Porter or Dr. Porter and never shall) came home to findhis wife Christine packing a box of his and her clothes to send to John and Agnes. Shewas thinking that the storm had wiped us out.He invited my Brazos port high-school choir to take a singing tour of Greece withhis university group. We were to join them in performance of Handel's Messiah.He instilled the importance of selecting good literature that would be worth ourefforts in teaching and that would make us and our students better persons.Dr. Porter was professional and worked in all of our professional organizations.He thought most highly of TMEA, TCDA, national music organizations and theUniversity Interscholastic League. He served as an officer in many of these organiza-tions.He also served as an adjudicator for many years for the U I L. He encouragedscores of directors and thousands of students with his most positive written and spo-ken comments and criticisms.Yes, he is gone but will not be forgotten. Thank you for the chance to write some-thing about this great teacher.Euell Porter9988Euell Porter Rememberedby Marion E. Luper Jr.Sam Houston State Class of 1946While attending Lamar Jr. High School and Stephen F. Austin High School inBryan, Texas I sang in choirs directed by Euell Porter along with my sister DurettaLuper Gilchrist.After this, we were both elated when Dr. Porter came to San Houston State inHuntsville, Texas to organize and direct the A Cappella Choir as well as other vocalgroups. One of these groups was the men's double sextet of which I enjoyed being apart.Many lasting friends were made through the associations made in these organiza-tions. Among them are Virginia Irvin, John Warren Smith, Robert A. (Bobby)Moore, Doug and Bess McDermott Osborne, Louis Gentry, Espy Watts, Fern Wiese,Velma Hand, and Sundell Harris as well as many others.Euell Porter was an inspiration to all of those who had privilege of knowing himand being a part of one of his choirs.I later had the privilege of singing in various church choirs, one of which was theFirst Baptist Church Choir in Austin, Texas where I had the privilege ofsinging with Maurice and Glenna Alfred who had been in Dr. Porter's -choirs at Hardin-Simmons University in Abilene.In addition to the church choir in Austin, I have also have sung with the AustinSymphony Chorale, First Baptist Church Choir and River Oaks Baptist ChurchChoirs of Houston, the Houston Symphony Chorus of and the First Baptist ChurchChoir in Odessa.Euell Porter left a lasting impression on all who had the privilege of knowinghim.Euell Porter9999Euell Porter Rememberedby Maurice Alfred SHSTC 1946-1948 H-SU 1948-1950Euell Porter came to Sam Houston State Teachers College in the fall of 1945 andI first met him when, as a freshman, I auditioned for the Sam Houston A CappellaChoir in the fall of 1946. Dr. Porter had an amazing ability to inspire his students andto give them a love of choral music that would last a lifetime. He could discipline in amanner that instead of making you mad or unhappy, made you want to try again anddo better." There was no wasted time in rehearsals. The instant he finished one por-tion of the music he was telling you the page and the measure where we would startanew. His rehearsals were very fast paced, but also very enjoyable. Whether he wasdirecting a church choir or a college or high school, there was no talking and if youdid interrupt you probably got a stern look from those eyes, or you might be invitedto leave the rehearsal. But he also had a wonderful sense of humor and a great smile!In his choral methods class, Dr. Porter did a great job of giving to his studentsthe "nuts and bolts" of putting together a choral music program. You were well-equipped with a single copy of many pieces of the great choral music, the knowledgeof how to recruit students, prepare a budget, order music, book tours, prepare pro-grams, etc. He made great use of the officers elected by his choirs. They worked, butit was great training for them as he gave them many responsibilities.I remember the first time I heard him sing "When I Grow Too Old to Dream".It was at a choir party at S H S T C when he sang, his wife Christine began to humalong with him. He always took great care of his invalid wife. He was a fine Christiangentleman whose life was a wonderful example for all his students.In the summer of 1948 Dr. Porter left S H S T C and went to Hardin--SimmonsUniversity in Abilene. Fourteen of his S H S T C students went with him.It was certainly because of Euell Porter that I directed choirs in high school, col-lege and churches for 51 years before my retirement in 2001. He was my inspiration,mentor and teacher.Euell Porter110000Euell Porter Rememberedby Jess Hensarling Stephen F. Austin High School Bryan, 1944Euell Porter, handsome, lyric tenor, native Texan from Muleshoe, graduate ofHardin-Simmons University in Abilene, Texas, was teaching school in Bryan, Texas,when he heard an a cappella choir. It may have been the one from North Texas StateTeachers College in Denton. He said to himself that he wanted one of those. He wentto W. D. Wilkerson, Superintendent of Schools, and made arrangements to organizean A Cappella Choir at Stephen F. Austin High School. His students understood thatit was the first such choir in Texas. He also directed at Lamar Jr. High and recruitedand began training singers who fed into the high school choir. This was in the late1930.He worked diligently to upgrade the taste and exposure of both his students andthe community. Favorites of the choir included Adoramus Te by Palestrina sung inLatin, Beautiful Savior and Lost in the Night arranged by F. Melius Christiansen,hymn arrangements and spirituals. The closing of every concert was Blest Be the TieThat Binds. Everything was sung without accompaniment. Choir became so popularthat some students stayed for postgraduate high school study, just to sing in the choir.The choir was robed similarly to the choir at North Texas in velveteen floorlength robes; the girls wore satin vestments which covered their hands, and everyonesang in black socks with no shoes.Because the choir was a rarity among high schools, it got to travel throughout thestate singing in high school assemblies where the football player singers were pointedout. Lodging was usually in homes, but hotels were an occasional treat. World War IIgasoline rationing restricted travel, but enterprising parents provided transportationby car to nearby towns. After the war, the choir traveled, by invitation, to theNorthwest Pacific coast to sing for the International Lions Club Convention.Mr. Porter, as he was known then, took the choir to Houston to hear the St. Olafchoir, arranged for them to hear the North Texas State Teachers College A Cappellachoir, under Dr. Wilfred Bain, and encourage them to hear Bidu Sayao in recital atEuell Porter110011Texas A&M College. Choral clinic shared with Marlin high school singers were heldfrequently. He offered free voice lessons to several.Euell Porter endeared himself to the entire Bryan community when in spring of1940 (or 1941) he had to hurry back to Bryan, from a musical contest in Huntsville,for the birth of his only child. Mrs. Porter's pregnancy and delivery were difficultbecause of her diabetes: the infant was born with water on its brain and did not live;she suffered the loss of the ability to form words. He lovingly cared for her all her life.Some years later, he was pleasantly surprised to return from a trip to find that friendshad taught her to say "oui" to greet him.From Bryan, Euell Porter went to Sam Houston State Teachers College, Hardin-Simmons College and later to Baylor University where he achieved wide spread admi-ration.Euell Porter110022Euell Porter Rememberedby Ken ArmstrongDr. Porter arrived at Baylor in the fall of 1955. After auditions, he formed theBaylor Chapel choir. He brought with him several outstanding singers from Hardin-Simmons Hugh Sanders and Ralph Gibson came to mind. At the same time, he hadcompetition on the campus. An old Welchman, Pop Hopkins, was a longtime conduc-tor of the A Cappella Choir and Martha Barkeman directed a fine group which per-formed light choral music.The Chapel Choir met in the 7th and James Baptist Church choir room eachafternoon for rehearsal. This represented quite an investment of time for me since Iwas a religion and English major and we received no semester hoursfor choir. Nevertheless, I thoroughly enjoyed singing with Dr. Porter during mysophomore and junior years: indeed, it was one of the highlights of my days in Waco.After being elected president of the Baylor Ministerial Alliance, I felt that I had to giveup choir during my senior year and this I did with great reluctance.My memory of Euell Porter is very clear. On one hand he was a kind, even sweetperson. As a friend recently said, he was something of a father figure for many of us.Yet, he could be firm and something of a taskmaster. Ithought of him as a perfectionist. He was quite demanding of us in terms of learningthe music and producing the tone he wanted. He called names andidentified miscreants'. Yet, he was never unreasonable: as a professional in the choralmusic field, he wanted the Baylor Chapel Choir to be good, and we were. In concertand on tour, I was immensely proud to be a member of the choir.It was my good fortune to take Dr. Porter's conducting class. In it, he largelyworked with students who planed to be music directors in Baptist churches through-out Texas and beyond. Dr. Porter also serves as the music director at 7th and James(across the street from BU and the largest Protestant Church in America). Sundayafter Sunday he teamed with our pastor, Dr. Charles Wellborn to produce memorableworship services and he was much loved in this capacity. Sometimes, I think . . . thisis the real Euell Porter . . . providing musical leadership to Baptist churches. It is trueEuell Porter110033that he traveled all over the state conducting choral clinics for churches. So don't omitthis important ministry, for it reflected his Christian faith.One day in the conducting class, an older fellow asked what he should do in hispresent assignment. The church where he served loved Stamps music and sang fromshape notes. Dr. Porter spent time with that question, and conferred with the manthroughout the quarter. His idea was to take the church and choir where it was, andover a period of time, seek to elevate their musical taste and expression to God.Several years later, I used Dr. Porter's go-easy approach in a church where the pastorconsidered the doxology as high, fancy music. I often thought of Dr. Porter the yearI serve that church.As I think of Euell Porter, I recall a man who worked with college students andchurches to produce beautiful music. By all measures, he succeeded handsomely.Euell Porter110044Euell Porter Rememberedby Lena Sue (Pinky) Chilton Murry Sam Houston State Teachers College 1947-1948 Hardin-Simmons University 1948I met Euell Porter in the fall of 1947 when his choir from Sam Houston StateTeachers College was touring and played a concert stop at Lamesa High School. SinceI attended school half a day, I missed the presentation but was called at my part-timejob by the principal of the high school, to come to be interviewed by Mr. Porter. I wasa poor girl with hardly any hope of attending college, although it was my dream to doso. Mr. Porter asked me to sing for him and from there the story of his influence isindelible in my life's book of treasured memories.I was invited by him to come to Sam Houston on a scholarship. When he accept-ed a position in the music department at Hardin-Simmons University, he invited meto go with him, also with a much-needed scholarship. That was the beginning of hisinfluence in my life.His personal interest in me and his gracious consideration of my needs was thedoor through which his life caused me to see more than a professor/teacher but a manwho loved the Lord Jesus. That was demonstrated in his daily walk and relationshipwith his students. I saw, for the first time in my young life, a spiritual giant. Hishumility and gentleness, with meekness that pronounced itself in a demeanor as heconducted the choir in rehearsals and concerts with a strong hand of quiet authority,showed me what God meant when he said Moses was the meekest a man on earth. Thatstrong hand of authority was framed by love for the music and for the singer and helead us to be aware of the matchless ONE we were singing about. Dr. Porter's God-given ability with music brought into the lives that were under him, and seen with eyesof a learning student, lessons that have had their far-reaching influence on many oth-ers. His faith was evident as he lovingly took care of Christine who, he said, gave herlife to bear him a son so he would give his life in meeting all her needs that he possi-bly could. He did that magnificently!There are no words adequate to express what my association with him has meantEuell Porter110055during the intervening years and no way that I could have ever repaid him. He taught me more than music, and for that I am eternally grateful. His onefavorite song, "How Tedious and Tasteless the Hours When Jesus No Longer I See",is only a memory of him as he now stands at the throne and sees Him face-to-face. Ilook forward to that grand reunion when we get together and lift our voices of truepraise to HIM face-to-face who graciously planned and directed it all. To God be theglory!Euell Porter110066Euell Porter Rememberedby Pat Agnew KincaidIt is a privilege to have a part in this tribute. Ted Nichols wrote so eloquently ofEuell Porter and the feelings the choir members shared. Dr. Porter came to lead themusic in a revival at the First Baptist in Cisco when I was in high school. I wasimpressed with him not only as a musician but as a dedicated Christian. After gradu-ation from Cisco Junior College, I transferred to H S U and became a member of theA Cappella and First Baptist choirs in 1952-1953. I married in June of 1953 and wecommitte three days a week to complete our senior year. Even though I was in choironly one year there are many memories. It was at a party in the Porter's home that Ifirst heard him sing "When I Grow Too Old to Dream" to Mrs. Porter. I was going tosing it to Don at our 50th anniversary celebration but there were just too many emo-tions remembering the Porters. What a special love he showed for God, Mrs. Porter'sand his music!Euell Porter110077Euell Porter Rememberedby Edward Barnes Hardin-Simmons University 1955My family moved Abilene in the summer of 1948 when I was going into my jun-ior year in high school. I had been used to singing in an adult choir in church and soask Dr. Porter if I could sing in his choir. Since it was summer and most of theHardin-Simmons students were gone, he let me do so, but in the fall when the col-lege kids all came back and filled up the choir, he shuffled me back to the youth choir.That was an interesting experience. He lined up all the boys on the back row and camebehind us feeling our throats for and "Adam's apple" I suppose. When he got to mehe got real excited and rushed me up to the piano and ran me through some scales tosee what my range was. That was the first time I really knew that I was a bass.I stayed in the youth choir through the first nine weeks of school and then myfolks moved to Orange were I finished high school. As soon as possible I went backAbilene to attend Hardin-Simmons. Since I was, by that time, an adult, Dr. Porterallowed me to sing in the "big choir". I wanted to sing in the A Cappella Choir atHSU, but I was a chemistry major and my labs fell at the same time the choirrehearsed, so I was unable to sing with it. I did tryout to sing in the male quartet how-ever and therein lies a tale.I sang in a male quartet in high school in Orange, under Maurice Alfred andreally wanted to continue that at HSU. My best friend Eddie Hebert had also sung inthe quartet, and he went with me to Abilene. We wanted to sing together so badly thatwe made a pact: if both of us were selected, we would sing together in the quartet. Ifeither of us didn't make it, the other would not sing in it either. When Dr. Portercalled us all together for the first audition, and Eddie and I both tried out and felt likewe had a good chance. When the second audition came around however, I was calledback but Eddie wasn't. So I lived up to the pact and didn't go back the second time.Now at the time, I lived off campus in the home of one of the professors, and Dr.Porter lived a few blocks down the same street. As I was walking home from the cam-pus the next day, a car came up behind me and stopped. Dr. Porter told me to get in.Euell Porter110088He was not pleased. It was the only time I can remember ever seeing him upset - andit was with me - not good. He had planned, he said, to give me the bass spot in thequartet, but since I didn't show up, he gave it to someone else. Well at least we knowhe was capable of being upset, but I never saw that again.I continued to sing in his church choir until I had to start working at night andwas unable to go to rehearsal. Even so, he often gave me rides home from the campusand he became a good friend. After graduation from Hardin- Simmons, I went intothe Army and he moved to Baylor. I was stationed at Fort Bliss in EI Paso for most oftwo years and then stayed there working for another 10 years after I got out. Duringthat time I sang in the church choir at First Baptist, EI Paso. Twice during that time,we had Dr. Porter come out for a week-long choir clinic; once by himself and oncewhen he brought his wife. I treasure the time he spent with my wife and me in ourhome as well as the association I had with him in the choir. Since then, until his deathwe would exchange Christmas cards and write occasionally, and at least once, I talkedwith him at length on the phone when he was in the retirement center. My wife and Iattended every Baylor A Cappella Choir concert that happened in the Houston areawhile he was directing. We enjoyed the choral mastery that he and his choirs exhibit-ed.I counted Dr. Porter not only a good friend, but the finest choral director I'veever sung under, and I've sung under several who were and are reallygreat. His death was a personal loss to me as it was a professional loss to all choralmusicians who knew him and have sung under him.Euell Porter110099Remembering Euell PorterRandy Adams H-SU '55 BMIn the fall of 1953 I was destined for a University other than Hardin--Simmons.For some reason I stopped by to talk with Dr. Euell Porter before leaving my hone inAbilene. The outcome of that meeting was a scholarship and an opportunity to workwith one of the three Professors at H-SU who were instrumental in the developmentof my future.Dr. Porter was a caring and loving person exemplified by his complete devotionand concern for his life partner. He was an exemplary choral conductor who was ableto unify an extremely diverse group of people into a rich choral sound that expressedlife qualities no other musical art can claim.This writer has always felt our lives are truly orchestrated by God, and we are Hisinstruments. Compassion, devotion, and commitment to his faith through choralmusic and teaching: the instrument on which Euell Porter so masterfully performed.Truly an instrument orchestrated by God.Euell Porter111100Remembering Dr. Euell Porterby Dewayne BeatyUpon entering HSU in the fall of '54, I had hopes of becoming a member of theA Cappella Choir but 1 had no formal vocal training. I asked and received an oppor-tunity to "tryout" for Dr. Porter. At the end of the "tryout" I remember him sayingto me, Beaty, I want to put you in our Chapel Choir and help get that fine voice Godhas given you trained and then we will be ready for you in the A Cappella Choir. I wasgreatly disappointed, but he was right (as usual). So I had one year to sing under hisdirection and what a year it was! Lyndal Bingham, J.E. Boggs, Vernon (my room-mate), Ralph Gibson, Pat Kirita, Barbara Ralls, Carol Scott, Sarah Willis, BeckyKelmer, Sue McCown, Peggy McKibben, Lynn Meeks, Patsy Tidwell, RichardFancher, Veril Price, Jackie Shirley, Bill Moore, Lawrence Webb, Jackson Williams,Don Scargall, Nanallene Miller, and Betty Baty are some that I remember in theChapel Choir that year. The Four Flushers Quartet: Lyndal Bingham, Ralph Gibson,David McPherson and Hugh Sanders were a part of our touring program. We sang allover West Texas. It was during that tour I, along with all the other members of thechoir, learned some very valuable lessons from Dr. Porter. Before our last concert ina church worship service on that tour, the choir was eating a meal and enjoying arelaxing time before the service when someone went to a piano and began to play some"jazzed up" versions of several hymns. Soon most of the choir joined in. Then Dr.Porter come rushing into the room and addressed the entire choir for about 15 min-utes or more. During that lecture I learned three very important theological truths:1) The fear of God! 2) Reverence for God and God's House and 3) A deep respect forthe privilege, honor and responsibility of singing praises to the Lord and leading con-gregations in worship. During our presentation that evening, we sang many of oursongs without Dr. Porter having to use his hands, only his eyes. It was a very movingexperience. I can assure you that many times, in many types of worship experiences,in many countries 1 have remembered that lesson learned from Dr. Porter in a fel-lowship hall in a small West Texas Town on a spring Sunday evening. Thank you Dr.Porter, I will be forever grateful!Euell Porter111111EUELL PORTER Thoughts of Lyndal BinghamFirst thought: One of God's choice men in choral church music.A friend - From the first time I saw him direct his Chapel Choir from Hardin-Simmons at 1st Baptist in Spur, TX, I knew he was so much more than just a verypolished choral director. He was so warm to invite two really country boys, RalphGibson and myself to come to Hardin-Simmons and musically fulfill our God call-ing to church music ministry.Second thought: The more involved I became at Hardin-Simmons, the more Irealized, by observation, what a great choral interpreter he was. He always knewexactly the sound he wanted from each piece of music. All of this came from hisfacial expression, his eyes, and even the exact way he held his fingers on his righthand. Intonation and wording. "Always make sure the people on the back row canunderstand the words and appreciate the exact intonation of each note."Last thought: I always wanted to stand, to interpret, to understand the musicalmessage and try my best to emulate the exact presence of Dr. Euell Porter. Mychurch music calling was always on a little higher plane because of him.Euell Porter111122Remembering Dr. Euell Porterby Jack BottomsMy first knowledge of Mr. Euell Porter (as he was known back then) came when Ienrolled at Sam Houston State Teachers College in the fall of 1948. Soon after Iarrived on campus I learned that Mr. Porter had accepted the position ofChoral Music Director at Hardin-Simmons University. So, he had departed SamHouston at the end of the spring semester of 1948 and I had just missed him.However, as I began attending church at the First Baptist Church of Huntsville 1became acquainted with a host of people who spoke very highly of Mr. Porter and oftheir sorrow at losing their Choir Director, at First Baptist and at the college. ThePastor of First Baptist tried his best to get me to leave Sam Houston and follow Mr.Porter to Hardin-Simmons. However, I could not afford the expense of attending aprivate college and gave up the idea of moving to Abilene.I completed two years of work toward a degree in chemistry before withdrawingfrom college to enlist in the United States Air Force. 1 returned to Sam Houston ona TDY assignment from the Air Force and received my degree in the summer of 1953.1 returned to the Air Force and in the summer of 1954 married a wonderful younglady 1 had met during my final semester at Sam Houston. We moved off base in SanAntonio and lived there until I was discharged from the Air Force in December of1954.Throughout the six years following my initial enrollment at Sam Houston 1 wasconstantly coming in contact with someone encouraging me to "go study with Mr.Porter" and, as a result of a life-changing decision in the fall of 1954,1 contacted Mr.Porter (now Dr. Porter) about attending Hardin-Simmons in the fall of 1955. 1 willnever forget his response. He wrote, "I am sure Hardin--Simmons would love to haveyou attend there and 1 will help you in anyway 1 can to contact the right people.However, I need to tell you that I will the teaching at Baylor University, beginning withthe fall semester of 1955." I was overjoyed at hearing this news because Waco is only60 miles from my hometown of Jewett.So, June and 1 moved to Waco and I enrolled at Baylor in the summer of 1955.Euell Porter111133Beginning in September of that year Dr. Porter became my Choir Director at Seventhand James Baptist Church in Waco and at Baylor University. What a joy it was to final-ly work under the direction of the man 1 had heard so many wonderful things about.We had some great times during the two short years 1 was at Baylor and I will never for-get the help Dr. Porter gave me as a wonderful friend and teacher. 1 loved him dear-ly and admired him so much for the Christian example he lived. This was very evidentin his relationships with his students and in his devotion to his wife, Christine. I real-ized very early in our relationship at Baylor that all the wonderful things 1 had heardabout this man over a span of almost ten years were true. No wonder so many studentsdown through the years have continued to speak of Dr. Porter with love and admira-tion. He was loved by many, many people as was evidenced by the number of formerstudents who attended and participated in his memorial service.I have mentioned what a great teacher Dr. Porter was but have yet to give credit tohis wonderful talent as a Choral Director. I know that every director has his own wayof directing and there are those whose techniques were very different from those usedby Dr. Porter. I have sung under the direction of several men since my years at Baylorand have yet to find one who comes even close to the stature of this man where choralconducting is concerned. I guess this was due, in large measure, to the wonderful tal-ent he had in leading young people in the realm of choral music, especially sacredchoral music. He was a dedicated Christian and this was always evident in the way heconducted. It was a day-by-day learning experience to sing in one of his choirs. I owewhat talent I possess as a choral director to the leadership of Euell Porter.Dr. Porter was always anxious to help his students even after they had graduatedand moved on to their life's work. Upon completion of my degree at Baylor I taughtchemistry in high school for two years while I waited for a job to open up in choralmusic. In the summer of 1959 Dr. Porter recommended me for the choral positionat Thomas Jefferson High School in Port Arthur, Texas. After teaching eight years atThomas Jefferson our family moved to Boulder, Colorado where I began work on adoctorate degree. I didn't get a chance to visit Dr. Porter very much during these yearsbut I never forgot him and his influence on my life and the lives of my Wife and fivechildren. When I wrote my dissertation he was one of the three people listed at theEuell Porter111144beginning of the paper as having been a special inspiration to me. We moved to St.Louis, Missouri in 1972 to accept a teaching position at Missouri Baptist University.At the completion of eight years at Missouri Baptist I was asked to become Dean of theSchool of Music at Howard Payne University in Brownwood, Texas, having been rec-ommended for that position by Dr. Euell Porter.I retired from Howard Payne in 1993 and moved back to my boyhood home inJewett, Texas. I was able to visit with Dr. Porter from time to time and each time wespent precious minutes remembering those great days at Baylor. I was saddened whenI received the call that he had passed away and was glad, as I have mentioned previous-ly, that I was able to sing in the choir at his memorial service. My sadness that day wasmade more bearable by the knowledge that Dr. Porter had joined his belovedChristine in that celestial home in Heaven. I will always cherish the memory of thiswonderful man.Euell Porter111155Remembering Dr. Euell Porterby Phil and Jennette [Crouch] Briggs H-SUMaurice, thank you for including me in the Euell Porter tribute. Dr Porter wasprobably the most influential person in my life after high school. I entered H-SU inthe fall of 1951 and sang in the a cappella choir all four years, serving as president in54-55, Porter's last choir in Abilene. He was my voice teacher and several courses inmusic, conducting etc. (also sang under his direction at FBC, Abilene for one year.He recommended me to my first church, FBC, Munday, TX following Bill Hardage!(later taught voice, hymnology and founded the Men of Midwestern choir from 65-71. Porter's guidance even after his move to Baylor remained a main resource for me.The guidance he gave those of us who were soloists or in vocal groups was without peer.My strongest memory includes many of the names listed in this email, Bill Denton,Bill and Delana O'Brien, P. J. Newsome [Baylor & Midwestern Seminary], JohnBullock, Britton Wood, Ed Wiggins, Ed Nichols, Dick Waters, Peggy Muston, TheHardy Twins, Norman Ward, Tommy Adams, Ron Bates, Loretta Guillette, etc.I will be retiring from SWBTS, 8/04 after teaching for 40 years. Hardly a daygoes by that Euell Porter does not cross my heart/mind. Beautiful Savior will lingerforever in my mind and on my tongue since I still sing and enjoy music. Jennette canstill smell the fumes of the bus rounding the corner from a concert or tour. Dr.Porter visited us in the 60's Little Rock and while turning through our scrapbook, heremarked that his 51-52 was probably his best one. Now all the rest of you can argueabout that, especially you Baylor folk. Do you remember the poem, "For the commonthings of every day, God gave man speech in the common way, And for higher thingsmen think and feel, God gave the poet words to reveal, But for heights and depth notongue can reach, God gave man music, the soul's own speech.Blessings and Prayers thanking God for the gift of memories. Euell Porter111166REMEMBERING EUELL PORTERby Bill Davis,Retired Director of the sanctuary choir at Lake Rayburn United Methodist ChurchI was privileged to be in Euell Porter's choir at Baylor University for the one yearI attended. I found a great number of talented musicians in that choir due to Euell'srecruiting ability.Dr. Porter was quite gifted in his selections of music. The choir always soundedchorally proficient and the music pleasing.It was my privilege to hear his final performance for T. M.E.A. I was amazed atthe excellent quality of the vocal production, and his choice of music was the best Ihad ever heard from his choirs.Yes, Euell was a great Christian influence on many young people who workedunder him, myself included.Euell Porter111177Remembering Euell Porterby Mary F. Fitzgerald (Day) H-SU 1950-54The highlight of my college days was having the privilege of singing in ChapelChoir the first year and the A Cappella Choir the other three years.The music truly came alive for me, thanks to Mr. Porter. The verse he quoted some-time during every concert truly became the way I felt about music:"For the common things of everyday,God gave man speech in the common way. For higher things men think and feel,God gave the poet words to reveal.For height and depth no tongue can reach, God gave man music, the soul's own speech."Euell Porter111188Remembering Euell Porterby Priscilla Lawhorne HysonHardin-Simmons University 1953-1957Dr. Euell Porter was a gigantic Christian mentor to many young men and womenwho sang in the choirs he conducted over the years of his teaching and beyond his for-mal teaching career. Those who sang in the choirs he conducted shall always remem-ber "Fairest Lord Jesus," and the ethereal feeling that came over their spirit as theysang with his direction.You would hear and feel the Holy Spirit within and see Him shining in the eyesof those who expressed the depth of their salvation while singing together this beauti-ful hymn of Faith. We knew we were all united forever in our love for Christ. Yes, welearned "music is the soul's own speech."Our respect and love for Dr. Euell Porter lives on today through his many stu-dent friends. His influence shall survive for years to come. His gentle kind personal-ity exemplified Christ's in the eyes and minds of those who knew him. He probablywas not a perfect man, but to us at that time in our lives, he seemed the perfect man.He was a father figure to many students.We learned people should be gentle and kind to all they meet when at all possi-ble.Euell Porter111199Remembering Euell Porterby Melvin D. Jasek, BA 1956Hardin-Simmons UniversityThank you for letting me be a part of Dr. Porter's recognition celebration. As forso many others, he was such an inspiration to me, a mentor and a person for which Iam truly so thankful to have known. The time that I spent with him at Hardin-Simmons and at First Baptist Church in Abilene set my standard for choral music andappreciation of the wonderful world of choral music he exposed me to. Even now afterfifty years, I hear the sounds of his choirs and I search continuously for those soundsin music today.I was a student in high school in 1950 or 1951 and Dr. Porter was the clinician atchoir contest. In a few spare minutes he listened to a male quartet and as a resultoffered the four of us scholarships to Hardin-Simmons. Two of us accepted thescholarship and sang in the A Cappella Choir under Dr. Porter's direction fromSeptember 1952 through May 1955 when he left for Baylor University. We also sang ina men's quartet and in the choir at First Baptist Church.While Dr. Porter was a strong disciplinarian in his rehearsals, he also enjoyed agood laugh. During a dress rehearsal of the anthem "The Creation" by Wiley Richter,a choir member, Bill Hardage who was the soloist pulled a stunt during his solo, whichtotally wrecked the rehearsal. Dr. Porter dismissed the choir with tears of laughter. Inthe three years with Dr. Porter, I don't remember any other rehearsal being inter-rupted by a choir member.I remember the choir tours and the annual concerts in Behrens Chapel atHardin-Simmons, but most of all I remember the thrill and joy of the music and thespiritual experience of just being a part of a choir directed by Dr. Porter. I can stillsee his face and eyes, the small movement of hands in conducting and the love of Godhe shared with his students.I have enclosed some articles, pictures, and programs, which I hope you can use.The article from the Range Rider, "A Personal Tribute to Euell Porter" by Jack Yates,really sums it all up. How fortunate we are to have known Dr. Porter.Euell Porter112200Remembering Dr. Euell Porterby Virginia Lee Allen Lewis Thank you for making this tribute to Dr. Euell Porter.I was only in his Chapel Choir for one year in 1957-58, but found that it was oneof the best years in my singing career. He was an excellent director and one of thefinest gentlemen that I have ever known. He was responsible for making some of thebest memories of my Baylor days. My years at Baylor were from 1957 to graduation in1959.Euell Porter112211Euell Porter: My Great Mentor in Choral Musicby James T. LodenEuell Porter's Christian character, his dedication to choral music, and his per-sonal concern for others were the defining attributes of his life.My first encounter with Euell Porter was at an Interscholastic League Contestwhere I won a First Division in Solo, and he was quick to persuade me to come to SamHouston State. His genuine interest and invitation met with my Methodist preacherfather's approval and thus began four years, not only under his baton, but under theinfluence of one of the most dedicated Christians I have ever known. He expected anddemanded much of his students in choirs as well as elsewhere. Respect and concernwere two lessons taught and learned well.Porter's music in those early years was driven by a desire to create a choral tonethat could be described as lush, dark, and organ like. He selected voices that he couldtrain to produce that quality and thus he chose mostly sacred music that lent itself tothis quality. His interpretations were very personal and always suited to the texts.Students were expected to memorize the music by the second rehearsal of a piecewhich required a great deal of discipline. Rapt attention was given to his directing andinterpretation. Music was never held in performance. His choirs had a great appeal toaudiences and getting 50 or so singers to sound like one was an interesting mystery tomany listeners. Porter's dedication to his ideal was unwavering.Dr. Porter was very involved in choral activities at the state level, and throughoutthe years probably recruited more students to attend Sam Houston State University,Hardin-Simmons University, and Baylor University than any other single person. Hesought help for many students who could not afford the cost of a higher education.Shaping lives and building character seemed to be as important to him as producinga perfect choral tone. He had many followers and admirers, and through his motivat-ing leadership he influenced many to follow choral music careers in colleges, church-es, or public schools.I owe great thanks to Euell Porter for my career in church music and the influ-ence he had in my life. He was my great mentor!Euell Porter112222Dr. Euell Porter, Gone But Not Forgotten Donna Magee Lunsford, Baylor University 1965-1968My earliest memories include Dr. Euell Porter. I had a unique family relation-ship with him, as my father had studied music under Dr. Porter in the 1940s at SamHouston. In fact I was born while my dad, John Magee, was a student there and waspresident of the choir. He and Mrs. Porter were friends with my parents through theyears. My dad settled in the Brazosport area, where he taught choral music for 36years. I remember once during one of our infamous Gulf Coast hurricanes, Dr.Porter called to check to see if we were okay-the phone call was by orders of Mrs.Porter!When Dr. Porter taught at Baylor, his choir camps in the summer became quitepopular. I went to these camps every summer beginning in junior high, and lookedforward to them all year long. I loved music, and I loved singing under Dr. Porter'sdirection. We who were students from the Brazosport area (Lake Jackson, Freeport,and Clute) enjoyed getting to know other students from different areas in Texas whoalso came year after year. My love of Baylor grew through the years and I just neverconsidered going anywhere else but there.It was as a freshman at Baylor in 1965 that I first got to sing in the choir underthe direction of Dr. Porter just as my dad had done when he was a college student! Mysophomore year, I started out in the Chapel Choir and got promoted to the ACappella Choir, the choir that got to go to New York and sing at Carnegie Hall in1967. I remember how hard I had to work to learn all the music because I was put intoA Cappella Choir later than everybody else. At one point I got so stressed out andtired that I sat in his office and cried. He was so kind and just listened to me, whichis all I really wanted him to do. Then I went back to a practice room to learn moremusic!I got over my stress and had the time of my life in New York City on that tour!We sang a wonderful concert and got to experience an opera and a Broadway show andeat in nice restaurants. Some of us even went to coffee house in Greenwich Village,where we sang some of our music from "Man of La Mancha." It was the first time inEuell Porter112233my life that I felt like an adult- no curfews- Dr. Porter just expected his students tobehave as he knew we would and be where we were supposed to be at all times! Hetrusted us. That was part of his special personality.Years later, in 1975, after I was married and living in Denver, Colorado, Dr.Porter brought his choir there on tour. My husband and I kept a couple of boys fromour hometown who were in the Baylor choir. We also had Dr. Porter over for dinner.I have a picture of him holding my daughter who was just a few months old at the time.He was just like family to me. That daughter of mine, Julie, also went to Baylor in1992, but Dr. Porter had retired by then.He was such a great man, who left a legacy to many of us. Dr. Porter was tough-but kind. He was strict-but he trusted us to live up to what he expected. All of us whosang under him knew he got a very special choral sound that was exceptional. I'm suremany of his students (like my father) went on to honor him by becoming excellentchoral directors as well. And many others of us have continued to. honor him by let-ting choral music be a part of our lives in one way or another through the years. I willnever forget him or the fabulous music that I learned while I was in his choir. Godbless his memory.Euell Porter112244Euell Porter Rememberedby Anita Mobley GilchrestI was in Dr. Porter's freshman choir 1965-1966 and the A Cappella choir 1966-1967 at Baylor University. He was a tremendous teacher and got thebest from all of us. He was tough and expected us to give him our best. We were expect-ed to work on music on our own and to memorize what we performed. His musicalprograms always attracted full houses. The A Cappella Choir received a standing ova-tion at the Music Educators National Conference in April of 1967. I would have con-tinued to tryout for places in his choir's after my sophomore year, but I was in theSchool of Nursing and spent my junior year and senior year at the Medical Center inDallas. I truly missed singing in the university choirs after going to Dallas. Dr. Porterencouraged us to participate in other special musical groups opportunities such as theB R H choir, the opera chorus, etc. He was genuinely loved and respected by his stu-dents. In the year since graduation from Baylor, I have sung in many church choirs.The things that I learned from Dr. Porter are still part of what I bring to the choir.Choral music is still one of my loves.Euell Porter112255Dear Dr. Porter,Echoing the thoughts of countless others, I want you to know that you are the rea-son I chose Baylor for my source of higher education. Even during those short yearswhen you would suggest your retirement, we would plead with you to wait until wegraduated and then it would be okay! Ive wondered how last years underclassmen feltknowing you wouldnt be there next year. Im thankful you did stay until I left. Youve made such an impact on every area of my life and in turn, I hope I ampassing these values to my children. It is impossible for me to participate in my musi-cal activity, whether performing or listening, without doing it with Porter scrutiny.(Remember the time our choral conducting class was adjucating high school choirs forpractice, and you and I suggested that a soprano in one of the choirs be sent to PEclass instead of singing? Ha!) I thank you for your influence. It has become a meansof facilitating enjoyment and accomplishment.My only regret from having been under your leadership is that every choir direc-tor and church musician have not nor will have the opportunity to learn from you. Itis difficult not to judge others by the standards youve set for yourself, as well as thoseinstilled in us who have worked with you. Your ways are our ways in as many ways aspossible to imitate you. Thus, my life is much fuller and satisfying because of you.Thank you.With much love and respect,Eloin Bradley BatesEuell PorterJuliaDeanEvansMaterial prepared by James R. Nance112288Biograhpical SketchJulia Dean Evans Amarillo High School 1939-1950The fall of 1939, Julia Dean arrived in Amarillo, Texas, to accept the position ofA Cappella Choir Director at Amarillo High School. Amarillo was the hub city in theTexas Panhandle, a town of approximately 40,000. Amarillo High was the only highschool where sophomores juniors and seniors came from all over the city and severalnearby smaller towns. At the time it was considered a large high school and was bestknown for its football team, the Amarillo Golden Sandies, several times state cham-pions. Amarillo High was soon known for something else. Its outstanding ACappella Choir program. Julia Dean was a young, attractive, petite, enthusiastic lady with big ambitionsand the determination and dedication to fulfill her ambitions. Her magnetic person-ality quickly attracted the students of the high school and by the end of her first yearshe had 44 students in her choir. During her 12 year tenure as the Amarillo HighSchool Choir Director the choir program grew to eight large choirs with over 430members. In 1943, during the World War II years, the male band director was drafted intothe service and Julia Dean directed the state renowned 80 member Golden SandyBand, in addition to her choir work. After the war, when a full time band directorwas hired, Julia returned full-time to developing her choir program.Julia Dean was born in Oklahoma, attended Clarendon College, West TexasState,The University of Southern California, Juilliard School of Music and NorthTexas State University. Her quest for improvement in excellence as a choral directordemanded continuous advanced education. Beginning in 1945 a selected choir would tour throughout the state of Texas per-forming before school, church and civic organizations. Julia Dean found the annualtour stimulated great interest in her group and also found that their appearanceencouraged other schools to either organize choirs or improve and upgrade their ownchoir programs. In addition the choir was selected several times to serve as theJulia Dean Evans112299demonstration choir for the Texas Music Educators Association.The highlight for the A Cappella Choir under Julia Deans direction, was a tripto New York City in a July 1948. Chosen by the Lions Club of Texas, a 50 voice choirrepresented the state of Texas at the Lions International Convention. Performancesin New York City included a concert at Madison Square Garden, a Sunday morningand national radio broadcast over N.B.C. and an appearance on the Maxwell Housecoffee television show. While in New York City, the choir was invited to a rehearsal of Fred Waringsfamous choir The Pennsylvanians at his estate at Shawnee, Pennsylvania. After therehearsal of Mr. Warings choir, he asked if the Amarillo high school choir would per-form for them. Mr. Waring kept them singing for 37 minutes after which he stated,This is the finest high school choir I have ever heard. Julia Dean resigned from Amarillo high school in 1950. During her 12 years inAmarillo she had over 1500 boys and girls in her choirs. Several members of herchoirs, some whose first introduction to music was as a choir member, became choirdirectors. After Amarillo, she taught at Marshall High School in Lubbock, and South OakCliff High School in Dallas, before retiring. Julia Dean married Bill Evans in 1945. Following his death she married ODellSimmons. Julia Dean Evans Simmons died in Dallas in 1976. Julia Dean Evans influenced the lives of many young men and women whoattended Amarillo high school, sang in her choir, played in the band under her direc-tion and just had the privilege of hearing her musical organizations perform. Beloware comments from several of the many who responded when asked to share the influ-ence Julia Dean Evans had on their life and their appreciation of music.Julia Dean Evans113300Julia Dean Evans Rememberedby Lynn WhittenClass of 1948I was in the AHS A Cappella Choir from 1946 to 1948. During the second year,the city of Amarillo and Texas Lions Club underwrote a train trip for the choir toperform for the Lions Club International Convention in New York City. My fond-est memories are from that trip. I had been no further away from home than Canyon.The trip included New York of course, Toronto, Niagara, and the highlight for me,Fred Warings estate/workshop at Shawnee on the Delaware. There we sang with andfor the Fred Waring singers and attended a taping of one of their radio shows. Singing with Julia Dean Evans had a tremendous impact on my future as a choirdirector at Dumas, Texas Junior High and High Schools for six years, and as choir-master/organist at First Presbyterian Church in Amarillo, for three years, and mostrecently, 30 years as director of Choral Studies at the University of Colorado. Julia Dean Evans impeccable ear and love of music making are always goals forme. And her putting Amarillo on the musical map gave endless thousands the pleas-ures and the feeling that music can bring. (Lynn Whitten married Evelyn Dean, a niece of Julia Dean Evans.)Julia Dean Evans113311Julia Dean Evans Rememberedby Charles NelsonIm not sure what a fifteen year old boy, who has spent his whole life in just twoNorth Texas counties, should know about the world of choral music, but I had playedin a school orchestra and sung in school choirs and had listened to world class musicplayed by world class musicians over airwaves broadcast from NBC and CBS. In March of 1942 I heard the Amarillo High School Choir directed by Julia DeanEvans and could hardly believe my ears. I was acquainted with a college choir, whosemens section had been decimated by losing men to the armed services. The menssection in this high school choir sounded as good (or better) than the college choir.That choir sang so far above the level of my own high school choir that they could notbe considered in the same class. It was a real eye opener (or ear opener) to this younglad who had an interest in singing, but as yet, had no aspirations to direct a choir. Ihad seen the musical possibilities of a group of 15-17 year old children who had expe-rienced good vocal and choral instruction.As years passed, a stream of students from Amarillo High School found their wayto the Music School in Denton. All these music students were influenced by JuliaDean Evans and her choir. I was glad, that in later years, I got to know this dynamic, talented person. Herwork introduced me to possibilities I didnt know existed.Julia Dean Evans113322Julia Dean Remembered by Alice Lee Gist FedererClass of 1944Singing at the Easter Sunrise Services, held at Palo Duro State Park, is what Iremember most as a choir member. Two songs I remember singing were, Fairest LordJesus and an original composition written and arranged by one of Julia Deans rela-tives. I think it was her brother. Singing in that wonderful choir as the sun rose overthe canyon was one of the most inspirational experiences of my life.Julia Dean Evans113333Julia Dean Rememberedby Jim CliftonClass of 1949I was a member of Julia Deans A Cappella Choir in 1948 and 1949. I was woe-fully short on musical talent, but long on appreciation for those who possess it. JuliaDean assuredly possessed it, and sought and nurtured it in every one of her students.I recall with fondness singing Peter J. Wilhouskys arrangement of In SolemnSilence, Fred Waring Dry Bones, and of course, The Battle Hymn of the Republic. I also recall with great sadness the choir singing Fairest Lord Jesus at the funeralof Carolyn Kelley. She, Bob Lacey and a journalism teacher Dorinda Bond werekilled in a car wreck as they returned from Canyon, Texas after working on our schoolpaper Sandstorm. The choirs Christmas concert was a personal favorite of mine. One of my joysis being associated with the publishing of A H S class of 49 newsletter. I include herean excerpt from the 2003 editors corner relating to the choir Christmas concert. I cant remember what I had for dinner last night, but I can remember when Ifirst heard Oh Holy Night. It was a holiday season, perhaps 1947. We had gatheredfor the choirs Christmas program, in a festive mood and noisy, until the musicbegan. Sue Johnson, spotlighted on a darkened stage, that tiny figure standing infront of the choir, with that sweet soaring soprano voice filling every corner of theauditorium held us absolutely spellbound for a magic moment. Ive thought of thatmoment many times since, and have regretted the passing of so many years withouthaving told her how special it was. Now I get to say thank you Sue. In To Kill a Mockingbird Miss Maudie says, Mockingbirds dont do onething but make music for us to enjoy but sing their hearts out for us. (Jim Clifton graciously furnished a CD taken from a 78 rpm recording made ofJulia Deans 1948 choir. Included on that CD is Jims favorite song the choir sangMadam Jeanette.Julia Dean Evans113344Julia Dean Evans Rememberedby Texas De Sautell PasettiAs many, many more were, I was in Mrs. Evans choir all my high-school years.What a wonderful choir and what a great choir director!! We all loved her. Believeme that was big time for Amarillo in the early 40s.Julia Dean Evans113355Julia Dean Evans Rememberedby Charles JeffressClass of 1944I didnt sing in the choir directed by Julia Dean Evans, but I was in the AHSBand she directed. I remember her as a very talented lady, a good leader, a goodmusician and a lot of fun. Im reminded of an anecdote that happened one time dur-ing band rehearsal. She stopped the band in mid-tune to review some sections of themusic which had lettered reference point A, B, C, etc. She called out Go to H . . .No! On second thought Go to L. Of course all this brought loud laughter from theband members who immediately thought their days were numbered. Ah, fond mem-ories!!Julia Dean Evans113366Julia Dean Evans Rememberedby Jim NanceClass of 1944I remembered Julia Dean fondly. My first year at AHS I played cornet in theband. Julia Dean was the director. My second and last year I sang in her A CappellaChoir. She also began a small vocal group called the Four Hits and a Miss. I wasfortunate enough to sing bass in the group, which, if Im not mistaken, was the yearJulia Dean formed the group. The other members of the group were, Hoyt Mulkey,tenor, Bob Andrews, second tenor, Clarence Kincaid, baritone and our star was JaneWhicker, our Miss. Donna Autrey was our pianist. In 1944, Julia Dean arranged for the University of North Texas A CappellaChoir to sing a concert at the high school. I later attended the University majoringin voice and choral conducting. While I ended up in business, I thank Julia Dean, as well as others, for inspiringme to attend North Texas to study music and participate in some most inspirationalmusic presentations. My real appreciation of music began under Julia Dean. Shechallenged the choir members with difficult music but made it fun to feel that senseof accomplishment when we finally neared that point of excellence to which she sostrived. Everyone who had the privilege of participating in and or hearing her choirs,over the dozen or more years she was director of the Amarillo High School, was for-tunate. She brought a new medium of entertainment, art and music to the entirearea.Julia Dean Evans113377Julia Dean Evans Rememberedby Cloys WebbClass of 1946As a student in an Amarillo High School, I was privileged to sing in Julia DeansA Cappella Choir for three years. I did not realize, until many years later, after Ibecame a choir director myself, what really outstanding choirs Amarillo had in thosevery early years of music education in Texas. In addition to being a member of Julia Deans choir, I can also claim her as amentor. She was a person who got things done! My parents were loving and support-ive, but they had neither the vision of a college education for me, nor the finances tomake one possible. Knowing these things and feeling that I had some musical talentto offer, Julia Dean stepped up to the plate. She called me into her office in 1946 andannounced that I was the recipient of a music scholarship at the University of NorthTexas in Denton. She also told me that she had found a dormitory room for me anda job which would provide enough money to pay my room and board. Though I hadto drop out and work for a semester to help pay expenses, I eventually earned a B.S.in music and a Master of Music Education from North Texas. Ive often wondered if I would have attended college were it not for Julia DeanEvans. Of course, Ill never know the answer to that, but I do know that because ofher I did and because of her I became a choir director and was able to teach all levelsof choral music education for 33 wonderful years. I wish she were here for me to giveher my personal thanks. (Cloys was A Cappella choir director at Perryton High-School, McAllen HighSchool and Texas Christian University.)Julia Dean Evans113388Julia Dean Evans Remembered by Nancy Fields McClintockClass of 1948I was one of the lucky choir members that got to go on the New York trip spon-sored by the Lions Club of Texas, the summer of 1948. One highlight of the trip wasour audition for Fred Waring at his beautiful estate on the Shawnee in Pennsylvania.I made a scrapbook of our trip and have all the articles that appeared in theAmarillo Globe News about our trip. I will be happy to contribute copies of all I haveabout that trip and the choir, including pictures and a program of our 1948 a cappel-la choir spring concert, because Julia Dean was an exceptional talent and contributedenormously to the lives of every student she taught. (Sincere thank you to Nancy fields McClintock for making available so muchmaterial about the choir, the New York trip and Julia Dean Evans.)Julia Dean Evans113399Julia Dean Evans Rememberedby Ken Kohler Class of 1948As a junior at Amarillo High School in 1946, I first came in contact with JuliaDean Evans. I was playing in her band, but was attracted by the wonderful soundsJulie got from her choirs, so I tried out and made the choir. From that time on, Juliebecame my best teacher-friend and most revered teacher. We went all over the TexasPanhandle singing in schools, in churches, wherever she had a request. Once, when we were singing at the old Municipal Auditorium, we were a warm-up group before an appearance of beloved comedian, Bob Hope. I was standing inthe wings with Julie and we happen to be next to Bob Hope as he waited to go on. Iwas wearing a black and gold Sandy jacket. He hurriedly asked me to give it to himas he shed his own coat. Hope strode out on the stage in the black and gold AHS jack-et to the delight of the audience. He made a few jokes and ask me to come out on thestage. We traded coats and I exited to a very excited Julia Dean Evans. She was soglad for me to get to participate in such a manner. After AHS, five years of college and two years in the Army, I returned toAmarillo and joined a small Bible church. There was talk that we should have a choir,but we had no choir director. I thought, well, Ive watched the best in action, whycouldnt I at least do what I saw Julie do? There started a life long joy for me, lead-ing choirs. Since that time, Ive lead choirs in many churches in many locations. In 1947 I went to Costa Rica to learn Spanish. In the eight months I was there,we had a choir made up of students of Spanish who sang in Spanish-speaking church-es throughout San Jose. After that, I went to Mexico City. In two years there, I hadchoirs from the Wycliffe Bible translators staff, from the Mexican workers at the cen-ter and at a Spanish-speaking church I attended. Julia was such an inspiration to all of us who sang in her choirs. She was tough,fair, fun, but always correct. She was a magnet in our school, attracting a good partof the football team, cheerleaders and other noteworthys. I look forward to meet-ing her again sometime and only hope shell let me sing in her choir once more.Julia Dean Evans114400History of Amarillos A Cappella Choirby Betty Burkhalter 1948When Amarillos first A Cappella Choir was organized in 1939 by Mrs. JuliaDean Evans, it was impossible to predict the rapid growth of such singing groups. With 44 students in the first AHS choir, the organization grew steadily until asecond group, the Choristers, was organized with a grand total of 125 singers. Afteranother two years, the increasing number of singing aspirants made it necessary fora third choir to be organized. Thus the harmony singers took their place in AHS in1944.Today, nine years later, 420 boys and girls spend one hour daily in singing thesongs they loved. Mrs. Evans conducts three choirs each day, and Miss TennieThompson conducts five. Each year for the past three, a state tour has been made by 50 members of the ACappella. Mrs. Evans and group travel by bus to various cities and towns of Texas,presenting their programs before schools, church and civic organizations. For twoyears the local delegation has served as the demonstration choir for the annual con-vention of the Texas Music Educators Association. Highlights of musical activities for the A Cappellians this year, is their selectionto sing in New York Citys Madison Square Garden in July before the LionsInternational Convention. Through the years the best in music has been consistently presented to the stu-dent body until today, Amarillo High School students appreciate religious and clas-sical numbers equally as much as the lighter popular tunes. The public always received graciously the wide variety of singing of the choir whichincludes classical, religious, Negro spirituals, novelty and popular music and hasshown its appreciation of the choir by inviting it to appear before many different civicgroups many times throughout the year. During the past nine years more than 1300 boys and girls have worn the robesbelonging to the A Cappella; and each, in a spirit of love and loyalty to the choir, itsconductor, and Amarillo High School, has done his share to maintain the reputationof the A Cappella in the hearts of Amarillo citizens.Julia Dean Evans114411From the Journal of Nancy Fields McClintockTrip to New York City 1948TThhuurrssddaayy,, JJuullyy 2222nndd,, 11994488,, 55::3300 aa..mm.. We traveled by train which was chartered by the Texas Lions Club and the choirwas assigned two Pullman cars to use for both day and night. The first day took usfrom Amarillo, through Oklahoma and most of Kansas. FFrriiddaayy,, JJuullyy 2233rrddWe traveled through Missouri, Illinois, Indiana, Ohio and into West Virginia. SSaattuurrddaayy,, JJuullyy 2244tthh We arrived at Washington D.C. and around 10:00 a.m. Eugene Worley, TexasCongressman, had arranged a tour for the choir. 1. The White House, including the East Ballroom, the Green Room, BlueRoom, State Dining Rooms, even the Oval Office, the China Room and the Theater Room. 2. The Washington Monument, yes up to the top!3. Tour of the Pentagon. 4. To Arlington National Cemetery.A. Tomb of the unknown soldierB. Robert E. Lees mansion5. The Jefferson Memorial6. The Lincoln Memorial7. The Capitol buildingA. sang in the rotundaB. climbed to the top of the domeC. visited the House of Representatives8. Visited Mount VernonBack on the train to get to New York City by nightfall. Thirty minutes after ourJulia Dean Evans114422arrival we were walking down the famous Broadway!SSuunnddaayy,, JJuullyy 2255tthh,, 1199448811:00 a.m. Our choir was invited to sing live at the NBC studio in New YorkCity. It was a 15 minute concert in the time slot used for Fred Waring. This wasradio of course. (TV hadnt reached Texas yet.)We attended the Bobby Houston show in Rockefeller Center. After lunch wegot to attend the Robert Merrill show called Music America Loves Best (the RCAVictor show).Sunday evening the choir appeared on a Maxwell House Coffee TV show whichfeatured musical organizations brought to New York for the Lions Convention.MMoonnddaayy,, JJuullyy 2266tthhOur choir officially opened the annual International Lions Club convention at10:00 a.m. on stage in Madison Square Garden. We sang again to fill in for Gov.Thomas E. Dewey, who was unable to attend and speak. A first: that a musicalorganization was used twice in one convention. Monday afternoon we went to seethe Rockettes at Radio City Music Hall. Monday evening some of us attended theFirestone Hour, then all went shopping. TTuueessddaayy,, JJuullyy 2277tthhAfter breakfast the choir was treated to a tour of New York City which includedgoing through the Cathedral of Saint John, the Divine, which is the largest gothicstructure in the world, and the third largest church in the world. We went to EllisIsland and went up to the Statue of Liberty. A few of us even climbed up her armand went out on the base of the torch. We went by boat around New York Harborto see the skyline of New York City. Our choir sang today and at the dinner for the International Lions ClubGovernors at the Commodore Hotel. Then we went to a huge ice show calledHowdy Mr. Ice. (At that time the only ice theater in the world was located inRockefeller Center.) Julia Dean Evans114433WWeeddnneessddaayy,,JJuullyy 2288tthhThis afternoon a bunch of us went to Ebbets Field to see Brooklyn Dodgersplay the St. Louis Cardinals while others went to see a Broadway show. Tonight I (along with three other girls from our choir) were chosen to escortthe delegates representing all the countries at the convention. I was to representEcuador and wore the costume of that country, which was a formal dress with alarge hoop skirts of all colors and a straw hat covered with flowers. Our four, alongwith 18 other girls from across the country, appeared on stage before 20,000 dele-gates amid a setting of international flags. TThhuurrssddaayy,, JJuullyy 2299tthhWe were up early today to sing at the Texas delegation state breakfast in theHotel New Yorker. Then we were invited to sing for an unprecedented third timebefore the Lions Club convention. The invitation was issued from Melvin Jones,Father of Lyonism. We ate dinner and boarded charter buses headed for Shawnee, Pa. where FredWaring had requested our choir to audition for him. We auditioned in his studiosinging Cherubim, Madam Jeanette, In Solemn Silence. Then Fred Waring himselfdirected us in singing Dry Bones. On our last song Battle Hymn of the Republic,the Pennsylvanian joined in, with Mrs. Evans directing. The whole choir was invited to a five course state dinner on the Green Terraceof the Waring estate. After dinner we boarded buses for the ride back to our hotel,where we packed and prepared for our departure. FFrriiddaayy,, JJuullyy 3300tthhThe day we began our trip home, first by way of the Hudson River Day Liner, ariver boat with Albany as her destination. Albany was our only venture out of theU.S.. From there we went to Toronto, Niagara Falls, back to Buffalo, New Yorkthen to Chicago. Most of the day was spent on the river boat and it was warm and sunny on thedeck and we took advantage of the wicker furniture and slept like babies. After aJulia Dean Evans114444short shopping spree in Albany we made connection with our train and boarded forthe long trip home. SSaattuurrddaayy,, JJuullyy 3311sstt We arrived in Toronto early this morning and after breakfast were treated to atwo-hour bus tour of the city. Then, after a short shopping spree, we left forNiagara Falls. Once there, we swarmed a curio shop, then went to see the falls. Wewere too late to take the boat ride, but enjoyed our view of the falls both before andafter dark. Of course we sang while at the Falls and were heard by the director of theBuffalo Symphony Orchestra who wanted our choir to appear as guests artists at hisconcert the following Wednesday night. What a compliment! Too bad we couldntstay. SSuunnddaayy,, AAuugguusstt 11ssttChicago was the stop for the day and the choir missed singing a concert at therailroad fair because the train arrived three hours late. There was time for a tour ofthe windy city, however, and a quick song at Dearborn station which was The Eyes ofTexas. MMoonnddaayy,, AAuugguusstt 22nnddWe arrived at home.Julia Dean EvansFrankMcKinleyMaterial prepared by Charles Nelson114488Biographical SketchFrank A. McKinley, Director of Choral ActivitiesUniversity of North Texas 1947 - 1980Upon the birth of their second child, on June 13, 1915, in Winnipeg, Ontario,Lillian Belle (Arnold) and David Francis McKinley could not have foreseen the out-standing musical future of their new born son, Frank. Four years later, the parents made the decision to move their family to the areawhere Belle had grown up in New Concord, Ohio, a pleasant town with a populationof about 1,500. Beside family ties, New Concord was the home of MuskingumCollege, which was affiliated with the United Presbyterian Church. It was a good placeto live and to educate their children.Both parents were musical. D.F. even had a touch of fame when, during his sum-mer vacations from Maryville College, he served as song leader for the great evangel-ist, Billy Sunday.When he was five years old, Frank, and his sister, two years his senior, began for-mal piano lessons. It wasnt long until everyone in the house realized that youngFrank had quite an ear for music, when, upon hearing his older sister practicing,would yell downstairs, You missed the C sharp!Frank was diligent with his piano studies all the way through high school. Beinga precocious student, he entered Muskingum College a year ahead of his age groupwith the intention of becoming a chemist. During his sophomore year, while work-ing in the chemistry lab, amid clouds of smoke and acrid odors, he came to himselfand said, What am I doing here! I dont want to spend the rest of my life in a chem-istry lab! Since he had already had a dozen or so years of piano study and was singingtenor in the college quartet, he decided to turn all his efforts to music.Upon graduation, he had been offered a job teaching music in a high school inWestern Ohio. He knew he wanted to teach music, but he wasnt sure he was yet qual-ified. One of his mentors had a music degree from the Curtis Institute inPhiladelphia PA. She was a friend of Dr. John Finley Williamson, Founder andPresident of the Westminster Choir School in Princeton NJ. Dr. Williamson wasFrank McKinley114499holding a choral clinic in North Carolina. Franks mentor made arrangements forFrank to audition for Dr. Williamson during that clinic. With $3.00 in his pocket,21 year old Frank McKinley hit the road and hitchhiked from New Concord, Ohioto North Carolina to sing and play for Dr. Williamson. A part of Dr. Williamsonsaudition procedure included pitch memory and pitch recognition. After Frank playedand sang, Dr. Williamson discovered Franks remarkable ear, and offered him aroom and board scholarship to Westminster Choir College. Franks parents wereable to provide money for the tuition.In addition to the regular musical and singing training he received at WestminsterChoir College, in the next two years, he had the opportunity to sing in the chorus ofmajor choral/orchestral works with the New York Philharmonic under the baton ofthe great conductors, Bruno Walter and Arturo Toscanini. At no time did Frank longfor the chemistry laboratory.After earning his Masters Degree from Westminster Choir College in the springof 1940, he was hired by Wilfred Bain at North Texas State Teachers College, Denton,Texas, to teach singing, direct the Chapel Choir and to serve as his choral assistant. December 7, 1941 was a day that changed the lives of every citizen of the UnitedStates. Frank McKinley was no exception. As a healthy male, in his middle twenties,he was of prime age to become a soldier. Duty to his country pulled him away fromhis chosen profession. Following his basic training at Camp Walters in Mineral Wells,he was shipped to Providence Rhode Island, where he joined the Headquarters of the13th Corps as a Warrant Officer, assistant to the Chaplain. With his training andexperience, Frank was placed in charge of music. After forming in Rhode Island, the13th Corps paused in England for a month before traveling to France to join the realwar.After his separation from the Army in 1946, he joined the music faculty atKentucky Wesylian College. After one year in Kentucky, Frank McKinley was hiredas the director of choral activities at North Texas State University in Denton, Texas, aposition he held for the next thirty three years.During his tenure, the A Cappella Choir gained a notable reputation for its ded-ication to the cause of advancing contemporary choral music as they sang Southwestpremieres of over 40 compositions, including important works by American com-Frank McKinley115500posers Samuel Adler, Leonard Bernstein, Roy Harris, William Latham and MartinMailmen. During his entire tenure, the UNT Grand Chorus served as the choral instru-ment for the Dallas Symphony Orchestra, boasting 60 performances with such con-ductors as Antal Dorati, George Solti, Paul Kletski, AnshelBrusilow, Walter Hendl and Donald Johanos. His choirs have appeared with LOrchstre National de Belgique, the Royal London Philharmonic, the NationalSymphony, Houston Symphony, Ft. Worth Symphony, Corpus Christi Symphony,Wichita Falls Symphony and the San Angelo Symphony.Under his leadership the UNT A Cappella Choir presented concerts throughoutthe United States. In 1964 the choir was selected by the U.S. State DepartmentsCultural Presentations Program to represent the United States with concert perform-ances in Portugal, Spain, Denmark, Finland, Sweden, Iceland, Luxembourg,Belgium and Switzerland. On returning to the United States, the choir performedat the Texas Pavilion of the Worlds Fair in New York City. In 1972 McKinley servedas a participating conductor for the Third International Choral Festival at the LincolnCenter for the Performing Arts, and in 1974 and 1976 prepared choruses for per-formances at the Kennedy Center for the performing Arts with the NationalSymphony Orchestra. In 1978 the A Cappella Choir became the first collegiate choirto record with the Royal London Philharmonic. In 1978 Frank received the Alumni Merit Award from Westminster ChoirCollege. In 1980 he was presented the Texas Distinguished Choirmaster Award bythe Texas Choral Directors Association. Because of his outstanding contribution tomusic education and international cultural relations, the Muskingam College AlumniAssociation gave him its highest honor in 1984, the Alumni Distinguished ServiceAward. UNT has established an endowed scholarship in his honor. Following hisretirement, Frank McKinley filled interim positions a director of Choral Activities atthe University of Colorado and the Shepherd School of Music at Rice University. A teacher does not compile this list of accomplishments without having an enor-mous impact upon those students he leads in those activities. Through it all, the stu-dents and the music they served, always came first. Frank McKinleys influence, onthe thousands of students who have come under his influence, is incalculable.Frank McKinley115511Frank McKinley Rememberedby Marvin Pollard(from 2002 UNT Choral Reunion Book)Frank McKinley is a remarkable person as well as an outstanding role model asa choral director. I was a student in his voice studio, a member of choirs under hisdirection and worked as his choral librarian and part-time secretary. The mostimpressive personality trait is that he was never motivated by his own ego. The out-standing programs and experiences he planned and carried out for the choirs hedirected were done for the good of the choral program and not his own identity.He finds time to take an interest in his students and, even after they leave the cam-pus, follows their careers.It was a surprisingly frigid Sunday afternoon for Denton, Texas. The oldadministration building auditorium was the location for a presentation of Bach's St.Matthew Passion by the Grand Chorus with students and faculty soloists and theSymphony Orchestra, bolstered by faculty instrumentalists. Dr. Walter Hodgson,Dean, conducted. Audience and performers were uncomfortably cold and theinstrumentalists struggled with tuning. Almost immediately after the openingdownbeat, the lights went out plunging the orchestra and chorus into a darknesswhich was relieved slightly by outside daylight seeping through the curtained win-dows. Dr. Hodgson continued to conduct and the orchestra began the openingmeasures of the introduction. Gradually, instrumental parts dropped out until theBasso Continuo was alone - and Dr. Hodgson carried on in the best tradition, "theshow must go on." Suddenly, the skill of the backstage technician brought the lightsback on. A few members of chorus recognized their entry cue and began singing.Within moments the full ensemble was together and completed a most unique andmemorable rendition of this great Bach masterpiece.Being in a North Texas choir has impacted my life in wondrous ways; not theleast of which is my 40 plus-year career as a choral director and teacher of voice. Ihave traveled nationwide as a member of the music-education/church music profes-sion and without exception, when my alma mater has become the subject of conver-Frank McKinley115522sation, the respect for UNT is evident. And let's not forget the lasting friendshipsthat have resulted in being colleagues in rehearsing and performing with the NorthTexas choirs.Frank McKinley115533Frank McKinley Rememberedby Charles Ray Holbrook(from 2002 UNT Choral Reunion Book)Being selected as a member of the A Cappella Choir was one of the highlights ofmy life. To this day, I still deem it an honor and a privilege to have been chosen as amember. The choir was an outstanding musical group and was composed of manyfine people, several of whom have remained my friends over the years.Frank McKinley was loved and respected by each and every member of the choir.Not only did he know how to evoke the choir's very best effort, he always retained awinsome and engaging approach to the task at hand. I'm grateful for his inspiredleadership as well as for the lasting friendship of the other choir members.It was a privilege to serve as a member of the A Cappella Choir for two years(1948-1949). During that time the choir had several amusing and memorablemoments. One day, while on tour, our bus driver crossed over a railroad track anddeposited the bus differential gear on the ground. Needless to say, Frank McKinleyhad to call for another bus. Another evening, during a concert, we were preparing to sing our next numberand waiting for Earl Tom Keel to give us our pitch. Just about that time, someone'sstomach growled and the choir assumed that that was our cue to begin singing. FrankMcKinley, being the astute director that he was, stopped the choir after a brief andhectic moment.During another performance, one of the female members standing in front ofme, fainted in the middle of a number. We proceeded to ease her down gently ontothe riser and continued singing.After leaving NTSU in the summer of 1949, I began a thirty-eight year career inthe United Methodist Church, first as a Choir and Educational director, and then asa Director of Christian Education and Pastor's Assistant. In 1961 I moved to Tyler,Texas where I served on the staff of the Marvin Methodist Church until I retired inFebruary of 1990. (From February 1950 until December of 1952, I served in theChaplain's Corps of the U.S. Army.)Frank McKinley115544Frank McKinley Rememberedby Ava Nell Donoho Chambers(from 2002 UNT Choral Reunion Book)Appreciating the beauty of music and the joy of sharing that feeling with others;the emphasis on discipline and practice; developing a commitment to excellence;continuously striving for "ensemble" and the enduring friendships of fellow choirmembers are a few of the ways the choir experience impacted my life. These experi-ences gave me a foundation on which to build as I worked thirty-five years from aclassroom music teacher to administrator in the Fort Worth Independent SchoolDistrict, and as an adjunct teacher at TCU and UTA.I treasure singing with symphony orchestras in Dallas and Houston and with greatconductors (especially Antal Dorati). Learning to sing German, Italian, Latin andHungarian without a Texas accent was quite a challenge!Frank McKinley115555Frank McKinley Rememberedby Barbara (Lewis) Austin(from UNT Choral Reunion book)In the early 50s, when Walter Hendl was conductor of the Dallas Symphony, ourGrand Chorus, under the direction of Frank McKinley, was paired with the orches-tra to perform some of the great choral/orchestral masterpieces. It was a wonderfulmusical experience. I have always felt greatly indebted to Charlie Nelson, who was my instructor inwonderful choral conducting classes during summer sessions. Thanks Charlie, youwere with me at every level of my teaching and directing. (1954-1994)Toward the end of A Cappella Choir tour in 1953, we unloaded the bus at a largechurch in Oklahoma City where we were to sing a concert in the sanctuary thatevening. Mr. McKinley left Eldon Black with instructions to get all of us in the sanc-tuary to check sound and rehearse. We were exhausted. Everyone picked a pew andstretched out. When Mr. Mac came in the back of the church, he couldnt see us. Weheard his voice, loud and clear, Eldon, wheres the choir? That was our cue. Weall arose at the same time. It must have seemed that we just materialized and lookedvery funny. We were too tired to laugh, but Mr. Mac did.Frank McKinley115566Frank McKinley Rememberedby Paul Harrison(from UNT Choral Reunion book)Choral singing and directing seemed to be the single most important factor in mylife. I have done one and/or the other of these activities for about 50 years. I havealways been interested in directing or singing in choirs. My time in the choirs atUNT gave me a chance to meet and keep many great friends. One of the dearestfriends, at the top of my list, is Frank McKinley. Mr. McKinley built in me a real lovefor choral singing. My entire life and work has been based upon the foundation ofmusical training started at UNT.Many happy memories come to mind when I think about my days in the NorthTexas Choir. One of these is still vivid in my mind. It was the spring of 1953 and thechoir was on tour in the Valley. All choir members were kept in private homes. I waslucky enough to be sent to the home of a farmer that had an orange orchard. Thehome was in the middle of the orchard and the trees were in full bloom. We slept withthe windows open. I have never experienced an aroma that was better. What a won-derful nights sleep.Frank McKinley115577Frank McKinley Rememberedby Sandra (Fulmer) Davidson(from UNT Choral Reunion book)After one semester at UNT, I discovered that I could take accompanying insteadof choir as a lab. I was assigned to Mr. Macs studio and loved it. This was the mostrelaxed, fun, part of college.The students I remember accompanying were Eldon Black, Vernon Moody, BillBlankenship, George McKinley, Walter Foster and my husband, Neil Davidson.I remember that in some students lessons, Mr. Mac would ask me to transposecertain songs at sight. He would sit in a chair off to one side --just the right distanceto nudge me with his foot anytime I faltered.He is one of the dearest people we have ever known and our sons know theymissed something special by not getting to know him.Frank McKinley115588Frank McKinley Rememberedby Jean (Rapp) Garrett(from UNT Choral Reunion book)Being in Frank McKinleys A Cappella Choir taught me the meaning of trueexcellence in performing choral music: a standard that I have always tried to achievein my teaching.I am retired from the Garland Independent School District with a total of 31years of teaching in public schools. I now am adjunct faculty with Stephen F. AustinUniversity in Nacogdoches, working with Dallas area student teacher. Frank McKinley115599Frank McKinley Rememberedby Janette Kavanaugh(from UNT Choral Reunion book)I have been so grateful to Mr. Mac for broadening our knowledge of 20thCentury music with performances of such works as Honeggers King David,Coplands The Creation, and others. I have continued to use 20th Century worksin my own recitals as well as those of my students.Mr. Mac and Marilyn married shortly before one of our choir tours. Marilynwent with us on tour. We enjoyed observing them -- more importantly, Mr. Mac wasalways in a good mood on that trip!!Frank McKinley116600Frank McKinley Rememberedby Rebecca (Breining) Nunez(from UNT Choral Reunion book)I always loved to sing. Being a part of a group that works together to make beau-tiful music is very important to me. I have sung in church choir all my life, and nowsing with the Denton Bach Society Chorus.My most memorable choir experiences were when The Grand Chorus, directedby Frank McKinley, sang with the Dallas Symphony. Having grown up in Lefors, asmall town in the Texas Pandhandle, I had heard few professional groups. I could notbelieve I was singing with a major symphony.Frank McKinley116611Frank McKinley Rememberedby Donald Pugh(From 2002 UNT Choral Reunion book)Being in the North Texas choir was a great help to prepare me for the first partof my professional life as a High School Choir Director. Frank McKinley was the bestmentor one could have had for that career.Some of the most outstanding memories from that time were the splendid musi-cians I had the opportunity of knowing and performing with and the greatchoral/orchestral works we performed.Frank McKinley116622Frank McKinley Rememberedby Frank Roberts(from UNT Choral Reunion book)Being a member of the choirs at North Texas reinforced my love of music andbroadened my musical horizons by introducing me to a greater and greater variety ofmusic literature. Even after leaving the profession 30 years ago, I still consider myselfa serious consumer, and sometimes performer, of music.It was the spring of 1957, during our final A Cappella Choir tour concert atLawton, Oklahoma that my most memorable event occurred. All who know FrankMcKinley recognize his professional bearing during performances, and his reputa-tion for this is what makes the story so humorous.The final selection of the concert was Tom Scotts Prodigal Son for choir andnarrator. Our narrator, Deuce (Lewis) Woodward, who did a very convincing job ofimitation the speaking style of a southern preacher, decided to switch his admonish-ments on Christian living from the audience to none other than Frank McKinley.Deuce suddenly turned, eyes glaring, finger pointing directly at Mr. Mac anddeclared: OH SINNER! and continued with the climax of his sermon while Frankalmost dissolved into his white tie and tails. Shocked and surprised as we all were, wewere able to quickly regain our composure (including Frank) and finish the piece tothe delight of all in the house.Frank McKinley116633Frank McKinley Rememberedby Mel Ivey(from UNT Choral Reunion book)Being in the A Cappella Choir and Grand Chorus under Frank McKinley had agreat impact on me. That is why I became the choral conductor. I taught junior andsenior high school in Big Spring, Texas. Taught at Loyola University in New Orleansand at Western Michigan University. Was hired as director of choral studies at UNTfrom 1990 to 2000. Memorable experiences include performances with the Dallas SymphonyOrchestra and Grand Chorus major works with great conductors such as Antal Dorati,Paul Kletzki, George Solti, Walter Hendl and others.Frank McKinley116644Frank McKinley Rememberedby Cody Garner(from UNT Choral Reunion book)During my many years of advanced schooling,(bachelors to doctorate) two peri-ods standout as the most outstanding musical experiences of my life. The first wasbeing a member of the A Cappella Choir at North Texas from 1961-1962 while I waspursuing a Master of Music degree. This was a period when the A Cappella choir, thecore of the Grand Chorus, performed numerous times with the Dallas Symphonyorchestra. The thrill of performing the great choral/orchestral works left a very pos-itive, indelible impression upon me. I still recall after all these years, the joy andexcitement that these performances brought in me. The second period was in 1963 when you called me, the high school choral direc-tor in Conroe and asked me to come back to North Texas, and be a member of a select40 voice choir. The UNT choir had been selected by the United States StateDepartment to represent the United States on a 16 country, three month culturalexchange tour. The selection of the UNT choir stands as a testament to your talent and skill as aconductor. Officials of the State Department were asked to secure the services of thebest college choir in the nation to represent the United States. These officials con-tacted many of the leading orchestra conductors of the day including Solti, Kletzkiand Donald Johonos and asked them their opinion concerning college choirs whichcould best represent our country. They overwhelmingly recommended professorFrank McKinley and the North Texas A Cappella Choir!This reputation did not just come about. I remember the many hours ofrehearsal and your insistence on memorization. Another of your talents was yourability to work with other faculty members, especially the voice department. Yourrespect for these people, youre constant cooperation with them, resulted in a unan-imous support for the choral program. Your habit of involving the voice faculty indecisions which affected student was greatly appreciated and gave you access to themost talented students in the college, both graduates and undergraduates. Frank McKinley116655I am also indebted to you for instilling in me a love for the choral art and for giv-ing me the opportunity to immerse myself in so much of this great music. The lega-cy that you have left at North Texas and the many lives that you have touched will neverbe matched. Thank you Frank.Frank McKinley116666Frank McKinley Rememberedby Ruth J. Holmes (from UNT Choral Reunion book)The experiences I had at UNT studying voice with Frank McKinley and singingin his choirs, added greatly to the other experience I had, studying piano (I was apiano concentration) and playing cornet in the concert and marching band. Thechoral music I learned was invaluable to my music education.Frank McKinley116677Frank McKinley Rememberedby Lucia (Woodbury) Smith (from UNT Choral Reunion book)Being in the A Cappella and Grand Chorus were the highlights of my musiceducation at in N.T.S.U. and reinforced my desire to be a music teacher, teachingchoir. I also remained in touch with my good friend, Connie Frederick Townsendwhom I met while in the choir. I still have the records of our choir and love themusic, always. My favorite memory has to be the bus trip we took to New Mexico and West Texas;staying in homes most of the tour; eating pizza in New Mexico and overwhelmingMr. McKinley with our first chord ( pizza breath) at the concert; losing my dress andhaving to borrow one; learning Japanese phrases from Don Morton; and eating friedchicken on most of the tour.Frank McKinley116688Frank McKinley Rememberedby Carroll W. Barnes(from UNT Choral Reunion book)I was and still am proud of having been in the choral department at UNT. Whilethere, I met people who became lifelong friends. Choral music became my careerand my life. The A Cappella choir was on tour in Gary, Indiana and one of the selections wewere performing was the Mass in G minor by Ralph Vaughan-Williams. The sopra-nos had been pushing the pitch sharp and in the middle of the mass. Mr. McKinleyhad to give the choir a new pitch, otherwise it would have been too high to sing. Thisnight, in Gary, Indiana, Mr. Mac had had enough!!! So, at midpoint in mass hedecided to teach the sopranos as a lesson. He didnt stop and give the new correctpitch. By the end of the mass only 3 sopranos could sing that high note. The baseswere singing falsetto and the tenors were hemorrhaging! Needless to say, the sopra-nos were never sharp again under fear of death by the tenors and basses. I wont tell the story of one choir member who walked on the outside ledge of ahotel 23 floors up, in the snow. But it sure was funny.Frank McKinley116699Frank McKinley Rememberedby Terry Killingsworth(from UNT Choral Reunion book)Being in choir gave my life purpose and direction and established relationshipswhich lasted a lifetime.The death of President Kennedy impacted the choir tour to Europe andScandinavia greatly. Preparation for the tour as well as the tour itself were affected.The high point of my UNT experience was that tour. The lasting memories comefrom knowing my classmates and their relationships. Mr. Mckinley is an example ofgreatness and a personal friend.Frank McKinley117700Frank McKinley Rememberedby Dwight Whitsett(from UNT Choral Reunion book)Being a choir member gave a deep appreciation of fine music and the disciplineand hard work required to perform it well. That discipline not only served me well inmy career and other pursuits, but also as I have sung with other choirs and vocalgroups through the years. It impressed upon me the value of working with a team. The members of the choir once agreed to substitute the words Mr. McKinley forsome similar sounding Latin words in a Carl Orff piece and to do it in a perform-ance! I shall never forget the surprised look on the face of our, normally unflappabledirector as we sang Mi - ster Mc - Kin - ley!Frank McKinley117711Frank McKinley Rememberedby Dave Clark(from UNT Choral Reunion book)Frank McKinley continues to be very special to all of us, and I am very proud tohave been under his care and feeding for those years I spent at UNT. I am thrilledto be able to participate in this reunion and look forward to many more. My memories of Mr. Mac are numerous and specific examples need some culti-vating. However, I remember our 20th reunion when I served as M.C.I was introducing all the attendees, leaving Mr. Mac until the end, of course. Imade a point of noting just how good he looked. He seemed timeless in my eye. Iremember thinking, while we were in Europe, what an old man he was, and howimpressed I was that he had the stamina to be able to keep up with all of us youngguys. Now, when introducing him, I noted that I was about the same age that he waswhen we were in Europe. I had gained a much better perspective on the old ageissue over the last 20 years, and now saw clearly just how special he was at that time.Frank McKinley117722Frank McKinley Rememberedby Morris Martin(from UNT Choral Reunion book)I learned so much from Frank McKinley that I have been his minister of musicfor 30 years at St. Andrews Presbyterian in Denton. Think of the pressure, guys!Every Sunday he is out there listening! I shall never forget singing in Beethovens Missa Solmnis with George Solti inDallas, the Southwestern Premier of Bernsteins Khaddish with Maurice Peress inCorpus Christi, and singing three different concerts at the MTNA convention in oneday in 1964. Who else would of had the courage to will us into doing that but the greatFrank McKinley?Frank McKinley117733Frank McKinley Rememberedby Brenda Whitsett(from UNT Choral Reunion book)Being in A Cappella was an incredible experience for me. The discipline andwork ethic required to be in a choir, and to make the touring group, affected myapproach to my job for the rest of my life. My most meaningful memory was the day that I tried out for the choir. My lackof self confidence and fear almost reduced me mute. Frank McKinleys patience andkindness calmed my spirit and I could sound a note, then another note, making adream come true. I was in the UNT A Cappella!Frank McKinley117744Frank McKinley Rememberedby Sampy Wall(from UNT Choral Reunion book)Singing in choirs from Junior High School until now, led me to my maincareers. Career No. 1 was teaching choir for 21 years. I taught Junior High School inBig Spring, McAllen, Edinburg, Lufkin and High School at Klein in Houston from1982-1987. Two of my junior high choirs sang for TMEA and one performed atMENC in Colorado Springs. After working through some personal crises in 1987and going to treatment in Arizona, I found my way into a 12 step recovery which hadsaved my life and my marriage. This led me to career No. 2 where I taught electron-ic and computer technicians how to market themselves for five years. It was one ofthose What am I doing here? kind of jobs. In the process I also learned to writeresumes and in 1992 started my own company, A Better Resume, which continues tobe a slow but steady source of income. I dont remember the year, but I do remember getting the flu on choir tour inDes Moines, Iowa. Fortunately I was spending the night with a super nice family. Myhost was a doctor! How convenient! I felt really bad about being sick, but also that Iwould be left behind when the choir moved to the next city. It just happens that theconcert for that night involved retracing our route and that they would be comingback through Des Moines the next day. That night I was running some fever but did-nt feel really bad, so I went with my host's son to a basketball game, Bradley andCincinnati, I think. Young and foolish was I! By the time the game was over I was verydizzy and had a fever of over 100. The night was long and dark, but by the next after-noon I rejoined the choir. I did get to enjoy the rest of the tour, and Chicago wasgreat! I know a higher power must have been looking after me, then, and for all mylife.Frank McKinley117755Frank McKinley Rememberedby James Franklin(from UNT Choral Reunion book)Being in choir is just like being on any other kind of team. It prepares you forlife in regard to relationships, working together with people with different back-grounds and philosophies and being responsible for pulling your own weight. My most memorable experience was the European tour in 1964. The places wewent and the people we met will always be remembered. I have a vivid memory of vis-iting a secret underground fraternity house in Gothenburg, Sweden where the Cokemachine dispensed beer. Taking the midnight train to Paris, landing and taxiing offnarrow strip of beach in Iceland are experiences Ill never forget.Frank McKinley117766Frank McKinley Remembered by Nelda (Reid) Foley(from UNT Choral Reunion book)Being the first black to travel with the A Cappella Choir and Mr. Mac, was a funadventure with great people that engendered confidence and the broader perspective. Singing under Frank McKinley brought about an opera audition in NorthLouisiana; and singing soprano solos in the Brahms Requiem, Bachs SleepersAwake, Brahms Alto Rhapsody, Respighis Laud to the Nativity, Haydns LordNelson Mass, etc.. Singing in the A Cappella Choir causes one to dig deep andcome up with all you can muster.Frank McKinley117777Frank McKinley Rememberedby Pamela (Cooper) Thomas(from UNT Choral Reunion book)I was a freshman in the fall of 1963. On that tragic Friday afternoon inNovember, we gathered around the radio in the student lounge to hear the news ofPresident Kennedys death. We were, of course, stunned. A Grand Chorus rehears-al was scheduled for 4:00 p.m., but we thought it would be canceled. Mr. Mac sentword that we must rehearse, because we had a concert with the Dallas Symphony in avery short time and couldnt afford to lose the rehearsal time. As we gathered, Mr. Mac explain the necessity of the rehearsal and thanked us forour presence. We were performing at the Bach Christmas Oratorio, and the first cho-rus was one of the most joyous. As we began singing, our hearts werent into makingjoyful music, but as we continued to sing, the healing power of the music lent a calm-ness and serenity to us all. At the end of the rehearsal, Mr. Mac thanked us again forour presence, and I think most of us felt the benefit of the time spent with his greatmusic on such a trial traumatic dayI thought about that day as I experienced the power of musical scene on 9-11-01.I thank Mr. Mac for what he taught us that day: first of all that hard discipline andcommitment to outstanding musical performance was necessary in our lives, and sec-ondly, that music is one of the most powerful forces in our lives, in times of joy andtragedy. I tried to share these musical things with my students on that tragic day lastyear. Thank you, Mr. Mac, for all the lessons you taught, especially the one on thatNovember day in 1963. Frank McKinley117788Frank McKinley Rememberedby Edgar (Eddie) Moore(from UNT Choral Reunion book)Mr. Mac was a great champion of contemporary choral music of avant-garde,atonal etc. Having a fairly steady diet of these styles made one a world-class sight read-er. I shall forever be grateful. It has been of great value to me in my 25 years as aprofessional singer and musician. Some of my outstanding memories in singing in the choir were playing bridge onthe bus. The couple fold out seats or briefcases in the aisle for chairs and a briefcaseacross seat and you have a game. We had a traveling game all week! I remember the 67tour including Doratis Missa Brevis with percussion parts. We had to improvise byusing rear brake drums of a Ford or Chevy for one of the percussion parts. Seemedthat when they were struck they sounded at the correct pitch!Frank McKinley117799Frank McKinley Rememberedby Linda (Catt) Poetschke(from UNT Choral Reunion book)Choir has always been a big part of my musical experience, but to stand and to besurrounded by the voices in A Cappella Choir at UNT, created an incredible energythat Ill never forget. We had wonderful fun times in choir. I always looked forward to rehearsals. Mr.Mac always brought out the best in us. He let us sing out; none of that straight tonesinging! I still remember tours when we would only stop at Howard Johnsons to eat!Frank McKinley118800Frank McKinley Rememberedby Robert E. (Bob) Seibold(from UNT Choral Reunion book)Mr. McKinley taught us the importance of discipline, precision, and attentionto detail, in music and almost every aspect of life. These competencies have contin-ued to serve me well in everything from flying fighter airplanes, to programmingcomputers, to financial planning and analysis, two leading large teams of people.Thank you, Mr. McKinley!My most memorable musical experience with the A Cappella Choir was perform-ing Doratis Madrigal Suite and Brahms Schicksalslied with the Dallas SymphonyOrchestra, conducted by Antal Dorati. Mr. McKinley had the choir extremely well-prepared, and the performances thrilling to be a part of.Frank McKinley118811Frank McKinley Rememberedby C. Michael Rogers(from UNT Choral Reunion book)To say the least, being a member of the A Cappella Choir had a profound effectupon my personal life. Being a member of the University of North Texas A CappellaChoir was a life changing experience in more ways than one. I remember the first daythat I came in an audition for Mr. Mac after warming up to a high A he said,Youre a tenor. I replied, No, Im a baritone. He said, Youre at tenor and Isaid, Mr. McKinley I made the All State Choir as a baritone and I sing baritone.He said, Well youve got a scholarship and we need tenors and you have the range ofa tenor and youre going to sing tenor in the A Cappella. So I left the auditiondetermine that I was going to keep my scholarship and that I would just have to learnhow to sing tenor. It definitely broadened my horizons and forced me to learn muchmore about the vocal production of a male voice. Thanks to Vera Nielsen I held myown in the tenor section. However, it was not without its trepidations. Can youimagine what it was like to sing beside Barry Craft? When we sang on choir tour inNew Orleans, Louisiana, our accommodations were at the dorms on the campus ofLoyola University. Ill never forget waking up one morning to hear Barry singingoctave high Cs in the common shower down the hallway. He was awesome, awful, andintimidating! My senior year there was a good-looking chick who made the choir and sang sec-ond soprano. She was petite and had a magnificent voice. I was lucky enough to siton the next row over from her in French Diction class. She had great legs! The bestpart took place one day when we were gathering for an A Cappella Choir rehearsal. Iwas sitting in the front of the auditorium and she came up and spoke to me and notedthat I look tired. I told her my shoulder was killing me so she gave me a little shoul-der rub and I thought to myself, I think Im in love. I spent the rest of a semesterand a half chasing her around and trying to capture her. Finally, Cheryl and I wereengaged in March of her junior year. Fourteen months later we were married. NextMay we will celebrate 32 years of marriage.Frank McKinley118822One of the best remembrances of singing in the North Texas State University ACappella choir was the choirs obsession in showing Mr. Mac up at the spring concert.The concert always took place after choir tour. That year we sang a piece called theThe Pleiades. The piece ended quietly with a very distinct rhythm pattern sung byall four parts. Mr. Mac had worked with us incessantly all semester to make sure thatit was correctly done. So, when we got back from the choir tour, as we prepared forthe spring concert, all of us got together and quite purposely conjured up our plan,which was, of course, to sing the rhythm completely wrong at the end of the piece. Ofcourse we all had to agree do it. and so on the night of the performance, sure enough,at the very end of the Pleiades as Mr. Mac gave the down beat of the final phrase, noone came in and on the next beat we made up a new rhythmic ending. Mr. Macs firstreaction was to try to change his beat pattern the middle of the measure, but that did-nt work so he resorted to raise eyebrows and darting eyes as he witnessed us in ourperpetration. Then a slight smile came across his face and he realized what we haddone. Another of those avant garde pieces had bit the dust, but he showed greatcomposure and as the music died away he cut us off and turn to receive the apprecia-tive ovation. Naturally, no one in the audience had a clue that anything was awry. Hewasnt too hard on us. But, we did hear him later muttering something to the effect,Well at least you got most of it right!Frank McKinley118833Frank McKinley Rememberedby Cheryl Rogers(from UNT Choral Reunion book)Being in A Cappella Choir changed my life completely, not from a musicalstandpoint, but from a personal one. Thanks to the A Cappella Choir, I met, fell inlove, and married a man of my dreams. Almost 32 years later we are still happily mar-ried and making beautiful music together. I think the idea of changing something on the final concert was handed downfrom choir to choir. I remember when Mr. McKinley had us premier a work by aLatin American composer. In addition to the musical notes, there were manyinstructions in singing or voicing various sounds as well as singing in Spanish. Thelast part of the piece was a whisper sound for the duration of five to ten seconds. Asusual, we choir members put our heads together and decided to change the ending.Mr. Mac cut us off, but we kept going and going and going. After repeated cutoffsand one minute later, we finally ended the piece.Frank McKinley118844Frank McKinley Rememberedby Beryle Eileen Ponce(from UNT Choral Reunion book)I learned team work and responsibility from Mr. McKinley. He taught me that no matter what ones individual challenge may be, one can succeed with determi-nation and support from others who care. He taught me that those with learning dis-abilities can succeed. At the time I was in A Cappella Choir, ADD and dyslexia were unknown.However, he accepted that while I did not process and learn music in the same man-ner as others, I could learn and memorize. He allowed me to be a part of the choirand trusted me to learn my music, even though he knew my learning disabilities pre-vented me from being able to sight read. Much of my career has been dedicated tohelping students and teachers understand that learning disabilities and challenges donot need to result in failure. Instead they can open the door to a world of opportu-nity. Without Frank McKinley my life would have been very different. I do faculty In Service presentations and provide mentoring and training forteachers in the area of teaching strategies, multi- sensory instruction, curriculumetc., for students with attention deficit disorders, dyslexia, and learning disabilities.I supervise a variety of programs at Brandon Hall. Again, because of the respect andsupport I received from Frank McKinley, I was inspired to help students with learn-ing challenges.Frank McKinley118855Frank McKinley Rememberedby Judith (Judy) Gans(from UNT Choral Reunion book)Frank McKinley was responsible (with some help from Grant Williams) forchanging the course of my life. In the middle of my senior year at North Texas, I decided to leave the music fieldaltogether and return to English, which I plan to major in while in high school. Priorto the Christmas break that semester, I contacted a professor of mine in the Englishdepartment to make arrangements for the change. Christmas was less than happy time for me; I had invested the lot of time in mymusic courses, and I knew that the next year and a half would be particularly intense,with all the new course requirements. Shortly after Christmas Day, the phone rang at my parents home and FrankMcKinley asked to speak to me. It seemed he had lost a couple of altos for theupcoming choir tour and Grant Williams had suggested he call me to see if I was inter-ested in substituting. I clearly remember his voice: Well nowwwww, Judy, do you havea couple of long dresses and can you be here {date} to begin rehearsals?To say that the prospect of learning all the tour music in only three days wasdaunting is to understate the obvious! I replied that yes, I thought I could makearrangements, and hung up the phone, terrified at the idea of even getting the noteslearned. Those three days were intense beyond belief, but I managed to get everythinglearned, the appropriate pieces memorized, and was bolstered by the wonderful sup-port I received from my many old and some new friends. The tour was exciting andchallenging, but I did my best, in order to live up to the trust Mr. Mac had placed inme. As we drew closer and closer to Denton on the return trip, my mind, not to men-tion my stomach, was in a dither. Classs were starting, and I still needed to beadvised in the English department. But I also needed to thank Mr. Mac for his won-derful opportunity he had given me for that 10 days. As we drove up Avenue C, IFrank McKinley118866slipped into the seat next to him and thanked him for believing that I was up to thetask of filling in for the two weeks, and that I would never forget the experience. Well now, here I am, 30 years later. I finished a degree in music, not English. Iwent on to get a masters in vocal performance, and have had a significant amount ofdoctoral work in performance back at North Texas. I spent 13 years on the voice fac-ulty at TCU, and have sung throughout the United States Canada and in Europe. There is a follow-up to the story that I treasure. One day, when I was workingon my doctorate, I was visiting with a senior between classes. Mr. Mac walked up to usand addressed the young lady, recounting to her the entire story above, and about howI became a member of the A Cappella Choir. Nearly two decades had passed at thatpoint, and yet, Mr. Mac still loved telling the story. I love telling the story. I love Mr. Mac and I can never thank him enough forkeeping me where I needed to be. Mr. Mac, we are grateful throughout our lives forthe musical discipline and expectations you required of us, for the rich and variedrepertoire you introduced to us, for the fellowships you promoted among us, and forthe love you shared with us.Frank McKinley118877Frank McKinley Rememberedby Lynn Christi(from UNT Choral Reunion book)Mr. McKinley gave me the greatest musical experience of my life by choosing meto sing in a N T S U quartet which was part of a 40 voice America choir which sangin an International Choral Festival in New York City conducted by Robert Shaw, inthe spring semester of 1972. Rehearsing with the American Choir, singing in theKennedy Center in Washington, D.C., rehearsing with 15 international choirs, andsinging with Robert Shaw in Lincoln Center were highlights of my musical educationat in NTSU. Thank you, Mr. McKinley!Frank McKinley118888Frank McKinley Rememberedby Sharon W. Grahnquest(from UNT Choral Reunion book)Mr. McKinley made me feel like I could accomplish anything! The tour in the1978, (England, Holland, Poland) was great! Driving across Poland on what seemedlike a school bus, Mr. McKinley always appeared to be so neat and proper in his dress.I remember Burr Phillips and myself awakening from long drive looking as we hadbeen rolled up in a suitcase, while Mr. Mac always looked rested and ready to go! Howdid he do that? Mr.McKinley instilled in me tremendous self confidence in dealingwith lifes many journeys. I shall always love and appreciate him as a friend and men-tor.Frank McKinley118899Frank McKinley Rememberedby Bob (Robert) Austin(from UNT Choral Reunion book)Irreplaceable memories and irreplaceable friends. So many concerts, so much fun and work. A good discipline and model for achieving goals in life, working together, sharing the magic of great music. I remember touring Washington D.C. and St. Louis one year, then a series ofDust Bowls in West Texas the next. I remember singing both the Beethoven 9th andthe Verdi Requiem with the Dallas Symphony my freshman year, what a way to begin! I remember that Frank McKinley could hear any note in any chord no matter how chromatic. He even corrected our tone clusters. I remember FrankMcKinley waving his tie at the tenor section and instructing us to get that note in ourmethod and ring it! I love Frank McKinley. Frank McKinley chose me to sing and a quartet of singers from UNT to join withnine other university quartets from around the United States. These quartets formedthe United States Choir and performed with Robert Shaw at an International ChoralFestival in both Washington D.C. and New York City. (About 14 choirs from everycontinent.) Singing a solo to a packed house in Lincoln Center Philharmonic Hallin New York New York with Robert Shaw conducting, is one of my fondest, greatestmemories of my life! I remember a lot, of really strange but fascinating modern music. We premiereda lot of new music and often sang from manuscript. The Penderecki St. Luke Passionwith the Dallas Symphony . . . Wow! Half the audience were Hippies in jeans whostood and cheered, the other half were dressed in tuxedos and furs. They stayed intheir seats. I remember the leadership and integrity of the man, Frank McKinley. FrankMcKinley himself is my greatest memory.Frank McKinley119900Frank McKinley Rememberedby Martha (Pampell) Smith(from UNT Choral Reunion book)Well, when you have to audition to go on choir tour by singing the SchonbergFriede auf Erden in quartets, by memory, a cappella, you feel like you can do justabout anything! Thank you Frank McKinley!In the mid-70s, the choir went to Washington D.C. to sing at the KennedyCenter with the National Symphony. The day we were to return home, I woke up withsomething lodged in my ear. When I realized I had to pay cash at the hospital emer-gency room, I was upset. I didnt have that much cash left. Without hesitation Mr.McKinley pulled out his wallet and handed me a hundred dollar bill. What a gener-ous man. Yes, I paid him back!Frank McKinley119911Frank McKinley Rememberedby Wesley Coffman(from 2002 UNT Choral Reunion book) I particularly cherish the friendships I developed while a student at North Texas.Directing choirs is my major performance area, along with the administration ofCollege/University Music Departments. I served ACDA as editor of "The ChoralJournal" for five years.I have numerous memorable experiences but I remember particularly our firstperformance of the Grand Chorus directed by Frank McKinley with the DallasSymphony. Frank was getting us placed on the risers for rehearsal. He looked towardthe second tenor section and said "Hey, you, Blondie, move over there". At first Ithought he was talking to and alto. Then he said "I'm talking to you in the redsweater". I was embarrassed but moved quickly. He, of course, had not been therelong enough to learn our names.Frank McKinley119922Frank McKinley Rememberedby Hugh Ellison(from 2002 UNT Choral Reunion book)The several performances of the grand chorus and Dallas Symphony Orchestraunder Antal Dorati, prepared by Frank McKinley, were lifetime high points for meand for hundreds of other students. I became a choir director and enjoyed a reward-ing career of teaching and conducting in junior high schools, high school and col-lege choirs , as well as a regular part-time work with church choirs of several denom-inations. Frank McKinley was very helpful throughout. I changed majors and took a degree in business administration in 1950. I cameback to 1955 to finish my music education degree, and married Marilyn Glass whograduated with me in August 1955. We taught inLittlefield, Texas for seven years,Midland, Texas for another seven years. I became Fine Arts Coordinator there. Thento Cal State Fullerton for me, while Marilyn taught Placentia I S D, and got her mas-ter's in elementary curriculum from Cal State. Then to San Benito Texas I SD. forsix years and El Paso Ysleta until retirement in 1984.Frank McKinley119933Frank McKinley Rememberedby Charles Nelson(From 2002 UNT Choral Reunion book)Frank McKinley was an obvious influence in my early musical life. We met whenI was 15 and he was about 26, young, energetic, ambitious and ready to take on theworld. He taught me singing and invited me, a 15 year-old junior in high school, tojoin his college Chapel Choir. He encouraged me in every possible way. Five years later, after World War II, he returned to Denton and resumed the taskof mentor. He exposed me to a formidable choral literature, took me to spring UI L choral contests where he judged, I sat back and made notes. We discussed choirsand choral problems on the way home. He not only took me to musical events, buteven allow me to go with him to some of the Fort Worth Cats baseball games. After a bout with polio and a six month stay in the veterans' hospitals, eventhough I presented some problems getting up and down steps and on and off the ris-ers, he never hesitated to allow me to continue singing and traveling with the choir.That he allowed me to pick up where I left off was a great contribution to my rehabil-itation. I can't imagine what it would have done to my confidence if he had said "NoCharles, you're not physically up to traveling with us on tour". I know of several timeswhen he recommended me for jobs. Though we have not seen each other daily, or even monthly, from 1941 to thepresent (62 years) our lives have been, and will continue to be, significantly entwined.I want him to know how much his influence has meant to me and how I love him forit.Frank McKinley119944Frank McKinley Rememberedby John Lovelace(From 2002 UNT Choral Reunion book)My father had sung in Wilfred C. Bain's first North Texas State Teachers CollegeChoir the summer of 1938, so I had made it a goal to do likewise. Singing in the ACappella and editing the 1952 Yucca year book were highlights of my college career. The 1950-1951 A Cappella Choir was blessed with unusually mature singers likeLucille Mendenhall, Bob Kaebnick, Bill Fuller and Frank McKinley's brotherGeorge. Our tour into Illinois and our Dallas recording of "The Prodigal Son" wereespecially fulfilling. Tenors David Taylor and David Jones were also stalwarts.Frank McKinley119955Frank McKinley Rememberedby Dale Peters(From 2002 UNT Choral Reunion book)My most memorable experiences were in the Grand Chorus performances withthe Dallas Symphony, Walter Hendl, conductor of Walton's Belshazzar's feast, Verdi'sRequiem, and Prokofiev's Alexander Nevski. The performance of Alexander Nevski took place in December 1950, during thebeginning of the Korean War, when many guys in the choir were getting draft noticesfrom the Army. The Chinese Communist Army had just crossed into Korea and werefighting the American Army, and in turn the National situation was very tense. Itwas at the height of anti-Communist feeling in the U.S. The text of Alexander Nevskiwas a hymn of praise to the Russian nation and people, celebrating a victory of theRussian Army in the 13th century. The choruses praised "our great Russian andfatherland". Some parents of choir members, and others, became disturbed whenthey learned of these words, and call the college president to complain about thesetreasonous words. Prior to the performance, we were instructed to strike out thesewords in the score referring to Russia, and substitute a more generic phrases such as"our natives land". The music was exciting and the performance was wonderful. Singing in the chorus was always a pleasure, for the joy of discovery of new music,the enjoyment of singing together with friends, and the thrill of performance. Thegreat choral music I learned at North Texas has stayed with me all my life, and hasgiven me lasting appreciation of choral singing and the choral repertoire.Frank McKinley119966Frank McKinley Rememberedby Juanita (Teel) Peters(From 2002 UNT Choral Reunion book)Singing in the Grand Chorus performances with the Dallas Symphony weresome of my most memorable " experiences. I'll never forget the excitement ofKodaly's Psalmus Hungarius with soloist Gabor Corelli under Antal Dorati, Verdi'sRequiem with soloist Francis Yeend and Walton's Belshazzar's feast under WalterHendl. My experience in the A Cappella Choir gave me a lifelong appreciation of choralmusic. I especially remember being introduced to contemporary choral music byFrank McKinley in the choir. Hearing the soloists in the Verdi Requiem andProkoviev's Alexander Nevski with the Dallas Symphony inspired me to hope to be asoloist in those works with Symphony Orchestra, which I was later able to do.Frank McKinley119977Frank McKinley Rememberedby Edgar Stone(From 2002 UNT Choral Reunion book)We seldom appreciated the spectrum of our teachers contributions to our pro-fessionalism until, in later years, we try to equal their provisions. I remember howmuch I missed Frank McKinley in my senior year (1951 and 1952) when he was onleave for doctoral studies. The interim director, we learned, in panic, expected eachof us to pay for incidental meals on the tour. In past years under Mr. McKinley, gaveus per diem funds passed out as we boarded the bus. It was then I learned choir tourswere not just hosts, music, programs, and transportation but a myriad of details tocare for each singers need. Thanks Mr. McKinley. Being a small part of a performing whole, not just be "in step" with rhythmic anddramatic import, but trying to balance my efforts with those around me in relation towhat was being called for by the director, was a great lesson to learn. Being part ofthe team is a major life lesson.Frank McKinley119988Frank McKinley Rememberedby Ira SchantzI appreciate the way in which Mr. McKinley, in taking the place of a personalityas great as Dr. Bain, took over the position as the North Texas State Choral Directorin a completely smooth and unassuming manner, thereby easing the shock (to the stu-dents) of our losing Dr. Bain so suddenly. Very few persons could have made thechange as judiciously as Frank McKinley.I appreciate the fact that Mr. McKinley continued the tradition of having theNorth Texas State choirs sing many of the great choral masterpieces. I particularlyremember pieces such as the Bach motets which we sang. I had previously been com-pletely unaware that such beautiful music existed. I appreciate Mr. McKinley giving me a number of solos on our tours, which fur-ther enhanced my musical and personal confidence. I especially appreciated thiswhen looking back and realizing that he could have easily given these solos to othertenors in the choir, who, it turns out, might have been as good, or, in some respects,better than I.Frank McKinleyMichaelJohnstoneMaterial prepared by Karl Hickfang220022A Biographical Sketch of Michael Fuller Johnstoneby Karl HickfangIt is my sincere hope that the reader will accept the use of first-person in writingof a man who influenced and inspired so many choral directors in the state of Texas. During a summer of 1949, I was finishing requirements for a bachelor of Musicdegree. I looked forward to my first teaching position as the band director at BonhamHigh School, my alma mater. Near the end of August I learned the position was notmine and I had to scramble to find another position so close to the start of the schoolyear. The teacher placement bureau at the University of Texas informed me of juniorhigh school band openings at Conroe and Alvin, north and south of Houston. Ifound the Conroe position filled. From a phone booths in downtown Houston I callthe superintendent of schools in Alvin and was told the band director at Alvin HighSchools would be at H and H Music in Houston and at 1:00 p.m. and that he had theauthority to hire me if he chose to do so. While I waited at H and H Music Co. three gentlemen came in the store: MarvinBunk Atkinson, band director at Galena Park High School; Johnny Dessain, banddirector at Galena Park Junior high school and Michael Johnstone, choir director atGalena Park High School. I was introduced to these gentlemen and Mr. Johnstoneindicated he knew of me and said there was an opening for a choir director atWoodland Acres Junior High School, in the Galena Park district. To this day I neverbelieved he knew of me and I told him I anticipated going to Alvin Junior High Schoolas a band director. I learned right then that you dont say no to this man. He even-tually he convinced me to take a position at Woodland Acres and became my mentor. It was a tradition of Mikes to have Tuesday evening two hour choir rehearsals inaddition to regular class hours. He did this at every school he worked to find studentswho were willing to give their time to be there. I attended these rehearsals at GalenaPark and watched a genius at work. He was demanding, but fair; obviously a finemusician; displayed outstanding vocal techniques and teaching skills that set a stan-Michael Johnstone220033dard of excellence that few of us have been able to achieve. A man of genius always has his critics and Mike was no exceptions. His choirs in thelate forties and early 50s were showcases of vocal maturity and repertoire far above thestandards of those years. His critics shook their heads and said he was ruining voiceswith his extreme demands. What he was doing was developing vocal maturity in thoseyears that become the standard for the up and coming high school choir directors inthe late 50s.Mike was always a the center of controversy because he spoke his mind and hismind was always ahead of most of us. In February, 1950, I attended my first TMEAconvention in Mineral Wells, Texas. In those days very little standards were requiredof membership in the various All-State groups. The directors would bring their beststudents to the convention. Those who passed the audition became members of theAll-State band. Similarly the All-State orchestra was selected. There were no requirements to be a member of the All-State choir. Directorswere asked to bring their best students to participate; some would bring their entirechoir to learn from the experience. Many of the students had no music with them.The result: an unprepared group of between 400 and 500 voices, woefully unbal-anced in voices of the four sections. Typically you might have 50 tenors, 100 basses,125 altos and 175 sopranos. The first rehearsal had to be a nightmare for the clini-cian. Mike sought to address this problem. At the vocal division business meeting heproposed that the students be auditioned in their regions and that a numerical bal-ance of sections be achieved. He suggested that only mature voices be chosen. Selectedstudents would be required to bring the music with them and be urged them to learntheir voice parts in advance. Mike put this in the form of a motion. There was a stormof protest all over the room. The motion was defeated and nothing was done. Mikebecame a villain. Dr. Jon Finley Williamson, noted conductor of the famed Westminster Choir,was clinician for this 1950 convention and accepted the invitation to return as clini-cian at the 1951 convention in Galveston, Texas. During this convention he was invit-ed to speak at the vocal division meeting. He very graciously spoke of the fine talenthe was working with and suggested the students be auditioned prior to the conventionMichael Johnstone220044as a man suggested a year ago. Only the directors who agreed with Mike in the pre-vious year thought he should have been given credit for the changes that began to takeplace in auditioning procedures; procedures that led to continued improvement inthe following years in developing the great All-State Choirs of Texas we have today. Mike graduated from North Texas University in 1938 and began his teachingcareer in Sugarland, Texas, a small district with a high-school enrollment of around100. The late Jim Shepherd, a past president of TCDA, was a student of Mikes dur-ing his junior high days. Mike later toured with a Lawrence Welk orchestra in Kansasand Nebraska, playing trombone. After World War II (in 1946) Mike became the choir director at Grand PrairieHigh Schools. While on a tour in the Houston area, they sang at Galena Park HighSchool. Don B. Slocomb, principal at Galena Park High School, was a great believ-er of arts in the curriculum of public schools. In 1948, after hearing Mikes GrandPrairie choir, he convinced Mike to become the Galena Park choir director. AfterMikes marriage failed in the summer of 1951, Mike resigned from Galena Park andreturned to North Texas State University to finish his masters degree. In 1952 Mr. Slocumb accepted a position as superintendent in Giddings, Texas.He invited me to go with him as band director and to start a choir program. Like afool I turned him down. He then called Mike at North Texas and asked him to rec-ommend a young graduate for the job. Mike replied that he would like to take the jobwhich included the position of high school principal. He proceeded to turn a poorband into a First Division group and his first year choir was the talk of the region choircontest at San Antonio. In 1953, Mike remarried, worked a year at Parker music com-pany in Houston and in 1954 choir director at Jackson Jr. High School in Pasadena. In 1955, he and his young wife, Pattye, became a team as they moved to Abilenewhere he became choir director at Abilene High School. Pattye was a marvelous singerand she proved to be a fine teacher as she worked individually with Mikes students.She later accepted a position at the University of North Texas on the voice faculty, aposition held until her death recently. Later, Mike moved to the new high school(Cooper high) where they continued to work together. In 1964, their marriage failedand Mike moved, for one year, to a small community in Missouri.Michael Johnstone220055In 1965, he became supervisor of music in the Pulaski County School District inArkansas, a position he held until his death. In Arkansas, he started a summer read-ing clinic similar to TCDA. He always came to the TCDA clinics, bringing with him,young Arkansas directors, many of whom became members of TCDA. Mike said ofhis years in TCDA: I will always remember the great professional drive manifested bymost of the TCDA officers during my nine years in TCDA. All of them were gooddirectors and were dedicated in their work for TCDA.The legacy Mike started in Galena Park continued with James Furrh, who becamechoir director there in 1954. James became the third president of TCDA in 1959.Mike was vice president that year and became the fourth President of TCDA, 1961-1963. Joe Lenzo, who followed me at Woodland Acres when I moved to Bay City in1953 became executive secretary of TMEA. I served as third and first vice president,1959-1962 and as President of TCDA 1965-1967. Going back to 1948-1951, Mike had a boys quartet in his choir at Galena Park thatbecame a legend in their own right. They performed all over Houston and HarrisCounty. Subsequently they all received scholarships at North Texas University. Their names: Vernon Moody, who taught voice and choral music at AbileneChristian College and was a vice president of TCDA when I became president in 1965;Van Hale, a fine choral director who followed James Furrh at Galena Park; FrankRoberts, who was successful in his work in Beaumont; Bobby Jones, the fourth mem-ber of the quartet, became associated with NASA in Florida. Still another presidentof TCDA, Jack Glover, followed Mike at Cooper High School in Abilene, and theaforementioned Jim Shepherd became president after Glover. Carroll Barnes,another giant in choral music in Texas, was a member of Mikes choirs at Abilene HighSchool for three years. The names seem to continue into later generations, allinspired by the work of this great director who certainly deserves the recognition givenin this paper.I know that all of us in choral music have heard beautiful singing in our minds,marveling at the wonder of it. I suggest that on Tuesday evenings; the rehearsing ofthe choir of heavenly hosts, directed by, you know who, MICHAEL FULLER JOHN-STONE: a true legend of Texas Choral directors.Michael Johnstone220066Michael F. Johnstone Rememberedby J. David Malloch, Galena Park (52) Graduate Student Director and Principal AccompanistIn 1948, Michael F. Johnstone began a three-year tenure as choral director atGalena Park High School in Galena Park, Texas. Previously he had been choral direc-tor at Grand Prairie High School. He distinguished himself as a major influence inthe lives of students who received choral music training through exposure to hisknowledge and master skills. He also influenced graduating seniors, includingmyself, by directing them to the School of Music at North Texas State College,Denton, Texas where he had graduated. My association with Mr. Johnstone at Galena Park was accentuated by my assign-ment as the choirs principal accompanist for works requiring instrumental accompa-niment, and student director for rehearsals and events in his absence. His adherenceto strict discipline and high performance standards enabled every choir member toexperience personal pride and satisfaction in being a member of the Galena ParkHigh School Choir. We had no special name other than being one of the best highschool choirs in Texas. After graduation from North Texas in 1955, I followed Mr. Johnstone as choraldirector at Southmore in the Pasadena Independent School District. Because I wastrained by him and knew his discipline and performance standards, I closely followedhis example. This enabled me to sustain high morale among returning students whomight otherwise be disappointed that he was no longer their director. There wasnothing of substance they could tell me about him that I did not already know!Although my association with Mr. Johnstone encompassed only a few years earlyin my life, I can proudly say that his influence continues to be felt more than fivedecades later. Without hesitation I know that he was a giant--with few peers amongchoral directors!Michael Johnstone220077Michael F. Johnstone Rememberedby Vernon MoodyProfessor Emertus, Metropolitan State College of DenverI had recently moved to the Houston, Texas area from Oklahoma when I first metMike Johnstone. My music education was already off and running. My Dad and allof his brothers were what you would call country musicians.that is country, notcountry western.a term not yet used in the music industry. From the time I wasaround 9 years old I had been playing the steel guitar while my Dad played the fiddle.Bob Wills and the Texas Playboys, Hank Williams, and Dad were my musical inspira-tion. I continued playing the guitar for several yeas and had pretty well determinedthat it would figure prominently in my future. That is until a most dramatic series ofevents, over a three year period, totally changed my mind and my life. Mike Johnstone and I arrived at Galena Park High School at approximately thesame time. Mike was hired to build a choral program at Galena Park and since therehad never been a choir there, he would be starting from scratch. It was on my firstvisit to the school that I discovered that there was going to be a school choir. I simplymentioned to the lady helping me to enroll that I was interested in music.speciallysinging. She suggested that I should talk with the new choir director, Mr. Johnstone,and directed me to his registration table..After fifty years as a choral director myself, I can certainly understand now, whyMike took a little extra time to convince me that I should sing in the choir. Just imag-ine a tall, skinny fifteen year old kid who weighed around 125 pounds, who was all feetand adams apple, walking up to your table and, speaking on about a low E-flat,inquiring about how one might get into the choir!From that day until now, some fifty-five years later, I have been constantlyreminded of his influence on my life. His demanding standards, which were strin-gently enforced; his dedication to excellence; his lack of concern for what was polit-ically correct at the time and his absolute faith in himself and his young students that,between them, they could accomplish extra-ordinary results. He strongly influencedMichael Johnstone220088all of us who had the privilege of being his students. Mike Johnstone, more than anyother teacher I have ever had, was absolutely convinced that great things could happenwhen superb teaching and extraordinary dedication from ordinary students cametogether in a common cause. He would argue that the particular area of study was notreally all that important.it could be athletics, wood working or music.whateverthe academic discipline, successful educational goals could and should be attained.He said on many occasions that the one thing that he wished for was to be able to pickall of his singers from the honor roll. With smart students he would guarantee a greatchoir. With those not so smart he would also guarantee a great choir but it would justtake a little longer. How musically talented they were was of no real concern to him.He contended that it was his job to teach them to sing. He also stoutly argued that thesize of the school should have little of no impact on the quality of the program. Howmany times did you hear him say, Kids are the same in any school. A bad choir is theresult of bad teaching, not of bad students.? He proved his point many times.Grand Prairie, Galena Park, Abilene, Giddings, several schools in Arkansas.large,medium or small.it made no difference, his choirs were always above and beyondwhat could reasonably be expected of them.His strong opinions were not limited to education. I vividly remember oneevening during the semester we shared an apartment together at NTSU. It was in theevening when I came home and found that he had prepared a wonderful steak dinnerfor the two of us. We seldom had really good steak because it was simply too expen-sive, but on this occasion he had really ignored the budgetary constraints and went allout for a top notch T-bone for each of us. First, they were cooked medium rare. Atthe time I liked mine well done.actually well burned and second, no steak was goodenough to eat without a huge helping of ketchup.You can not imagine the explosion which took place when I covered that wonder-ful serving of beef with about a half inch of tomato ketchup. For thirty minutes I waslectured on the value of being able to actually taste the beef and that I might just as wellhave a pile of cardboard on my plate because it would taste the same. He heaped onthe guilt by letting me know that he had wasted a substantial amount of cash on thesteak that I had just ruined. It has been over fifty years and I have never eaten anoth-Michael Johnstone220099er steak with ketchup on it. Actually I even prefer my steak medium rare today, thanksto that special meal prepared for me by Mike Johnstone many years ago.Mike was also a very witty, humorous guy. Even when angry he could be funny. Irecall one occasion when the school quartet had an engagement in some little townseveral hours drive from Galena Park. Mike insisted that, since he had committed usto the program, he would drive us there in his new Kaiser. On the return trip,around 2 a.m., Mike started looking for an all night service station because he des-perately needed a rest stop. Things had reached a critical point when, finally, hewhipped into an open service station. As he jumped from the car, he yelled at theattendant to fill it up. He ran around the corner of the station to the mens room. Afew seconds later he came flying from the direction of the rest room yelling at theattendant for the key to the toilet. Frank Roberts, Bobby Jones, Ted Wilson and I werestanding in the well lighted office when Mike barged into the room. He was livid. Hestarted in on the poor attendant. Mr., he growled. I want you to know that mygrand daddy lived on a farm and he always had an out door toilet which he neverlocked. My Daddy also lived on a farm with an out door toilethe also never lockedit. I also grew up using an out door toilet which was never locked. Mike paused longenough to breath and let the blood drain from his face. And I want you to know sir,that there was never, ever one pound of crap stolen from any of them. With that hepaid the bill, huffed and puffed his way out to the car and we continued our journeyhome. It was one of the most miserable couple of hours the quartet ever spent togeth-er. We were biting our tongues to keep from laughing but we knew that at thatmoment, it was no laughing matter for Mr. J. Mike was also an unintended matchmaker. I met my wife in his choir. CheritaKirksey, the love of my life, was fifteen and I was sixteen at the time. We sat togetheron a short choir tour to south Texas and have been together ever since. Our threechildren and six grand children give us great joy and pleasure. Thanks Mike!! His telephone call to me from North Texas State, urging me to consider trans-ferring there instead of continuing at Abilene Christian College, was another mile-stone in my life.I could go on and on about M. F. Johnstone. We all know he could be difficultMichael Johnstone221100and frustrating at times. However we also know that he was the best there was at whathe did and his influence is still strongly present in the choral (TCDA) community ofTexas. I miss him. I am confident that the quality of the heavenly choir has improvedsince he took over the direction of it.Michael Johnstone221111Michael F. Johnstone Rememberedby Charles NelsonI was in Wilfred Bains fourth choir at NTSTC. Michael Johnstone had been inan earlier choir. I had seen his picture and heard his name, but I didnt meet him faceto face until 1948 or 1949 when the North Texas Choir sang a concert at Galena ParkHigh School where Mike was the choir director. As was the custom of the times, whena high school choir sponsored a college choir on tour, the hosts found some time tosing for the visiting choir. After our concert in Galena Park, we heard their highschool choir sing with a power and precision far beyond the norm for high schoolsingers. It was obvious that this Michael Johnstone, whom I had only seen in choirpictures, was a very special teacher. A friendship that began with this meeting lastedthe rest of his life and will linger in my memory for as long as I live.The Galena Park choir sang with a big full vocal sound that was the ideal for latenineteenth and early twentieth century choral compositions. After hearing a CaroCarapetian choir, Mike wanted to explore a sound which was more compatible withthe European renaissance tradition. When he finished study with Carapetian, hischoir sounded altogether different. In all my experience Ive never heard a conduc-tors product change as rapidly and as completely as Mikes. The maturity was still therebut he had added a refinement. Mike was an older teacher who set standards for thelarge group of young choral directors who flooded the choral scene following W.W.II. On the many occasions we were together, an entire evening would be spent talk-ing music and choral techniques. Mike could teach a group of high schools singers tosing better, faster than any teacher I have ever known. Im not sure I know how he didit. Fear may have played a part. He made tremendous demands on his students, butdid it in such a way as to not drive them away. As a matter of fact, his demands seemedto attract singers. The daughter of the Superintendent of School where Mike wasteaching said, I dont feel like Ive been to choir unless Ive cried two or three timesa week.Mikes students learned to read. He was adamant about teaching them to sing byMichael Johnstone221122numbers. He knew that numbers are inadequate in reading chromatics, but he knewthat most of the singers he taught would not continue to be professional musiciansand figured the immediate facility numbers allowed, balanced any negatives. Thedebate continues, but that was Mikes point of view, and it served him well.Mikes choirs always attracted the more mature students in school. This meansthat he attracted school athletes. The inevitable conflict of concerts vs games rearedits ugly head. Mike considered his program as important as football, basketball andtrack. He drew up a plan and proposed it to the athletic coaches. Added to the ath-letic schedule of football season, basketball season and track season, would be choirseason. During each of the seasons, the appropriate coach would have first call on theboys. During choir season, Mike had first call. He planned his concerts and toursaccordingly. What a sensible approach. I doubt they would have accepted such an ideaif the choir work had not been of high standard.Once, when Bev Henson was teaching at Trinity University, he invited MikesAbilene High School Choir to sing for the Trinity students. Their recital hall was acirca 300 seat facility with excellent acoustics. Bev had been rehearsing his choir thereand while singing a Bach double motet had tried dividing the choir with one half inthe front and the other in the back. The choir didnt stay together too well and Bevblamed the acoustical lag and they brought the two halves closer together. A few dayslater, Mikes choir arrived just in time to sing the concert. Without hearing a soundin the hall, the choir divided in three equal choirs, went to the fartherest corners ofthe room and opened the concert (in perfect sync) singing a Gabrieli piece for threechoirs. Bev was more than a little embarrassed when his students said, Mr. Henson,what was that about distance and time lag?Then there was the time Mikes madrigal group was invited to Stephen F. AustinUniversity to participate in a madrigal festival. Robert Ottman, a professor fromNorth Texas, director of the North Texas Madrigal Singers, was the guest lecturer andclinician. During his lecture he mention a number of famous madrigals, adding,But of course, they are too difficult for high school students. It so happened thatMike had programmed some of the too difficult for high school singers professorOttman had mentioned, and sang them like young professionals.Michael Johnstone221133In 1956, when I was TMEA Vocal Chairman (while the business meeting was stillheld at a luncheon meeting) I had learned that the main duty of the chairman was tokeep the organization from self-destructing. Though an agenda was prepared andfollowed, we had many motions (bombshells) from the floor. In many ways, Mike wasa no nonsense guy and always had strong opinions. That day, Mike had offered sev-eral motions from the floor which were duly voted down, or sent to committee forfurther study. After all that had happened, I was reluctant to recognize Mr. Johnstoneagain, but alas, painful as it might be, I had a duty. It went something like this: Thechair recognizes Mr. Johnstone. Getting to his feet, and in his most resonant bassvoice we heard, Mr. Chairman, I would like for one of my motions to pass today. Imove we adjourn. After a quick second, and amid a room full of guffaws, weadjourned, and I had dodged another bullet.Mike also had a keen sense of humor and was not timid about hurling an analyt-ical barb here and there. While judging a UIL Choir Contest in the Panhandle, amens choir arrived on stage with several girls in the first tenor section. One of thejudges (Ed Hatchett) took the director (Al Skoog) to task about girls in a boys choir.A heated argument ensued. Finally, from the stage, Mr. Skoog, beating right forefin-ger against left palm said: Mr. Hatchett, you cant show me where it says in the rulebook that girls cant sing in a boys choir! Whereupon Mr. Johnstone said Someoneshould show Mr. Skoog a biology book. Mike Johnstone stories are legend. In his later years Mike moved to the Jacksonville County schools in Arkansas andbecame music supervisor. He left his mark on those teachers and students in theJacksonville Schools. He was responsible for me singing several oratorios with a civicchoir in Little Rock. Mike was singing in that civic choir. Riding home with Mike,after the first rehearsal, I suggested that he should be directing the choir for hisknowledge and skill were far more than the man who was directing. He said he would-nt mind directing the music, but he just didnt want to have to . . .put up with allthose people.For years Mike and I met at the first reading session at each TCDA Convention,sat together and added all we could to the bass section. The standards Mike set werealways a goal to reach for. Who knows how far his influence will reach.Michael Johnstone221144Michael F. Johnstone Rememberedby David W. JonesI first met Mike Johnstone and around 1950 in the Opera Workshop class atUNT. He was rehearsing the baritone part in Menottis The Telephone. I had seenhim earlier while on choir tour at Galena Park High School. After our choir had sungwe listen to his choir sing All Brathing Life from Bachs Motet #1. I can tell you thatI had not heard anything like it in my short experience with choral music, especiallyfrom a high school choir. The tone was a very full and extremely loud. It was, how-ever, perfectly performed. (I knew the piece by memory.) It was obvious that this wasa highly disciplined group. But I must say that it was not very pretty. Although I had some association with him at professional meetings, i.e., TCDAand TMEA, I really didnt get to know him until he brought his five member madri-gal group to perform for a luncheon at TCDA in San Antonio, Texas. The entireaudience was completely blown out by what we heard. The group performedMorley, Monteverdi, and even Gesualdo with a precision, style, and beautiful tonethat Im sure no one at the luncheon believed possible from high school group. Hewas teaching at Cooper High School in Abilene, Texas. I later heard his A CappellaChoir and it sang with a completely different sound and sensitivity from what I heardat Galena Park High School. In 1963, shortly after I started teaching at Stephen F. Austin State University, Idecided to have a madrigal festival. As I recall about 12 groups attended. The formatwas to have distinguished people to lecture and demonstrate for the madrigal groupsand their directors. The professionals were also there to judge the groups and toaward first, second, and third places. I selected Robert Ottman, the distinguishedtheorist and director of the UNT madrigal group to lecture on literature, composers,and where to find published music. I selected Samuel Adler, composer in residenceat UNT, and a composer who had written some madrigals, to lecture on what consti-tutes a madrigal, composition of such, and the poetry. I selected Mike Johnstone,the best madrigal director I had ever known, to cover style and performance. I was very satisfied with my selections because they achieved my aims of both aMichael Johnstone221155scholarly and performance oriented festival. In the contest, first, second and thirdplace awards were won by Herbert Teats three groups that he brought to the festival. Samuel Adler presented the first lecture of the afternoon, which was informativeand helpful. The second lecture was given by Robert Ottman weapon, who gave us avery detailed presentation of a massive amount of music available for all levels of per-formance. He also, as he presented the pieces of music to us, rated them accordingto difficulty of performance. Dr. Ottmann had been the director of the UNTMadrigal Singers for years and had performed an immense amount of literature of allstyles. In his lecture he gave Ravels Nicolette as an example that was so difficult thatno high school madrigal group would be able to perform it. He said his universitygroup had tried it and was never able to give it satisfactory performance. It ended atthat. Now Mike had brought his five member madrigal group with him as a demonstra-tion group, the same group of peace TCDA fame. First, Mikes would talk about apiece of music and discuss its style of performance. Then his group would sing a liveperformance of the piece, demonstrating the style he described. After a couple ofpieces he announced that his group was going to perform Ravels Nicolette, thepiece previously described by Dr. Ottman as too difficult for any high school group. Mike was a very nice about it, apologize to Dr. Ottman, and said that he in no waywas trying to show him up, but that he had already had this piece on the program. Hesaid that he hoped the audience would not be disappointed. Well, of course hismadrigal group just sang it to perfection. Everyone was amazed, even Dr. Ottman,who said that he was glad to hear what the piece was supposed to sound like.Michael Johnstone221166Michael Johnstone Rememberedby Frank RobertsIn my hometown of Galena Park, Texas in 1949, not many of my peers were dis-cussing serious music, or of going off to college after graduation. We had a band anda football team but were blissfully ignorant of just about anything else. Thanks to avisionary high school principal named Don B. Slocumb who, after hearing an out-standing assembly concert by the Grand Prairie High School A Cappella Choir,recruited it's director almost on the spot. That man was Michael F. Johnstone who, ina few years had developed possibly the first high school touring choir in the state atGrand Prairie.In only three short years at Galena Park, many would say, he surpassed what hecreated at Grand Prairie and consequently impacted the lives, careers, and the veryculture of my generation of choral singers at Galena Park. Indeed, my abiding loveof music is the result of the powerful influence and leadership of this great man. Ibelieve it's safe to say that many, many others around Texas share my admiration forMike and the wonderful contributions he made to their education.Mike was an incurable builder. He built Choral Programs and then would moveon to the next challenge, always leaving a much better situation than he found. Hewas a marvel to observe in teaching, conducting and organizing. Mostly though, it wasinspirational to see him create so much from so little, and in so little time. When Ireflect on my own educational history, Mike stands alone as the model of inspirationand motivation for my own life. This, in my mind, multiplied by the many others heinfluenced over his career, is his legacy. He truly is a giant in the history of choralmusic in Texas.So, here's to you Mike. And thanks for revealing a world of music and culture toone who might have missed out had it not been for you.Michael Johnstone221177Michael F. Johnstone Rememberedby DeLois WimmerI want to relate the influence he has had on our lives in the little town of GalenaPark. The first year he was there my brother Ted Wilson sang in the choir. When Iheard that first concert I knew I was willing to give up my right arm in order to singin such an organiztion with Mr. Johnstone. The next two years I sang in that magnificent choir and like all the other studentsin the high school I will always be indebted to Mr. Johnstone for coming to our com-munity. I was a soloist and a accompanist at contest. (We all know how he simplyabided contests.) His first year choir did not enter contest at all, instead they wentaround Texas performing for other communities to encourage choral music. He setan example of what could be accomplished from scratch in one year. Wow! Did heever show us a thing or twolI was indebted to him in that he led me to the Episcopal church as a worshiper, asinger and an accompanist. He also let me be a baby sitter for his childern who wereso dear. He gave us great insights into other things rather than just music. He helpedbuild us up through developing character, creative thinking, as well as solving prob-lems. I followed him as the high school choir director in Giddings, Texas and Iunderstand it was because of his reference that I was asked by Superintendent Don B.Slocomb to come and teach there. Don Slocomb has had a great influence on musiceducation in Texas. He was our high school principal and the man who broughtMichael Johnstone to Galena Park. These two men will always be my heroes. I have noticed so many of the GPHS graduates went on to be teachers as well aschoir directors. They wanted to be teachers like those at GPHS or they wanted to belike Michael Johnstone and be the best of choir directors.I wanted to be a high school choir director but he suggested I go into elementaryschool music. I have taught Pre-K through high school. I certainly loved the highschool music but I felt as a mother raising three little children I could handle elemen-tary school better. He was right and that is where I have been teaching for thirty-fiveyears. Those under the influence of Mr. Johnstone who did not make a career ofMichael Johnstone221188music have grown in their love and appreciation of wonderful music. He planted aseed that has grown and flourished into something very wonderful. It is sad he did-n't live long enough to see all the good he had accomplished. I talk about myself because of such a wonderful influence he had on me. This lit-tle kid went on to great a doctorate in music education. I never dreamed I would evenget the opportunity to go to college. Mr. Johnstone helped and inspired me to makemy dreams come true. My love of great music and all kinds of music stem from hisintroducing all us to the wonderful world of music. He brought us a great feast ofmusic on the finest of silver platters. Thank you Michael Johnstone for the legacy andheritage you left us.Michael Johnstone221199Michael F. Johnstone Rememberedby Carroll Barnes, Past President TCDALittle did I know that this man who recruited me out of study hall to sing in hischoir would have such a profound influence on my life and future career. Also, lit-tle did I know that this man was tough!!! No more free rides or coasting. Not onlywas Mike a tough old bird, but a taskmaster as well. Before I graduated he had mesinging in the Texas All-State Choir, taking Voice Lessons from his wife, Pattie, tak-ing care of the Choral Library at Abilene High School, leading Sectional Rehearsals,singing in his Madrigal Group, taking Music Theory (all this on top of Band andOrchestra), Sight Reading new music in the newly formed TCDA, and helped me geta Scholarship to the University of North Texas. I do remember one special momentof great joy under his direction. When my voice changed, he let me sing bass for twoweeks before moving me to First Tenor. Ah, the good old days!Actually, there were many days of enjoyment as well as hard work. He was verydemanding and expected your best. He was also so very far ahead of his time as aMusician and Choir Director. Have you ever taken your choir to UIL Contest andsung a Triple Choir selection with one choir in the balcony, one on stage and one onthe side. Or better still, a twelve-part arrangement (with three additional soloists) ofthe Saint Louis Blues. All of this took place in the late 1950s when choirs were notso good. Little did we students know what kind of education we were getting fromMike Johnstone.Mike not only had a great impact on his students, but on Texas Choral Music andthe forming of The Texas Choral Directors Association. While this may sound triteor a little self-serving, I remember Mike taking some of his students to read new musicat the newly formed TCDA, held at the Gunter Hotel in San Antonio. It was the yearClois Webb was President and had brought his Superintendent, Gilbert Mize to be theguest speaker. One night after everyone had left the ballroom where we had gathered,I wandered back into the hall to see if anything was going on. The hall was dimly lit,but the Lectern had remained bright. As a high school student standing at the backof the ballroom, I had been very impressed with TCDA and Choral Directing. ForMichael Johnstone222200some reason the thought came to me that, One day I want to become President of thisAssociation and I want to become a Choral Director. Both came true, thanks to MikeJohnstone.Mike was truly a Pioneer in Texas Choral Music, but more importantly, he was aLeader, Teacher and a God Send to his students. We will not forget!Michael JohnstoneIInnddeexx ooff CCoonnttrriibbuuttoorrssAAAdams, Randy 109Albert, Donnie Ray 284Alfred, Maurice 99Allibon, Amy Detrick 384Antinone, Pat 482Ard, Michael 477Armstrong, Ken 102Atherton, John 281Austin, Barbara Lewis 155Austin, Bob 189BBBaden, Carolyn 478Bailey, Donald 451, 469Bailey, Raymond 462Barnes, Carroll 168, 219Barnes, Edward 107Bates, Carl 318Bates, Dorothy & John 87Bates, Eloin Bradley 125Baxter, Jerry 458Beaty, Dewayne 110Bennighof, Jim 471Bernson, Dorothy 95Biffle, George 235Bingham, Lyndal 111Birkner, Julie 356Boggs, Frank 476Bottoms, Jack 112Bowers, Jack 239Box, Cecelia 27Bradford, Betty 472Brantley, Royal 435Brewer, Dave 259Brewton, Sarah 473Briggs, Phil & Jennette 115Broadstreet, Kim 463Brooks, Gene 436Bryant, Roger 341Buddo, J. Christopher 474Burkhalter, Betty 140CCCarlson, John 447Carrell, Stephen 437Casey, Beth Baldwin 369Casey, Glenda 252Chambers, Ava Nell Donoho 154Christi, Lynn 187Clark, Dave 171Clifton, Jim 133Coates, Kenneth 475Coffman, Wesley 191Colderon, Jack 479Colvin, Herbert 470Index552222Cooper, Thelma 485Council, Tom & Winifred 286DDDavidson, Sandra Fulmer 157Davis, Bill 116Davis, Sid & Linda 288Dawson, Rebecca 430, 488DeBord, Erwin 419DeLoach, Doris & David 489Dilday, Russell 490Donald, Elena Ann 85Dorsey, Wilma 28Downey, Charles 79Duson, Dede 299, 363, 375EEEder, Terry 337Ellison, Hugh 192Evans, Jana Bullard King 244Everest, Ann Everett 24FFFederer, Alice Lee Gist 132Fisher, Robin 486Fitzgerald, Mary 117Foley, Nelda Reid 176Foster, Walter 309Franklin, James 175Fuller, Charles 88, 427Fulton, Ken 249GGGans, Judith 185Garner, Cody 164, 491Garrett, Jean Rapp 158Garwood, Harry & Edith 453Gibbs, Vicki McFarlin 444Gilchrest, Anita Mobley 124Glenn, Philip 397Gorham, Dee Ann 344Grahnquest, Sharon 188Grant, Eleanor 285Green, Georgia 492Griffis, Don 480HHHackett, Kathy 354Hall Jr., OD 92Harrison, Paul 156Hart, Kenneth 273Hassell, Alton & Patricia 94Hatcher, Janet Bonicelli 393Hawthorne, Lloyd 455Heathclott, Rence Fast 93Heffley, Rosemary 301, 357, 376Hensarling, Jesse 26, 100Index 552233552244Henson, Nora 335Hickfang, Karl 202Hightower, Alan 331Hinojosa, Clara Dina 390Hirt, Charles 424Hodgson, Walter 312Holbrook, Charles Ray 153Holcomb, Al Dee 406Holcup, Gene 349Holmes, Ruth 166Hopson, Hal 493Horan, Leta 481Huffer, Kerry 426Hyson, Priscilla Lawhorne 118IIIrby, Bob 20Irwin, Joe 456Ivey, Mel 163JJJacobson, Michael 494Jasek, Melvin 119Jeffress, Charles 135Johnson, John 498Johnson, JW 18Johnson, Karen 495Johnson, Mary Jane 248Joiner, Gerre 238Jones, David 214Jones, Joyce 496Jones, Suzie & Theiss 497Jordan, James 402Jordan, Randy 257Jousan, Pat 282KKKates, David 366Kavanaugh, Janette 159Keathley, Naymond 499Kennedy/Horsman, Katherine 260Killingsworth, Terry 169Kincaid, Pat Agnew 106King, Ben 261King, Tim 224Koen, Harriett Snider 237Kohler, Ken 139LLLand, Lois 297Langner, Gerald 445Lawson, Linda 416Lehr, Allison Ercholz 484Lewis, Gerry 420Lewis, Virginia Lee Allen 120Loden, James 121Lovelace, John 194Lunsford, Donna Magee 122Index552255Luper Jr., Marion 98MMMagee, John 96Malloch, J. David 206Marshall, Jane 276Martin, Morris 172Mathis, Margaret 368McClintock, Nancy Fields 138, 141McCormic, Mary 320McDaniel, John 500McGill, Stan 454McMahon, Stephanie Batt 501McWhorter, Bill 502Means, David 459Medlen, Suzanne.. 311Medly, Mike 241Melone, Roger 362Miller, Brian 387Miller, Kim Word 422Moody, Vernon 207Moore, Edgar 178Moore, Jim 296Moore, Winifred 503Morris, Brenda 468Morris, Terry 347Morrison, Babs 450Moss, Eileene 440Murphy, J. Carter 12Murphy-Manley, Sheryl 313, 365Murry, Lena Sue Chilton 104NNNance, AD 317Nance, James 31, 136Neel, Eddie Lou 33Nelson, Charles 1, 3, 10, 52, 131, 193,211, 233, 279, 314, 339, 378, 442, 449Neuenschwander, JW 255Newcomb, Armentia 380Newell, KC 29Nichols, Ed 57Norman, RB 316Nunez, Rebecca Breining 160PPPack, Carol 466Palmer, James & Betty 504Pasetti, Texas De Sautell 134Patterson, Tammy Charles 342Pausky, Martha Brittain 58Peebles, Wyley 59Perales, Jerry 345Perron, Paula Constantine 60Peters, Dale 195Peters, Juanita Teel 196Phillips, Mary Jane 372, 395Poetschke, Linda Catt 179Pollard, Marvin 151Index552266Ponce, Beryle Eileen 184Porter, Euell 319, 465Preskitt, Terrie McKenzie 400Prestidge, Sam 61Prestidge, SW 505Price, Terry 294Pugh, Donald 161QQQuebe, Fern Wiese 62Quillin, Eddie 245RRReynolds, Allison 403Reynolds, Herbert 461, 506Rice, Jeff & Jannifer 509Riehle, Kevin 290Roberts, Frank 162, 216Robinson, Wayne 399Robison, Lora Thomas 63, 507Rodgers, Candis 452Rogers, Cheryl 183Rogers, Michael 181Russo, Diane Sentell 508SSSager, Carolyn Pittman 64Sanders, Rinky 65Savage, Andrea Hall 67Schantz, Ira 23, 198Schmeltekopf, Donald 511Schott, Sally 382Scott, Daniel 512Segrest, Robert 68Seible, Rob 351Seibold, Robert 180Shanley, Richard & Helen Ann 513Shirley, Jakie 70Shore, Kenneth 443Simons, John 514Simpson, Francis Bryant 54Smith, Carol 388Smith, Karen Skinner 439Smith, Kay 25Smith, Lucia Woodbury 167Smith, Martha Pampell 190Smith, Ralph 457Snyder, Richard 247Stewart, Kay 515Stone, Edgar 197Swan, Howard 434Szenasi, Kay Norsworthy 77TTTadlock, Gloriana 364Taliaferro, Rowena 21Talley, Barry 428Talley, Billy 438Index552277Talley, Randy 413Tanner, Amby 383Tarkington, Regena Ragan 516Taylor, James 391Teat, Herbert 15Teel, Bruce 78Thomas, C. William 81Thomas, Pamela Cooper 177Thornton, Frances 84VVValighan, Jay 518VanDyke, Georgianne 517Venable, DeAnna 72Vickers, Paul 359Vickney, Ray 519Vickrey, Sharon 73WWWalker, Marilyn 74Wall, Sampy 174Ware, Broadman 53Ware, Mike 353Watkins, Bobby 75Watson, Bob 321Webb, Cloys 137White, Andrew 76White, Brad 386Whitsett, Brenda 173Whitsett, Dwight 170Whitten, Lynn 130Williams-Wimberley, Lou 292Wimmer, DeLois 217Wood, Conan 367YYYates, Jack 89York, Terry 520Young, Carlton... 264Index