podium winter 10-11.pdf - il-acda
TRANSCRIPT
PODIUM President’s Message
One Step at a Time
A few months ago, I did
something that I had not done
since my college days. I auditioned
for two choirs. Our students do it
all of the time prepping for audi-
tions for us, for IMEA or ACDA,
or their college auditions. They say
that ―hindsight is 20/20.‖
Still, now that I have finished my
auditions for this year, I certainly
discovered some things about my-
self, as well as gained some in-
sights into what my students may
have experienced,
First off, the decision to
take the plunge and try out for a
choir was a big one for me. For
several years now, I have sung in
my church choir and a men‘s quar-
tet. Still, my participation in these
groups does not require an audi-
tion. I was considering going out
on a limb and venturing into the
daunting abyss of a formal audi-
tion. (Some kids don‘t have any
desire to audition for a group and I
can understand why. They are per-
fectly content singing in a ―y‘all
come choir‖.)
I won‘t bore you with all of
the details regarding my pre-
audition preparations. Suffice it to
say that it had been a long time
since I had put my focus and ener-
gies on my vocal technique. Revis-
iting that part of my musical life
has been quite satisfying.
Looking back, the two ex-
periences were similar and yet dif-
ferent. The similarities came as the
auditioners were extremely profes-
sional and welcoming. Each did
their best to put me at ease. As the
moment approached for me to sing
my ―prepared selections,‖ my
heartbeat picked up. I took my
prep breath and I began to sing. I
was ―in the moment‖ and it was
kind of fun. (My younger self was
not nearly so rational.) Each audi-
tion also consisted of demonstrat-
ing sight reading, tonal memory,
In this issue
Volume 37, No. 2
ILLINOIS CHAPTER OF THE AMERICAN CHORAL DIRECTORS ASSOCIATION
ILLINOIS ACDA EXECUTIVE BOARD
President
Brett Goad
Hinsdale South High School—retired
Past President
John Jost
Bradley University
President-Elect
Beth Best
Hill Middle School
Treasurer
Tim Fredstrom
Illinois State University
Leslie Manfredo
Secretary
Joy Schertz
Princeton High School
Podium Editor
Andy Jeffrey
Glenbard West High School
Podium Assistant Editor
Jen Burkemper
Hinsdale Central High School
Winter 2010-2011
President’s Message - p. 1
One Step at a Time
Children’s Choir Spotlight-
Achieving a Better Choral Sound
through Listening;
a Lesson from Suzuki p. 3
Junior High/Middle School
Choral Curriculum and
Assessment p. 4
IL ACDA Composition Contest p. 7
Interview with Carolyn Kellert p. 8
Reflections on: The Courage to
Teach p. 11
Worship Repertoire Project p. 12
The Transition from Student to
Student Teacher p. 13
Listing of IMEA All-State p. 14
Conductors and Repertoire
IL-ACDA Summer ReTreat p. 22
Save the date 2011
From the Editor p. 23
and vocal range. While I feel that I handled these aspects fairly well, at least in
audition #1, I rushed myself. The calm that had come over me quickly dissi-
pated. HOW SILLY OF ME! (I wonder if my kids experienced that?)
Next was the most interesting part: waiting to hear the results. I found
myself kind of chomping at the bit, wanting to know. In a week or two, I was
notified that I was not selected for the first ensemble. I was neither surprised or
upset by the news. I have since had the opportunity to talk with the director
inquiring as to his reactions to and suggestions for future auditions. I appreci-
ated his candor. (It all made me have empathy for my singers whose name was
not on the ―chosen‖ list at various times in my career. )
I was selected for the second ensemble and it has definitely been a joy.
Singing in my church choir and men‘s quartet certainly provides me a great
deal of satisfaction, not only with the music that we sing, but also in the shar-
ing the experience with a lot of great people. My newfound choir experience
takes me to musical places that I have not visited for years, sort of like a Star
Trek episode. I come away both refreshed and exhausted. And I have made
new friends along the way. I‘m glad I took the step.
As you continue in your journey to find that joy in music for your sing-
ers, I would ask you to set aside some time to revisit whatever it was that
―goaded‖ you to become a choral music educator. Maybe listen to some of
your high school or college recordings on vinyl, cassette tape, or CD. Go back
to the time when you were in the choir, sing along with the recording and re-
member.
Remember what it was like to see the choir and thinking ―Someday, I
want to be in that choir.‖ Remember your first audition. Remember seeing you
name on the list and when you first put on that new robe. Remember adding
your voice to those of your classmates. And remember the feeling of pride that
you felt being in choir.
It‘s in the remembering that we can become recharged and refreshed.
Music making can afford all of us great joy, no matter which side of the po-
dium on which we sit. Thanks for taking the step to become a choral music
educator. Best of luck as you continue on your musical journey.
If you are coming to the upcoming IMEA All-State Conference, I hope
that you will take the step to stop by two IL-ACDA activities. On Thursday
evening, IL-ACDA will sponsor a reception. It will take place in the lower
level of the City Center Holiday Inn. And on Friday afternoon, be sure and
come by the Kidder Music/IL-ACDA reading session, located at the Riverside
Church.
Best Regards,
Brett Goad
IL-ACDA President
President’s message (continued from page 1)
Page 2 Volume 37, No. 2 WELCOME
Repertoire and Standards Chairs
Membership Chair
Sarah Smith
Pleasant Ridge School
Middle School
Jill Rinkel
Mahomet-Seymour Jr. High
Senior High
Janet McCumber
Villa Grove High School
Jazz Choirs
Stacy Cunningham
Leyden High School
Female Choirs
Sarah Graham
Illinois State University
Male Choirs
Brad Holmes
Millikin University
Two Year Colleges
Philip Spencer
Joliet Junior College
Music/Worship
Jeff Hunt
Baker Memorial UMC, St. Charles
Show Choir Chair
Mark Meyers
Waubonsie Valley High School
Repertoire and Standards Chairs continued
College /University
Karyl Carlson
Illinois State University
Composition
Lee Kesselman
College of Dupage
Children’s Choir
Ron Korbitz
Brookdale Elementary School
Community
Steven Szalaj
McHenry County College and Voices in Harmony
Ethnic
Elizabeth Zobel
Blackburn College
Youth/Student
Mary Lynn Doherty
Northern Illinois University
IMEA Representative
Rick Murphy
University Lab High School
Webmaster
Jason Hawkins
Plainfield North High School
Historian
Bob Boyd
Northwestern University
Children’s Choir Spotlight
Volume 37, No. 2 Page 3
Achieving a Better Choral Sound through Listening;
a Lesson from Suzuki
As I began to think about what my first article for The Podium should
cover, I found myself getting somewhat overwhelmed by the vast number of
topics we as choral directors and music educators need to address in every
rehearsal. My head spun as I went from articulation to balance to blend to
canons and on through zygomatic lift! I asked colleagues and friends for ad-
vice and became more overwhelmed at all of the various things we must think
about and teach to create beautiful music.
I had no idea where to begin until I went to the group violin classes
that my two daughters attend at the Western Springs School of Talent Educa-
tion. They study the Suzuki Method at the school and I am continually
amazed by the things they are learning because of the fine teaching that takes
place at this wonderful institution. As I sat listening to the classes play
through various pieces from ―Twinkle, Twinkle‖ to Chorus from ―Judas Mac-
cabeus‖ to a ―Gavotte‖ by Martini, I kept wondering how these children could
create such beautiful and mature sounds when no one in the room was over
the age of twelve. Then, I was reminded, as the director, Ed Kreitman asked
the students, ―How many of you have been listening to your CDs every day?‖
These children have been hearing great performances since their very first
lesson. A huge part of Suzuki training is daily listening to current and future
repertoire. Part of the Suzuki philosophy posits that if one is exposed to beau-
tiful music performed by quality musicians and ensembles on a consistent ba-
sis, those sounds will be processed and eventually reproduced by the brain.
Since this revelation, I have made it a point to include regular listening les-
sons in as many rehearsals as I possibly can. My goal for the second semester
is to include a listening lesson for every rehearsal.
My listening uses groups that I consider to be top notch. We listen
primarily to other young choirs but I occasionally use college and profes-
sional groups as well. The important thing for young students is to give them
something in the music to try to hear. I will have them listen for a variety of
things from diction to tone to pitch to what type of harmony is being em-
ployed by the composer. They need to have a ―listening target‖ on which
they can focus. Otherwise, they will treat listening time as if it were back-
ground music and defeat the purpose.
It‘s a bit early to tell if the listening exercises are a direct cause of my
students singing better. Truth be told, I may never know the direct cause and
effect of this experiment. I can confidently state that my chorus is actively
listening to music, thinking about music and learning to intelligently critique
music. Those are all good things that are making them grow as musicians so I
will continue to use active listening in my rehearsals and I hope you consider
it as well.
Submitted by Ron Korbitz—Brookdale Elementary School
Jr. High/Middle School Perspectives
Page 4 Volume 37, No. 2
IL-ACDA District Chairs
District 1
Diane Marelli
Riverside Brookfield High School
District 2
Michael Zemek
Augustana College
District 3
Debbie Aurelius-Muir
Olympia High School
District 4
Erin Stegall
Macomb Junior High School
District 5
Jacob Elam
Central A&M Middle School
District 6
Susan Davenport
Southern Illinois University
District 7
Paul Rausch
Woodstock High School
District 8
Jon Hurty
Augustana College
District 9
Bryan Kunstman
Kaneland High School
Student Representatives
Brian Albertsen—Illinois State U.
Brett Kirhofer—Northern Illinois U.
Junior High/Middle School Choral Curriculum and Assessment
What does choral curriculum look like in your school? When I started teach-
ing 28 years ago, my choral curriculum was basically determined by the rep-
ertoire that I chose. We just learned notes, rhythms, dynamics, and phrasing
(mostly by rote). Over the past 28 years, my curriculum has been drastically
altered by in-services and training on assessment, curriculum maps, differenti-
ated instruction, and now professional learning communities that focus on the
most essential learning outcomes.
Seven years ago, our high school music staff presented a plan to add
an Honors Program to our choral and instrumental program. I was surprised
that the curriculum committee of high school teachers was oppositional be-
cause they thought that all we did was sing and just play music. When our
comprehensive curriculum was presented, they were amazed and the teacher
that was most oppositional became our biggest advocate.
A well-defined curriculum and a variety of assessments are vital to the
education of our students and give validity to our music programs. I cannot
possibly cover all the aspects of curriculum and assessments in this article,
but I hope to encourage you to reflect on how we teach choral repertoire to
our students.
Over the years, I have come to concentrate more on curriculum and
choosing repertoire that strengthens my learning objectives. I only see each of
my junior high choirs for 38 minutes twice a week. At each rehearsal, we
warm-up our body, articulators, and diaphragm. We sing arpeggios, scales,
chords, interval exercises and various other ear-training and vocal exercises
that relate to our repertoire. Music theory, sight-reading, vocabulary, and
rhythm concepts are taught via worksheets that I assign as homework and also
as bell-work that is done at the beginning of class. Because I believe in multi-
ple intelligence learning, skills and concepts are taught and assessed visually
and aurally. And, of course, they demonstrate performance of these skills.
For instance, in 7th Grade Chorus, we are sight-reading in the key of F Major
and learning about tied notes and slurs. Since we just finished our concert, we
are singing carols and Angels We Have Heard on High by Joyce Eilers is in
the key of F Major. We can sight-read this with solfege, and it has a lot of
tied notes in the alto and baritone part. (I am fortunate to work in a school
where singing Christmas carols is acceptable.) Students are assigned a work-
sheet where they draw and label the F Major scale with letter names and
solfege, as well as fill in the solfege for several sight-reading examples.
Keeping Bloom‘s taxonomy in mind, I also include some higher level assess-
ment questions where students are required to create, analyze, compare and
contrast, or evaluate various skills. I am also aware that the Partnership for
21st Century Skills (P21) along with the Illinois State Board of Education sup-
port incorporating the 4 C‘s into our traditional skills. The four C‘s include
critical thinking and problem-solving, communication, collaboration, and creativity and innovation. For
musicians, these concepts are implemented on a regular basis as we prepare for performances.
My students recently watched a video of their concert while evaluating their performance in the fol-
lowing categories: note and rhythm accuracy, balance and blend of parts, tone quality, diction and lan-
guage, expressive qualities (dynamics, phrasing, and facial expression), posture, and stage deportment. We
had previously discussed the categories so that students could use appropriate musical vocabulary in the
correct categories. I also assess students individually via a written rubric (using the categories above).
When I hear them individually sing their part with the accompaniment, I am amazed that we sound so good
as a choir. Students receive this written rubric with positive comments on their strengths and encourage-
ment for improvement in weaker areas. The students really appreciate this information, and it benefits me
as I select repertoire and evaluate the musical needs of each student and each choir.
Assessments yield critical information about what students have learned and what needs to be
taught or reviewed. I am continually changing and refining my curriculum and assessments. While col-
laborating with the Band director, I discovered that he teaches the chromatic scale to the 7th Grade Band.
Since many of my Chorus students are also in Band, it makes more sense to teach the chromatic scale to
my 7th Grade Chorus instead of waiting until 8th Grade Chorus. My students seemed to have more success
writing and singing the chromatic scale when related to the fingerings/positions of their instruments. I also
taught a short ‗piano‘ lesson about the white and black keys, sharps and flats, and whole and half steps.
Students recognized chromatic intervals in the baritone part of Vivaldi‘s Gloria, arranged by Patrick Lie-
bergen. Cool!
I would love to hear from other teachers about your successful strategies and what concerns and
needs you have at the Junior High/Middle School level. Over the past twenty-eight years, I have taught K-
12 General Music, Chorus, and Band. It has only been the last seven years that I have focused predomi-
nately on Middle School/Junior High choral music. At that time, I joined ACDA and started participating
in the ACDA summer ReTreat. The clinicians and workshop leaders are fabulous, and the rapport among
colleagues is infectious. I invite you to attend the ACDA summer ReTreat at Illinois State University. You
will start your fall semester with fresh motivation and creative ideas from wonderful colleagues who share
your passion for middle school/junior high students and choral music. I hope to see you there.
Submitted by Jill Rinkel
Mahomet-Seymour Junior High
Jr. High/MS Choral Curriculum and Assessment (continued from page 4)
Volume 37, No. 2 Page 5
Page 6 Volume 37, No. 2
Make plans to join your colleagues from around the country this Spring in Chicago! Go to www.acda.org for more information.
Volume 37, No. 2 Page 7
Choral Composition
Contest WIN $1000 FOR YOUR CHORAL COMPOSITION!
Illinois composers with a creative voice and clear compositional ability are invited to submit works to Illinois-ACDA’s
annual Choral Composition contest—for a $1000 prize. The winning composition will be premiered by the Director’s
Chorus of Illinois-ACDA, an adult mixed choir. In addition, winning composers are invited to display their works at
our annual summer ReTreat.
Entry Deadline is April 15th, 2011
Sponsored by IL-ACDA, Brett Goad, President
Who may enter: Illinois composers who are 18 or older by April 15th 2011. Award: $1000
Compositional Requirements: An original work for mixed SATB chorus, approximately 3-8 minutes in
length; texts must be free of copyright restriction, or submitted with proof of the author’s permission.
Entry Materials: Two copies of the full score, with separate identification form.
Entry Forms and Specific Details are available at: http://www.il-acda.org/Composition.htm
Additional Information can be obtained from:
Lee Kesselman, Chair, Illinois-ACDA Composition Contest
149 S. Park Blvd., Glen Ellyn, IL 60137
e-mail: [email protected]
You may remember hearing the
female jazz ensemble Silk Cords
at the Illinois Summer ReTreat a
few years ago of which Carolyn is
the artistic director and arranger.
Or maybe you‘ve heard the Gales-
burg High School Choir perform
at IMEA or ACDA conferences or
the Buchanan Community Chorus
(Monmouth/Galesburg area) in
concert under her direction. As an active clinician,
adjudicator, and festival director, it‘s quite possible
Carolyn has worked with you or your students at one
of the many vocal music events in our state. Or
maybe you have had the fortune of studying with
Carolyn at Knox, Monmouth, or Carl Sandburg Col-
leges where Carolyn has served as an adjunct profes-
sor and instructor.
I remember the first time I met Carolyn Kellert as a
fellow adjudicator for IHSA Large Group Contest. I
was impressed by her honest yet helpful feedback
for the student musicians, her enthusiasm and sincer-
ity, and her easy smile and contagious laugh. I have
had the privilege of working with Carolyn and her
students several times since, and she truly exempli-
fies the kind of choral music educator many of us
strive to be in our own work. As further evidence of
the quality of her teaching, the Galesburg Area
Chamber of Commerce named Carolyn the 2010
Teacher of the Year. When considering somebody
from District II to interview for this article, I imme-
diately asked Carolyn if she was interested as I knew
her expertise and experience would benefit us all.
How long have you been teaching/directing?
How long have you been in your current posi-
tion?
This year I am celebrating my 30th year in music
education! I still can‘t believe it. In fact, I remem-
ber vividly my first opening day teacher‘s institute
watching the superintendent award teachers with 20
and 30 years experience. They were so old! I was
shocked that they could still get around!! Well, any-
way…this is my 26th year in Galesburg Dist. #205.
An Interview with Carolyn Kellert
Page 8 Volume 37, No. 2
For the first four years, I taught in the Monmouth
School District.
What other positions have you held?
While at Galesburg, I‘ve had the opportunity to teach
junior high & high school choral music. In Mon-
mouth, I taught 5-12 vocal music.
What was your preparation for your career
(schools attended, etc.)?
Because my parents had received college degrees in
related fields of Business and Science, it was assumed
and rather expected that all four children should pur-
sue the same avenue of education and receive similar
degrees. Following the family tradition, I received my
college degree in Business Administration from Okla-
homa State University; however, throughout my col-
lege career, I remember anxiously awaiting the four
o'clock hour—University Choir! Obviously, my heart
was not in my business studies, yet after graduation I
immediately started working in the "business
world" beginning my business career in Mon-
mouth. Wanting a singing/performing outlet, I audi-
tioned for the director of the Monmouth College
Choir. Being the only community member, I felt hon-
ored he allowed me to participate....only, of course,
with the stipulation that I would attend all rehearsals
and required performances. That, indeed, was easy to
agree to because the rehearsals were always the high-
point of my day. After one college rehearsal, the di-
rector approached me and asked if I had ever thought
about a teaching career in music. I was flattered and
excited! The following day, he introduced me to the
Registrar and by the onset of the next term, I was offi-
cially beginning my studies in music education. After
graduating from MC, I began teaching in the Mon-
mouth school district while concurrently pursuing my
Masters Degree at WIU. In the summer of '85 (sounds
like a song), I received my MA and was immediately
hired by Galesburg Dist. #205.
What gives you the greatest satisfaction in your po-
sition?
I guess I must admit it‘s when I see the ―light bulbs‖
going off in class. The students ―get it!‖ Maybe it‘s
just… a minuscule concept or it might be a monumen-
tal vocal response…either way it‘s amazingly reward-
ing. And at my age, the tears are coming easier and
Volume 37, No. 2 Page 9
Interview with Carolyn Kellert (continued from page 8)
more spontaneous every day. Yes, it‘s GREATLY satisfying!
What have been your greatest challenges?
Regarding my teaching career, I would have to say my biggest challenge has been watching how the 4-
block system and the requirements from the state have negatively affected the vocal music program. But
we strive to continue making lemonade and silk purses.
What are some things you have learned over the years that you wish you had known in the begin-
ning of your career?
WOW!!! Let‘s see…how many pages am I limited to in the IL-ACDA Podium? I know my statements
concerning ―things I wish I had known‖ might seem like heresy to some directors, but here are a few…
1. Maybe it's OK if the last chord of Haydn's Mass in Time of War isn't perfectly in tune. For the
past 22 years, Galesburg HS has presented a Masterpiece Concert. The concert consists of the
combined choirs performing a mass accompanied by orchestra. We have performed 11 different
masses, I believe. Invariably I always have several students respond, ―So Ms. Kellert, which mass
are we going to do this year?‖ The intonation might suffer occasionally, but I‘ve tried to provide
the educational experience. I recently received an email from a former student: ―I graduated in
1992, I still remember the Vivaldi but what mass did we do my last year? I believe it was a Mo-
zart mass, right?‖
2. It‘s OK to say, ―Good point. I‘m not exactly sure about the answer, but let me do some re-
search on that subject.‖ I‘m quite embarrassed to say that as a new teacher I didn‘t want the stu-
dent to realize I didn‘t know all the answers. So I skirted those types of questions regularly. And
finally,
3. It‘s VERY healthy to LAUGH AT ONESELF. I find myself doing that A LOT lately, much
more frequently than at the beginning of my career. I‘m assuming my students are also laugh-
ing—with me?!
Who are some people who have helped you the most, and how? It‘s a joy to share my thoughts about the two people who inspired me the most regarding my teaching ca-
reer. My first inspiration was my husband, Richard Griffiths, who also happened to be the Monmouth
College Choir director when I attended MC. In addition, he has been my biggest supporter in my com-
posing/arranging career. I am so blessed! Another gentleman who inspired me was the OSU choral di-
rector, Hoover Fisher. As I was turning in my music the last day of my senior year, he commented,
―Carolyn, you really should have been a music major.‖ I never forgot his statement. Shortly after I re-
ceived my diploma from Monmouth College I contacted Mr. Fisher and shared my good news. He
warmly congratulated me and better yet, he actually remembered me! There are numerous others who
have been an integral part in my career but I hesitate to begin to list these influential peers/friends since
I‘m confident I would inadvertently leave someone out.
Who have been your model choral directors? Besides the two choral directors previously mentioned, I would say Don V. Moses and Rodney Eichen-
berger are, indeed, model choral directors. Both of these choral directors are truly masters in the choral
field and I feel incredibly blessed to have been able to witness, in some fashion, their expertise in the field
of choral music.
How have your teaching/directing strategies changed over the years and why? If my teaching/directing strategies have changed throughout my career, it has probably been quite subtle;
however, I‘m not aware of major changes. I feel my choral conducting foundation was excellent; therefore,
I would hope that I‘ve maintained that aspect in my directing strategies. The only change(s) I can recall are
my tempos. They don‘t seem to be so frantic and rushed these days. However, I‘m not saying it‘s because
of my age!
What kept you in the choral directing field? THE MUSIC!!!
Talk about some favorite memories from your career. One of my first VERY vivid memories occurred early in my teaching career. While I was passing through
the main office, the secretary said I had a phone call. When she handed me the phone, Chet Alwes was on
the line. He asked if I would be willing to serve on the ACDA Board. I was ecstatic! I didn‘t even think he
knew my name. Serving on the board was a wonderful experience and honor. So thanks, Chet!
Of course, anytime your choir is selected to perform for a prestigious music event (i.e. IMEA, ACDA, etc.),
it becomes a humbling yet incredible experience…thus creating additional favorite memories.
There are so many wonderful memories, but when asked about them, I find it difficult to know where to
start. However, I‘m finding myself smiling more and more on the way to and from work, reminiscing of the
―teaching‖ days I‘ve experienced. I have been blessed in my career, and blessed with meeting so many
wonderful friends and acquaintances, and yes, the time has flown by!
What advice do you have for young choral directors? Get involved! Volunteer for choral positions should those organizations have openings! Don‘t become
stagnant! Go to choral workshops! Don‘t be afraid to ask for assistance! There are a lot of us ―oldies but
goodies‖ out there who would love to help you!
Submitted by
Michael Zemek
District II Representative
Augustana College
Rock Island, IL
Interview with Carolyn Kellert (continued from page 9)
Page 10 Volume 37, No. 2
Volume 37, No. 2 Page 11
Reflections on The Courage to Teach by Parker J. Palmer
In his book, The Courage to Teach, Parker J. Palmer says, ―As I teach, I project the condition of my soul
onto my students, my subject and our way of being together. The entanglements I experience in the
classroom are often no more or less than the convolutions of my inner life. Viewed from this angle,
teaching holds a mirror to the soul. If I am willing to look in that mirror and not run from what I see, I
have a chance to gain self-knowledge—and knowing myself is as crucial to good teaching as knowing
my students and my subject.‖ Palmer is referring to teaching in general, but this takes on a unique mean-
ing when applied to our vocation as conductor-teachers in a choral setting. Whether we are conscious of
it or not, we are asking our singers to be vulnerable with us and with all of the other people in our ensem-
ble on a regular basis. For many people, including many conductor-teachers, this is not an easy task.
Think about what Palmer means by the condition of his soul. What could the implications of that be for a
conductor teacher? If the condition of a conductor-teacher‘s soul is negative, what effect might that have
on his or her ensemble and their way of being together? What effect might it have on the students‘ will-
ingness to be vulnerable and take risks in their singing? Will the students be more likely or less likely to
sing with tension in their bodies? Will the focus of the singers be on the music and the conductor‘s ges-
tures and musical intentions, or will the focus be on trying not to make that person mad? How could this
possibly have anything to do with your subject? Now consider the outcome of the above situations if the
condition of the conductor-teacher‘s soul is positive? Do you see that there might be a difference? Pos-
sibly; it is worth considering.
Palmer states at the end of the quote ―knowing myself is as crucial to good teaching as knowing my stu-
dents and my subject.‖ While some would disagree with this statement, I again would encourage looking
at a conductor-teacher on each side of the spectrum and the kind of ensemble setting and environment
that might be created in his or her presence, and then think about to what degree you agree or disagree
with Palmer‘s statement.
As conductor-teachers it is very easy to hide behind the podium, the piano, or the music we are rehears-
ing and not allow ourselves to be vulnerable with the music and with the lives that we are creating music
with. It can be so difficult with all of the day-to-day routines of attendance, lunch counts and other busi-
ness to make vulnerability a part of your routine. Even small gestures, such as eye contact with students
during warm-ups, a quick conversation about something in a transition or a simple compliment can go a
long way towards building confidence and trust towards an environment where vulnerability is encour-
aged. However, these small gestures don‘t seem so small to people who are not secure with themselves.
It can be very difficult for some people to make eye contact if they are insecure themselves.
If you are a conductor-teacher that feels like you lack self-confidence, find ways to build yourself up. If
you have a tendency to wait for others to build you up, you will find yourself disappointed much of the
time. Challenge yourself to take risks. Find a good counselor who can help you work on your self-
image. It is never too late to start, and you will never regret doing it. Reach out to a colleague who you
respect and ask to have lunch with him or her- forge a relationship- ask questions, seek advice. See my
recommended reading list at the end of this article for suggestions of things to read.
Finally, as conductor-teachers we should think about encouraging each other, our colleagues, along our
journeys as we continue to grow and evolve as people and musicians. We are all in this together- without
one another for support and encouragement our art would be pretty lonely- reach out to a colleague in your
area that you do not know. Send him or her an e-mail, say ‗hello,‘ wish them luck at a concert, in the new
semester, or at contest. May the ‗condition of your soul‘ radiate positive energy to all those you encounter-
yourself, your singers and your colleagues.
Suggested reading:
Palmer, Parker J., ―The Courage To Teach: Exploring the Inner Landscape of a Teacher‘s Life.‖ Jossey-
Bass, San Francisco, 1998
Jordan, James. ―The Musician‘s Soul,‖ GIA, Chicago, 1999
Gallwey, Timothy. ―The Inner Game of Music,‖ Doubleday, New York, 1986
Submitted by
Sarah J. Graham, D.M.A.
Female Choirs R&S Chair
Reflections on The Courage to Teach by Parker J. Palmer ( continued from page 11)
Page 12 Volume 37, No. 2
Worship Repertoire Project
Our music and worship chair Jeff Hunt recently sent out an e-mail requesting help to compile a repertoire
list of sacred music for the website. I am including a portion of his original request along with a begin-
ning of the list of responses from our members.
I‘m hopeful the list would have several benefits to our church choir directors within Illinois. Benefits
might include:
1) Provide a way to reach out to the many directors (often volunteer) directing the small church choir by provid-
ing them a working list of unison, 2 part and 3 part anthems. This may encourage them to join ACDA and get
more involved and also is a way for us to foster and nurture this important grass roots level of singing.
2) Provide a comprehensive list of SATB sacred anthems that could be of benefit to the beginning choral direc-
tor balancing the role of music educator and part time choir director. This is a common role for many of us.
3) Provide a comprehensive list to all directors of church choirs who are at various stages of their careers. I‘m
hoping the list will represent the ―chestnuts‖ of your program and thus inspire all of us to look what we may have
missed for our choirs.
If you would like to participate, please send by email a list of 5 or so anthems. As a main goal is to reach
out to the smaller parish, please include at least 1 that would be unison, 2 or 3 part. Please include the
arranger/composer, publisher, voicing and season of usage. As an added benefit, I would like to include
anthems from this list in our reading session for the 2011 Summer Retreat. Please send all repertoire sug-
gestions to Jeff Hunt at [email protected].
A preliminary list of a few responses is listed on page 23 of this issue of the Podium.
Volume 37, No. 2 Page 13
The Transition From Student to Student Teacher
As I quickly approach the start of my last semester as a student, I look forward to the new chal-
lenges that await me. I have one year left at Northern Illinois University, which will consist of classes
this spring and student teaching in the fall. Student teaching is the challenge that I look forward to facing
the most.
After talking to several friends who have recently gone through student teaching, the one thing
they talk about most is the fact that student teaching is more like a full time job rather than a class. So
then I think to myself, am I ready for student teaching? Am I ready for a full time job? Come next fall, I
will have all the skills and knowledge needed in order to student teach. The process of transitioning from
student to student teacher is one I have been working on for the last year or so and will continue to work
on until the fall.
One thing I have thought about a lot during the last year is that almost everything I do in school
will affect my future as a music educator. Keeping that in mind, I got involved as much as possible in
ensembles and organizations that would benefit my career as an educator and musician. I now sing with
choirs at school, a church choir, and a professional choir. Joining these ensembles has given me the op-
portunity to work with musicians of all sorts and has exposed me to a lot of great repertoire. Taking my
experience with ensembles and thinking about it from a director‘s viewpoint is part of the transition from
student to student teacher. With every piece I perform I now think to myself, how would I conduct this
piece? How might I include it in a concert? How would I go about teaching it to my students? Being
able to answer questions such as these should be no problem for a student teacher.
Getting involved in organizations such as IMEA and ACDA has also helped me in the transition
process. Attending IMEA and ACDA conferences has allowed me to meet and talk with music educators
all over the country. I have also been able to attend lectures, concerts, and interest sessions at these con-
ferences, which has given me insight that I would not normally have received in the classroom.
I have discovered that the most important thing in the transition from student to student teacher is
how you think. I constantly think about how I can take my musical experiences and knowledge and
share them with my future students. In the classroom I think about what I would do differently as a
teacher, and what I would do the same. My advice to all students who will be student teaching soon is to
start thinking like a teacher right now. The earlier you start to think like a teacher, the easier the transi-
tion from student to student teacher will be.
Submitted by
Brett M. Kirhofer
IL—ACDA Student Representative
Northern Illinois University
All State Conductors for the Illinois Music Educators Association from 1967
Page 14 Volume 37, No. 2
Ed Sprague, 1967 All-State
Donald Craig, 1968 All-State
Lloyd Pfautsch, 1969 All-State
Donald Neuen, 1970 All-State
Theron Kirk, 1971 All-State
Ralph Hunter, 1972 All-State
Morris Hayes, 1973 All-State
Leonard Van Camp, 1974 All-State
Howard Skinner, 1975 All-State
Daniel Moe, 1976 All-State
Douglas McEwen, 1977 All-State
Robert de Cormier, 1978 All-State
John Lehman, 1979 All-State
Lee Kjelson, 1980 All-State
Karle Erickson, 1981 All-State
(IMEA establishes Two Choirs)
Leonard Van Camp, 1982 All-State
Allen Lehl, 1982 Honors
Gregory Lyne, 1983 All-State
Douglas McEwen, 1983 Honors
John Williams, 1984 All-State
Lloyd Pfautsch, 1984 Honors
Richard Hoffland, 1985 All-State
Weston Noble, 1985 Honors
Chet Alwes, 1986 All-State
Eph Ely, 1986 Honors
James Parks, 1987 All-State
Gregory Lyne, 1987 Honors
William Schnell, 1988 All-State
Karle Erickson, 1988 Honors
Robert Hills, 1989 All-State
Patrick Gardner, 1989 Honors
Paul Wiens, 1990 All-State
Ann Howard Jones, 1990 Honors
Richard Garrin, 1991 All-State
Eph Ely, 1991 Honors
Dale Grotenhuis, 1992 All-State
Elvis Coble, 1992 Honors
Paul Torkelson, 1993 All-State
Joe Grant, 1993 Honors
James Stegall, 1994 All-State
Michael Schwartzkopf, 1994 Honors
Paul Torkelson, 1995 All-State
Richard Weymuth, 1995 Honors
Lynn Drafall, 1996 All-State
Brad Holmes, 1996 Honors
Judy Moe, 1997 All-State
Sandra Snow Murphy, 1997 Honors
Beth Holmes, 1998 All-State
Paul E. Oakley, 1998 Honors
Barrington Coleman, 1999 All-State
Ramona Wis, 1999 Honors
Randall A. McChesney, 2000 All-State
Richard Weymuth, 2000 Honors
Laura Lane, 2001 All-State
Jerry Blackstone, 2001 Honors
Michael Schwarzkopf, 2002 All-State
Axel Thiemer, 2002 Honors
Dalia Bach, 2003 All-State
Andre Thomas, 2003 Honors
Mary Alice Stollack, 2004 All-State
Richard Bjella, 2004 Honors
Cheryl Frazes Hill, 2005 All-State
Edie Copley, 2005 Honors
John Jost, 2006 All-State
Sigrid Johnson, 2006 Honors
Rollo Dilworth, 2007 All-State
David Rayl, 2007 Honors
Mary Hopper, 2008 All-State
Z. Randall Stroope, 2008 Honors
Tim Fredstrom, 2009 All-State
Joseph Miller, 2009 Honors
Robert Sinclair, 2010 All-State
Jon Hurty, 2010 Honors
Robert A. Boyd, 2011 All-State
Brad Holmes, 2011 Honors
Volume 37, No. 2 Page 15
List of repertoire performed for Illinois Music Educators All-State Choir since 1967
Title Composer Arranger Voicing Publisher Year
Ain'a that Good News Spiritual Dawson, William SATB Kjos 1967 AS
Choose Something Like a Star Thompson, Randall SATB E.C. Schirmer 1967 AS
Choral from Die Meistersinger Wagner, Richard SATB POP 1967 AS
Gloria in Excelsis Mozart, Wolfgang Walker, Rod SATB Hal Leonard 1967 AS
Michigan Morn Reed, H. Owen SATB (div) Alfred 1967 AS
Turtle Dove, The Folksong Vaughan Williams, R. SSATB Hal Leonard 1967 AS
Cry Out and Shout Nystedt, Knut SSATBB Alfred 1968 AS
Doe, The Hindemith, Paul SATB Schott 1968 AS
God of Comfort Chenoweth, Wilbur SATB POP 1968 AS
Prayer of the Cat, The Davies, Ivor SATB Boosey & Hawkes 1968 AS
Since all is Passing Hindemith, Paul SATB Schott 1968 AS
There Shall a Star Come out of Jacob Mendelssohn, Felix SATB Carl Fischer 1968 AS
How Lovely is thy Dwelling Place Brahms, Johannes SATB Hal Leonard 1969 AS
Life of a Year, The Dvorak, Robert SATB Franco Colombo 1969 AS
Riddle Me This Bergsma, William SATB Galaxy 1969 AS
Sing Praises Pfautsch, Lloyd SATB Alfred 1969 AS
Time Britten, Benjamin SATB Boosey & Hawkes 1969 AS
Verbum Caro Factum est Hassler, Hans Leo SSATBB Hal Leonard 1969 AS
Go, Song of Mine Elgar, Edward SATB Music Sales 1970 AS
Hallelujah Brown, William D. SATB Fred Bock 1970 AS
I Got Rhythm Gershwin, George Warnick, Clay SATB Warner Bros 1970 AS
Let Their Celestial Concerts Handel, George F. SATB E.C. Schirmer 1970 AS
Song for Humanity, A Randolf, David SATB ? 1970 AS
Te Deum Mozart, Wolfgang SATB Music Sales 1970 AS
Achieved is thy Glorious Work Haydn, Franz Joseph Mason, Geoffrey SATB Walton 1971 AS
Ave Maria Victoria, Thomas SATB E.C. Schirmer 1971 AS
Lirum, Lirum Morley, Thomas SSATB Galaxy 1971 AS
Now Let All Sing Kirk, Theron SATB Shawnee 1971 AS
Now Thank We all our God Mendelssohn, Felix SATB Carl Fischer 1971 AS
Three Contemporary Madrigals Butler, Eugene SATB Hope 1971 AS
At the River Copland, Aaron Wilding-White, Ray SATB Boosey & Hawkes 1972 AS
Crucifixus Lotti, Antonio SSAATTBB Oxford 1972 AS
Five Nursery Rhymes Hunter, Ralph SATB Alfred 1972 AS
Laudate Pueri Mozart, Wolfgang Shaw, Robert SATB Lawson-Gould 1972 AS
Long Time Ago Copland, Aaron Fine, Irving SATB Boosey & Hawkes 1972 AS
Sing, Beloved Christian, Sing! Praetorius, Michael SATB Carus Verlag 1972 AS
Wind from the West Kreutz, Robert SATB POP 1972 AS
Page 16 Volume 37, No. 2
List of repertoire performed for Illinois Music Educators All-State Choir since 1967
(continued from page 15)
Ain't Got Time to Die Spiritual Johnson, Hall SATB G. Schirmer 1973 AS
If by His Spirit Bach, Johann Sebastian Mason, Geoffrey SSATB Walton 1973 AS
Requiem for the Masses Kirkman, Terry Craig, Don SATB Colla Voce 1973 AS
Salve Regina Poulenc, Francis SATB Salabert 1973 AS
Te Deum Haydn, Franz Joseph SATB Music Sales 1973 AS
Auction Cries Biggs, John SATB Mark Foster 1974 AS
Gradual Bruckner, Anton SATB (div) Hal Leonard 1974 AS
Here Comes the Avant Garde McElheran, Brock SATB Oxford 1974 AS
Universal Praise Billings, William Van Camp, Leonard SATB Concordia 1974 AS
Vive l'amour Folksong Shaw, Robert TTBB Alfred 1974 AS
Wir eilen mit schwachen Bach, Johann Sebastian Talmadge, Arthur SA E.C. Schirmer 1974 AS
Cantate Domino Hassler, Hans Leo Greyson,Norman SATB Bourne 1975 AS
Christus Factus Est Bruckner, Anton SATB Peters 1975 AS
God who Gave us Life, The Thompson, Randall SATB E.C. Schirmer 1975 AS
Hallelujah Spiritual de Cormier, Robert SATB (div) Lawson-Gould 1975 AS
Path of the Just, The Nystedt, Knut SATB Augsburg Fortress 1975 AS
Song of Praise Sitton, Carl SATB Galaxy 1975 AS
Let Your Eye be on the Lord Moe, Daniel SATB Augsburg Fortress 1976 AS
Madrigal Dello Joio, Norman SATB Carl Fischer 1976 AS
News Items Frackenpohl, Arthur SA Piedmont 1976 AS
Sail Forth Tyle, Francis SATB ? 1976 AS
Three Poems Diemer, Emma Lou TTB Flammer 1976 AS
Ave Maria Bruckner, Anton Davis, John SATB (div) Mark Foster 1977 AS
Down in the Valley Folksong Mead, George TTBB Galaxy 1977 AS
Ezekiel Saw the Wheel Spiritual Dawson, William SATB (div) Kjos 1977 AS
Paratum cor Ejus Vivaldi, Antonio McEwen, Douglas SATB Hinshaw 1977 AS
Veni Domine Mendelssohn, Felix Luboff, Norman SATB Walton 1977 AS
Ziguenerleben (Gypsy Life) Schumann, Robert SATB Walton 1977 AS
Choral Dances from "Gloriana" Britten, Benjamin SATB (div) Boosey & Hawkes 1978 AS
He's Got the Whole World in His Hands Spiritual de Cormier, Robert SATB Lawson-Gould 1978 AS
Las Agachadas Copland, Aaron SATB (div) Boosey & Hawkes 1978 AS
Nobody Knows the Trouble I've Seen Spiritual Luboff, Norman SATB Walton 1978 AS
Sanctus from Missa Luba African Folksong Haazen, Guido SATB Lawson Gould 1978 AS
Two Northern Songs MacDowell, Edward SATB Novello 1978 AS
Ave Maria Rachmaninoff, Sergei SATB (div) Marks Music 1979 AS
Bat, The Barnes, SATB ? 1979 AS
Gardener, The Brahms, Johannes SSA Novello 1979 AS
Jubilant Song, A Dello Joio, Norman SATB (div) G. Schirmer 1979 AS
Kyrie Eleison Haydn, Franz Joseph Hirt, Charles SATB Warner Bros 1979 AS
Neighbor's Chorus Offenbach, Jacques SATB (div) Broude Bros. 1979 AS
Prayer (Manuscript) SATB ? 1979 AS
Volume 37, No. 2 Page 17
List of repertoire performed for Illinois Music Educators All-State Choir since 1967
(continued from page 16)
Domine, ad adjuvandum me festina Martini, Padre SATB Concordia 1980 AS
I Will Greatly Rejoice Nystedt, Knut SATB Augsburg Fortress 1980 AS
Promise of Living, The Copland, Aaron SATB (div) Boosey & Hawkes 1980 AS
Reach for the Stars Fry, Gary Kjelson, Lee SATB Belwin 1980 AS
Tu es Petrus Palestrina, Giovanni SSATBB Music Sales 1980 AS
Two Moves and a Slow Scat Kam, Dennis SATB (Manuscript) 1980 AS
Be as a Lion Hanson, Howard SATB ? 1981 AS
Hallelujah (Mount of Olives) Beethoven, Ludwig von SATB (div) Hinshaw 1981 AS
Hava Nyetzey b'Machol Folksong Goldman, Maurice SATB Lawson-Gould 1981 AS
Laudate Pueri Mozart, Wolfgang Shaw, Robert SATB Lawson-Gould 1981 AS
Peace I Leave with You Nystedt, Knut SATB Augsburg Fortress 1981 AS
Sing Unto God Fetler, Paul SSATB Augsburg Fortress 1981 AS
Soon ah will be Done Spiritual Dawson, William SATB Kjos 1981 AS
Surely He Has Borne our Griefs Graun, Karl Collins, Walter SATB Hinshaw 1981 AS
All-State and Honors Choirs Formed
Begrabnigesang Brahms, Johannes Van Camp, Leonard SATBB Hinshaw 1982 AS
Cantique de Jean Racine Faure, Gabriel Rutter, John SATB Hinshaw 1982 AS
Johnny, I Hardly Knew Ye Folksong Parker, Alice SATB Lawson-Gould 1982 AS
Music, Spread Thy Voice Around Handel, George F. Cramer, John SATB Marks 1982 AS
Russian Picnic Folksong Enders, Harvey SATB G. Schirmer 1982 AS
Song of the Lark Mendelssohn, Felix SATB Sam Fox 1982 AS
Adoramus Te Gasparini, Quirino Ziemer, Charles SATB Walton 1982 HC
Alleluia Thompson, Randall SATB E.C. Schirmer 1982 HC
Almighty God of our Fathers James, Will SATB Alfred 1982 HC
Coelos Ascendit Hodie Stanford, Charles V. SATB/SATB Boosey & Hawkes 1982 HC
I Love My Love Holst, Gustav SATB (div) Curwen 1982 HC
Sing We Merrily Greene, Maurice Martens, Mason SATB Walton 1982 HC
Zum Gali (Dance the Hora!) Folksong Goldman, Maurice SATB Alfred 1982 HC
Hymn to the Virgin, A Britten, Benjamin SATB/SATB Boosey & Hawkes 1983 AS
My Soul doth Magnify the Lord Pergolesi, Giovanni B. SATB Shawnee 1983 AS
Neckereinen Brahms, Johannes Hall, William SATB National 1983 AS
Two Macedonian Folksongs Folksong Srebotnjak, A SATB Hal Leonard 1983 AS
We Will Rejoice in Thy Salvation Handel, George F. Malin, Don SATB Alfred 1983 AS
Diffuse est Gratia Naninio, Giovanni SATB Anglo American Imports 1983 HC
Dominus Secundet Vos (Manuscript) SATB ? 1983 HC
Finale (Gondoliers) Sullivan, Arthur SATB (div) E.C. Schirmer 1983 HC
It is Good to be Merry Berger, Jean SSAATTBB Kjos 1983 HC
Salve Regina Poulenc, Francis SATB Salabert 1983 HC
With a Voice of Praise and Thanksgiving Handel, George F. McEwen, Douglas SATB Carl Fischer 1983 HC
Page 18 Volume 37, No. 2
List of repertoire performed for Illinois Music Educators All-State Choir since 1967
(continued from page 17)
Ave Maria Bruckner, Anton Davis, John SATB (div) Mark Foster 1984 AS
Hold On Spiritual Simpson, Eugene SATB Bourne 1984 AS
Kyrie Eleison Haydn, Franz Joseph Hirt, Charles SATB Warner Bros 1984 AS
Misericordias Domini Durante, Franseco SATB/SATB G. Schirmer 1984 AS
No Mark Effinger, Cecil SATB Hal Leonard 1984 AS
O Clap Your Hands Vaughan Williams, Ralph SATB (div) Galaxy 1984 AS
Sing and Rejoice James, Will SATB Fitzsimons 1984 AS
Steal Away Spiritual Luboff, Norman SATB Walton 1984 AS
How Lovely is thy Dwelling Place Brahms, Johannes SATB Hal Leonard 1984 HC
Musick's Empire (Triptych) Pfautsch, Lloyd SATB (div) Alfred 1984 HC
New York Girls Mechem, Kirk SATB Carl Fischer 1984 HC
O Praise the Lord Handel, George F. Ehret, Walter SATB European American 1984 HC
Verbum Caro Factum est Hassler, Hans Leo SSATBB Hal Leonard 1984 HC
Walk Him up the Stairs (Purlie) Geld, Gary Bower SATB Mourbar Music 1984 HC
Best of Rooms, The Thompson, Randall SATB E.C. Schirmer 1985 AS
Gloria Freed, Arnold SATB Boosey & Hawkes 1985 AS
He Watching Over Israel Mendelssohn, Felix SATB G. Schirmer 1985 AS
Lebenslust Schubert, Franz SATB Hinshaw 1985 AS
Lift Up Your Heads, O Ye Gates Mathias, William SATB Oxford 1985 AS
My Lord, What a Morning Spiritual Burleigh, Harry SATB Belwin 1985 AS
Skip to My Lou Folksong Christiansen, Paul SATB Augsburg Fortress 1985 AS
All that hath Life and Breath Clausen, Rene SATB (div) Shawnee 1985 HC
Hodie Christus natus est Sweelinck, Jan SSATTB Oxford 1985 HC
I'm Goin' to Sing Spiritual Hunter, Ralph SATB Lawson-Gould 1985 HC
Sing a Song of Sixpence Rutter, John SSAATTBB Oxford 1985 HC
Three Scottish Folksongs Folksong Wilberg, Mack SATB Hinshaw 1985 HC
A Red, Red Rose Mulholland, James Q. SATB European American 1986 AS
Alleluia Bach, Johann Sebastian SATB Galaxy 1986 AS
Come to Me, My Love Dello Joio, Norman SATB Marks Music 1986 AS
Create in Me, God, a Clean Heart Alwes, Chester SATB Augsburg Fortress 1986 AS
Daniel, Servant of the Lord Moore, Undine SATB (div) Alfred 1986 AS
Shenandoah Folksong Erb, James SATB (div) Lawson Gould 1986 AS
Ascendit Deus Gallus, Jacobus SSATBB Associated Music 1986 HC
Christus Factus Est Bruckner, Anton SATB Peters 1986 HC
Creation, The Richter, Willy SATB (div) Shawnee 1986 HC
Non Nobis, Domine Quilter, Roger SATB Boosey & Hawkes 1986 HC
Rondes Rabe, Folke SATB Walton 1986 HC
Ubi Caritas Durufle, Maurice SATB (div) Durand 1986 HC
When I Survey the Wondrous Cross Mason, Lowell Martin, Gilbert SATB (div) Presser 1986 HC
Volume 37, No. 2 Page 19
List of repertoire performed for Illinois Music Educators All-State Choir since 1967
(continued from page 18)
Have Ye Not Known/Ye Shall Have a Song Thompson, Randall SSAATTBB E.C. Schirmer 1987 AS
No Mark Effinger, Cecil SATB Hal Leonard 1987 AS
Oh No, John Folksong Miller, John SATB (div) Presser 1987 AS
Peaceful was the Night Butler, Eugene SSATB Carl Fischer 1987 AS
Wood Effinger, Cecil SATB Hal Leonard 1987 AS
Blessed are the Faithful Schutz, Heinrich SATB G. Schirmer 1987 HC
Have Ye Not Known/Ye Shall Have a Song Thompson, Randall SSAATTBB E.C. Schirmer 1987 HC
Oh No, John Folksong Miller, John SATB (div) Presser 1987 HC
That Old Time Preacher Man Brumley, Albert Drummond, R. Paul SATB POP 1987 HC
Three Gypsy Songs (Opus 103) Brahms, Johannes Hirt, Charles SATB Carl Fischer 1987 HC
Two Latin Fragments Salas/Homilius Pooler, Frank SATB Walton 1987 HC
Charm Me Asleep Leslie, Henry SSATBB Hal Leonard 1988 AS
Second Mass in C Major Haydn, Joseph SATB G. Schirmer 1988 AS
Sing We Merrily Greene, Maurice Martens, Mason SATB Walton 1988 AS
What Would You Do Wilberg, Mack SSATB Hinshaw 1988 AS
Ain'a that Good News Spiritual Dawson, William SATB Kjos 1988 HC
Charm Me Asleep Leslie, Henry SSATBB Hal Leonard 1988 HC
Magnificat No. 13 Pachelbel, Johann SATB Roger Dean 1988 HC
Sing We Merrily Greene, Maurice Martens, Mason SATB Walton 1988 HC
There Shall a Star Come out of Jacob Mendelssohn, Felix SATB Carl Fischer 1988 HC
Blessing, Glory, Wisdom Bach, Johann Sebastian Wagner, Douglas SATB Alfred 1989 AS
Hodie Christus natus est Willan, Healy SSATBB Carl Fischer 1989 AS
Prairie Woman Sings, A Butler, Eugene SSA Carl Fischer 1989 AS
Praise to the Lord Christiansen, F. Melius SSAATTBB Augsburg Fortress 1989 AS
Riddle Song, The Rutter, John SATB Oxford 1989 AS
What Shall We Do with a Drunken Sailor? Folksong Shaw, Robert TTBB Alfred 1989 AS
Begrabnigesang Brahms, Johannes Van Camp, Leonard SATBB Hinshaw 1989 HC
Deep River Spiritual Ringwald, Roy TTBB Walton 1989 HC
Ehre sei dir, Christe Schutz, Heinrich Michaels, Matthew SATB Hal Leonard 1989 HC
Festival Magnificat Pinkham, Daniel SATB Peters 1989 HC
If You ever Needed the Lord Gardner, Susan SATB S. Gardner 1989 HC
Praise to the Lord Christiansen, F. Melius SSAATTBB Augsburg Fortress 1989 HC
Riddle Song, The Rutter, John SATB Oxford 1989 HC
All that hath Life and Breath Clausen, Rene SATB (div) Shawnee 1990 AS
Beat, Beat Drums Hanson, Howard SATB J. Fischer Bros. 1990 AS
Heilig Mendelssohn, Felix SSAATTBB Collegium 1990 AS
Last Words of David, The Thompson, Randall SATB E.C. Schirmer 1990 AS
Let My People Go Nelhybel, Vaclav SATB E. C. Kerby 1990 AS
Sing Joyfully Byrd, William SSAATB Galaxy 1990 AS
Page 20 Volume 37, No. 2
List of repertoire performed for Illinois Music Educators All-State Choir since 1967
(continued from page 19)
Ballad of the Green Broom Britten, Benjamin SATB (div) Boosey & Hawkes 1990 HC
Evening Primrose, The Britten, Benjamin SATB Boosey & Hawkes 1990 HC
Heilig Mendelssohn, Felix SSAATTBB Collegium 1990 HC
Hold On Spiritual Simpson, Eugene SATB Bourne 1990 HC
How Lovely is thy Dwelling Place Brahms, Johannes SATB Hal Leonard 1990 HC
Last Words of David, The Thompson, Randall SATB E.C. Schirmer 1990 HC
Misericordias Domini Durante, Franseco SATB/SATB G. Schirmer 1990 HC
Canticle of Praise Beck, John Ness SATB Presser 1991 AS
Crucifixus Lotti, Antonio SSAATTBB Oxford 1991 AS
Dona Nobis Pacem (Mass in b minor) Bach, Johann Sebastian Davis, Alfred SATB Lawson-Gould 1991 AS
Heart, We Will Forget Him Mulholland, James Q. SSA Colla Voce 1991 AS
Soon ah will be Done Spiritual Dawson, William TTBB Kjos 1991 AS
Stomp Your Foot Copland, Aaron SATB (div) Boosey & Hawkes 1991 AS
Aftonen Alfven, Hugo SATB (div) Walton 1991 HC
Canticle of Praise Beck, John Ness SATB Presser 1991 HC
Cindy Folksong Wilberg, Mack SSAATTBB Hinshaw 1991 HC
Crucifixus Lotti, Antonio SSAATTBB Oxford 1991 HC
Dixit Dominus Mozart, Wolfgang Parker, Alice SATB Lawson Gould 1991 HC
Now Shout Kemner, Gerald SATB Lawson-Gould 1991 HC
El Vito Wilberg, Mack SATB (div) Commissioned Manuscript 1992 AS
Gradual Bruckner, Anton SATB (div) Hal Leonard 1992 AS
Nigra Sum Casals, Pablo SSA Tetra 1992 AS
Pasture, The (Frostiana) Thompson, Randall TTB E.C. Schirmer 1992 AS
Promise of Living, The Copland, Aaron SATB (div) Boosey & Hawkes 1992 AS
Song of Triumph Grotenhuis, Dale SATB (div) Boosey & Hawkes 1992 AS
A Girl Merrily was Dancing Folksong Hallstrom, Henry SSA Shawnee 1992 HC
El Vito Wilberg, Mack SATB (div) Commissioned Manuscript 1992 HC
Gradual Bruckner, Anton SATB (div) Hal Leonard 1992 HC
Let Thy Deeds be Glorious Handel, George F. SATB G. Schirmer 1992 HC
Promise of Living, The Copland, Aaron SATB (div) Boosey & Hawkes 1992 HC
Stouthearted Men Romberg, Sigmund Scotsen, Walter TTBB Alfred 1992 HC
Alleluia Thompson, Randall SATB (div) E.C. Schirmer 1993 AS
Down in the Valley Folksong Mead, George TTBB Galaxy 1993 AS
Go Where I Send Thee Spiritual Thomas, Andre SATB Mark Foster 1993 AS
I Hear a Voice a-Prayin' Bright, Houston SSAA Shawnee 1993 AS
Rhythm of Life, The Coleman, Cy Barnes, Richard SATB (div) Shawnee 1993 AS
Saul Hovland, Egil SATB (div) Walton 1993 AS
Away from the Roll of the Sea MacGillivray, Allister Loomer, Diane SSAA Cypress 1993 HC
Beati Quorum Via Stanford, Charles V. SSATBB Boosey & Hawkes 1993 HC
Curtains of Night Niles, John Jacob TTBB Mark Foster 1993 HC
Feller from Fortune Folksong Somers, Harry SATB Alfred 1993 HC
Hallelujah (Mount of Olives) Beethoven, Ludwig von SATB Hinshaw 1993 HC
Sweet Canaan Traditional Taylor, Clifford SATB Lawson Gould 1993 HC
Volume 37, No. 2 Page 21
List of repertoire performed for Illinois Music Educators All-State Choir since 1967
(continued from page 20)
Easter Leavitt, John SATB Augsburg Fortress 1994 AS
I Love My Love Holst, Gustav SATB (div) Curwen 1994 AS
Lord, Make Me an Instrument of thy Peace Rutter, John TTBB Hinshaw 1994 AS
Regina Coeli Mozart, Wolfgang Platt, Richard SATB Music Sales 1994 AS
Set Me as a Seal Clausen, Rene SATB Shawnee 1994 AS
Sing Praises Newbury, Kent SSA Alfred 1994 AS
Ave Maria Rachmaninoff, Sergei SATB (div) Marks Music 1994 HC
Betelehemu Olantunji, Via Whalum, Wendell TTBB Alfred 1994 HC
Heart, We Will Forget Him Mulholland, James Q. SSA Colla Voce 1994 HC
Something has Spoken to Me Fissinger, Edwin SATB Walton 1994 HC
We Will Rejoice in Thy Salvation Handel, George F. Malin, Don SATB Alfred 1994 HC
Zum Gali (Dance the Hora!) Folksong Goldman, Maurice SATB Alfred 1994 HC
Father William Fine, Irving SATB Boosey & Hawkes 1995 AS
Laudate Jehovam, Omnes Gentes Telemann, George SATB Concordia 1995 AS
Michigan Morn Reed, H. Owen SATB (div) Alfred 1995 AS
Three Spanish Ballades Butler, Eugene SSA Alfred 1995 AS
Vive l'amour Folksong Shaw, Robert TTBB Alfred 1995 AS
Witness Spiritual O'Halloran, Jack SATB (div) Fred Bock 1995 AS
Ave Maria Biebl, Franz TTB/TTBB Hinshaw 1995 HC
Chorus of the Hebrew Slaves Verdi, Guiseppe Craig, Don SATB (div) Colla Voce 1995 HC
If Love Should Count You Worthy Mulholland, James Q. SATB Commissioned Manuscript 1995 HC
Last Words of David, The Thompson, Randall SATB E.C. Schirmer 1995 HC
Little Innocent Lamb Spiritual Bartholomew, Marshall TTBB G. Schirmer 1995 HC
O Pastorelle, Addio Giordano, Umberto SSA G. Schirmer 1995 HC
Ave Maris Stella Kverno, Trond SATB/SATB Walton 1996 AS
Brothers Sing On Grieg, Edvard McKinney, Howard TTBB Alfred 1996 AS
Finale (Gondoliers) Sullivan, Arthur SATB (div) E.C. Schirmer 1996 AS
In Virtute Tua Gorczycki, Grzegorz Bausano, William SATB Mark Foster 1996 AS
Savory, Sage, Rosemary and Thyme Folksong Patriquin, Donald SSAA earthsongs 1996 AS
Sing Me To Heaven Gawthrop, Daniel SATB (div) Dunstan House 1996 AS
Bile Them Cabbage Down Folksong Wilberg, Mack SSAATTBB Hinshaw 1996 HC
Come to Me, My Love Dello Joio, Norman SATB Marks Music 1996 HC
Cum Sancto Spiritu Rossini, Gioacchino SATB Hinshaw 1996 HC
God is Seen Traditional Parker, Alice SATB (div) Lawson Gould 1996 HC
Praise Him Cox, Michael TTBB Hinshaw 1996 HC
Snow, The Elgar, Edward SSA Novello 1996 HC
Blow, Blow Thou Winter Wind Rutter, John SSATB Oxford 1997 AS
Domine, ad adjuvandum me festina Martini, Padre SATB Concordia 1997 AS
Flower of Beauty Clement, John SATB Galaxy 1997 AS
He's Gone Away Kentucky Folksong Nelson, Ron SSA Presser 1997 AS
Soon ah will be Done Spiritual Dawson, William TTBB Kjos 1997 AS
Two for the Price of One Carter, Andrew SATB Banks 1997 AS
Page 22 Volume 37, No. 2
Save the date!
IL-ACDA Summer Re-treat
July 6-8, 2011
Illinois State University
Featuring:
Dr. David Rayl, Dr. Mary Goetze Dr. John Jost,
Michigan State University Indiana University Bradley University
Thanks to Bob Boyd, IL-ACDA Historian for compiling this list. The remainder of this list will be
published in subsequent issues of the Podium.
List of repertoire performed for Illinois Music Educators All-State Choir since 1967
(continued from page 21)
All the hath Life and Breath Clausen, Rene SATB (div) Shawnee 1997 HC
Canticle of Praise Beck, John Ness SATB Presser 1997 HC
Elijah Rock Spiritual Hogan, Moses SATB (div) Hal Leonard 1997 HC
Hol' You Han' Spiritual Rardin, Paul TTBB Santa Barbara 1997 HC
If Music be the Food of Love Belmont, Jean SATB Alfred 1997 HC
Las Amarillis Folksong Hatfield, Stephen SSA Boosey & Hawkes 1997 HC
Battle of Jericho, The Spiritual Hogan, Moses SATB (div) Hal Leonard 1998 AS
Fergus and Molly Folksong Singh, Vijay TTBB Alfred 1998 AS
Go Lovely Rose Thiman, Eric SATB Galaxy 1998 AS
May Night, The Brahms, Johannes Frackenpohl, Arthur SATB Marks 1998 AS
O Praise the Lord, all Ye Nations Stevens, Halsey SSATB Helios 1998 AS
Psalm 150 Wilcocks, David SSAA Oxford 1998 AS
Sanctus No. IV Bach, Johann S. Stocker, David SATB Hinshaw 1998 AS
Alleluia Manuel, Ralph SATB Hinshaw 1998 HC
Down by the Riverside Folksong Rutter, John SATB (div) Oxford 1998 HC
Down in the Valley Folksong Mead, George TTBB Galaxy 1998 HC
Hallelujah (Mount of Olives) Beethoven, Ludwig von Collins, Walter SATB Hinshaw 1998 HC
If Music be the Food of Love Dickau, David SATB Colla Voce 1998 HC
O Aula Nobilis Mathias, William SA Oxford 1998 HC
Volume 37, No. 2 Page 23
If you are like me, January is a time of recovery from the hustle and bustle of the holidays and all
the concerts and planning that go along with it. It is also a time when I often struggle with motivation. In
my perfect world, I would use the prospect of the new year to focus on all my resolutions and see them
come to fruition. Unfortunately, this is not always the case. This year I have spent a lot of time reflecting
on my best teaching practices and trying to come up with realistic goals for the new year. While I am a big
dreamer, I am also a realist and know myself. Many small goals over time are much more practical for me
to achieve.
As I read through the articles in this edition of the Podium, I was challenged to think about every-
thing from how I assess my students, to ways I can incorporate more listening in the classroom. While it is
easy to get set in my ways and avoid changing the way I do things, it is through this process of self-
reflection and interaction with colleagues that I become a better teacher and musician. It is a privilege to
serve as the editor of this publication and get to interact with such great colleagues from around the state. I
am grateful for the ways that I am challenged in my thinking and for the benefit of the experience of so
many others. It is through these interactions and friendships that I am continuing to refine and hone my
craft.
I would like to take this opportunity to encourage you to think about the ways that your interaction
with your colleagues has enhanced your own experience. Are there ways that you can reach out to a new
colleague for fresh ideas or ways to aid a new educator or church musician in their job? I also want to take
the chance to encourage you to take advantage of attending the ACDA National Conference which takes
place in Chicago, this March. It is a great way to connect with old friends and meet new ones. It is a
chance to interact with new ideas, find new literature, and share your own successes and experiences with
others. Music is shared experience and we are all the richer for it. I know that I am need of music on a
daily basis. How will you use your experiences and knowledge to help share this gift with our students,
colleagues, congregations, and communities? I would love to hear your thoughts at our National Confer-
ence or at the IMEA Conference in January. Best wishes for a refreshing and challenging new year!
Andy Jeffrey
Podium Editor
From the editor
Selected sacred repertoire suggestions from responses to the sacred repertoire project: (Please send additional suggestions to Jeff Hunt our worship music chair at [email protected].)
SATB
With a Voice of Singing – Robert Shaw (general)
An Easter Chant – Gordon Young (Easter)
African Noel – arr. Andre Thomas (Christmas)
If ye love me (Tallis)--a cappella, public domain, general usage/Easter season
O How Sweet, O Lord (Willan) -- a cappella, general usage
SAB
Transform Us (Dunstan/Vyhanek)--SAB with organ, GIA Publications. Lent and Transfiguration.
No Wind at the Window (Bell/Breedlove)--SAB with piano, GIA Publications. Advent/Christmas
Two-Part
Ascendit Deus (Ravanello)--SB with organ, GIA Publications. Ascensiontide.
Veni, Jesu (Cherubini arr. Breedlove)--Two equal part with keyboard, World Library Publications. General usage.
Dona Nobis Pacem – arr.Hal Hopson (general)
Unison
Come, Let Us Sing – Jody Lindh (general)
Sacred Repertoire Project (Continued from page 23)
The Conductor’s Podium
Andy Jeffrey, Editor
The Conductor’s Podium is the official publication of the Illinois chapter of the
American Choral Directors Association. It is published three times a year, using
the following deadlines.
Fall issue: Copy deadline August 15
Winter Issue: Copy deadline December 15
Spring issue: Copy deadline March 15
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