published by the california chapter of the american choral...
TRANSCRIPT
Published by the California Chapter of the American Choral Directors Association - Volume Eighteen, Number One - Fall 2005
2005 Howard S. Swan Award WinnerLinda Allen Anderson
Dr. Howard S. Swan,“Dean of AmericanChoral Directors,” died in1995 at the age of 89.He was professionallyactive well into his eight-ies, not only as a con-ductor, but also as aspeaker and writer. Hisintegrity, high view of theartistic/human role of thechoral director, and com-pelling ability to challenge and inspire studentsand colleagues to greater vision and higherstandards awakened the collective conscienceof the choral world. It is for this reason that thebook containing his writings and speeches isentitled Conscience of a Profession: HowardSwan, Choral Director and Teacher (Hinshaw,1987). Robert Shaw, in his introduction to thisinvaluable collection, writes, “There isn’t achoral conductor alive who doesn’t have some-thing to learn from Howard Swan.”
So says the legendary music educator LindaAllen Anderson, winner of the 2005 CaliforniaACDA Swan Award, presented annually to achoral director (retired from fulltime conducting)who has made a significant contribution to thechoral art in the state of California. Ms.Anderson considers the Swan Award to be “thehighest possible honor anyone could everreceive.”
Dr. Howard Swan, the Los Angeles-basedmusical giant from the last century who wasknown as the “Dean of American ChoralDirectors,” retired in 1971 from OccidentalCollege after teaching there for nearly fourdecades. It was there that Ms. Anderson firstbenefited from his inspired music-making andpedagogy:
I remember being totally overwhelmed thefirst time I ever heard the Oxy Glee Clubs.Shortly after that I began running over toOxy to take every class that [Dr. Swan]taught during the summers. I still have allmy notebooks, full of his wisdom. What
treasures they are. He would say, “Goodmorning. My name is Howard Swan,” andwe’d all write every word he spoke. Thosewere the days.
Before coming to the Los Angeles area in1962, Linda Anderson earned B.S. and M.S.degrees in music education from the Universityof Illinois and taught for six years in New Jerseyand Illinois. Her career in Santa Monica,California, began at John Adams Junior HighSchool, where, over the course of twenty-oneyears, she developed a renown choral programof six sequentially organized choirs. Her stu-dents became remarkable musician/sight-singers and offered stunning performances of
Contents on Page 3
“Any accomplishments that I may have achieved are a direct result of theteachings and guidance of Howard Shelton Swan . . .”
Continued on page 13
Continued on page 13
getting our board to work hard to develop newand creative choral offerings to the state. Shehas been a wonderful leader and we all wishher well as she leaves our board. Kathy Smith,now in her final two years on the board, hasbeen an enthusiastic and hard working leaderas President for the past 2 years and together
with Hanan have brought Californiato the highest ACDA membership inthe nation. I am honored and hum-bled to serve with such an amazinggroup of people.
Although my life has changedconsiderably since that first con-vention, my desire to learn has not,my amazement at individuals in theprofession has not and my quest tooffer my students the highest quali-ty music experience has not. Do Ialways succeed? Nope…guessthat makes me part of the humanrace eh? How do I learn…by
watching, by doing, by laughing, by getting upand dusting myself off, putting a bandaid on andnever “dwelling” on the past, but “learning”much from it. By “jumping in” just like I did 22years ago when I started this crazy profession.If they need a workshop “dummy”…there Iam…okay, I’ll try the solo…okay I’ll conductone… okay I’ll run for state President!!!! Thankyou for this honor to serve you. It’s time…putyour ACDA board to work! We’re here to serveyou. Call on us ANY time!
2 Fall 2005
I attended a couple of workshops this sum-mer that inspired this article because I’m alwaysreminded of how I came to love my professionas a choral director. I joined ACDA in 1993 with9 years of teaching under my belt. Imagine thehorror I felt when I realized how much I DIDN’Tknow and more importantly…If I didn’t knowthis…how was I neglecting my kids and theirmusical education? I became a sponge at thatpoint: First National Convention San Antonio—Henry Leck and the IndianapolisChildren…”pass the kleenex please”… Howcould those little people SING like that?Charlotte Adams…”What? You want me toHOLD this Oreo in my mouth? WHY?” (Don’t Ilove to watch my kids start to salivate as theybegin to understand the usefulness of “space”in their tone…). I was a crazed choral direc-tor….”feed me..feed me!” Four CornersWorkshop, IFCM in Vancouver,ECCO…Salamunovich, Schiebe, Breden,Chanticleer, Lauridsen and the list goes on andon…. At times I felt as though I would explodeand the fallout…notes, phrasing, performancepractice, diction, foreign languages… Could Iever recover?
So here we are, 12 years later, and I am nowpicking up the State President torch to continuethe flame a-burning. A friend of mine once saidthat his time serving on the board of a profes-sional organization was his way of “givingback”. Now, after so many years, I feel exactlythe same way. The opportunities I’ve been
given as a member of ACDA are immense! I’velistened and learned from some of the greatestchoral conductors in the world … I’ve beenmoved to tears by some of the most incrediblechoirs in the world … I’ve learned rehearsaltechniques, performance practice techniques,sight reading strategies etc. ... I’ve been intro-duced to hundreds of wonderfuloctavos, more than I could everhope to perform and I’ve madesome of my dearest friends … all asa result of my membership in ACDA.
I often come home from SummerWorkshops and Reading Sessionsamazed that I spent 3 or 4 days withsome of the finest conductors inNorth America. I am always soimpressed at how approachablethey are. Outside of the workshopsetting, there they are giving youtheir time, answering questions,sharing their experiences…the bot-tom line is their passion and love for choralmusic. Then I look around the table at yourCalifornia State Board…there it is…that samepassion and love for the choral art.
As the new board begins our journey, I wouldlike to take time to thank those outgoing boardmembers: Heather and Dan Bishop, SanfordDole, Dan Jackson, and John Knutson for themany hours they spent working toward choralexcellence here in California. Hanan Yaqubhas been instrumental in the past 6 years of
Julie Dana, President
Jump In!
" The time has come," the Walrus said, "totalk of many things: of shoes, and ships, andsealing wax---of cabbages and kings."
---Lewis Carroll,Through the Looking Glass
In that vein, it is time for this Jr.High/ Middle School choral directorto talk of many things. A newschool year is upon me, andalready I find myself holed up in myclassroom, busily doing whatever itis I do, while the world rotates slow-ly on its axis. My tunnel vision givesme a very skewed view of thechoral world around me, especiallythat world beyond my own littlecommunity.
Every summer at ECCO, I meetwith new people and old friends,share ideas and passions, and then travel downthe mountain and begin spinning again in thesame orbit, within the same community, and
Good music for Junior High/Middle School choirs:
A la nanita nana Eddleman #CN8303 Fischer Pub. 2-ptThe Lone Wild Bird Levi #BL375 BriLee Pub. 2-ptWhere Do the Stars Go? Porterfield #15/1396H Heritage SSABashana Haba'ah Manar/Hirsch/Leavitt #08602184 EMI Songs SAB3 Contemporary Latin Settings Estes #C-281 Shawnee Press SAB (sung TTB)
running, thanks to the hard work of Woodlakedirector, Mark Alberstein
But as good and necessary as these eventsare, they are still within my own choral commu-nity. Therefore, members, I need your help.What is good and right for kids at your school?In your community? In your orbit? What areyou doing that we can emulate and brag aboutwhen we talk about JrHi/Middle School choralmusic in California? What ideas do you havethat we can give voice to? Please email me [email protected] or snail-mail me infor-mation about what is happening in your neigh-borhood that can be used for future CANTATEarticles [address on p. 19. -Ed.]. This way, wecan share and uplift each other. This way, wecan touch lives with music. This way, we canhelp each other give good gifts to our students.
with the same habits. Oh, to be sure, I haveadded a few satellites to my rotation:
---"Real Men Sing - Visalia" hasbecome a reality. We are preparingfor our second year in the valley,affer separating the middle schoolsfrom the parent program held atCSU Fresno
---Our Middle School ChoralDirector's Breakfast meets regularlyin our area, sharing information andplanning events
---My time spent mentoring two col-lege music students has been botha joy and a learning experience
---www.mschoralforum.org, the web site creat-ed specifically for our unique needs, is up and
Peg Hutson, Jr. High/Middle School R&S Chair
How Is Your Orbit?
Official Publication of the CaliforniaChapter of the American ChoralDirectors Association
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Fall 2005 3
2005 Howard S. Swan Award Winner Linda Allen Anderson CoverHanan Yaqub
Jump In! 2Julie Dana, President
How Is Your Orbit? 2Peg Hutson, Jr. High/Middle School R&S Chair
----------New Feature! Around the Country----------Essential Library for the Beginning Choral Conductor 4
Dr. Nina Nash-Robertson
Repertoire Ideas 5Jo Anne Stoddard, Children’s Choirs R&S Chair
The Choral Director Stands NAKED in Front of an Orchestra! 6William Hatcher, Far South Representative
Beginnings 7Cheryl Anderson, Bay Area Representative
Give Them the Joy of Mastery 7Karen Garrett, Women’s Choirs R&S Chair
Passion for the Process 8Kathryn Smith, Vice-president
Rejuvenation 8Ken Abrams, President-elect
Church Repertoire 9Douglas Lynn, Music in Worship R&S Chair
Vocal Jazz in a Nutshell 12John Hamilton, Vocal Jazz R&S Chair
Honor Choirs Report 18Curtis Mannah, Honor Choirs Chair
Reading Sessions 18Julie Dana, President
***********************************************
Echoes of ECCO 10Festival Listings 14Honor Choirs: General Information 15
Places, Dates, Times, & Contact Information 16Audition Form 17
Board Roster 19
Fall 2005
Advertiser Index
California State University, Long Beach Back CoverThe Choral Project 18Megan Eddy 15Forum Music Festivals 5Sierra College Choral Festival 9Sierra College Study Abroad: Vienna 7Val Verde Jazz Festival 13
4 Fall 2005
AAAArrrroooouuuunnnndddd tttthhhheeee CCCCoooouuuunnnntttt rrrryyyyArticles of interest from ACDA publications across the nation
This is our inaugural feature in an ongoing seriesdesigned to bring you great information from choralmusicians all over the United States. Our first articlecomes from BBeellllaa VVooccee,, ACDA-Michigan’s thrice-yearly magazine. Enjoy! -Ed.
A good book is the best of friends.--Martin Topper
The first few years of teaching can be excitingand frightening, exhilarating and lonely. Newmusic teachers are frequently the only musi-cians in their building and have few friends withwhom to share ideas and concerns. The prob-lems and challenges of starting a new choralprogram, or continuing one, can leave theyoung teacher overwhelmed with questions.There are many books and videos available thatcan provide information and inspiration. Thefollowing is as short a list as I could devise, con-taining some of my favorite books, many ofwhich I continue to use a reference on a regularbasis. I refer to several of these books eachsummer, as I prepare to return to music-making.I was most grateful to have the assistance ofsuch books when I was a beginning teacher,and I hope that current students and profession-als will find some reference in this list that offersencouragement, support, and answers to verypractical questions.
INSPIRATION AND PHILOSOPHY
Jordan, James. The Musician’s Soul. Chicago,IL: GIA Publications, 1999.
Lautzenheiser, Tim. The Art of SuccessfulTeaching. Chicago, IL: GIA Publications, 1992.
Palmer, Parker J. The Courage to Teach. SanFrancisco, CA: Jossey-Bass Publishers, 1998.
Swan, Howard. Conscience of a Profession.Chapel Hill, NC: Hinshaw Music, Inc., 1987.
CONDUCTING
Green, Elizabeth A. The Modern Conductor.Upper Saddle River, N.J.: Prentice Hall, Inc.,1997.
McElheran, Brock. Conducting Technique forBeginners and Professionals. New York: OxfordUniversity Press, 1966.
REHEARSING
Bartle, Jean Ashworth. Sound Advice.Becoming a Better Children’s Choir Conductor.New York: Oxford University Press, 2003.
Bertalot, John. Immediately Practical Tips forthe Choral Conductor. Augsburg Farber, 1994.
Brinson, Barbara. Choral Music Methods andMaterials. Developing Successful ChoralPrograms (Grades 5 – 12) New York: SchirmerBooks, 1996.
Caldwell, J. Timothy. Expressive Singing.Dalcroze Eurhythmics for Voice. EnglewoodCliffs, N.J.: Prentice Hall, Inc., 1995.
Collins, Don L. Teaching Choral Music. UpperSaddle River, N.J.: Prentice Hall, Inc., 1999.
Conable, Barbara. The Structures andMovement of Breathing: A Primer for Choirs andChoruses. Chicago, IL: GIA Publications, 2000.
Decker, Harold A. and Julius Herford. ChoralConducting: A Symposium. Englewood Cliffs,N.J.: Prentice Hall, Inc., 1973.Decker, Harold and Colleen J. Kirk. ChoralConducting: Focus on Communication.Englewood Cliffs, N.J.: Prentice Hall, Inc., 1988.
Haasmann, Frauke and Jordan, James. GroupVocal Technique. Chapel Hill, N.C.: HinshawMusic, Inc., 1992. (Book, Video, and warm-upcards available.)
Heffernan, Charles W. Choral Music: Techniqueand Artistry. Englewood Cliffs, N.J.: PrenticeHall, Inc., 1982.
Neuen, Donald. Choral Concepts. Belmont, CA:Wadsworth/Thomson Learning, 2002.
Pagel, Randy and Linda Spevacek. The ChoralDirector’s Guide to Sanity. . .and Success: Howto Develop a Flourishing Middle School / JuniorHigh School Choral Program. Dayton, OH:Heritage Music Press, 2004.
Phillips, Kenneth H. Directing the ChoralProgram. New York: Oxford University Press,2004.
Robinson, Ray and Winold, Allen. The ChoralExperience: Literature, Materials, and Methods.Prospect Heights, IL: Waveland Press, Inc.,1992.
Robinson, Russell and Jay Althouse. TheComplete Warm-Up Book. Van Nuys, CA: AlfredPublishing Co., Inc., 1995
YOU SHOULD ALSO OWN
Jeffers, Ron. Translations and Annotations ofChoral Repertoire: Volume I: Sacred LatinTexts. Earthsongs.
Jorgensen, Nancy Smirl and Catherine Pfeiler.Things They Never Taught You in ChoralMethods. Milwaukee, WI: Hal Leonard Corp.,1995.
Randel, Don. The New Harvard Dictionary ofMusic. Cambridge, MA., 1986.
Strimple, Nick. Choral Music in the TwentiethCentury. Portland, OR: Amadeus Press, 2002.
Thompson, Keith P. and Gloria J. Kiester.Strategies for Teaching High School GeneralMusic. Reston, VA: MENC, 1997.
Ulrich, Homer. A Survey of Choral Music. NewYork: Harbrace/HBJ, 1973.
Wall, Joan. International Phonetic Alphabet forSingers: A Manual for English and ForeignLanguage Diction. Paperback.
Dictionaries of Latin, French, German, Spanish,and any other language you plan to teach yourstudents.
Dr. Nina Nash-Robertson is Professor ofMusic and Director of Choral Activities atCentral Michigan University. She directsthree choirs and teaches conducting andchoral literature. A frequent clinician andguest conductor throughout the Midwest,Nina serves as the President-electDesignate for ACDA-Michigan in additionto her duties there as Repertory andStandards Chair for Youth and StudentActivities.
“I refer to several of these bookseach summer, as I prepare to return
to music-making.”
EssentialLibrary for the
BeginningChoral
Conductor
Dr. Nina Nash-Robertson
Fall 2005 5
Most choral directors (of all levels) agree thatone of their most important and time-consumingresponsibilities is choosing repertoire for theirchoral ensembles. There is a wealth of musicwritten for all voice ranges and genres, but find-ing those “gems” is difficult. Following are a fewsuggested pieces that I have found successfulevery time I use them. They are geared toupper elementary/middle school level. The lasttwo pieces are suggested for theChristmas/Winter season. It is my hope that youwill find something in this list that will becomeone of your “gems”! If you have suggestions ofyour own, please share them! You can email meat [email protected] I will includethem in future articles or on our new website:cachildrenschoirs.com
Jubilate Deo/M. Praetorius/arr. Doreen RaoIf you don’t already know this piece, you need topurchase a copy! This is a unison melody thatcan be sung in a 3 or 4 part round. It can easilybe taught by rote. The melody begins in headvoice and then descends through the passag-gio. Many, many aspects of good vocal produc-tion can be taught through this simple melodyand kids never get tired of singing it!
The Rhythm Of Life/Coleman & Fields/arr.John LeavittThis is an upbeat, fast moving song about life!The piece is available in 2-part, SSA, SAB and
SATB. I have only taught the SSA arrangement.It includes optional instrumental parts that workgreat for Orff instruments, if you’re so inclined.A String Bass is also an option. It is one of thosesongs I hear my students singing years afterthey have sung it in “choir”. Choreography sug-gestions are also included.
Reflections of a Lad at Sea/Don Besig &Nancy PriceA very good friend gave me a copy of this whenI first started teaching elementary choir 16years ago! I have taught it 4 or 5 times sincethen, always with success. Reflections of a Ladat Sea is 2-part, but much of it can be simplifiedto unison very nicely! It is a set of three pieces;The Captain’s Mate (duple meter, fast tempo),Thoughts of Home (duple meter but slower,contemplative tempo) and The Ghost Ship (veryfast duple meter). Thank you, Beth Klemm, forguiding me towards great choral literature likethis!
Dodi Li/Nira Chen/arr. Doreen RaoThis is mostly unison with a simple, four-meas-ure harmony part that repeats during every“chorus”. Dodi Li is an Israeli song in Hebrew.The text is from the Old Testament book Songof Solomon. It is so “singable” that studentslearn the Hebrew very quickly! This is an excel-lent piece for those students having trouble find-ing their head voice. Many of my students ask
to sing this year after year. That is a testamentto excellent music!
To Music/arr. Betty BertauxThis piece is in unison with an optional descanton the last verse. The wonderful text is in praiseof music and the tremendous power of music inour world. The beautiful melody is written in Gmajor and utilizes 4 measure phrases. It is anexcellent piece for teaching breath manage-ment, phrasing and diction. This piece bringsout the beautiful tone quality of a child’s voicesinging with a well-supported head voice.
A La Nanita Nana/arr. David EddlemanThis traditional Mexican folk song is aChristmas lullaby. It is a very beautiful, 2-partpiece that needs to be sung in Spanish. Irecently did this with my 6th grade choir. Wedecided to have the accompaniment played bya guitar instead of piano, which worked verywell. A harp would also be very nice if you’relucky enough to have a harpist available!
Solstice/Randall ThompsonThis unison, secular piece works well for win-ter/Christmas programs. It demands excellentarticulation (lots of 16th notes) and an accom-plished pianist! Solstice captures the excite-ment and magic of the holidays like no otherpiece. It needs to be performed with sensitivity.This is definitely not an “easy” piece to performbut is well-worth the effort!
Jo Anne Stoddard, Children’s Choirs R&S Chair
Repertoire Ideas
6 Fall 2005
William Hatcher, Far South Representative
The Choral Director Stands NAKED in Front of an Orchestra !
So it comes to pass that you have beengiven the opportunity to conduct achoral/orchestral work. News of that “opportu-nity” suddenly brings you back to those twosemesters of methods classes- shrieking violinone week, scratchy string bass thenext, belching bassoons after that...and a quick, forgettable quiz onplayable and complete ranges ofmore instruments than you canremember... and now you are inpanic!
In your first orchestra rehearsalyou KNOW that within the first fiveminutes, the violist, the bass clar-inetist, and then the french hornplayer will each ask a question like:what is my first note at letter E?(And they WILL do this). Within tenminutes, expect that the secondstand first violinist (who thinks that he/sheshould be concertmaster) will ask you a ques-tion about bowing (and they WILL do this). Youcompliment the violinist on his/her ability to getto the core of the problem, and then hesitating-ly say, “how about down/up down/up?”
However, I’m not suggesting that you tryanother profession. Rather, I would like to giveyou some suggestions on preparing for theseexperiences, and help you see how truly fabu-lous they can be.
I. FUNDAMENTALS: Here are some basicdifferences between orchestra players andchoral singers:
1. Orchestra players have more individualtraining than most singers, and they expect tobe treated as such.
2. Orchestra players more commonly are paidfor playing, and are less drawn into the mys-tique of their conductor as choral singers oftenare.
3. Orchestra players do not respond to peptalks, do not need to hear the story line of eachmovement, and do not need to be told howwonderful the music is. The rehearsal shouldbe more objective than a choral rehearsal.
4. Orchestras havefewer hours to rehearse,and must learn musicmore quickly- and theyexpect to do so. Theynever memorize theirmusic, so do not needas many repetitions ofpassages.
5. The string section isa section somewhat likethe part ranges of a cho-rus, but the winds and percussion players areoften more like soloists.
6. Because they do not memorize music,they are not able to give constant eye contact.They respond strongly to the baton.
7. Orchestra players do not appear to needcues as often as singers, despite the fact thatthey do not have (as do singers) a full score.
However, they expect that the conductor knowstheir entrance, and will “eyeball” them andbreathe with them.
8. Orchestra players usually depend less onextra-musical terms to describe the interpreta-
tive qualities of the music-- but theydo respond to a clear, readablepulse, a steady tempo, gesturesthat truly define the moment, know-ing that the conductor’s eyes areupon them.
9. Orchestra players will moreoften rehearse at a performancetempo-- rather than starting veryslowly and gradually increasing thetempo. They want to know what thetechnical difficulties really are.
10. Orchestra players do notbecome as enamored of the con-
ductor as choir members sometimes do.
11. We choral directors stop frequently duringrehearsals. Orchestra players hate this-- espe-cially the trombone player who is in the middleof counting 73 meas-ures before his/her nextentrance (you may thinkhe’s reading that maga-zine on his stand, buttrombonists have anuncanny ability to readand count at the sametime)
12. Players will some-times talk during therehearsal-- but this is not necessarily bad. Theymay be correcting bowings, wrong notes,breath spots, etc. Be aware that the concert-master will often stand and give bowing instruc-tions to the string players.
13. Singers generally sight-read fairly softlyand hesitantly, so don’t be surprised if playersplay perhaps too loud in the beginning. You willspeak of balance and dynamics a little later.
II. THOROUGH PREPARATION IS THESECRET - AND THE ABSOLUTE REQUIRE-
MENT
1. Become familiarwith the structure andarch of the composition.How and when does itunfold? Where are thereally difficult places forthe violins, the bas-soons, etc.?
2. Be familiar with thefamilies of instruments,and with names of
instruments in various languages (posaune,pauken, bratschen, etc.).
3. Study the clefs of the various instrumentsin the particular music you are doing. Clefs fre-quently change during the work.
4. Note the pitches/transpositions for trum-pets, clarinets, etc. They sometimes changewithin a movement.
5. Check carefully about rehearsalnumbers/letters. Also plan to write in all of thechorus pages where they occur in your fullscore unless there are measure numbers or fre-quent letters.
6. If you are new to orchestral scores, markcues with colored pens by instrument family.Use arrows, braces, etc. to draw the eyes to“find” entrances.
7. Like choruses-- some trouble spots (espe-cially transitions) take 5 to 10 times as muchrehearsal as other places. Plan accordingly!
8. During your regular chorus rehearsals, usethe full score rather than a choral score.
9. The issue of bowing and bowing types isterribly important, and requires more detail thanthis article can cover. Always, always meet theconcertmaster before rehearsals to discussbowings and ask the concertmaster to preparereadable, bowed parts for the players. And, goto an orchestra rehearsal with the violin partand sit next to the violins and watch!
III. THE REHEARSAL
1. Start on time, takeprescribed breaks, stopon time.
2. Be a conductorrather than a coach.Avoid pretendingexpertise, extendingrehearsals, singingwhile conducting, snap-
ping fingers, and asking players to wait whileyou rehearse or warm up singers.
3. You must have prepared in such a way thatyou will be comfortable with a limited rehearsaltime of the combined groups. Be precise.Simply say whether it is in 3 or 1, or 6 or 2.Don’t say that its a divided beat; say ‘in 8’. Andremember, orchestra players do not look atwhole notes as fermatas...
4. One of the most important factors is theunderstanding of balance: The chorus is usual-ly farther away from the audience, and theirsound must get to the audience FIRST.Beginning consonants must be ahead of thepulse. Choruses must practice this conceptbefore the combined rehearsals begin.Articulations also affect balance: have the cho-rus sing a cappella for the players, and then askthe orchestra to play with the same nuancesand articulations.
5. Don’t ever say “You’re too loud” to the play-ers. Urge them to listen and to take responsibil-ity for balance.
Most composers have considered achoral/orchestral work as their highest and mostchallenging artistic opportunity. Conductorsthen have the privilege of bringing these greatworks to life. With the right kind of preparation,you will enjoy this very special experience, andwho knows? The trombonist may decide thatyou’re okay after all (for a choral conductor, ofcourse)!
Orchestra players do notrespond to pep talks, do notneed to hear the story line ofeach movement, and do not
need to be told how wonderfulthe music is.
Always, always meet theconcertmaster before
rehearsals to discuss bow-ings...go to an orchestra
rehearsal with the violin partand sit next to the violins and
watch!
Fall 2005 7
Sierra College presents…
Music inVienna,AustriaJuly 26—August 16, 2006
Earn up to 6 transferable units in musicwith Professor Fred Weber
Program includes:• round-trip airfare• accommodations• overnight excursions to Prague,
Munich, Salzburg and more• venues for Sierra College choral
group performances* • and much more
* Performance portfolio $200 (for students in choral group)
Program fee $3495
For more information contact Christine Vona, Study Abroad Coordinator,
Sierra College, 5000 Rocklin Road, Rocklin CA 95677, (916) 781-7198
Dear Fellow Musicians,I am deeply honored to serve as your Bay
Area Representative for CA ACDA. My under-graduate Choral Director, Alfred DeJaager,bought my first membership into ACDA. I've satbeside him at Conferences ever since and lis-tened to him say, "I love this organization!" I'vetried to continue the membership tradition withmy own students. When Iannounced my new positionwith CA ACDA to mysingers, I said, "So, I have ajob to do." Their responsewas, "Let's get started!" Wegot started by embarkingupon a concert tour toPrague to sing with PragueWomen's Orchestra, to St.Petersburg and Moscow toperform with St. PetersburgPhilharmonic, and experi-ence the beauty of theseplaces and cultures. The peak experiencesfrom that trip help form the basis for ourendeavors henceforth.
I love beginnings. Being from Pennsylvania /West Virginia, the start of the school yearmakes my heart flutter: must be the autumn col-ors I remember. At any rate, I start getting excit-ed about Fall Semester around April of the pre-vious year. This year I am anticipating manythings: not the least of which is our Visiting ArtistProject for May 2006. Cantiamo!, our top choirat Cabrillo, and Con Brio, our premiere ensem-ble from Cabrillo Youth Chorus, will join thechamber orchestra Ensemble Monterey to pre-miere an extended work by Imant Raminsh. Hewill be in Santa Cruz the second week of May
for Master Classes and preparation for the con-certs May 12 and 13. I have such admiration forhis music's beauty and integrity, and we'll spendthe year singing his works to prepare ourselvesfor his style. We're also performing Berlioz’Requiem with the Symphonic Choir and SantaCruz Symphony. What a year!
What is it that is making you thrilled aboutthe coming year? I'd love to know. We caninspire, support, and inform one another inACDA where the network of resources isrich and extensive. Each year my goal isto try and find ways to do my job better, tobe a finer artist, to seek answers to thefrustrations of imperfect systems, toimprove my vocal and analytic techniques,and to enable the singers to breathe lifeinto the music. We are so fortunate tograpple on a daily basis with the greatminds of humanity. The perfection andexcellence in great music reminds us of our
own possibilities and reinforces proportion, bal-ance, structure, and creativity. Working withsingers on brilliantly conceived pieces allows usto address beauty through the vehicles of pitch,tone, articulation, dynamics, tempo, rhythm,harmony, and inflection. The higher concepts ofthe music live when we do our best as peopleand musicians. Our job is vital and dynamic.
Thank you for the work you do. I look forwardto knowing you, hearing your choirs, talking withyou about music and all related issues, helpingmaintain and build a strong organization, andmaking music with you. I appreciate you confi-dence in my ability to represent you on this fineBoard. Please contact me at any time. Have aGREAT year!
My fifteen year old son has decided to try outfor the tennis team. In an effort to support histraining, he and I have hit the tennis courts justabout every morning this week. At first itseemed we spent more time chasing the ballsthan hitting them, and my son’s enthusi-asm for the game was waning. Afterabout a week, however, I started to noticeour rallies were lasting longer and my sonwas developing a killer serve. I alsonoticed a change in his attitude as mas-tery seemed more attainable to him.
Mastery of a skill is really one of themost satisfying feelings a human canhave in life. Yes, the training can be frus-trating but, oh, the pride of discoveringyou’ve mastered a new skill! I remembera few years ago, I passed out a new octa-vo in the spring- a short and easy madri-gal. Without thinking I began playing the differ-ent parts and having the students sing back.One bass, Eric, stopped me and said, “Mrs.Garrett, couldn’t we just sight-sing it?” Yousee, we had been diligently practicing on read-ing all year and he knew they could do it. Hewanted the satisfaction of showing they hadmastered the skill. Boy, did that incident give mefood for thought. I had insisted on the trainingand didn’t give them the chance to own it!
I’ve often wondered if we give our women’schoirs a chance to master the same type of
skills we focus on in our advanced ensembles,such as ear-training, musicianship and sight-reading. Do we give them the rigorous trainingthat will allow them the joy of mastery? Asdirectors we need to have faith in them, pick an
excellent sight-reading pro-gram and have them read atevery rehearsal. Push them,insist on progress, showthem success, and then letthem master it with pride.Yes, tell them it can and oftenwill be frustrating, but thepure joy in lifting music off thepage without your help or thehelp of the piano will be a giftyou can give them for a life-time.
To help facilitate mastery ofmusicianship skills in your women’s choir I willbe hosting a Women’s Festival in the spring thatwill provide a wonderful sharing of outstandingliterature from women’s choirs at all levels aswell as a musicianship/sight-reading clinic. Thefirst year it will be offered in Southern Californiaand in following years in multiple locationsacross the state. If you are interested in attend-ing such a festival, please contact me byOctober. It’s for girls only – a way to celebratethe incredible talents and potential of the youngwomen in your choral program!
Cheryl Anderson, Bay Area Representative
Beginnings
Karen Garrett, Women’s Choirs R&S Chair
Give Them the Joy of Mastery
8 Fall 2005
I love the beginning of the new year!Refreshed, energetic singers enter ourrehearsals with great expectations for thefuture. Nearly all will ask, “What are we singingthis year?” As music educators, we work withour choirs to set goals for the year, plan activi-ties, develop vision and mission statements,and dream of what we’ll accomplish. As with allprojects (macro/micro/daily), we start with anenergetic and dynamic beginning. If the musi-cal year were a dinner party, this portion of themenu would be the o’er d’ouvres.
As we get to know one another, we’ll enter asecond phase: learning how to work andrehearse together, study and exchange ideas.This is truly the “meat and potatoes” of our timetogether: digging in, rehearsing and drilling ourchoral techniques. Some might call this themiddle, others would term it the “main dish” or“entree”
The end of the process is the concert and/orperformance, when we have the opportunity toshare our learning, study, and music with thosein our audience. Like a great meal, it is sweet,and completes the evening, “dessert.”
Macro: As music educators/conductors,we extend this process to larger timeframes, answering these questions:
• What do I want my singers to learn bythe end of the academic year?• How will I plan a program to accomplishthose goals by selection of repertoire,materials and methods?• How will I assess and evaluate ourprogress?
Micro: We also planthis process in ourdaily rehearsals bysetting goals,rehearsing sectionsof music, assessingand evaluatingprogress before thenext rehearsal.
Why is all of this so important? It sets thestage for teaching people. We grow throughmusic education. As individuals, we developgreater understanding and compassion for oneanother as we study music. Planning theprocess sets the stage for the unique, magical,musical moments that will inevitably occur onthis journey. The music education process, atits best, is the process of individual improve-ment (vocally, mentally, musically), self discov-ery (expression, interpretation and understand-ing), and the search for beauty (transcenden-tal).
The musical surprises that occur are alwaysunexpected and, because we are working withpeople, unpredictable. Conductors, as part ofthe choral ensemble, will experience the sur-prises right along with the singers. So, as wemeticulously plan our rehearsals, be ready forthe unexpected!
Passion for theprocess is passion forpeople and passion formusic. As you beginthis set of rehearsalsand look forward to awonderful year, remem-ber that you are settingthe stage for musical
discovery. LIke hosting a great dinner party,you can never anticipate the outcome; but theattention to details of great food and drink, tablesettings, and good company will provide theingredients for a wonderful evening. Take yourconducting skills and your planning into therehearsal, and wait for the surprises to happen.Allow music to work its magic in yourrehearsals. Good luck on your musical menu!
During the 4 day ECCO conference, one topiccame up repeatedly. The topic was "rejuvena-tion" and how we, as choral directors, downloadmentally and emotionally. It wasn't mentionedin any of the interestsessions; it wasn't dis-cussed at any of theclinician's spots; and, asfar as I know, it nevercame up at any of thepanel discussions orroundtables. Let's face it -- being a choral direc-tor in any institution - whether academic or faith-based - is exhausting. From the time the musicis selected to the concert(s) where it is sung, wetake many steps to prepare both our choir andourselves for the exceptional performances weprovide to the audience. Are we crazy?Sometimes we must be, but we seem to thrive,and even flourish, on this hectic pace.
How do we find personal rejuvenation? I’msure you already have many ways to find yourbalance, so let's see how many of yours matchup with this list - many of which are mine. Asmusicians and artists, we live for beautifulthings in life: enjoying fine food, good wine and
first-class entertainment. We have complexsocial circles that include family, friends, associ-ates and even pets. We live in California, so wetend to be more health conscious than people in
other areas across thecountry. This meansthat we watch whatwe eat, exercise,take care of ourbodies and eventake vitamins. We
know that music heals the soul, so we takein concerts, musicals, opera, symphony,and often sing whenever we get thechance! As we are inherently connected tothis choral art, we enjoy travel and evenattending conferences and workshops,finding these prime sources of pleasureand learning, as well as rejuvenation.
We are all extremely idiosyncratic and, there-fore, have an abundance of unusual hobbiesand activities to distract us, such as sports carracing, downhill, cross county or water skiing,collecting family tree information, gardening,playing the stock market, bird watching, beach-combing, or even being addicted to home
repair! (I am still trying to figure out how tiling abathroom floor has led to a new whirlpool tub.)
Where does this leave us? Looking for thatbalance to help rejuvenate both us and thechoir to keep it fresh and fun. Sometimes we
believe that the music is themost important thing.However, sometimes we justhave to let it all go andremember that it is our tal-ents, our experiences andour activities - both at workand at home - that make oursingers and our music thequality and the caliber theaudience expects.Ultimately, to keep the musicgoing, we must take care ofourselves first and foremost.
I hope each of you have a rewarding and suc-cessful year with your singers and students --and yourself.
Kathryn Smith, Vice-president
Passion for the Process
Ken Abrams, President-Elect
Rejuvenation
Planning the process setsthe stage for the unique, mag-
ical, musical moments thatwill inevitably occur on this
journey.
I am still trying to figure outhow tiling a bathroom floorhas led to a new whirlpool
tub.
Fall 2005 9
Each year at our Summer Conference at ECCO we sing through a pile ofmusic, much of which is useful in a church setting. I have listed the pieceswhich were included in our packet this year. If you have specific questionsabout any of these pieces, please feel free to contact me.
Repertoire suggestions from clinicians at the CA-ACDA SummerConference at ECCO:
SATBAn American Thanksgiving (Webster, McKay, and Ninety-Third Psalm)Traditional, arr. Carol Barnett; a cappella; earthsongs (no number)Cordero de Diós (Agnus Dei)Michael D. Mendoza; with harp; Alliance AMP 0372Credo, from Mass in C Minor (KV427)WA Mozart, ed. Gibbons; Jing Ling-Tam Choral Series; Alliance AMP 0480Draw Us in the Spirit’s TetherHarold Friedell; HW Gray CMR 2472For the Beauty of the EarthJohn Rutter; Hinshaw HMC-550GloriaRon Kean; Pavane P1238Hallelujah, from Mount of OlivesL. v Beethoven; G. Schirmer/Hal Leonard HL50293600How Lovely Are the Messengers, from St. PaulFelix Mendelssohn, arr. Donald Neuen; Lawson-Gould LG52128Integer Vitae (Father Almighty) (scored for CCBB)Friedrich F. Fleming, arr. Johnstone; a cappella; Cambiata Press M97562Jacob’s LadderTraditional, arr. Daniel Kallman; Morning Star MSM-50-9056
The Last Words of DavidRandall Thompson; ECS Publishing 2294Let Us with Gladsome MindAlan Ridout; Stainer & Bell 1.5077The Majesty and Glory of Your NameTom Fettke; Word 0 80689 30678 5My Shepherd Will Supply My NeedAmerican Folk Hymn, arr. Mack Wilburg; harp, flute, oboe; HinshawHMC1424O How AmiableRalph Vaughan Williams; Oxford 42.056Os Justi, from Three Graduals for the Church YearAnton Bruckner; a cappella; Peters 6315Richte Mich, O Gott (Judge Me, O God)Felix Mendelssohn, ed. Harris; a cappella; Lawson-Gould LG70179SanctusJan Sandström; a cappella; Walton WW1267Sing Me to HeavenDaniel E. Gawthrop; a cappella; Dunstan House DH9101Two Christmas Spirituals (Mary Had a Baby, De Virgin Mary Had a BabyBoy)Spirituals, arr. Sargent; a cappella; Oxford 84.119Upon This RockStephen Sturk; Arista AM 659Veni Creator SpiritusStephen Sturk; Arista AM 629We Shall Walk through the Valley in PeaceSpiritual, arr. Hogan; a cappella; Hal Leonard 08703314
Three-part MixedCum Sancto SpirituAntonio Lotti, ed. Liebergen; SAB a cappella; Belwin SV9112Glad NoelMark Wilson; SAB; GlorySound D 5341Jesu, Joy of Man’s DesiringJS Bach, arr. Stilman; CBB; Cambiata Press M97687
UnisonWake Up, My Soul, Wake Up and SingHal H. Hopson; Carl Fischer CM8100
SSASalmo 150Ernani Aguiar; Música de Latinoamérica; earthsongs (no number)What Sweeter MusicEleanor Daley; Alliance AMP 0443
SSAALet It Shine! (This Little Light of Mine, I’ve Gotta Home in Gloryland)Traditional, arr. Ala-Pöllänen; Tapiola Choral Series; a cappella; WaltonWTC1015
TTBAlleluiaJS Bach, arr. Lefebvre; Galaxy 1.1057Swingin’ with the SaintsTraditional, arr. Mark Hayes; Shawnee C 0300
Douglas Lynn, Music in Worship R&S Chair
Church Repertoire
10 Fall 2005
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Let me start off by saying how excited I am tobe the new Vocal Jazz R&S chair for our incred-ible state. We are so lucky to have so manyoutstanding and diverse examples of the vocaljazz idiom in California, and it is my hope thatwe can draw on each others’ expertise toheighten and further vocal jazz education inCalifornia. In this article I will attempt toaddress some issues that keep many vocaleducators from diving in to this incredible, andat times intimidating, genre of music.
1.) Listening is a key !!!! - As many of my for-mer professors have said, “Jazz is caught nottaught.” In order to perform this idiom correctlyyou must spend time listening to as many differ-ent jazz greats as possible, then try to emulatethem. Listen to vocal ensembles and soloists,but strive to branch out and listen to instrumen-talists and Big Bands. I know it might be intim-idating at first, but here is where the style andfeel of authentic jazz can be found. A list of myfavorites appears at the end of this article.
2.) Vocal technique and tone - Singing well issinging well. Although the tone should beplaced on the brighter side for the tuning of tightharmonies, the vocal technique should be aswell-produced as in any classical vocal group.There should always be a feeling of freedomand an essence of vibrato in the singing.
3.) Styles - Work to program as many differ-ent styles as you can. We owe our audiencesand students a variety of musical experiences.Think about it: you wouldn’t program an entireconcert of slow Renaissance motets, wouldyou? Some styles to consider: Swing, blues,shuffle, bebop, funk, samba, bossa nova, jazzwaltz, and accompanied or acappella ballads. Ifyou are feeling daring you might want to pro-gram a time chart or something more contem-porary and on the edge. But please do not doan entire program of these charts, your audi-ence will not get it and will feel left out!
4.) Charts - Pick things that you believe in,have an emotional connection to, and can sellto your students. Always listen to as manyinterpretations of your selected tunes as youcan, this includes other ensembles singing thechart as well as professionals interpreting it.Remember, there should be a certain amount ofpersonal freedom in the interpretation of jazz.Just because one group feels a tune a certainway does not mean that you have to interpret itthe exact same way.
5.)Where to find quality literature - Don’t justgo with the latest published charts. Seek outgreat arrangers and do their charts. I haveincluded some of my favorites at the end of thisarticle.
6.) Working with a rhythm section - This canbe the most intimidating thing for vocal direc-tors, here are some ideas for working with a stu-dent rhythm section:
a) Have recorded examples of charts/tunesfor the players to listen to
b) Encourage your students to study privatelywith reputable teachers/players in your area
c) If you are working with an inexperiencedpiano player have him/her focus on playingthirds, sevenths, and other chord extensions inhis voicings
d) If you are working with an inexperiencedbass player have him focus on playing the rootsand fifths of the chord changes
e) When working with a drummer, try singingor speaking the fills and feels you want
f) Have the trio try different things till you getwhat you want, who knows what cool ideas theymight come up with
g) Try and remain open and honest about thefact that you are all a work in progress and thatit is okay to make mistakes and try new things
h) Keep a metronome handy to check andestablish their sense of time
Resource List
California vocal jazz programs to check out -Attend concerts, contact directors for clinics,and/or get recordings of these groups! This listis by no means complete and has been com-piled from five years of festival and conventionattendance.American River College - Art LaPierreC.S.U. Sacramento - Kerry MarshC.S.U. Long Beach - Christine HelferichCuesta College - John KnutsonDe Anza College - Roger LetsonEnterprise High School - Deborah DivineFolsom High School - Curtis GaesserLos Angeles County High School for the Arts -
Patt BassMt. San Antonio College - Bruce Rogers and
William McIntoshU.S.C. - Matt Falker
Artists to listen to - Again, this list is only aplace to start.
Vocal soloists:Ella FitzgeraldSarah VaughnBillie HolidayCarmen McRaeShirley HorneMel TormeMark MurphyJoe WilliamsJon HendricksCleo LaineAl JarreauKurt EllingKarrin AllisonJane MonheitTierney SuttonKristin KorbKevin MahogonyCurtis StigersEtc., Etc., Etc.
Instrumentalists/Big Bands:Count Basie Big BandStan Kenton Big BandBuddy Rich Big BandDuke Ellington OrchestraSonny RollinsCharlie ParkerMiles DavisJohn ColtraneAntonio Carlos JobimChick CoreaPat MethenyDizzy GillespieBill EvansWayne ShorterHorace SilverRay BrownWoody Herman OrchestraGlenn Miller OrchestraEtc., Etc., Etc.
Professional Vocal Jazz EnsembleLambert, Hendricks, and Ross (Bavan)Les Double Six of ParisThe Hi-LosThe Four FreshmenThe RitzRare SilkThe AxcidentalsL.A. Jazz ChoirP.M. SingersSingers UnlimitedThe Swingle SingersThe Manhattan TransferThe New York VoicesJust for KicksVocalogyEtc., Etc., Etc.
Arrangers and Publishing companies with out-standing charts -
Sound Music Publishing(smpjazz.com/site/home.php)
UNC Jazz Press(usonia.unco.edu/uncjazz/jazzpress.html)
Dave Cazier (Caztunes.com)Michele Weir (Michmusic.com)Jennifer Barnes (jenniferbarnesmusic.com/)Dave Barduhn -
Mt. Hood Community College (OR)Vijay Singh - Central Washington UniversityLarry Lapin - University of MiamiDarmon Meader - New York VoicesKirk Marcy -
Edmonds Community College (WA)Paris Rutherford - University of North TexasPhil Mattson -
Southwestern Community College (IA)Kerry Marsh - CSU SacramentoMatt Falker - USC
Over the next two years I hope to address thetopics discussed in this article on a deeperlevel. Please feel free to contact me at any timeif you need assistance, and have a great year ofmusic making. [Contact info on pg. 19 – Ed.]
John Hamilton, Vocal Jazz R&S Chair
Vocal Jazz in a Nutshell
Fall 2005 13
the best in choral literature.Ms. Anderson then continued her outstand-
ing choral directing at Santa Monica HighSchool, where she served as chair of the musicdepartment. She retired from this position in1992, but continued teaching vocal pedagogyand choral curriculum/literature at UCLA until1995.
A life member of ACDA, Ms. Anderson hasheld many offices in our organization, includingCalifornia State President, Western DivisionPresident, and National Repertoire-and-Standards Chair for Junior High Music. Singersunder her direction have performed for ACDANational, Western Division, and StateConventions and for numerous CMEA, SCVA,CCG (NACM), and NATS conferences. Severalof her students have gone on to achieve nation-al and international musical fame.
A Renaissance musician, Ms. Anderson isalso an accomplished pianist/accompanist,voice teacher, author, and editor. She served aseditorial research consultant and biographer forThe Conscience of a Profession: Howard Swan,Choral Director and Teacher (Hinshaw). Shehas compiled gold-standard choral repertoirelists, including her recently published seven-year labor-of-love, The Foundation of Artistry:
An Annotated Bibliography of Distinctive ChoralLiterature for High School Mixed Choirs (ACDAMonograph No. 11). The Linda Allen AndersonChoral Series, featuring editions/arrangementsfor secondary choirs, is printed by AllianceMusic Publications. She is also editor of thetextbook series Choral Insights.
Ms. Anderson has received numerous con-ducting and teaching honors. She was select-ed as the first recipient (1985) of CMEA’sEunice Skinner Memorial Award for Excellencein Choral Music, and was recognized by the LosAngeles County Music Educators’ Associationfor Exemplary Achievement in the Field ofSecondary Education (Runge Award, 1989).She was nominated by SCVA as its firstOutstanding Music Educator (1990) and hasreceived multiple distinguished service awardsfrom her school district.
Currently Linda Anderson resides in PalmDesert with her husband, retired UCLA instru-mental music director Gerald Anderson. A“hoops” passion draws them back to LosAngeles for all UCLA men’s basketball games,and a love of travel will take them on a trip toGermany this fall to retrace the musical foot-steps of J. S. Bach.
The Howard S. Swan Award was estab-lished in 1985. Past recipients of the award areSam Barkman, Russell Bodley, Ginger CovertColla, Ben Denton, Eleanor McKnight Haines,Richard Hansen, William Hatcher, JaneHardester, Charles Hirt, Robert Holmes, ArtHuff, Byron McGilvray, Frank Pooler, MarjorieRemington, Paul Salamunovich, Rudy Saltzer,Dean Semple, David Thorsen, Perla Warrenand Loren Wiebe. This year marks the twenti-eth anniversary of this award, which was begunby Carole Glenn.
California ACDA is proud to add to this dis-tinguished list of directors Linda Allen Anderson,of whom her singers have said:
You have inspired in us a passion for the choral art,you have challenged us to be our best, you have given generously of your wisdom, and you have taught us that to make music is an act ofinexpressible love and joy.
Thank you, Linda, for your inspiration andexample to each of us, your colleagues.
Swan’s career at Occidental College in LosAngeles spanned nearly four decades (1934-1971), after which he went on to teach atCalifornia State University Fullerton and theUniversity of California Irvine. While at Oxy,Swan was also the choir director at PasadenaPresbyterian Church and served as a frequentguest conductor and lecturer throughout theU.S. The Occidental College Glee Clubs underhis direction were nationally renown. Swan wasa founder of the Choral Conductors Guild (nowNational Association of Church Musicians) andreceived ACDA’s Robert Shaw Choral Award forlifetime achievement.
As impressive as his professional accom-plishments were, Swan’s influence lay in hisartistic command, powerful personality, andhumanitarian spirit. He had a passion for textand a keen ability to stir the mind and the heart.Afflicted for more than 30 years with a paralyzedvocal cord that robbed him of his singing voice,Swan mastered as perhaps no other the abilityto capture the choral experience in words. Hispedagogy went far beyond music to call forthand develop the highest human values. Swan’schoral performances were marked by exquisiteand varied tone quality and electric communica-tion.
Linda Allen Anderson continued from cover
Dr. Howard S. Swan continued from cover
Thursday-Saturday March 23-25Azusa Pacific Choral Festival Weekend ---Thursday, March 23, 2006 APU’s Annual High School Choral
Festival – Weston NobleFor small high school programs, pri-
vate schools, and beginning, interme-diate choirs from all schools
---Friday, March 24, 2006 APU’s First Invitational High School
Choral Festival – Weston NobleFor advanced and experienced high
school choral programs (applicationand recorded audition required)
---Saturday, March 25, 2006 “A Conversation with Weston”A rare opportunity and invitation to a
sit-down breakfast and conversationwith the dean of American choralmusic (space is very limited)
Contact Harold Clousing - 562-708-1901
Friday March 24 2006, 9am-9pmCMEA Choral Ratings Festival(High school choirs; performance and
clinic OR sight-reading)Bakersfield HighSchoolContact Christopher Borges661-324-9841 [email protected]
Thursday-Friday March 30-31Central Coast Choral FestivalElementary and middle school choirs,
novice, intermediate and advancedhigh school choirs
Sponsored by the San Luis ObispoHigh Choirs and the San Luis ObispoVocal Arts Ensemble
April 6, 2005 - 8 am to 8 pm14th Central Valley Choral FestivalSnider Recital Hall, CSU StanislausDr. Daniel R. Afonso, Jr.209-667-3530
Friday, April 28 2006Community College Choral FestivalSierra College, RocklinBruce Rogers, Mt. San Antonio CollegeContact Fred [email protected]
Friday-Saturday April 28-29, 2006SFSU Spring Choral FestivalInvitational choral festival and festival
for solo vocal artsKaren Kennedy, U of Hawai'i, Alissa
Deeter & Joshua Habermann, SFSUSFSU Choral Office - 415-338-7761
14 Fall 2005
Festivals, festivals! If you’re hosting a festivalthis year and you’d like it listed, please emailCharles Young ([email protected]). Checkthe website (www.miracosta.cc.ca.us/acda)for updates to the list.
Friday October 7 2005 - 9am - 2pm.Real Men Sing! - a choir festival for
male choristersContact Anna Hamre - [email protected]
Thursday October 13 2005Fall Invitational High School Choral
FestivalCollege of the Sequoias, VisaliaGuest Clinician - Dr. Jonathan Talberg,
CSU Long BeachContact Jeff Seaward - [email protected]
Wednesday-Thursday October 19-20Fresno State Choral FestivalRodney Eichenberger and Jeff
SeawardContact Anna Hamre - [email protected]
Friday October 21Fall High School Choral FestivalWestmont College, Santa BarbaraDr. Grey Brothers, Dr. Steven Hodson,
and Dr. Michael ShasbergerContact Steve Hodson - 805-565-6192 [email protected]
Friday-Saturday October 28-29 2005Eric Whitacre Honor ChoirCampolindo High SchoolMoraga (San Francisco East Bay)Contact Gene Peterson925-376-5986 ext. [email protected]
Friday November 4 2005 - 9am-12pmCentral Valley Jr. High Choral FestivalDavis Sr. High - Instructional
Performing Arts Building315 W. 14th St. - Davis, CA 95616Limited enrollment:One choir per schoolContact William Zinn,
Holmes/Harper Jr. Highs530-757-5400 x398 (voicemail)[email protected]
Friday-Saturday November 4-5Cuesta College Vocal Jazz WorkshopFeaturing the pro a cappella group "m-
pact" in concert Friday nightContact Bea Anderson - [email protected]
Friday November 11SFSU Fall Invitational Choral FestivalSt. Stephens Church, San FranciscoDr. Karen Kennedy, University of
Hawai'i; Vance George, SanFrancisco Symphony Chorus
Contact Choral Office - 415-338-7761
Thursday February 2 2006Invitational Chamber Choir FestivalCSU East Bay, Haywardwww.isis.csueastbay.edu/dbsw/musicContact Kathryn Smith - [email protected]
Feb. 24th 2006Annual Invitational FestivalHigh School and College LevelContact Elena Sharkova - 408-924-
Tuesday March 7 2006Golden State Choral Competition -
SOUTHRiverside Community CollegeContact John Byun -
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NEED A REHEARSALCOVERED?Professional
Conducting SubstituteMegan Eddy
If you are goingout of town on
business, vacationor just need a break,I will rehearse yourchurch, communityor children’s choir,
and can also conduct your Sunday services.
Currently, I am head of choral music atSage Hill High School, but have extensiveexperience in preparing and conductingcommunity and church choruses of allages. I received my MA in ChoralConducting from USC and my BA inMusic Education from Chapman. In addition, I have studied extensively withLynn Bielefelt and Jane Hardester.
Available evenings and weekends. Reserve your dates now! Email Megan at:
California All-State, Central, Coastal, and Southern Region Honor ChoirsA collaborative effort of CMEA, California ACDA, and SCVA
FORMAT
There will be a mixed choir and a women’s choir at
the regional level as well as at the state level. We will
strive to provide an educational and enjoyable
experience for all participants and audience members.
Singers will audition in September/October to
become a member of one of the state’s regional
choirs: Central, Coastal, or Southern/SCVA. The
Regional Honor Choirs will perform a unique set of
literature chosen by the regional conductors.
Students interested in auditioning for the All-State
Choirs will turn in a completed All-State Choirs
application at the time of their original audition.
There will be no further audition for the All-State
Choirs.
Women Singers
If you are new to honor choirs this year, you will
be randomly placed into your regional mixed or
women’s honor choir.
If you were in Mixed Honor Choir last year, you
will be placed into Women’s Honor Choir this
year.
If you were in Women’s Honor Choir last year,
you will be placed into Mixed Honor Choir this
year.
If you are selected for All-State Honor Choirs,
you will be placed randomly in the Mixed or
Women’s according to your “Zz” score or
regional choir ranking/score.
Please make sure that all women singers understand
this before they audition. They need to make
intelligent, committed choices about their
involvement in the honor choirs.
Selection Process
The selection of singers to any honor choir is
done as fairly as possible, taking the human
factor into consideration. Keep in mind that
RAW scores cannot be compared to other raw
scores. Each judge may have a different scale.
This is why the following system has been used
for several years.
TECHNICALLY: We apply a standard deviation
calculation to each student’s score to equalize the
scores between various judges. The choir is then
selected from these equalized scores.
SIMPLISTICALLY: It is like taking a percentage
from each audition site. For example, let’s say:
Site A has 60 altos audition.
Site B has 14 altos audition.
If 50 percent of the altos who auditioned from
the region were needed to fill out the choir,
thirty altos would be chosen from Site A;
seven altos would be chosen from Site B.
SO: If you get more students to audition, more of
your students will get accepted. This is simplified,
and there are exceptions; but that is basically how it
works.
PARTICIPATION POLICY
By submitting an application, the student, director,
and school agree to follow through on their
commitment for that student to participate in the
honor choir should he or she be accepted. If a
student is accepted and does not participate, he or
she have effectively eliminated another deserving
student from having the opportunity. Your school
may be subject to a one-year suspension from
participation in honor choirs if any student from
your school does not attend any or all required
activities after being accepted, or if he or she is a
discipline problem during honor choir functions.
Directors: Please do not expect your students to do
the entire honor choir responsibilities/work on their
own. If you are unwilling or unable to help, pass on
information, etc., then don’t let them participate. All
mailings will be sent through the school directors,
not the individual students; therefore, if you send
students to the honor choirs, you must accept the
responsibility of getting music and information to
your students and making sure all payments are
rendered by the due dates (school/booster-issued
checks/money orders). All communication should
be handled through the school directors—no direct
contact should be made to the Regional Directors by
the students or parents.
STUDENT ELIGIBILITY
Current enrollment in and participation in the choral
program at your high school is required. No director
signature/recommendation—no participation.
DIRECTOR MEMBERSHIP
Directors whose students apply for the honor choirs
must be members of MENC/CMEA, ACDA, or
S C V A . Please contact the web sites of these
organizations for more details concerning
membership.
DIRECTOR INVOLVEMENT
If you have two or more students involved in any of
the honor choirs, you will be expected to assist with
the organization of the event on that weekend. This
could include conducting a sectional, accompanying a
sectional, picking up pizzas, helping set up chairs, etc.
Plan to be available. This logistical planning and
carry-through of the honor choirs is a tremendous job
for our chairpersons. Please assist us in continuing to
provide this musical experience for our singers.
Please contact the chairpersons to offer your help.
DATES
CCeennttrraall && CCooaassttaall RReeggiioonnss
Application postmark deadline: September 16th
Directors notified of audition times:
September 22nd
REGIONAL & ALL-STATE AUDITIONS:
September 24th and October 1st
Rehearsals and PERFORMANCE
November 18th – 20th
SSoouutthheerrnn//SSCCVVAA RReeggiioonn
Application postmark deadline: September 16th
REGIONAL & ALL-STATE AUDITIONS
October 1st and 8th
Regional Rehearsals:
October 29th, November 18th-19th
PERFORMANCE
November 19th, 7:30 pm
(more information in the Fall SCVA Newsletter)
AAll ll -- SSttaattee
Notification of acceptance to All-State Choir(s):
Mid-December
Music, rehearsal CDs, materials sent:
Late January
All-State Honor Choirs - Sacramento
2006 CMEA Convention, March 9th – 11th
THE AUDITION
We recommend that you review each of these skills
with your classes so that all your students are
prepared. (These are good skills for your students to
have anyway.)
SOLO: Prepare an Italian song to be sung from
memory. We recommend Schirmer’s 24 Italian Songs
and Arias. Please prepare no more than one verse and
chorus of the song so that the performance is no
more than 90 seconds long. Each auditionee must
provide an accompanist or recording with sound
reproduction equipment. If you choose to sing an
Italian song not in the Schirmer 2244 SSoonnggss aanndd
AArriiaass you must provide music for the adjudicator.
TONAL MEMORY: Five-note passages will be
played on the piano for the singer to repeat, sung on
any syllable.
SIGHT-READING: A single-line, unaccompanied
melody will be supplied, sung on any syllable.
SCALES/TRIADS: Sing the following: major scale,
major triad, minor triad, and chromatic scale, sung
on any syllable.
Fall 2005 15
California All-State and Regional Honor ChoirsAudition, Rehearsal, and Performance Site Information
Coastal Region
Rehearsal & Performance Site
Chabot Community College – Hayward
Mixed Honor Choir Conductor:
Dr. Charlene Archibeque, Conductor Emeritus, San
Jose State University
Women’s Honor Choir Conductor:
Dan Earl (tentative), Conductor Emeritus, Santa Rosa
High School, Santa Rosa, CA
AAuuddiittiioonn SSiitteess
Paso Robles – 9/24 - Charles Young
Paso Robles High School
801 Niblick Road
Paso Robles, CA 93447
(805) 237-3333; FAX (805) 237-3424
Aptos – 10/1 – Meri Pezzoni
402 Vista del Mar Drive
Aptos, CA 95003
(831) 688-0755
Hayward – 10/1 – Ken Rawdon
Mt. Eden High School
2300 Panama Street
Hayward, CA 94545
(510) 264-9798
Santa Rosa - 9/24 – Gail Bowers
Maria Carrillo High School
6975 Montecito Blvd.
Santa Rosa, CA 95409
707-291-7950
Saratoga – 10/1 – Jim Yowell
Saratoga High School
20300 Herriman Avenue
Saratoga, CA 95070
(408) 867-3411, ext. 214
Fortuna – 10/1 – Jonathan Souza
Fortuna High School
379 Twelfth Street
Fortuna, CA 95540
707-725-4461 x3087, FAX 707-725-5511
Central Region
Rehearsal & Performance Site
College of the Sequoias and the L. J. Williams
Theatre - Visalia
Mixed Honor Choir Conductor:
Dr. Don Kendrick, CSU Sacramento
Women’s Honor Choir Conductor - TBA
AAuuddiittiioonn SSiitteess
Redding – 9/24 – Debra Divine
Enterprise High School
3411 Churn Creek Road
Redding, CA 96002
H: 530-221-3219 W: 530-221-6601
Sacramento – 10/1 – Ralph Hughes
American River College
5728 Delbrook Lane
Carmichael, CA 95608
W: 916-484-8357 [email protected]
Stockton – 9/24 – Curtis Mannah
Lincoln High School
6844 Alexandria Place
Stockton, CA 95207
H: 209-953-8919 [email protected]
Turlock – 10/1 - Daniel Afonso
CSU Stanislaus
801 West Monte Vista
Turlock, CA 95382
W: 209-667-3530 [email protected]
Fresno – 9/24 - Anna Hamre
CSU Fresno
2380 E. Keats, #MB77
Fresno, CA 93740
W: 209-278-2539 [email protected]
Visalia – 10/1 - Jeff Seaward
College of the Sequoias Music Department
915 South Mooney Blvd.
Visalia, CA 93277
W: 559-730-3871
Bakersfield – 9/24 – Robert Provencio
CSU Bakersfield
101 Camino del Oeste
Bakersfield, CA 93309
W: 661-664-3073 [email protected]
Southern/SCVA Region
See SCVA Newsletter and web site for more
information. www.scvachoral.org
California All-State Honor ChoirsCMEA Convention, Sacramento
March 9th – 11th, 2006
Rehearsals: Red Lion Inn
Performance Site: TBA. 2:00 p.m., Saturday, March
11th
Mixed Choir Conductor: Dr. Bruce Rogers, Mt. San
Antonio College
Women’s Choir Conductor: Charlotte Adams,
Colorado Women’s Chorale
FEES
Central/Coastal Audition: $20.00
Southern/SCVA Audition: See SCVA Newsletter
Audition fees cover adjudicators, audition materials, and
audition site costs.
Central/Coastal Regional Honor Choir Fee: $75.00
Southern/SCVA Regional Honor Choir Fee: See
SCVA Newsletter
Regional fees cover music, tapes, facilities, conductor, and
accompanist. Singers are responsible for their own
transportation, lodging, and meals.
All-State Honor Choir Fee $345.00
All-State fees cover: music, CDs, facilities, conductors,
accompanists, two nights lodging, most meals (not
Friday/Saturday dinners), and transportation once at the
site. Singers must provide their own transportation to/from
the All-State event.
FINANCIAL POLICY
Schools must send ONE school-issued check/money
order for all applicants. Make payable to California
ACDA. Send one package to the audition site host
with all applications and one check. (SCVA members,
please review the fall SCVA Newsletter.) Direct any
audition questions to the audition site host. For other
questions concerning the regional honor choirs,
please contact your regional chairperson.
Your school will be responsible for the payment for
all students accepted regardless of participation. Do
not have the students or families send in payments
on their own.
Regional and State Chairpersons
Coastal Region Co-Chairpersons
Ken Rawdon, Mt. Eden High School
2300 Panama Street
Hayward, CA 94545
510-264-9798 [email protected]
Genevieve Sagi, Carlmont High School
1400 Alameda de las Pulgas
Belmont, CA 94002
(650) 595-0210 [email protected]
Central Region Chairperson
Brad Hayashi, Mt. Whitney High School
900 South Conyer Street
Visalia, CA 93277
W: (559) 730-7632 [email protected]
Southern/SCVA Region Chairperson
Kathryn A. Cobb-Woll
All-State Honor Choirs Chairperson
Curtis Mannah, Lincoln High School
6844 Alexandria Place
Stockton, CA 95207
W: (209) 953-8919 [email protected]
16 Fall 2005
CALIFORNIA HONOR CHOIRS Fee Pd. __________
APPLICATION 2005-2006 (SCVA Members please use the SCVA application.) Check# __________
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Please print legibly or type. AAllll iinnffoorrmmaattiioonn mmuusstt bbee ccoommpplleettee. Leave no blanks.
Audition Site: __________________________________
____________________________________________Applicant’s Name (as you want it to appear in the program)
____________________________________________Applicant’s Home Address
____________________________________________City ZIP Code
(_______)____________________________________Home Phone
Was applicant in an honor choir last year? Yes No
If yes, what choir? Mixed Women’s
____________________________________________School Name
____________________________________________School Address
____________________________________________City ZIP Code
Circle your voice part (only one): S A T B
___________________________________________Director’s Name
___________________________________________Director’s Address
___________________________________________City ZIP Code
(_______)___________________________________Director’s Home Phone
(_______)___________________________________School Phone
Director’s e-mail Address
___________________________________________Director’s ACDA No.
___________________________________________CMEA/MENC No.
WE, THE UNDERSIGNED, HEREBY RECOMMEND the applicant as a dedicated member of our school music program and as a
deserving candidate for possible membership in the Regional and All-State Honor Choirs. In the event that the applicant is accepted for
membership, we will use our influence to see that the student is thoroughly prepared on the music, behaves properly, and that financing and
transportation are arranged. We understand that (1) carrying through on this commitment is a central education point of the honor choir
experience; (2) our school may be subject to a one-year suspension from participation in honor choirs if any student from our school does not
attend any or all required activities after being accepted, or is a discipline problem during honor choir functions; and (3) our school is
financially responsible for all fees of students accepted, even if the student does not participate.
____________________________________________ ___________________________________________Parent/Guardian Print Name Director’s Signature
____________________________________________ ___________________________________________Parent/Guardian Signature Principal’s Signature
If I am chosen for the Regional and/or All-State Honor Choirs, I agree to (1) be fully prepared and have the music memorized by the
rehearsal date; (2) read every piece of correspondence carefully and follow the directions therein; and (3) act politely, courteously, and
responsibly toward any person involved in organizing this project.
I understand that failure to comply with the above guidelines will likely cause my dismissal from the choir. I also understand that if I am
accepted into the choir and fail to fulfill my commitments, my school may be subject to a one-year suspension from the Honor Choirs.
____________________________________________ ___________________________________________Student Signature Date
Fall 2005 17
Anniversary Gala
Friday, September 23
Saturday, September 24
Both performances at 8:00 p.m.Christ the Good Shepherd Lutheran Church • San José, CA
Deadline for ordering season tickets is September 24.For more information, visit us at www.choralproject.org.
The Choral ProjectDaniel Hughes, Artistic Director and Conductor
To kick off our tenth season, we celebrate the past decade by singing repertoire chosen by our loyal
fans. The program includes works by Eric Whitacre, René Clausen, Arvo Pärt and Maurice Duruflé
along with folk songs and spirituals to round out this concert for everyone. Some favorites include
Frank Ticheli’s moving setting of “There Will Be Rest,” and Sarah Hopkins’s evocative “Past Life
Melodies,” a piece featuring haunting overtone singing. Singers of years past will be joining us for
this gala event to launch our tenth year.
Celebrating 10 years of musical excellence!
Reading Sessions 2005Julie Dana, President
What do you get when you put together fourextremely talented and giving choral directors,mix in four amazing accompanists, season witha group of energetic and committed ACDA boardmembers, garnish with college student mem-bers and top with JW Pepper staff and wonder-ful college catering companies??? Take thismixture and blend it with an inspiring and eagergroup of California choral directors and put it inthe rehearsal halls of a couple of California StateUniversities and you get the California ACDAFall Reading Sessions!!!
So much of what we get from ACDA has to dowith nurturing each other, brainstorming togeth-er and sharing music with one another. Thisyear’s Reading Sessions fill the bill in every way.
There are so many folks to thank:
•Kathy Smith, David Stein and Jonathan Talberg– thank you for opening your choral homes to allof us to experience this event!
•Mark Teeters, Lori Marie Rios and SheridanBall – Many thanks for your time spent and get-ting registration materials taken care of.
•Ed Chillington, Dave Buckeyne, and DaveDiMarino of J.W. Pepper – thank you for puttingtogether our packets.
•Miraglia Catering and CSULB 49er shops – forthe snacks and lunches
•Our “rising stars,” the ACDA student membersfrom CSULB & CSUEB – thank you for pitchingin and making sure the events run smoothly.
•Steve, Grant, Travis and Heather – thank youfor your fine accompanist skills.
•ACDA State Board Members – excellent workon your site preparation and duties!
Gail Barbour, Don Kendrick, Iris Lamanna – Ourthree interest session clinicians…thank you foryour time spent in perusing stacks of literature tocome up with just the right combination in yourspecial areas. Your insight into this literature isappreciated by all.
Don Brinegar-Always a great clinician and col-league. Don continues to give back to ACDA,making time in his busy teaching and conductingschedule to share his thoughts and literaturewith us. Thank you for the variety of literatureyou brought to us this year!
What a terrific recipe for the start of our schoolyear! Many thanks to you all! Best wishes for amusically rewarding year of music!!!
18 Fall 2005
Regional Honor Choirs
18th – 20th, 2005. Coordinators will be BradHayashi – Central and Ken Rawdon &Genevieve Sagi – Coastal. has agreed to conduct the Central Mixed Honor
The coordinators are presently working
bles. Brad has secured the College of the
Honor Choirs. Auditions for both regions will beheld the last Saturday of September (9/24) &the first Saturday of October (10/1). Sites are
Although perhapsslightly behind, organization for the RegionalHonor Choirs is progressing and should be fully
All State Honor Choir
place in conjunction with CMEA StateConvention March 9th – 2006 inSacramento. I’ve secured the Red Lion Inn byArden Faire Mall as our housing and rehearsalsite. Housing should be just under $19,000 (96rooms @ $85/night + taxes) and facilities rentalis quoted at $15,000. I’m still working on meals,
some options for the students. I am also work-ing on the performance venue in Sacramento.Julie is making some phone calls to some of herconnections to see if we will be able to use theCatholic Cathedral downtown. Bruce Rogers &
are coming up on a couple of deadlines forinformation, so I will be contacting them after I
thing is moving along.
Questions, Concerns & ThoughtsThe audition process is often a hot-button issuefor everyone involved.
limited to 90 seconds. is no need to hear the da capo of a song ormore than 90 seconds before you’ve alreadymade judgements. Second, we’ve discussedaltering the sight-reading to a tiered system.
and tier 2 would be a melodic exercise. I thinkuseful information could be gleaned from bothtiers. Third, there is the form that I need whichI do not yet have: the triplicate adjudicator form.Where do I get the master for it? Who printsthem up? This needs to be done sooner ratherthan later as the forms must be sent to the audi-
Over the past few years we’ve begun to havestudents with special needs participate in boththe regional and all state choirs. CA-ACDA
ney who specializes in this field. The
quite unforgiving. The law requires that we
als with disabilities. If we make a mistake in thisarea, not only is the organization fiscallyresponsible, but each of the individual boardmembers is as well.
The Regional Honor Choirs will take place Nov.
Dr. Don Kendrick
Choir. on confirming conductors for the other ensem-
Sequoias in Visalia as a site for the Central
being confirmed presently.
completed shortly.
Once again the All State Honor Choir will take
11th,
but the close access to Arden Faire gives us
Charlotte Adams are our directors this year. We
get back from vacation to make sure that every-
I’ve a few recommenda-tions from our discussions over the last year.First, I think we should limit the solo perform-ance to one time through the A & B section of anItalian Art song with the total performance time
As an adjudicator, there
Tier 1 would be a 4-bar rhythm-only exercise
tion sites by the middle of September.
needs to get some legal advice from an attor-
Americans with Disabilities Act (ADA) can be
make reasonable accommodations to individu-
Curtis Mannah, Honor Choirs Chair
Honor Choirs ReportSee Honor Choir
Information Pages 15-16-17
or
from our Home Page
Fall 2005 19
EXECUTIVE BOARD
PresidentJulie Dana610 East Pine AvenueFresno CA 93728H:559-233-3887W: 559-442-4600 [email protected]
President-ElectKen Abrams41 Picardy CourtWalnut Creek CA 94597H: 925-939-7562W: [email protected]
Vice PresidentKathryn Smith2796 Dos Rios DriveSan Ramon CA 94583H: 925-831-8860W: [email protected]
NorthernMark Teeters2148 South Terrace DriveNapa CA 94559H: 707-290-6036W: 707-253-3601 [email protected]
Bay AreaCheryl Anderson270 Sundance LaneWatsonville CA 95076H: 831-786-0565W: [email protected]
Central CoastCharles Young4435 San Jacinto AvenueAtascadero CA 93422H: 805-464-0449W: [email protected]
CentralDaniel Afonso563 Garden Gate WayTurlock CA 95382H: 209-632-7763W: [email protected]
Show ChoirKen Rawdon12 Trestle DriveHayward CA 94544H: 510-303-4197W: [email protected]
Sr. High School ChoirsGene Peterson1812 Trinity Ave. #221Walnut Creek CA 94596H: [email protected]@yahoo.com
Two-Year CollegesJennifer Kelly3006 Colorado Ave #207Santa Monica CA 90404W: [email protected]
Womens ChoirsKaren Garrett2350 Bloomfield LaneCorona CA 92882H: 951-272-3432W: 951-739-5600 [email protected]
Youth & Student ActivitiesAnna Hamre34279 Old Mill RoadAuberry CA 93602H: 559-855-8747W: [email protected]
Community ChoirsDonald Kendrick8188 Plumeria AveFair Oaks CA 95628H: [email protected]
Ethnic & MulticulturalElena Sharkova845 Calero Ave.San Jose CA 95123H: 408-363-1992W: [email protected]
JazzJohn Hamilton825 N. Alfred Street #2Los Angeles CA 90069H: 323-445-7183W: [email protected]
Mens ChoirsTravis Rogers112 Moss LaneNapa CA 94558H: 707-256-3488W: [email protected]
Middle School/Jr. HighPeg Hutson2500 West SweetVisalia CA 93291H: 559-739-1587W: [email protected]
Music & WorshipDouglas Lynn3517 Simsbury CourtCarlsbad CA 92010H: 760-434-5915W: 760-758-4100 [email protected]@sbcglobal.net
SouthernLori Marie Rios2850 Montrose Ave. No. 22La Crescenta CA 91214H: 818-248-2803W: [email protected]@lcusd.net
Far SouthWilliam Hatcher3095 Colley LaneEscondido CA 92025H: [email protected]
Executive SecretaryJan Lanterman2348 Clay StreetNapa CA 94559H: 707-255-4662CA-ACDA Office:[email protected]
Financial AdvisorArt Huff5536 North Seventh StreetFresno CA 93710H: [email protected]
REPERTOIRE &STANDARDS CHAIRS
Boys ChoirsVacant
Childrens ChoirsJo Anne Stoddard2295 Alice PlacePaso Robles CA 93446H: 805-237-8042W: [email protected]
College & UniversityChoirsJonathan Talberg4546 E. BroadwayLong Beach CA 90803H: 562-673-9600W: [email protected]
EVENT CHAIRS
CMEA LiaisonVacant
Honor Choir ChairCurtis Mannah9344 Pioneer CircleStockton CA 95212H: 209-473-3402W: [email protected]
Summer ConferenceChairTravis Rogers(See Mens Choirs R&S)
COMMUNICATIONS
Cantate Newsletter EditorKevin Schieberl442-E Costa Mesa TerraceSunnyvale CA 94085H: 408-245-9276W: [email protected]
Website CoordinatorJoel Pressman6528 Olympic PlaceLos Angeles CA 90035H: 323-933-0117W: [email protected]
California ACDA Board
ACDA Advocacy Resolution
Whereas, the Human spirit is elevated to a broaderunderstanding of itself through the study and per-
formance in the aesthetic arts, and
Whereas, serious cutbacks in funding and supporthave steadily eroded state institutions and their
programs throughout our country,
Be it resolved that all citizens of the United Statesactively voice their affirmative and collective sup-port for necessary funding at the local, state, andnational levels of education and government, to
ensure the survival of arts programs.
ACDA members are encouraged to print the ACDA AdvocacyResolution on all programs
Cantatec/o Kevin Schieberl, editor442-E Costa Mesa TerraceSunnyvale, CA 94085
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