Star of the North by Robert Gaul

A Golden Legacy! 1962 - 2012

Volume 40, Issue 3 Spring 2012

Star of the North â&#x20AC;˘ Spring 2012

27th AnnuAl ACDA-Mn SuMMER DIAlOGuE Strong Foundations: Blueprints for Success Saint John’s university – Collegeville, Minnesota

Presented in collaboration with the MMEA All-State Choir Camp

All-STATE COnDuCTOR HEADlInERS Rollo Dilworth, Mixed Choir Temple University, Philadelphia PA Programming A Choral Showcase Concert: Some Guiding Principles Rhonda Fuelberth, Womens’ Choir University of Nebraska-Lincoln NE Developing Artistry Through Choral Singing Christopher Aspaas, Mens’ Choir St. Olaf College, Northfield MN Why Am I Here? Examining Vocation and Advocacy In A Challenging Time

ACDA-Mn DIRECTORS’ CHORuS COnDuCTOR Craig Hella Johnson Artistic Director, Conspirare, Austin TX

GRADUATE CREDIT AND CONTINUING EDUCATION RENEWAL UNITS OFFERED

Complete Registration Brochure available on-line at:

www.acda-mn.org

Groth Music Inc. of Bloomington will be on site throughout the week offering registrants 20% off of all choral music purchases. Bring your purchase orders and order for the entire year!

FEATuRED HEADlInER Craig Hella Johnson, Artistic Director, Conspirare, Austin TX The Artist-Teacher: Remembering Who We Are SESSIOnS TO BuIlD STROnG CHORAl FOunDATIOnS EIGHT MuSIC READInG SESSIOnS: ‘new’ plus ‘Tried and True’ Featuring outstanding titles for choirs of all ability and voice levels hand selected by our ACDA-MN Repertoire Selection Committee MuSIC InDuSTRY EXHIBITS FAIR • Bigger than ever! Meet and greet exhibitors – music stores, fundraising specialists, tour companies, classroom equipment, technology, choir attire, graduate programs, professional music organizations, composers and independent publishers PRESEnTERS & ClInCIAnS Steven Albaugh, President, ACDA-MN State of the State Membership Meeting Steven Boehlke, Judy Sagen, & Diana leland 50th Anniversary Task Force The Tribute Concert: Our Opportunity To Honor Our Mentors Jan Gilbertson, Chairperson ACDA-MN 50th Anniversary Task Force Why Do We Celebrate? A Preview of the Party to Come! Melanie Kjellberg, Gillian Teoh & Kari Werdahl My Personal “Pick Six” for Elementary, Middle Level, and High School choirs Carl lipke & Bruce Phelps, Minnesota State High School League MSHSL Vocal Judging Certification Workshop Bruce Phelps, Christ the King Lutheran Church, New Brighton So You Want Your Singers to Sight-read Their Music Better? Christopher Russell, East Ridge High School, Woodbury Session 1: I-Choir…Are You Ready For It? Session 2: IPads in the Choir Room: A Hands-on Session Axel Theimer, Saint John’s University A Choral Interpretation Workshop: Dialoging Together! Dealing with the Aging Voice in your Church or Community Choir SPECIAl EVEnTS PlAnnED FOR YOu Complimentary morning continental breakfasts Personal Pick Six music titles presented each morning Observation of All-State Choir rehearsals and conductors Directors’ Chorus concert for All-State choir students On Campus Picnic Supper • Evening Afterglows • Social Events A Historic 50th Anniversary Recognition Banquet honoring: Outgoing Board Members • District ACE Award recipients FMC Lifetime Achievement Award current and past recipients

American Choral Directors Association of Minnesota (ACDA-Mn) • land of 10,000 Choirs! The choral director’s source for engaging and ongoing professional development Our mission: To support and inspire a community of choral musicians Our Golden Legacy: A Distinguished Past…A Vibrant Future

To support and inspire a community of choral musicians in our state • www.acda-mn.org

ACDA of Minnesota Board of Directors President �� Steve Albaugh President-Elect �� Thomas Hassig Vice President........................................Brian Stubbs Executive Director ��Bruce W. Becker Secretary �� Amy Johnson Northwest District Chair �� Bonnie Nelson Northeast District Chair ��Joe Osowski Southwest District Chair ��Greg Aune Southeast District Chair ��Chris Harris Metro West District Chair �� Paula Holmberg Metro East District Chair �� Marie Spar Dymit Membership Chair ��Bruce W. Becker Advertising Chair �� John Kleinwolterink Newsletter Editor �� Bret Amundson

ACDA of Minnesota Repertoire and Standards Chairs Boy Choirs ��Aaron Carpenter Children’s & Youth Choirs �� Deborah Lamb College and University Choirs �� Angela Broeker Community Choirs ��Steve Boehlke Ethnic & Multicultural Perspectives ��Jon Kopplin High School Choirs ��Steve Deitz Jazz Choirs ��Laura Tempel Junior High/ Middle School Choirs �� Sue Gilsdorf Male Choirs.............................................Mark Potvin Music and Worship �� Mark Stover Show Choirs �� Lukas Warren Two-Year College Choirs �� Karla Miller Women’s Choirs �� Kari Douma Youth and Student Activities �� Mike Smith Repertoire and Standards Coordinator �� Phillip Brown •••

Star of the North Advertising Rates Inside Front/Back Cover 8 1⁄2w x 10h ��$300.00 Size A: Full Page 8 1⁄2w x 10h ��$250.00 Size B: 8 1⁄2w x 5 1⁄2h ��$150.00 Size C: 8 1⁄2w x 4 1⁄3h ��$120.00 Size D: 4 2⁄3w x 10h �� $90.00 Size E: 2 1⁄3w x 10h �� $75.00 Size F: 3 1⁄3w x 4 1⁄2h �� $50.00

Star of the North Ad and Article Submission Dates Fall 2012...........................................................8/17/12 Winter 2013....................................................1/13/13 Spring 2013 ��4/12/13

Star of the North • Spring 2012

Inside…

Columns

President’s Cue........................................................................6 Youth and Student Activities ��30 MMEA Update ��43 FMC Endowment Update ��44 ACDA-MN Schedule of Events ��46

49 50 Features

Men’s Choirs.......................................................50 Two Year College Choirs...............................51 Boys Choir...........................................................52 Ethnic/Multicultural Perspectives Choirs ��53 Show Choirs ��55 The Last Word, Bruce Becker................................................. 60

star program highlight: Stillwater Junior High Choirs ��7 Guest Features: Conditioning Not Just for the Vocal Chords, Sandra Nelson �� 18 Renewing the Mind, Paula M. Becker ��19 The Singing Revolution: Renewal of Spirit in the Baltics, Shahzore Shah ��20 Got Vocie Renewal?, Leon Thurman ��24

Choral arts finale

From the Field: Ready? Set? Relax…, Marie Spar Dymitt ��27 Our Quest for Renewal, Gregory Aune �� 28

Highlights

The Influence of St. Olaf Choir Membership on Minnesota Choral Directors �� 16 ACDA-MN 50th Anniversary Concert Sponsorships ��31 Philip Brunelle Receives the 2012 Weston H. Nobel Lifetime Achievement Award ��36 State Election Results – Changing of the Board ��37 2012-2013 Honor Choir Season ��40 Summer-Fall 2012 Schedule of Events ��46 ACDA-MN: A Golden Legacy The Recent Decades (2000’s) ��47 In Remembrance: Gregory S. Larsen / Frank Joy Sigurd Christiansen / William H. Stevens.......................... 56

Legacy

Policy Statement on Programming Recognizing the broad diversity of cultures and beliefs by our member directors, by our singers, and by all those touched by performances of choral music,ACDA of Minnesota reaffirms its commitment to balance and diversity in programming. It is important that we, as the leading proponents of choral art in our state, actively encourage and model sensitivity to and awareness of diversity, particularly with regard to sacred and secular repertoire. We recommend that no more than fifty percent of the literature chosen for Honors Choirs, AllState Choirs and Pick Six packets contain music with sacred text. Performances and lists pertaining to music in worship are exempt. Adopted by the ACDA of Minnesota Executive Board, January 13, 1996.

Editor’S Remarks Bret amundson

College of St. Scholastica

We remember to renew our license, we remember to renew our library books, we remember to renew our cell phone service, but how often do we remember to take the time to renew our bodies, our minds, our spirits, and our voices? I know that when I get busiest and most stressed, I tend to sleep less, workout less, read less, and sing less, but it is these things that are most needed in order to restore and replenish my “tank.” This issue of the Star of the North hopes to provide choral conductors with a few examples of how to take time for personal renewal, even during the busiest times of the school year. Our featured guest articles explore the renewal of our body, mind, spirit, and voice. Fitness specialist Sandra Nelson provides simple exercises to keep our bodies in shape, psychologist Paula Becker helps us engage the mind of our heart, Cantus’ Shahzore Shah writes about how music helped renew the spirit of an entire country, and vocologist Leon Thurman provides a scientific look at ways of keeping our voices healthy.

Fall 2012 Ads/Articles Deadline: August 17, 2012

A Golden Legacy! 1962 - 2012 The Star of the North is published three times a year by ACDA of Minnesota: Fall/Conference, Winter, and Spring. Articles may be submitted to the copy editor for consideration: Bret Amundson, SotN Editor The College of St. Scholastica 1200 Kenwood Ave., Duluth, MN 55811 bamundson@css.edu (218) 625-4983 Office (206) 660-6300 Cell Visit our website for updates: www.acda-mn.org Advertising materials and photos should be sent directly to: By All Means Graphics 17 Bridge Square Northfield, MN 55057 Rob@northfieldguide.com (507) 663-7937

In our From the Field series, Marie Spar Dymit and Greg Aune both provide insight on how to renew during the middle of our busy school years, and in our 5 Words or Less segment, Eugene Rogers answers the question, “How do YOU renew?”

For more information on advertising contracts, rates and specifications, please contact:

Finally, as I prepare the final Star of the North issue for this academic year, I want to be sure to thank all of the contributors who have lent so much time and energy to this publication. We have covered a lot of information, and it’s because of the hard work of our wonderful Minnesota colleagues that the Star of the North continues to be a national example of excellence. Have a fantastic summer and I’ll see you all at dialogue!

ACDA of Minnesota reserves the right to edit and approve all submitted materials.

Bruce W. Becker execdirector@acda-mn.org or (952) 270-7489

•••

ACDA Advocacy Resolution Whereas, the human spirit is elevated to a broader understanding of itself through study and performance in the aesthetic arts, and whereas, serious cutbacks in funding and support have steadily eroded arts institutions in our country, be it resolved that all citizens of the United States actively voice their affirmative and collective support for necessary funding at the local, state and national levels of education and government, to ensure the survival of arts programs for this and future generations.

To support and inspire a community of choral musicians in our state • www.acda-mn.org

President’sCUE Steven Albaugh

Rosemount High School

Greetings from Rosemount! I was speaking with Bret Amundson, Star of the North Editor, regarding the theme of this issue – renewal. I told Bret that in the past month, I had worked through trimester two finals, conducted our winter concerts, toured France and Spain with over 100 students, hosted a solo and ensemble contest, and prepared students for a male choral festival. RENEWAL? It seemed that word was about as far away from my personhood as possible!

Personally, I feel there are aspects of this time of year that can certainly be the most challenging of the year. How do we keep our energies up throughout the final weeks of school? It is spring – we are supposed to feel refreshed and invigorated, yet we feel so beat up from all of the choral events and daily responsibilities. Does spring bring renewal or exhaustion? I was reminded of an excerpt of a book I read last summer entitled Lean Forward Into Your Life, written by Mary Anne Radmacher. I have used the

paragraph all year when I am feeling tired and need some direction: “You know that feeling of being completely energized, which occurs when you are doing something you absolutely love? That thing that might make others tired, weary, but you could for hours, and then get up the next day and do it all over again? That thing probably has a lot to teach you about your purpose. When people speak of being ‘in sync,’ when things are flowing or a part of a groove. What they could say, instead, is I am acting in a complete accordance to my purpose and it makes everything sing.” Do you ever experience those days that you are simply dragging for energy and then you get in front of your singers and after immersing yourself in the music, you find your energy flowing and you get in your groove? These daily moments of renewal can have a positive impact on our spirit and overall general well-being. Besides all of the outstanding articles on renewal in this edition, you will find information on all of the upcoming events ACDA-MN has to offer. In addition to the information on Summer Dialogue 2012, check out all that is yet to come as we celebrate our 50th Anniversary! It is such a magical year for ACDA-MN! I encourage you to get involved in Minnesota Sings. This one-day festival is in place for ALL of us to kick-off the celebratory events of our 50th Anniversary week. Regional sites are set up all across our state. You simply have to register to reserve your spot! See you at Summer Dialogue 2012!

• Reach your goal of $5,000 to $20,000+ with one fundraiser!

• You request the merchants. We make the book! • Help support the local merchants and they support you! • Most books have a value between $350 and $700! Hi-Note Fundraising, LLC Jim Moline 952-237-3798 jimmoline@hi-notefundraising.com www.hi-notefundraising.com

Star of the North • Spring 2012

Help ensure Minnesota’s Choral Legacy Give to the FMC Endowment Fund at www.fmcendowment.org

Star program highlight

Choir at Stillwater Jr. High Choir at stillwater jr. high

Stillwater Jr. High is a grade 7-9 school that offers six different choirs to the students. All of the curricular choirs are non-auditioned. Male and female voices are divided into gender separate choirs. SJHS has a 7th Grade Boys Choir and a 7th Grade Girls Choir, which meet every other day. In 8th & 9th grade, students sing either in the Treble Choir (grade 8 girls), the Con Brio Concert Choir (grade 9 girls), or the Cambiata Boys Choir (grade 8 & 9 boys). The 8th and 9th grade choirs meet every day for 50 minutes. The Chamber Choir is the only SATB choir at Stillwater Jr. and is an auditioned co-curricular group that meets in the morning before school.

sue gilsdorf

angela mitchell

A highlight of each year is the annual choir clinic. A clinician is invited to come and work with all of the SJHS choirs for two days in March. The event culminates in a concert for the community with over 300 students performing as both individual choirs and as a massed choir. Recent clinicians have been Bruce Phelps, Mark Johnson, Christopher Aspaas, Tom Carter, Axel Theimer, and Jeff Dahl. The Con Brio Concert Choir travels each spring to sing at the Heritage Music Festival and has consistently performed at the Gold Award level. As

Stillwater Jr. High Co-Curricular Chamber Choir

part of the spring trip, the choir visits a college or university to work with one of their choral directors. The choir performed for the MMEA Mid-Winter Conference in Minneapolis in 2002 and the ACDA of MN Fall Convention in 2006. In addition, the SJHS choirs give frequent performances in the community and have traveled to Winnipeg, Chicago, and St. Louis.

Sue Gilsdorf

Sue Gilsdorf is in her 23rd year of teaching vocal music at Stillwater Jr. High School where she conducts the 8th & 9th Grade Choirs and a co-curricular Chamber Choir. In addition to her daily teaching activities, she is also the director of the Sr. High Choir at St. Andrew’s Lutheran Church in Mahtomedi, MN. Sue received her B.A. in music education from St. Olaf College where she studied under the direction of Dr. Kenneth Jennings. She received her Master of Arts in Music Education and her Kodaly Mastery Certification from the University of St. Thomas in St. Paul. Sue was part of the group of teachers who initiated the first ACDA of Minnesota Anacrusis Jr. High Honors Choir, and was the conductor Sue’s Pick Six for Grades 8 and 9 • Now Is The Month Of Maying; Thomas Morley/arr. G. Wallace Woodworth; SSA; E. C. Shirmer No 1155 • This Little Babe; Benjamin Britten; 3-Part Treble; Boosey & Hawkes 48009018 • Niska Banja; Nick Page; 4-Part Treble; Boosey & Hawkey OCTB6517 • Sing Me A Song Of A Lad That Is Gone; Sherri Porterfield; TTB; Studio SV9003 • Sing Alleluia, Allelu; Mary Goetze; Three-part Treble; Boosey & Hawkes OCTB6126 • Fillimiooriay; Irish-American Folk Song/arr. Loneery; TTB; Alfred 24012

To support and inspire a community of choral musicians in our state • www.acda-mn.org

for the 2007 Anacrusis Girls Grade 7/8 Honor Choir. Her choirs have performed at MENC and ACDA state conventions. She is currently serving as the Repertoire & Standards Chair for Jr. High and Middle School Choirs.

Angela Mitchell

Angela Mitchell began her teaching career fifteen years ago in the Stillwater School district and currently directs three choirs at Stillwater Area High School as well as the 7th grade girls’ and boys’ choirs at Stillwater Junior High. Choirs under her direction have been invited to perform at state and regional choral conventions every year since 2006. Angela studied piano performance at the College of St. Scholastica in Duluth, MN before earning her degree in Vocal Music Education from Bemidji State University where she studied under Dr. Paul Brandvik. She is currently pursuing a M.A. with a choral conducting emphasis from the University of St. Thomas, St. Paul, MN. In addition to her teaching duties, Angela is a frequent guest clinician for area middle school and women’s choir festivals. Angela is a member of ACDA, MENC, and the Voice Care Network. Over the years, what are some of the professional growth activities you engage in that renew your journey as a choral director? Sue Gilsdorf: The most meaningful professional growth activities for me are when I can watch other choral conductors work with singers. I am grateful for the many opportunities that ACDA provides through the Fall Conference, Honor’s Choirs, and Summer Dialogue. Even having the wonderful resources through ACDA, I have found that teaching in a Jr. High I can sometimes feel a bit isolated from the choral world. Middle level choral conductors don’t have contest and the other regular high school activities that bring our colleagues who work with older students together. Because of this, I try to create those opportunities for my students and myself.

Stillwater Jr. High Con Brio Concert Choir

Star of the North • Spring 2012

Angela’s Pick Six for Grades 6 and 7 • Song of the Open Road; Ruth Elaine Schram; Unison, optional Two-Part; BriLee Music BL565 • Take a Winter Walk with Me; Mary Donnelly/arr. George L.O. Strid; 2-Part; Hal Leonard 08564133 • How Beautiful is the Rain!; Mary Lynn Lightfoot; Two Equal Parts; Heritage Choral Series 15/1272H • Jamaica, Farewell!; Jamaican Folksong/arr. Bradley Nelson; TB; Kjos Ed. 5570 • The Coventry Carol; English Melody/arr. Mark Patterson; TB; BriLee Music BL563 • I think My Love So Fair; Laura Farnell; TB; Alliance Music AMP 0699 Every year we do an exchange concert with another middle level choir. It’s an opportunity for the students to hear another choir and for the directors to talk as well. We share ideas and find out what other schools are doing. Our colleagues are a great resource. The annual Choir Clinic at Stillwater Jr. High when we invite a choral conductor to spend two days with us is not just a time for my students to learn from another conductor. It is also an opportunity for professional growth for me. To see how another conductor will approach the music I have been working on with my students is always an enlightening experience. We travel to Chicago every spring to participate in a festival where the choirs have a short clinic following their performance. In preparation for the festival, we spend a clinic day with a college level conductor. Again, it is an opportunity for me to get feedback about our singing and ways to improve the performance. Lastly, I am thankful for my amazing colleagues in choral music in the Stillwater Area Schools with which I share this journey. They are a support, inspiration, community and the very best at encouraging my professional growth.

Stillwater Jr. High Combiata Boy’s Choir

Stillwater Jr. High 8th Grade Treble Choir

First Lutheran Church Columbia Heights, MN

State Conference November 16 • 17 • 18

Benson Great Hall Bethel University St. Paul, MN

ACDA-MN 50th Anniversary Celebration Weekend FRIDAY EVENTS

SATURDAY EVENTS

Elementary Interest Sessions

Keynote Address by René Clausen

Mary Alice Stollak, clinician

Middle Level Interest Sessions Kari Gilbertson, clinician

Student Symposium Interest Sessions

Our Golden Legacy: A Distinguished Past…A Vibrant Future

Auditioned Concert Performances Relevant Interest Sessions

Dale Warland, clinician

Mary Kay Geston and Karen Fulmer, clinicians

Music and Worship Interest Sessions

Annual Award Presentations

John Ferguson, clinician

Clinic and Auditioned Choral Performances State 7-8 Boys’ Honor Choir Performance Tim Peter, guest conductor

State 7-8 Girls’ Honor Choir Performance

50th Anniversary Panel Presentation Our Minnesota Choral Legacy

State 4-5-6 Children’s Honor Choir Performance Mary Alice Stollak, guest conductor

Karen Fulmer, guest conductor

50th Anniversary Banquet and Program

Public Evening Concert A Minnesota Choral Mosaic

Public Evening Concert The Tribute Concert

Cantus and VocalEssence Ensemble Singers

Craig Hella Johnson, artistic director and conductor ACDA-MN Anniversary Directors’ Chorus Magnum Chorum • The St. Olaf Choir Concert Choir of the Angelica Cantanti Youth Choirs Concert Choir of the Northfield Youth Choirs

SUNDAY EVENTS Twin Cities area morning worship events

Public Concert: A Golden Grand Finale St. Andrew’s Lutheran Church Mahtomedi, MN

(featuring a world premiere by René Clausen) ACDA-MN State 11-12 High School Honor Choir Concordia Choir-Moorhead • Minnesota Boychoir The Singers • University of Minnesota Singers

A Distinguished Past…A Vibrant Future (1962-2012) American Choral Directors Association of Minnesota (ACDA-MN) • Land of 10,000 Choirs!

To support and inspire a community of choral musicians in our state • www.acda-mn.org

Tickets for all concerts will be available on October 1, 2012 from Benson Great Hall, Bethel University: www.bethel.edu/benson-great-hall 651.638.6333 or 866.424.4849

Star of the North â&#x20AC;˘ Spring 2012

Legacy AN INTERVIEW WITH katherine doepke

By Diana J. Leland

katherine doepke

Katherine Guldberg Doepke was interviewed on January 24, 2012, by Diana J. Leland, a past president of ACDA-MN. Katherine, who turned 90 years ‘young’ on December 18, 2011, is an incredible role model for us all. She graduated from Bethany Lutheran College in Mankato in 1941 with a two-year teaching degree (AA), which allowed her to teach in a parochial school. She received her BS degree in 1944 and her MA degree in 1967, both from the University of Minnesota. She taught primarily junior high choral music for the Minneapolis Public Schools (MPS) from 1963-1983, and then served as a consultant/mentor for MPS during 1984-1987. Katherine has four children, ten grandchildren and eleven great-grandchildren. She was married to her husband, Henry, for 62 years prior to his death in 2006. Diana Leland: What are some memories of your first year as a choral director? Katherine Doepke: During 1943-44, I taught music (K-12) in Chatfield, MN. Since this was

during the war, I remember losing male voices in my concert choir due to the draft. I also remember those Late 1940s in church dear kindergarten choir robe. students coming up to me and wanting to rub my back when they hugged me. My salary was $150 per month. DL: As a junior high choral director in Minneapolis, what were some of the ideas you implemented to recruit students into your program? KD: I started annual musicals at the junior high level to attract students into the program. I remember having a conversation with my principal about why I wanted the students to participate in a musical. I told him, “One does not live by bread alone. There needs to be dessert in life also, and a musical will draw kids into the program.” Our first show was ‘Bye, Bye Birdie’ which was a big hit. I also planned field trips for my junior high choirs to sing concerts in other venues like General Mills, which they loved. The most fun activity was presenting an original musical play for the 1971 MMEA Conference in St. Paul. The musical was the result of a combined English and music class project, written by Oscar winner Barry Morrow, then a student at the University of Minnesota. When Minneapolis still had 14 junior high schools, we choral music teachers would meet every Thursday after school to share plans and ideas that worked with our choirs and, of course, to praise or gripe about our kids. Talk about Profiles of

Katherine directing a 1970’s winter concert. To support and inspire a community of choral musicians in our state • www.acda-mn.org

Upper left to right: “Relax the jaw”; (MPS) Sheridan School Choir in 1970 Spring-a-Ling; and Sheridan School concert. Below: Star Tribune article early 1990s and article about her student, Walter. Learning! We definitely had them, especially those of us who also taught General Music classes.

him to make a demo tape. I got to play maracas on the demo tape which Prince made at his home!

We initiated the idea of organizing annual junior high choral festivals, which were held every spring, at the old Vocational High School in downtown Minneapolis.

DL: What advice do you wish to share with young choral directors who are entering the field of teaching? KD: Teaching music is like playing in a jazz band. What is the basic element of jazz? Improvisation, right? That is a metaphor for the kind of leadership inherent in teaching. There is a need to improvise almost daily, depending on who just had a fight out in the hall, the “who said – he said – she said” disruption, or just the raging hormones of teenagers who can change the daily classroom atmosphere.

DL: Please tell me what it was like to have Prince in your classroom and share a story about him. KD: One of the classes that I taught at Central High School was class piano, which was a laboratory class with a piano and six synthesizer keyboards. Prince was a member of that class as a ninth grader. He was so far ahead of all the other kids, but he wanted to learn music theory. He would always play by ear. I asked the students to perform every Friday, and Prince would improvise beautifully with one hand on the synthesizer and the other on the piano. I asked him why he was in this class and he said, “I want to be a rock and roll star!” He wanted to take a synthesizer home with him to make a demo recording, which I could not allow. However, I told him that I would bring the synthesizer to his home for

Star of the North • Spring 2012

Young choral directors need to utilize creative teaching methods, especially at the middle school level. Once the kids are ‘with you,’ they’ll be open to just about anything you ask of them. This is a skill that you will develop by listening to kids, demanding their best, assuring them that you think they are wonderful and displaying a sense of humor! You might call it teaching with an attitude of ‘restrained exuberance.’

Left to right: Katherine with MPS award in the 1970s; Working at her MPS office typewriter; At the keyboard in the MPS board office in the early 1980s; and previewing a filmstrip for her choir class. DL: You played a key role in ACDA-MN’s development during its early years. What offices did you hold? Why and how did you become involved? KD: In 1977, I joined ACDA and was immediately asked to serve as the Facilities Chair for the 1978 North Central Division convention, which was held in Minneapolis. I served as secretary-treasurer for ACDA-MN from 1981-1984 and was the organization’s first historian from 1986-1992. I loved working with media and doing research, so serving as historian was something into which I easily grew. Aging makes one reflect, and I realized that ACDA did not want its story or history to become lost. So becoming ACDA’s first historian was a perfect job for me. I recall hosting many ACDA meetings and providing meals at my home in Golden Valley throughout those years, and everyone wanted my recipes! I think my favorite recipe was one for chicken enchiladas, which ACDA board members rated A+! DL: Please tell me about serving as the Junior High Repertoire and Standards Committee Chair for Minnesota and the North Central Division in the 1980’s. KD: After serving as the chair of ACDA-MN’s Repertoire and Standards Committee for Junior High Choirs in the early 1980’s, I was appointed as the ACDA North Central Division’s Repertoire and Standards Committee Chair for Junior High Choirs. I had the privilege of organizing two Junior High Honor Choirs for North Central Division Conventions in 1986 (Lincoln, Nebraska) and 1988 (Minneapolis, Minnesota) and also an ACDA National Junior High Honor Choir for the 1989 National Convention (Louisville, Kentucky). The Minneapolis Star Tribune featured a half-page article about the 1988 ACDA North Central Junior High Honor

Choir, which included individual photos of five singers from the Twin Cities area and an interview with me. The three junior high honor choirs were all about the power of music and its ability to motivate these singers and impact them for a lifetime. Music touches feelings that words cannot! I realized while serving as the coordinator for these three junior high honor choirs that each event and concert which ACDA produces is very unique and will never be repeated again. We must always remember to appreciate the moment. DL: You were also very active in serving on the F. Melius Christiansen (FMC) Endowment Fund committee after it was established in 1997. Please elaborate on its development and purpose, and what you did to assist the committee. KD: It was an honor to serve on ACDA-MN’s FMC Endowment Fund Committee from 1997-2005. I assisted the committee with writing numerous successful funding requests and grants for the endowment fund. It is so very important that ACDA-MN continues to financially support and encourage young choral conductors to pursue careers in choral conducting which will ensure a vibrant future for choral music in Minnesota. That is why the FMC Endowment Fund offers annual scholarships to young and mid-career choral directors in order to preserve and sustain Minnesota’s excellent choral music legacy well into the future. I was also very humbled and gratified to receive ACDA-MN’s F. Melius Christiansen Lifetime Achievement Award in 2001. It validated that elementary, junior high, and middle school music teachers are important in training the future singers of tomorrow. Thank you for recognizing our value to ACDA. Yes, we are the ones who first light the spark of interest in

To support and inspire a community of choral musicians in our state • www.acda-mn.org

Left to right: Katherine with Diana Leland at the 1996 ACDA-MN Conference; Katherine serving dessert at an ACDA-MN state board meeting (1980); Diana Leland and Roger Tenney with Katherine in 2001; Wayne Kivel presenting the FMC Award to Katherine in 2001; and the 2001 FMC Award recipient. those young students and their voices. We nurture them as they pass through our classes. We discover the gifted singers and give them an extra push. And we instill in all young singers the love of music so that they become life-long listeners and ensure the future of our choirs. It’s also vital that they become active audience members and consumers of music as adults. DL: What has kept you active in ACDA for so many years? KD: I value the many friendships that I have made with ACDA members. It’s also very important to be kept ‘in the loop’ concerning what is happening in choral music. I truly believe in ACDA’s purpose and love what it represents to so many choral directors. DL: Looking back, what has been the value and impact of ACDA upon your professional career? KD: The respect that ACDA provided women choral conductors was very important to me. In addition, ACDA’s special recognition of the relevance of junior high choral music was also very helpful to me while I was teaching. My passion for the organization has been inspired by what ACDA stands for and the activities in which it is engaged. DL: Please tell me about any other past activities with which you have been involved. KD: From 1953-1992, I was the choral director at Trinity First Lutheran Church, Minneapolis, and often served as its pianist, substitute organist and on the Music Committee. From 1966-1996, I authored many professional music articles and composed children’s musicals for school and church. From 1992-1995, I served as the International President of Mu Phi Epsilon, a professional music fraternity, and planned and presided over the fraternity’s convention in 1995. I was

Star of the North • Spring 2012

also the president of Thursday Musical, an Artist Series organization in Minneapolis, from 1998-2000. In addition, I also organized and directed the Grey Aires, a senior community choir, from 1985-1995. DL: In what activities are you currently involved? KD: I’m presently the President of my church’s congregation and recently wrote and self-published the 150 year history of Trinity First Lutheran Church, Minneapolis, along with my son, Bruce, who added the photos and page design. Despite coping with macular degeneration at age 90, I continue to play the piano every Monday morning for 30-45 minutes prior to the American Association of University Women’s weekly meeting. I also still exercise faithfully several times each week. DL: What advice or words of wisdom would you give the young and emerging choral director of today? KD: ACDA will provide you with life changing experiences if you become involved as a volunteer for the organization. Remember to understand and appreciate ACDA-MN’s past. Respect ACDA’s future as the organization dreams and grows, and give high regard to the present as you live with the joy of choral music!

Haven’t been receiving Regular emails from ACDA-MN? Contact Bruce Becker, Executive Director execdirector@acda-mn.org

To support and inspire a community of choral musicians in our state â&#x20AC;˘ www.acda-mn.org

The Influence of St. Olaf Choir Membership on Minnesota Choral Directors In this Centennial Year of the choir’s founding, this question was posed to some twenty St. Olaf Choir Alumni presently working (or, in some cases, retired) as choral directors in Minnesota: “How has your membership in The St. Olaf Choir influenced your work as a Choral Director?” Unfortunately, none of these alumni were privileged to sing under F. Melius Christiansen, founder and first director of the

choir, but a few anecdotes still wield their influence. Geneva Eschweiler tells of the time FMC was asked to speak about his methods. He stood up and said, “Ve vork and ve vork and ve vork,” and then sat down. “I credit the St. Olaf Choir experience,” writes Geneva, “with providing the vision of what might be developed in a community with 45 years of a dedicated Christiansen example of ‘ve vork and ve vork and ve vork’ – indeed a springboard to the exploration and joy of discovery of what’s in the score!” My own high school choir director and life-long mentor Linden J. Lundstrom (‘39) was never in the choir, but attended and observed every FMC rehearsal during his four years at St. Olaf. He speculated that from his vantage point, he might have learned even more than some of the choir members. Lundstrom especially recalled FMC’s delicate use of the baton; “that little stick” which, along with his eyes, could communicate every nuance he wanted, without talking about it! Lundstrom constantly reminded his own conducting students that, “They come to sing, not to hear you talk!” In my senior year, I had the privilege of going to F. Melius’ house once a week to study composition with him. I will never forget his words, “I tell my son Paul – DON’T WRITE MUSIC…” (long pause) “Unless you can’t help it.” What great advice! Reflections on the Olaf Christiansen years were many – and surprisingly varied. His successor Kenneth Jennings sums up much of his influence in this way: “For Olaf, the purpose of choral technical perfection was to eliminate distractions, so the musical-spiritual message could be heard. The purpose of the Choir’s performance was to sensitize the listeners to the message through the music.” Mike Smith also recalled these goals. Listening was also an important lesson Jennings attributes to Olaf. “[He was] able to move the ear to the different parts, finding the shape and design of phrases, the total architecture of the music and finding the ways to communicate this.” Roger Tenney remembers Olaf’s placing of voices according to how they blended with their neighbors (it was never a case of “first chair, second chair” as in instrumental ensembles), and how appropriate

Star of the North • Spring 2012

that blended “straight” tone was for music of the baroque and earlier periods. In recalling that singing under Olaf gave him “some of the most amazing spiritual and artistic moments of [his] life,” Bob Scholz echoes my own sentiments. I vividly remember being transported to “another F. Melius Christiansen Olaf Christiansen Kenneth Jennings Anton Armstrong world” as the choir sang Corof Man, Be Free’) Olaf summarized his belief: ‘Live thy life cresi’s “Adoramus Te” and again as Olaf’s expressive hand led atively and thou shalt find me (God) living in and through thee Winnifred Greene’s voice soaring “up to heaven” in her solos. forever.’” Kenneth Jennings also mentions Olaf’s fluid hand motions, later extolled by Jennings’ singers as one of his strengths. Karle Erickson remembers that, “Olaf ingrained in me a sense Scholz also commented on achieving a beautiful tone and blend through emphasis on vowel sounds. Jennings recalls the “backward” rehearsal technique that many of us have found useful - learning the later sections first, and then working “toward the familiar rather than the unknown.” “I remember Olaf treating his choir members with respect,” adds Scholz. “If he was angry, which was seldom shown, one might hear an ‘uff-dah.’” Scholz concludes: “Olaf introduced me to music that I used for the rest of my career. There were classics, of course, but also Renaissance and conservative 20th century works. Only the best literature (both complex and simple) should be sung.” Also stressed by several of his singers was Olaf’s magical ability to communicate his musical ideas not by using words, but instead through clear and meaningful conducting motions. Mike Smith also speaks of OCC’s “stately, classic” conducting. “He never over-directed nor under-directed. Every motion he used was to make the music come alive. What he didn’t do with his gestures, he did with his eyes and facial expressions. You could not take your eyes off of him.” Speaking of those eyes reminds me of an incident in the 1948 eastern tour that illustrates how well Olaf trained us. At Symphony Hall in Boston we were in the middle of Willan’s “Apostrophe to the Heavenly Host.” After one of the frequent pauses, the next entrance was to be pianissimo, in g minor, I think. But suddenly Olaf looked at Choir One and gave a tremendous “delayed attack” downbeat! After a stunned moment of silence, the choir, all at once, knew what he meant and came in as one with the loud C-major chord that began the section to which he had skipped! Yes, he had us trained well! (But that never happened again!) “Olaf was always challenging the men of the choir to outdo him in one-handed pull-ups or broadjumps, even though he was in his mid-sixties at the time,” recalls Smith, “What I learned from Olaf was a philosophy of life. In one of his compositions (‘Son

of undivided dedication to achieving excellence in the art of choral music. He instilled in me an ear for impeccable a cappella tuning, stressing the relative weight of each tone in the vertical chords with a focus on the root of the chord, then the third, and finally the fifth, because the fifth already had the advantage of being low in the overtone series and was therefore somewhat amplified naturally. “He often stopped us on a particular chord until it was perfectly in tune and then told us to ‘listen to that sound’ so all of us knew exactly what a special thing it was to have all the ‘overtones lined up.’” Karle also recalls Olaf’s “insistence that the composer was motivated by the text…so we needed to be certain that the audience could understand it. “He always came to rehearsal with complete preparation of the music to be studied. My time singing in The St. Olaf Choir created in me an immense desire to guide my students toward an experience with music that reached into the depths of their souls.” Ken Hodgson, now approaching his 50th year of choral directing, writes about the picture of Olaf he has hanging in his office, on which Olaf wrote, “Wishing you the joy of creative living.” Hodgson continues, “Retire? Why, when the joy of creative living, creative singing, creative directing, and creative relationships lead to a love and respect for each other that goes beyond the risers and performances. Thank you, Olaf Christiansen, for wishing me that joy and the burning desire to pass it on!” Editor’s Note: This is the first of a two-part series on the influence of the St. Olaf Choir on choral music in Minnesota authored by ACDA-MN member Ronnie Nelson, St. Olaf class of 1949. Ronnie was the recipient of the F. Melius Christiansen Lifetime Achievement Award in 1985.

To support and inspire a community of choral musicians in our state • www.acda-mn.org

guest feature Conditioning IS not just for the vocal cHords…

Sandra Nelson

CPT, GEI, CNC, MH, LPN, Wellness Consulting Alternate Choices, LLC

Be faithful in small things because it is in them that your strength lies. – Mother Teresa Begin to see yourself as a soul with a body rather than a body with a soul. – Wayne Dyer Happiness is not something ready made. It comes from your own actions. – Dalai Lama

It is no surprise to choral conductors that being able to vocalize with an efficient and beautiful tone takes years of intense focus, practice, and hard work. Similarly, it is imperative that musicians are certain to engage their entire being; after all, the mind, body, and spirit all work together synergistically! Although we are given a specific gene pool (and yes, this does predestine much of how we develop as people), in the end, our environment and the choices we make are truly what builds who we are!

Choices… Choices…

Do I sit at the computer or do I go to the gym? My friends, when you ask yourself this question, you are about to make an important decision. If going to the gym doesn’t float your boat, get outdoors and move that beautiful body you were given! Trust me, I’ve heard all the excuses, “I am tired,” “I don’t really have time for this,” “My plate is full.” These excuses will not fly – your body is at warp speed aging faster then is necessary because you may have not taken the time to move and use it! Most of us are well aware why and how we need to move our bodies, but it’s the motivation factor that impedes how successful we are at following through on that knowledge. We need to be motivated. We need to create the habit first. Once we create the habit, we get into a groove and once our groove is in place… Voila! The results of exercise kick in!

Have FUN while moving your body!

Moving doesn’t have to mean running in place on a treadmill or going to the gym to lift weights. Here are some fun ways to move your body: • Find a class that fits your personality. There are many options out there from bootcamp to kickboxing to yoga to zoomba. Go try some classes out! • Dive in and don’t be afraid! Nervousness can often turn to negativity. No one really is

Star of the North • Spring 2012

bothered by what you can or cannot do in a class. They are there for their own business not yours! • Trails are GREAT! If being outdoors is what makes you happy, pick a trail! We have a multitude of beautiful trails in the Duluth area – you could come visit. You might want to carry some hand weights or add some ankle weight to put a spin on your hike. On your hike you can mix it up and try some different moves. Maybe alternate deep lunges as you walk down the path and then perhaps hop twenty times following. There are so many choices one can to make to move their body. Think of it this way glucose fuels the brain and oxygen ignites the fuel into energy. Our brains need this. Exercise improves cognition, fuels the executive functioning skills in the brain, and thus assists us in making quicker decisions. The number one way to preserve our brain is to exercise! We can reshape our muscles and brains at the same time!

Move 30 minutes a day.

The American Heart Association recommends 30 minutes of movement daily. The best way to do this is to make a plan and stick with it. Build your movement time into your daily schedule, just like you would a meeting or a concert! Create an exercise plan to stick to. For example: Idea for a quick plan: 50 jumping jacks 10 push ups 30 sit ups 30 bicycles 30 mountain climbers 1 min plank repeat this entire cycle 3 times 20 min brisk walk wherever your heart desires… keep it brisk! Now time to get out there and shake it up!

guest feature renewing the mind

Paula M. Becker

President InnerLight Healing Center

The thinking mind is bombarded every day by a steady influx of information, ideas, problems, and decisions. We are constantly shifting our attention and addressing the needs of life as they appear before us. Our conscious mind includes our perceptions, memory, reasoning, imagination, and the ability to analyze, categorize, and plan. We use these functions without pause as we make comparisons, search for answers, and find solutions. These capacities are all valuable and necessary for human life. In our culture today, we are highly dependent on the functions of our cerebral cortex, which is the brains center for thinking, attending, speaking and awareness. We are “in our heads” all the time to the extent that we may unwittingly create a life that is void of joy and fulfillment. As important and valuable as our thinking mind is, it is also the source of our anxiety, fear, and stress. Over 40 million Americans have been diagnosed with an Anxiety Disorder and millions more struggle with the symptoms although never diagnosed. We all know what it is like to review over and over again an argument imagining different endings depending on our most eloquent responses. Most of us have spent sleepless nights weighing the pros and cons of a decision, worrying about a feared outcome or redoing something from our day or our distant past. The thinking mind projects the worst possible scenarios and works to avoid them at the same time, causing fear and stress. As a result, we can become victims of our own thinking process. Another aspect of mind, which is not as familiar, is the mind of the heart, which poets have written about, and singers have sung about for centuries. Over the past few decades, research has given us information about this aspect of mind that originates with and is directed by the heart. Science now tells us that the heart has its own “thinking” and communication system. It not only receives messages from the brain, but it also sends messages to the brain. The information we receive from the heart is of a different nature than what our rational mind can give us. The heart connects us to our emotions and allows us to access feelings of love, gratitude, appreciation, and joy. Immersing ourselves in these emotions relaxes the body and releases the spinning of the mind, allowing deeper wisdom to be known.

Renewing the mind is a process of letting go, listening, and being open. The spiritual teacher Osho tells us, “You are in a good space, if the mind is saying, ‘I don’t know,’ the mind is closing up shop. And here, when the mind closes the shop, immediately the doors of your heart start opening.” The busy, frenetic activity of the mind needs the tempering of the heart to slow it down and release the constant searching. Being in a place of “not knowing” opens us to other information and wisdom. It takes practice and intention to renew your mind, but there are simple methods that research has shown to bridge the gap between heart and mind that reduce stress and creating a more peaceful mind. Take a moment right now and bring your awareness to your heart space. Close your eyes and notice how it feels to be present in this place in your body. If you lose attention, gently guide it back. Bringing your mind into your heart connects you to emotional intelligence and the heart’s wisdom. Once you have a clear focus, imagine your breath moving in and out of your body through your heart space. The movement of your breath and your attention on your heart helps dissolve the negative thoughts and emotions generated by your mind. Our most common response to difficult and negative thoughts is to fight with what we are thinking. We try to push thoughts out of our awareness only to have them resurface in seconds. The struggle generates more and more thinking and reduces our ability to respond creatively or usefully. It also increases stress and can be the root of a host of physical problems. Connecting the thinking mind with the mind of the heart allows us to access compassion, forgiveness, and care for ourselves and for others. Renewing the mind puts us in touch with our humanity. Once you begin a regular practice of joining heart and mind, you will find that you can’t go back. You will feel a greater sense of calm; and you will experience more intuitive information that informs your perspective and decisions. Listening to the mind of the heart creates the proper order for well-being, and helps insure that the thinking mind serves to do its work without plaguing us with fear or anxiety.

To support and inspire a community of choral musicians in our state • www.acda-mn.org

guest feature THE SINGING REVOLUTION: RENEWAL OF SPIRIT IN THE BALTICS If you were to travel to Estonia, Latvia, or Lithuania and encounter a gathering of people, whether engaged in a church service, a party, or even a meeting, you would be sure to find one thing in common; at some point, in any context, people sing together. It was the vital act of singing together that allowed the people of these countries, known as the Baltic States, to maintain their sense of identity and renewal of spirit through a history of oppression. And it was singing that ultimately inspired the confidence to achieve independence from the USSR in 1991.

Shahzore Shah Cantus

Learning About The Singing Revolution

When Cantus decided to program a concert of music from the Baltic region, we expected the beautiful, haunting sonorities made familiar to us BALTIC STATES

25°

30°

FINLAND

GULF OF BOTHNIA

Ladozhskoye Ozero (L. Ladoga)

land

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Helsinki

Narva Tapa

(Dag )

Saaremaa ( sel)

S E A

Rapla

K rdla

Haapsalu Muhu n

S oe la V i

Kihelkonna

Virtsu

Kuressaare

L. Peipus

(Chudskoye Ozero)

Ozero Il’men’

V rtsj rv

Ruhnu

Ainazi

Gulf of Riga

Ventspils

Valga

V ru

Pskov Ut

Gotland

uru

Valmiera

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gava

Jekabpils

Rezekne

Velikiye Luki

Jelgava

LATVIA

Riga

Saldus

Liepaja

Jurmala

kaya eli

Gulbene Kuldiga

Staraya Russa

L. Pskov

(Pskovskoye Ozero)

Sa I r v es

Novgorod

Tartu

Viljandi

Manilaid Kihnu rn

RUSSIAN FEDERATION

Mustvee

P ltsamaa

P rnu

Narvskoye Reservoir

Kohtla J rve

ESTONIA

Hiiumaa

Volko v

Tallinn

Vormsi

Birzai

Daugavpils

Siauliai ¥ Panevezys

¥ ¥ Klaipeda

L I T H U A N I A Utena iy

K Za ur liv s hs k

55°

Gdynia

Gulf of Gdansk

Gdansk

Kaliningrad

Polatsk

ay vi

Ukmerge¥

Vilnius

Orsha

Marijampole

Gusev

Alytus

Barysaw Mahilyow

Elblaq

Once we realized the incredible importance of national choral music in the Baltic countries, Cantus proceeded with historical and musical research. We decided our concert had to tell the remarkable story of Latvians, Lithuanians, and Estonians. We were inspired by their singing together to hold onto their identity throughout the Soviet regime, peacefully bringing a revolution to regain their independence.

The Concert Experience

Our program began by aurally setting the scene of each country, independent of political struggle, using folk and storytelling music. A typical Cantus concert includes moments when the artists address the audience, describing the repertoire and continuing the program’s narrative. Once we began talking to immigrants in Minnesota who had lived through this revolution, however, Cantus decided that we needed their voices in the concert. To do this, we filmed simple interviews and wove excerpts into the concert. The videos provided our audience with the unique opportunity to hear these stories told first-hand throughout the performance.

Minsk

Olsztyn

Hrodna Ny

POLAND

B E L A R U S

Babruysk

Baranavichy

Bialystok

Dn ie p

Main road

Brest

The boundaries and names shown on this map do not imply official endorsement or acceptance by the United Nations.

20°

Map No. 3876 UNITED NATIONS February 1995

Star of the North • Spring 2012

25°

100

Main railroad Warsaw

55°

Vitsyebsk

Kaunas

Neman

RUSSIAN FEDERATION

p a dn

¥ Kedainiai

a D

Taurage N e m unas

Having seen the Estonian documentary film The Singing Revolution, a few of us knew that singing played an essential role in the preservation of Estonian culture and particularly in their quest for independence. We hadn’t realized how essential singing really was to all three of the Baltic countries and how important that made this concert to us as singers, as well as to the local Baltic community in Minnesota.

St. Petersburg

v a t’

Stockholm

60°

nd Finla

ulf

60°

SWEDEN

by the works of Estonian composer Veljo Tormis (1930-). But, we did not expect the level of significance the program would hold for us and for our audience.

200 100

300 km

30°

200 mi

Department of Public Information Cartographic Section

The first thing people in the interviews mentioned was how important singing is and how similar each of the countries is to Minnesota. A folk song in the sutartines tradition of Lithuania “Tureja Liepa (A Linden Tree Had...)” likens a mother losing her

daughters to marriage to a linden tree losing its branches. “Odu Dancis (Mosquito Dance)” by contemporary Latvian composer ‘ Margeris Zar¸iš (1910-1993), has the singers buzzing to imitate a crowd of mosquitoes, singing and willfully going about their biting business among the people gathering together enjoying the warm season. When the Soviet regime took over the Baltic countries in the wake of the Nazi occupation during WWII, over 100,000 citizens were deported to Siberia. An elderly Latvian man we interviewed remembers only half of his school class reaching the age of 30 due to deportations and killings. Another of the most critical moves toward a full annihilation of the three cultures was the suppression of songs that celebrated national identity. One Latvian woman we interviewed remembers being pulled aside by the KGB as a teenager after singing in the street with her friends. They were told in no uncertain terms that if they kept up that behavior, they would be made invisible and no one would find them. The Cantus concert then moves into music that demonstrated that feeling of oppression and lament in the words and music of poets and composers continuing to create during the Soviet occupation. “Mužam Zili (Forever Blue)“ by Em¯ils D¯arzi¸nš (18751910) depicts the feeling of brokenness and loss of national spirit, mentioning the forever weeping kokle, the national folk instrument of Latvia similar to a dulcimer. Veljo Tormis captures the latent fervor and hidden cries of an oppressed nation in “Pärismaalase lauluke (An Aboriginal Song).” He uses the single word “Tabu” matched by the increasingly intense beat of a drum, imitating perhaps the impassioned heartbeat. The vivid metaphor of wind destroying a child’s father, orphaning him, comes through the sad, plaintive harmonies of “Nepusk Vejeli (Don’t Blow, Wind)” by Lithuanian composer Zigmas Venckus (b. 1924). The concert approaches intermission by reinforcing the notion that the national spirit would live on in Latvia with “Barons” by Uldis Stabulnieks (b. 1945). Here is a piece that celebrates a

man who was responsible for preserving over 200,000 Latvian folksongs. The lyrics advise the listener: “...if you have folk songs in your heart, life will not trample you down.” The second half of the program opens with a simple, sing-song style piece projecting the sound of men singing together accompanied by a simple folk instrument (Cantus chose the concertina). “Bunkurs (Bunker)” tells the story of a group of people who made themselves invisible during the occupation. The partisans, also called forest brothers, found in each of the three countries, were self-made freedom fighters. They separated from the regime and vowed to defend their nation from within the forest, hunting and fishing for their food and living in dugout bunkers. One Lithuanian woman we interviewed recalls that the partisan songs were not openly sung, but remembers men quietly singing these songs to themselves, crying. A younger Lithuanian man remembers hearing these men referred to as terrorists until the dawn of the revolution when people started rightfully honoring them as freedom fighters. It is commonly understood that thousands of these forest brothers died in the forest, hidden by the iron curtain. An Estonian man we interviewed says they received no formal attention, and no official records were kept of their activity or numbers.

National Song Festivals: An Unmatched Phenomenon

The Soviet regime strategically removed many more than the forest brothers from their homeland. However, the Baltic people also saw a flaw in the Soviet strategy: allowing major song festivals to continue. Every four to five years in each of the three countries, “the three sisters” as they are poetically referred to, gather tens of thousands of people for a major cultural celebration, primarily a song festival. These festivals, held regularly since the nineteenth century (Raun, 2001), typically showcase an auditioned choir of over 30,000 performers and draw three times as many audience members. Everyone knows several, if not all, of the songs that the giant choir will perform during the

To support and inspire a community of choral musicians in our state • www.acda-mn.org

festival. The Soviets used the song festivals to promote a spirit of unity. By providing an opportunity to sing together, the festivals helped renew the sense of national identity for people in the Baltic countries. In time, that renewed national spirit would fuel the determination to reclaim independence. In the 1980s, Mikhail Gorbachev instituted new policies including glasnost (opening) and parastroika (restructuring), encouraging a new level of transparency of Soviet activities and a sense of relative independence among countries in the USSR. While rules were still strict about speaking out against the regime or against communism, the people of the Baltic States began to use this new policy to strategically promote a spirit of nationalism. Political groups formed to inspire a sense of national pride among citizens, carefully choosing the language they used in order to stay within Soviet law (Tusty & Tusty, 2011). The song festivals and compositions of national composers and poets took on significantly deeper meaning as political activity began to reflect the emotional and psychological reclaiming of one’s sense of being Estonian, Latvian and Lithuanian. Watching this sense of identity intensify through the act of singing together caused Estonian activist and artist, Heinz Valk (b. 1936) to coin the term “The Singing Revolution” (Tusty & Tusty, 2011). In the concert, Cantus celebrates the peaceful revolution by performing two unofficial national anthems. “Mu Isamaa On Minu Arm (My Fatherland Is My Love)” by Gustav Ernesaks (19081993) was probably the piece most responsible for maintaining a sense of national pride among Estonians. We were told that Gustav Ernesaks not only composed the melody in 1947 and saw it through the Soviet occupation, but he was alive, present, and able to conduct its performance at the national song festival in newly free Estonia. “Put Veji¸ni (Blow, Wind)” by Andrejs Jurj¯ans (1856-1922) is sung from the perspective of a man asking the wind to blow him back to his homeland, metaphorically describing the occupation versus his steadfast loyalty to Latvia.

World War II and to destroy the totalitarian regimes” (The Baltic Way, 2008). To commemorate that incredible experience, Cantus performs “Baltijai (The Baltic Awakening),” proudly and poignantly declaring the awakening of the three sisters in all three languages, and “Laisve˙ (Freedom).” Here, Lithuania, the motherland, speaks to the singer saying, “Stand like Freedom stands! I am your freedom! Walk like Freedom walks!”

Closing the Program

Estonians, Latvians, and Lithuanians abroad have continued their national traditions. In July 2012, Milwaukee, Wisconsin will host the thirteenth Latvian song festival to be held in the United States. Today, the Baltic people are able to sing freely about their national identity in ways that were not allowed under the Soviet regime. In 2014, a year after the next song festival in Latvia, the European Union plans to appoint the country the European Capital of Culture (Scott, 2011). To cap off this celebration of renewed identity, Cantus closed its concert with “Lugšana (A Prayer)“ by Imants Kalni¸nš (b. 1941). This simple piece by a living master composer perfectly expresses the notion of renewal on the most fundamental, spiritual level. The singer petitions through prayer for his soul to be reformed, opened like a flower and made to ring like a bell.

Conclusion: An Essential Cantus Program

Cantus strives to make our programs relevant and vital as much as they are, hopefully, musically interesting. Every member of Cantus agrees that “The Singing Revolution” is one of the most meaningful programs we’ve ever performed. To be able to tell such an amazing story, using the medium of the songs written

Our Baltic friends describe the experience of the song festivals as electric, a moment when everyone in the area bonds together by singing songs everyone knows. One woman we interviewed describes physical waves moving through the crowd as people sway and cry together.

The Baltic Way

The song festivals, with tens of thousands of participants, are astounding. But, we were further moved to learn about The Baltic Way and the music it inspired. The Baltic Way was a 400-mile singing human chain, formed from Tallin, Estonia through Riga, Latvia to Vilnius, Lithuania. This act of non-violent protest united the three countries, creating “a cross-cultural spiritual synergy both internally and between the Baltic States in the name of a common goal – to overcome the consequences of

Star of the North • Spring 2012

Cantus

and performed in response to and in spite of the Soviet occupation was unforgettable. We have received an incredible outpouring of support and encouragement from the Baltic community to continue performing this program. In the future, we hope it will continue to provide affirmation for the Baltic people as well as educate others on the story itself and on the truly limitless power of singing.

Reference List: The Baltic Way. (2008). Retrieved April 11, 2012, from http://www. balticway.net/index.php?page=text&hl=en Estonian, Latvian and Lithuanian National Commissions for UNESCO. (2009). [Photo]. The Baltic Way – Human Chain Linking Three States in Their Drive for Freedom, Estonian Embassy in Tbilsi. Retrieved from http://www.tbilisi.vm.ee/estonia/history/aid607 Foss, C. (Producer) & Mihalevich, N. (Director) (2012). Interviews for Cantus: The Singing Revolution [Documentary]. (Not publicly available at this time. For information, contact: Cantus P.O. Box 16321, Minneapolis MN 55416) Lithuania. (2006). Retrieved March 9, 2012, from: http://lietuviu-bendruomene.org/lithuania.html Raun, T. (2001). Estonia and the Estonians – updated 2nd ed. Stanford: Hoover Institution Press. Scott, G. (2011). Singing Your Way To Freedom [Article]. Retrieved April 4, 2012, from: http://www.washdiplomat.com/DPouch/2011/ December/1211lifestyle.html#Anchor2 Tusty, J. & Castle Tusty, M. (2011) The Singing Revolution [Documentary]. Averill Park: Sky Films Inc.

Applications for performance 2012 State Conference Deadline: June 1, 2012 Click on: State Conference Performance Application

2012 ACDA-MN STATE CONFERENCE Celebrating our 50th Anniversary November 16-17-18 First Lutheran Church Columbia Heights Benson Great Hall • Bethel University St. Andrew’s Lutheran Church Mahtomedi

To support and inspire a community of choral musicians in our state • www.acda-mn.org

guest feature GOT VOICE RENEWAL? Part 1 Renewal: Something has declined from what it once was, and needs restoration or revival back into what it once was (or beyond what it once was). Make sense?

Leon Thurman

Specialist Voice Educator, The Leon Thurman Voice Center

Might renewal also imply that there are ways to prevent a decline from happening in the first place? Could it suggest that the “something” is not what it could be, and a transformative renewal could bring it into its potential? “Today I had three 85-minute choir rehearsals and five hours of parent conferences. This is the first time in 13 years of teaching that my voice has survived a day like this.” “…no more strained voice and chronic laryngitis.” “…for the first time in eight years of teaching, my voice was healthy and clear after the holiday concerts!” “My voice is learning release, and my spirits were uplifted. I felt a real surge of self-confidence.” Those choral conductors/music educators* got the milk of voice renewal. What happened? What was different? 1. For the first time, they learned how to sing with physical and acoustic efficiency, and…they learned how to talk/speak with the same efficient vocal coordinations that they learned for singing. 2. They learned how to have a “well watered body” all the time so that their vocal fold surfaces were lubricated with thin mucus and their vocal fold tissues had optimum “flowability” (official term: viscosity) for vocal fold vibrations. These vocal fold vibrations are complex, highspeed, ripple-waving motions that flow over the vocal folds and produce high numbers of vocal fold impact and shear stresses. 3. They learned how to optimize the effectiveness of their immune systems so their bodies could attack and kill viruses and bacteria more effectively, and minimize the effect of allergens and out-

Star of the North • Spring 2012

door/indoor air pollution. They adopted this belief: “I will be most effective – as a human being who teaches – when my first priority is me and my health.” (You know how the flight attendant says: “Before you help anyone else with their oxygen mask, put yours on first”). Subsequently, they learned how to induce the innate restoration response that all human beings have (opposite of the innate flight-fight-freeze response that is induced by threat-laden, highdemand stress), and got about eight hours of deep, restorative sleep every night. 4. They learned how to warm-up their voices before each teaching day. All you need is about 15 to 20 minutes of sung and spoken, higher-to-lower pitch patterns that gradually progress from lower pitches and volumes to higher pitches and greater volumes. These teachers also learned how to warm-down during time-breaks and at the end of their teaching day. This make take about 5 to 7 minutes of soft-light humming with released-open mouth and throat behind their lips; soft-light tongue or lip trills; voicing through a medium-bore sipping straw. Voice scientists refer to these exercises as partially-occluded vocal tract voicing that can have restorative effects on voices. 5. They planned set-aside times for voice recovery after they had used their voices extensively and/or vigorously. This means there was little or no voice use during certain times during their teaching/conducting day, and especially after their teaching/conducting day was over. 6. They learned what vocal overuse and unnecessary voice use are and stopped doing them. For example, when their choir was singing, they always became silent and listened closely – no singing along with the choir, no shouting when singing was underway, or under any other circumstances (except for true emergencies). They modeled new songs for children in music classes, but after several children had learned each new song, they stopped singing and listened closely.

7. They learned nonverbal ways to communicate goals and feedback, practiced them with the singers, and consistently used them in rehearsals and/or classes. For example: (a) raised one hand in the air to indicate silent attention; (b) softly hummed a pitch to one singer who passed it along until all the singers were humming it (and they knew to re-breathe when necessary and continue humming); (c) consistently used conducting gestures that invited efficient vocal coordinations in the singers.** 8. When music is stopped in rehearsal or class singing and the singers begin talking, they recognized that the talking was almost always about what had just happened and was a productive part of the learning experience. When it was time-appropriate, they often asked the singers to talk about what just happened in the musical passage they had sung, and what they personally could do to sing more skillfully and/or expressively – for about 45-seconds (while they themselves were silent). Then they asked the singers to do what they had discussed as they repeated the passage.

Human beings evolved music because it enables us to express out something that is important about our existence on this earth. When we do that, we may become excited and dance, or we may become still and reflective, or our emotions may be touched so deeply that we weep. And afterwards, we may notice that we “feel better.” Ever noticed that? Physically sensed “feel-betters” are not a fantasy we vocal musicians conjure up. Neuropsychobiological scientists are revealing that “feel-betters” are the result of physical-chemical events that happen in our nervous, endocrine, and immune systems and cause physiological changes in our guts – gut feelings. At the very least, they produce what neuroscientists might call neuropsychobiological homeostasis – a state of internal pleasant-feeling balance. Isn’t that a kind of renewal? Perhaps, when we have more and more musical “feel-betters” with the people we meet and know, we will have more empathy for all of our fellow human beings. And, ohhhh, do we need that kind of renewal in our world? ______________________________________

9. They learned what vocal deconditioning and vocal conditioning/fitness really are (see Part 2) and how to condition and re-condition their own voices for the level of vocal demand that they use when they teach, sing, and speak every day. They changed how they prepared their voices for the demands of a new teaching/conducting year or season, and how they helped their singers recondition their voices for increased vocal demands.

*These comments were written by choral conductors and music educators who attended the Impact Course (Bodymind and Voice) that is presented in the summers by The VoiceCare Network (www.voicecarenetwork.org), or received therapeutic care at Fairview Voice Center, Minneapolis (www.fairview. org/Services/Rehab/Services/Voicetherapy/index.htm).

10. One of the teachers quoted at the beginning of this article accomplished all nine of the above skills to prevent a return of vocal fold nodules after surgery to remove them. She had to have the surgery because the nodules had been there for more than two years, had become fibrotic and hard, and her body could not resolve them on its own. A voice knowledgeable ENT physician made the diagnosis and did the surgery, and she did voice restoration with a voice specialist speech pathologist and a specialist voice educator. The surgery happened about one week after the end of the school year to optimize healing and restoration of efficient voice use, followed by reconditioning before the next school year.

______________________________________

Conclosure

In vocal music, voices bring all of the elements of musical expression into sound existence – pitch accuracies, timing precisions, volume variations and expressive phrasing, voice quality variations, and different expressive musical styles. Maybe the more vocally renewed singers become, the more deeply expressive their sung music can become.

**These conducting skills are modeled and taught at The VoiceCare Network’s summer courses.

Editor’s Note: This is the first of a two-part series on vocal renewal by Leon Thurman. Thurman is a Specialist Voice Educator and proprietor of The Leon Thurman Voice Center in Minneapolis (www.leonthurman.com). He also is founder and founding faculty (now retired) of The VoiceCare Network (www.voicecarenetwork.org).

SAVE THE DATE! Thursday, November 15, 2012 Give to the Max Day The NUMBER of people who contribute to The FMC Endowment Fund on that date is More important than the total amount of Money contributed. We invite and encourage 100% participation From our ACDA-MN members!

To support and inspire a community of choral musicians in our state • www.acda-mn.org

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Star of the North â&#x20AC;˘ Spring 2012

From the Field Ready? Set? RELAX…

Marie Spar Dymitt White Bear Lake High School Metro East District Chair

Relax?? Yeah, sure, I’ll relax as soon as I’m done rehearsing my numerous choirs, helping kids with solo and ensemble, prepping kids for All-State and college auditions, recording Honor Choir auditions, taking my students on the trip of a lifetime, planning my church choir rehearsals, keeping up with grading, etc., etc.

• Spend time with your family. Or your dog, or cat, or family and dog, or family and cat… you get the idea. Make time for them, even if it means writing it onto your very busy calendar. • Try yoga. Okay, I’ve not actually done this yet. But I will one day! • Take a nap. Need I say more?

Sound familiar? Choral directors are nothing if not ridiculously busy this time of year. It’s no wonder that our families look at us with a glance of unfamiliarity when we walk in the door most evenings, or in my case, my dog carefully comes over to give me the sniff test to see if she recognizes me. I don’t pretend to have any answers or solutions to this dilemma that we all face – and I’m sure I’ve left out additional tasks that crowd many of your daily calendars – but I do know that every year at about this time, it’s important that I find time to BREATHE and RELAX. This is not something that I’m always very good at, and will often realize a bit too late that I should have taken a personal “time out,” but when I do make a concerted effort, I find it is well worth it. Consider setting aside time for some (or all) of the following before the end of the school year: • Read a book. Go to a quiet place in your home, away from kids and dogs and pianos and computers, and simply read. It’s like taking a little mini-vacation. • Go to a movie – by yourself! I do this all the time, and enjoy it, but am always amazed at how many people shy away from this activity. Just think – the popcorn is all yours! • Get a massage. This is something I do at least twice a year, usually after a major concert, and then I wonder why I don’t go more often. If you’ve never treated yourself, it’s high time. Get beyond the awkward stage and just enjoy it. • Go to a concert. Go to a concert that you have NO PART in planning. A few years back I became a season ticket holder to the Minnesota Orchestra, and I look forward to these six evenings a year with tremendous anticipation. Not only do I get to hear our amazing orchestra, but it’s an opportunity to see and have dinner with a friend (another music teacher) who is equally busy.

All of these ideas are simply things that have helped me through the insanity that is the spring of the year in “Choir Director Land.” I know that some of the above suggestions cost money and, let’s face it, we’re not in this profession to get rich. However, if you’ve not yet discovered the Groupon or Living Social coupon deals that are offered daily on the internet, I encourage you to do some investigating. Often you will find deals at 50% off – spa services, house cleaning, concerts, classes, etc. And as a bonus, you may even find that you’ve gained more time to yourself (for reading perhaps) if you have an appointment for, say, an interior car cleaning that requires that you sit and wait! In short, I know that when I do make time for me, my students benefit from my more rested state of mind, and I’m sure I don’t need to mention all of the personal health benefits. It makes me unbelievably sad when I hear of friends whose health becomes compromised simply because of the demands of our profession. We all do this job because we LOVE CHORAL MUSIC and we want our students to be as passionate about it as we are. However, it doesn’t make sense (to me) if we allow the job to become all-consuming to the full exclusion of family, friends, and our own personal health and well being. The theme of this issue of the Star of the North is renewal, and my words of wisdom to you are to please remember to renew your inner spirit. We are all very good at renewing our minds and bodies once summer rolls around, but this is meant to be advice for the next 9 weeks. The work that is piling up on your desk or piano or in your mind will still be there tomorrow, so take a moment and breathe. Remember to take time for YOU!

To support and inspire a community of choral musicians in our state • www.acda-mn.org

From the Field our quest for renewal

Gregory Aune Gustavus Adolphus College

Several weeks into each spring semester at Gustavus I routinely have my choral conducting class watch a professionally produced video from one of the Robert Shaw Conductor’s Workshops that were sponsored by Carnegie Hall in the 1990’s. I was fortunate to be a choral participant for three of these workshops and experienced Shaw’s approach and methods first hand. As I began to formulate my thoughts for this Star of the North article I kept coming back to my experiences with Mr. Shaw and the subject of this column – renewal. I reflected upon and sought to identify what might be the underlying processes that produced the outward characteristics of his rehearsals – energy, persistence, passion, and enthusiasm sustained at a high level during the 6 to 8 hours of daily rehearsals led by a man in his mid–seventies. Shaw’s longevity is certainly not unique in the choral realm; the list of esteemed and respected choral educators and conductors with lengthy careers is well known. So what has kept them fresh and vital? With such a gold standard as a reference, I formulated my thoughts and personal philosophy on the subject, and have identified what I believe are some essential elements to help guide our quest for success and continued renewal and revival in our daily work. 1. Be utterly convinced of the worth and integrity of the music that you have selected for your choirs to rehearse and perform. The search for quality literature for my choir is one of the most important aspects of my work, and I invest significant time and effort in this process. 2. Combine your formal training (conducting, music theory and history) and professional experiences with your creativity and imagination to arrive at a concept of performance that will excite your singers, expand their musical horizons, and challenge them to do their best. Diligent and in-depth score study and preparation should lead to insightful and meaningful interpretation. 3. Patiently and methodically layer on the various components of your vision for the music that you have programmed. You

Star Star of of the the North North •• Spring Spring 2012 2012

and your singers will sense a continual forward momentum that creates an ongoing optimism and anticipation for the next rehearsal. I always share a quote from Lloyd Pfautsch’s essay in the Decker/Herford Choral Symposium text with my conducting class: “When thoroughness of preparation combines with charisma, the rehearsals are distinctive.” Charisma can be an elusive trait to define, but singers certainly perceive it as such when there is meaningful and artistic interaction between conductor and choir that is based on thorough preparation and pursuit of the desired musical goals. 4. Refuse to allow digression. Once your choir has turned that phrase, balanced that chord, mastered a rhythmic complexity, lock it in your collective memories, and hold them to their achievement. The process I briefly outlined above is an aspect of my personal approach and rehearsal regimen that I strive to maintain, as I believe it enables me to be

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the most effective and motivational music teacher and conductor that I can be. But more importantly, the successful implementation of this â&#x20AC;&#x153;method â&#x20AC;&#x153; (or any method, such as Shawâ&#x20AC;&#x2122;s) leads to or becomes a starting point for my singers and I to establish a more profound â&#x20AC;&#x201C; call it spiritual â&#x20AC;&#x201C; connection to the music, which truly brings it to life. The required discipline for technical and artistic achievement then allows us, both singer and director, and perhaps an appreciative audience, to truly experience and savor magical moments. As teacher/conductors we must be so convinced and confident in what we do and itsâ&#x20AC;&#x2122; value to the singers that we can wear our â&#x20AC;&#x153;musical hearts on our sleeve.â&#x20AC;? I remember Weston Noble addressing this subject at the evening banquet for the participants of the 2007 FMC event at Orchestra Hall. He challenged all of us, both singers and conductors, to embrace the concept of â&#x20AC;&#x153;being vulnerable.â&#x20AC;? To be vulnerable is to expose my deepest feelings, emotions, and personal convictions completely to my students by expressing and sharing my commitment and belief in the power of choral music and performance. Invariably, I then find that my students will respond in like fashion, resulting in an experience for them that is indeed spiritual as well as musical.

It is somewhat serendipitous that I was on board to pen this short article at this particular time, as I have been doing much reflecting on what has been a very rewarding semester with my choir, and in particular I have noticed how energized and fulfilled I have felt after my late afternoon rehearsals. I have come to realize that my personal renewal and the affirmation of my creative personality is intimately connected with the deep and meaningful connections I share with my students, and we must never take for granted the privilege of helping shape their personal and musical growth. Our egos must be brushed aside, for we ultimately serve our singers and the music that comes alive through our singers.

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Youth & student activities A Student’s perspective on the North Central ACDA Conference

Ryan Fellman

Concordia CollegeMoorhead

I recently had the distinct honor of being a recipient of the FMC Endowment Fund scholarship, which enabled me to attend the ACDA North Central Conference in Madson, Wisconsin (February 9-11). This was the first time I had ever traveled alone or had to make my own arrangements for travel, lodging, and food. In this way, I was able to budget and be responsible for the scholarship award I was graciously allotted. With this scholarship, I was able to see many people who have affected my life and growth as a choral musician as well as connect with choral conductors, teachers, and composers alike, who were interested in the advancement of the choral art. If felt incredible to be among a community of

people who were all so dedicated to choral music. I was able to connect with people in a way that would not have been possible without the scholarship. I have found that you sometimes learn the most by just having impromptu conversations with other choral directors about issues or sharing your own story with them, because it can lead to powerful mentorships and meaningful friendships. The many fine choral ensembles at the conference also inspired me with their level of musicianship and artistry that they brought to the table. What also struck me as unique were the many different forms of visual presentation many of them brought to the stage at the beautiful Overture Performing Arts Center. I attended many of the interest sessions, but two with which I was able to especially resonate with included “Body Singing” with Theress Hibbard and “Demystifying the Score” with David Rayl. I learned how to incorporate movement to loosen up my singers. In addition, I became more comfortable looking at a score and utilizing it more effectively as a pre-rehearsal tool. Upon my return to the Concordia campus in Moorhead, I presented a session to our student chapter on what I had learned at the Conference. I also spoke about the FMC Endowment Scholarship Fund, what it represents, and how to become more involved with ACDA in general. I am hopeful many other students will be able to benefit from scholarship opportunities in the future. I am thankful to those who have granted me the opportunity to flourish as a future choral conductor. It made all the difference!

Ryan with mentor, Rene Clausen.

Star of the North • Spring 2012

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Choral Arts Finale The 7th Annual Choral Arts Finale, with guest conductor/clinician Dr. André Thomas, took place on Sunday, April 15, 2012 on the campus of Concordia University, St. Paul and Orchestra HalI in Minneapolis. Coordinated by Dr. David Mennicke, this premier high school choral festival, co-sponsored by ACDA of Minnesota and Concordia University, St. Paul, was once again a resounding success. The day began with massed choir rehearsal of the six choirs under the inspiration of Dr. Thomas. Each group then received a 20-minute clinic with Dr. Thomas, gaining insights and growing in musical depth. After supper on the Concordia, St. Paul campus, the groups each had a sound check on the Orchestra

Hall stage, culminating with the gala concert that night. Each choir sang a 12-minute program and combined under Dr. Thomas as a massed choir of 370 singers. Each group also was presented with an engraved plaque, an ACDA 50th Anniversary commemorative certificate, and a $500 award. The Festival also paid for each groups meal and travel expenses. All of this is made possible by the generous support of David and Sandy Frauenshuh, supporters of the arts and Concordia University, St. Paul. The five participating high school choirs were chosen by a blind audition process in January. Their program was as follows.

The Concordia University, St. Paul Christus Chorus David L. Mennicke, conductor

Cry Out and Shout �� Knut Nystedt (b. 1915) Summy-Birchard

Comfort, Comfort ye My People �� Claude Goudimel (1514/20-1572), st. 1, 3; Claude LeJeune (c. 1530-1600), st. 2, GIA Slava v vïshñih Bógu ��Sergei Rachmaninoff (1873-1943 (All Night Vigil, no. 7; sung in Church Slavonic) Musica Russica MRSM Ra 029 Lamentaciones de Jeremias Propheta �� Alberto Ginastera (1916-83) (Lamentations of Jeremiah the Prophet, movements I)

Mercury Music 352-00103

Es ist das Heil (Op. 29, no. 1) �� TUNE: ES IST DAS HEIL, from Etlich Cristlich Lider (Wittenberg, 1524) setting by Johannes Brahms (1833-97), Choral Public Domain Library Lord, Listen to Your Children Praying �� Ken Medema (b. 1943) arr. Jack Schrader (b. 1942) Hope Publishing

Princeton School Concert Choir “In preparing to perform at Orchestra Hall, I found it relaxing to come to choir each day and work hard. I looked forward to [the challenge].”

Mark Potvin, conductor

Abendlied...................................................................................................................... Josef Rheinberger (18391901) G. Schirmer No. 8910

To the Mothers in Brazil: Salve Regina �� Lars Jansson (b. 1951), arr. Gunnar Eriksson (b. 1936) Walton Music WW1384

Spaséñiye sodélal ��Pavel Chesnekov (1877-1944) Musica Russica 176

Der Geist Hilft unsrer Schwachheit auf (BWV 226, pts. 3-4) �� J. S. Bach (1685-1750) Novello 12054

Star of the North • Spring 2012

Buffalo High School Concert Choir Michael Walsh, conductor • Jill Starr, accompanist

Music in the Night �� David C. Dickau (b. 1953) 2011 ACDA of Minnesota Commission Consortium Northern Lights ��Ola Gjeilo (b. 1978) Walton Music WW1447

“When presented with the greatness of all the participants and the music, I felt greatness overcome my body.”

Way Over in Beulah Lan’ �Traditional Spiritual, arr. Stacey V. Gibbs (b.1962) Gentry Pub. JPG2370

Bella Voce Young Women’s Choir, Rochester Shelly Winemiller, conductor • Pam Alpers, accompanist

I Got Rhythm ��George Gershwin (1898-1937), arr. Ward Swingle (b. 1927) Northern Colorado State Univ Press,08744361 Two Strings, But One Voice (Oh Sweetest of Songs) ��Z. Randall Stroope (b. 1953) manuscript

Prayer of Saint Francis ��Allen Pote (b. 1945) Hinshaw, HMC-888

Walk in Jerusalem �� African American Spiritual, arr. Rollo Dilworth (b. 1970) Hal Leonard, 08744361

Eagan High School Concert Choir Randy Schafer, conductor • Margaret Boehlke, piano

Set Me As a Seal �� Richard Nance (b. 1955) Walton Music 08501411

Go Down ‘n the Valley and Pray �� Traditional Spiritual, arr. André J. Thomas (b. 1952) Heritage 15/2348H

Song to the Moon (La luna) ��Z. Randall Stroope (b. 1953) Walton Music 08501728

“The highlight of my day was when we were just about to take the stage. I wasn’t nervous or scared; I was calm and ready. No matter what happened, we knew we had each others’ backs and that our families, friends, and instructors would be proud of our achievements.”

Continued on next page… To support and inspire a community of choral musicians in our state • www.acda-mn.org

Choral Arts Finale

Continued from previous page…

Armstrong High School Concert Choir, Robbinsdale Stephanie Trump, conductor

Sing Unto God (from the oratorio, Judas Maccabaeus) ��G.F. Handel (1685-1789) Carl Fischer 7414

Bogoróditse Djévo (sung in Church Slavonic) ��Sergei Rachmaninoff (1873-1943) Music Russica

The Seal Lullaby ��Eric Whitacre (b. 1970)

“We grew as an ensemble that day. We walked away more unified than when we arrived. We became family.”

Shadow water music, HL08749149

My Spirit Sang All Day �� Gerald Finzi (1901-1956) Boosey & Hawkes 5814

2012 Choral Arts Finale Massed Choir André Thomas, conductor • Mark Johnson, piano

Vox Populi �� Giedrius Svilainis (b. 1972) Alliance AMP 0802

Until I Found the Lord ��Spiritual, arr. André Thomas (b. 1952) Heritage 15/2673H

“I learned through participating in the Choral Arts Finale that I’m not just in choir because I love to sing. I’m in it because it’s part of who I am.”

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Star of the North • Spring 2012

Since 1997…Your gifts to the FMC Endowment Fund have supported 188 Minnesota choral directors with scholarship awards totaling over $121,000!

The feedback from conductors and singers underscored the power of the day: Mark Potvin, conductor of the Princeton High School Concert Choir, wrote: “The Choral Arts Finale is a wholly unique event in our state and one that truly reflects best Minnesota has to offer: our music and our kids. The experience this year was nothing short of transcendent. I’ve yet to think of Sunday without tears welling in my eyes. As educator-conductors, it becomes increasingly rare to achieve “flow” in our musical experiences as our lives progress. Fewer occasions for an aesthetic experience – what Weston Noble calls the complete unification of body, mind, and spirit – present themselves. Part of this is a desensitization on our part, certainly, but part is a societal reluctance to embrace that most critical element to making music in the company of other souls: vulnerability. To say that the experience at Orchestra Hall this weekend was among the top musical experiences of my life is no stretch. I witnessed forty seven young adults for whom I care very deeply dig into the furthest reaches of themselves and tap into their most primal emotions and refined scholarship. I watched a master conductor-educator inspire a throng of invested amateur musicians to greatness through the setting of high expectations and the use of humor, empathy, and academic rigor. I was renewed in my relationships with dear colleagues and friends who share the same passion and love for their art and their students that I have… Ever since Sunday night, I have been emotionally compromised. Not by sadness or despair, but by the beauty and preciousness of moments whose memories have already begun to fade. It is a feeling I’ve not experienced in ages. It is delightful to feel so alive.”

Mike Walsh, conductor of the Buffalo High School Concert Choir, offered these remarks from his students and himself: “Singing in Orchestra Hall was a once in a lifetime experience I will never forget” – Hannah Buffie “What a fun time! First we got to work with such a talented composer and director, Dr. Thomas, then listening to some of the best choirs in the state, and finally getting to perform at Orchestra Hall. A total honor.” – Leif Nelson “It was a pleasure singing with 350+ students whose dedication and love for music shone through on stage and off.” – Hannah Walters “What an incredible opportunity for my students! They loved every aspect of the day: working with a national conductor like André Thomas, hearing other excellent choirs, and performing in Orchestra Hall. The Concordia students were wonderful hosts and the day was incredibly well organized. Many thanks to David Mennicke and Concordia University, the Frauenshuhs, and ACDA-MN for putting together the best day of choral music my students have ever experienced!” Stephanie Trump, conductor of the Robbinsdale Armstrong Concert Choir, added these reflections: “Thank you again for a marvelous opportunity yesterday! Orchestra Hall is an absolute treat. André was an absolutely superior choice as a clinician. He is an absolute professional who never allows for anything less than correct in all he does. I was stretched, challenged, and encouraged in my own work. My students fully enjoyed working with Dr. Thomas as much as I had hoped they would. He brings such authenticity to his own music and the music of others.”

To support and inspire a community of choral musicians in our state • www.acda-mn.org

Philip Brunelle Receives the 2012 Weston H. Noble Lifetime Achievement Award For the seventh time in ten North Central Division Conference award presentations, a fellow Minnesota colleague received the coveted Weston H. Noble Lifetime Achievement Award. Philip Brunelle was named the 2012 recipient during an award presentation held on February 9 at the Overture Center for the Arts in downtown Madison WI. Mr. Noble was on hand to read the commendation and make the presentation. Past Minnesota recipients have been: Dale Warland-2010; Diana J, Leland-2008; Alice T. Larsen2004; Leland B. Sateren-2002; Kenneth Jennings-2000; and Paul J. Christiansen-1998. Born in Faribault, Minnesota in 1943, VocalEssence Artistic Director and Founder Philip Brunelle showed signs at an early age of the adventurous spirit that has driven his lifelong enthusiasm for all forms of choral, vocal, opera, and symphonic music. At the age of six, he requested and received a vocal score of Handel’s Messiah for Christmas. As a teenager he was already working as a professional church organist; at 19 he became a full-time member of the Minnesota Orchestra. At the age of 25, Philip was appointed choirmaster-organist of Plymouth Congregational Church in Minneapolis. He immediately established the Plymouth Music Series, which has become today’s choral music organization VocalEssence. Philip played piano on the very first episode of A Prairie Home Companion in 1974, forging a connection with Garrison Keillor that has resulted in many creative ventures over the years. Philip has been invited to guest conduct choirs and orchestras across the United States, South America, and Europe, including the Saint Paul Chamber Orchestra, New York Philharmonic, Berkshire Choral Festival, the BBC Singers and the Seattle Symphony. He is called upon to adjudicate choral competitions all over the world, with recent visits to South Korea, China, Norway, and Hungary. Philip is currently a board member of Chorus America and the International Federation for Choral Music (IFCM), where he serves as Vice President. He was on the planning committee for the Ninth World Symposium on Choral Music, held

Star of the North • Spring 2012

in Argentina last August. He was a member of the Artistic Committee for the Eighth Symposium in 2008 and served as President of the Sixth Symposium, held in Minneapolis in 2002. Philip has been recognized for his commitment to choral music by Norway (Commander of the Royal Norwegian Order of Merit), the United Kingdom (Honorary Member of the Order of the British Empire), Hungary (Kodaly Medal), and Sweden (Royal Order of the Polar Star). In 2003, Chorus America honored Philip with its highest award, the Michael Korn Founder’s Award for Development of the Choral Art. He was honored with a “Local Legend” award from General Mills and the United Negro College Fund; American Composers Forum “Champion of New Music”; U.S. Bank Sally Ordway Irvine Award for Commitment, recognizing lifetime achievement, contribution, and leadership in culture and the arts; and the F. Melius Christiansen Lifetime Achievement Award, American Choral Directors Association-Minnesota Chapter’s highest honor. Philip holds honorary doctorates from St. Olaf College, Gustavus Adolphus College, St. John’s University, and United Theological Seminary. On October 6, 2011 Philip was awarded the Doctor of Humane Letters, the highest award conferred by the University of Minnesota Board of Regents. The ceremony took place at the School of Music’s Fall Convocation at Ted Mann ConcertHall. This honor recognizes individuals who have achieved acknowledged eminence in their field. In those rare moments when he is not pursuing his passion for choral music, Philip may be found catching up on his next book club selection, running five miles a day, or enjoying gourmet cuisine. He is married to visual artist Carolyn Brunelle; they have three grown children and six grandchildren.

Summer Dialogue On-Line Registration Brochure www.acda-mn.org

State Election Results â&#x20AC;&#x201C; Changing of the Board Congratulations to the following new state board members who will assume their terms on July 1, 2012

Amy Johnson

Andrew Beard

Coon Rapids HS State Secretary

Delano HS Central District Chair

Daryl Timmer

Woodbury HS Metro East District Chair

Shelly Wahlin

Fertile-Beltrami Public Schools Northwest District Chair

Elizabeth Shepley Northfield Youth Choirs Southeast District Chair

Thank you to the following state board members who have faithfully served our organization:

Marie Dymit

White Bear Lake Area HS Metro East District Chair

Bonnie Nelson

Sauk Centre HS Northwest District Chair

Chris Harris

Owatonna HS Southeast District Chair

John ÂKleinwolterink Morris Area HS Advertising Chair

Amy Jo Cherner Edina-Southview MS Registrar

E H A V E B E E N C O M MITTED TO 3INCE WPROVIDING TOP QUALITY LOCATION

Our Annual Spring Concert

50th Anniversary Celebration

Saturday, June 2, 2012 7:30 p.m.

Sunday, August 5, 2012 2:00 p.m.

Orchestra Hall, 1111 Nicollet Mall, Minneapolis

State Capitol Rotunda, Saint Paul

Performances are free and open to the public. A freewill donation will be received on June 2nd.

2012-2013 Season Auditions July 17, 19 and August 21-23, 2012

Sing Minnesota August 13-17, 2012 Our summer camp for boys and girls!

The Minnesota Boychoir

75 West Fifth Street, Suite 411, Saint Paul, MN 55102 www.boychoir.org ď ˇ (651) 292-3219 ď ˇ info@boychoir.org

RECORDING AND RELATED SERVICES TO OUR CLIENTS 4HAT S WHY SO MANY OF OUR CUSTOMERS HAVE BEEN WITH US FOR YEARS AND ENTHUSIASTICALLY REFER US TO THEIR FRIENDS AND COLLEAGUES 7E RE GRATEFUL FOR THE LOYALTY OF OUR CUSTOMERS AND STRIVE TO EARN THAT LOYALTY ON EVERY JOB

#ALL 7%34-!2+ FOR /N LOCATION AUDIO AND VIDEO RECORDING #OMPUTER EDITING MASTERING #$ $6$ DUPLICATION 'RAPHIC PRINTING SERVICES " ! " """ " 0ROUDLY SERVING CHORAL MUSIC ENSEMBLES FOR OVER YEARS

To support and inspire a community of choral musicians in our state â&#x20AC;˘ www.acda-mn.org

Let ACDA-MN “Commend” Your Choral Program Commending choral music programs for their influence on their communities Join 175 other commended choral programs throughout the state by contacting Executive Director Bruce Becker at (execdirector@acda-mn.org) to schedule a commendation presentation during the 2012 calendar year by a current or past ACDA-MN board member at a concert or festival event of your choosing. A commendation certificate will be presented with the following inscription: This performance is recognized as an official event celebrating the 50th anniversary of the founding of the American Choral Directors Association of Minnesota. ACDAMN exists to support and inspire a community of choral musicians in our state and recognizes all choral directors and singers who aspire to excellence in the choral arts. ACDA-MN acknowledges and thanks audiences and local officials who nurture and support the choral arts in the “Land of 10,000 Choirs”.

See what our ACDA-MN Board and FMC Committee have been working on! Meeting minutes posted on-line at: www.acda-mn.org

Minnesota Choirs at North Central Conference Congratulations to the following Minnesota choirs who were selected by competitive audition to appear at the North Central Division Conference located in Madison, WI this past February: • Armstrong High School Concert Choir – Stephanie Trump, director • Stillwater High School Belle Chanter – Angela Mitchell, director • Great Northern Union Chorus – Peter Benson, director • Magnum Chorum – Christopher Aspaas, director • Saint John’s Boys’ Choir – André-Louis Heywood, director Of special note was the appearance of the Minnesota State University-Mankato Concert Choir under the direction of David Dickau who appeared in a featured festival conference event that performed a moving rendition of “To Be Certain of the Dawn” by Minnesota composer Stephen Paulus.

New SSA Commissioning Consortium Project Following the successful launch of the 2011 SATB Commissioning Consortium, which featured twelve Minnesota SATB ensembles commission Minnesota composer David Dickau for the piece “Music in the Night,” the ACDA-MN Commissioning Task Force has established a new 2012 consortium to commission composer Carolyn Jennings to write a new piece entitled “Some Glad Morning” that will be premiered at the 2012 Men’s/ Women’s Festival at Saint John’s University this coming October. Thirteen SSA ensembles have signed up for this project. Aitkin High School – Kelly Blake, director Blaine High School – Joseph Osowski, director Brainerd High School – Brian Stubbs, director College of St. Scholastica – Bret Amundson, director Crown College – Curtis Kettler, director Eagan High School – James Cox, director Eastview High School – Kari Douma, director Minnetonka High School – Paula Holmberg, director Mound Westonka High School – Kate Larson, director New Ulm High School – Gary Maki, director Prior Lake High School – Thomas Hassig, director Staples Area Women’s Chorus – Rob Freelove, director Stillwater High School – Angela Mitchell, director St. Catherine University – Patricia Connors, director

Star of the North • Spring 2012

50th Anniversary Weekend Concert Tickets offered with 30% discount! The 50th Anniversary Task Force is offering a special early bird opportunity for ACDA-MN members only to purchase discounted tickets for all evening concerts scheduled during the 2012 ACDA-MN state conference, which will celebrate the organization’s 50th birthday.

One Amazing Weekend: Three Inspiring Concerts! Friday, November 16, 8:00 pm A Minnesota Choral Mosaic Cantus and VocalEssence Benson Great Hall • Bethel University

Saturday, November 17, 8:00 pm The Tribute Concert Craig Hella Johnson, Artistic Director and Conductor St. Olaf Choir, Magnum Chorum, ACDA-MN Anniversary Directors’ Chorus, Angelica Cantanti Concert Choir, Concert Choir-Northfield Youth Choirs Benson Great Hall • Bethel University

Sunday, November 18, 4:00 pm A Golden Grand Finale Featuring a Rene Clausen world premiere for chorus, brass, organ, and percussion Concordia Choir-Moorhead, University of Minnesota Singers The Singers, Minnesota Boychoir, ACDAMN State 11-12 High School Honor Choir St. Andrew’s Lutheran Church • Mahtomedi

This special offer includes the following… ACDA-MN Member Discount at 30% · $15 per ticket/per concert (no handling fee) Total: $15.00 per ticket · Discounted tickets will be available from August 13-September 30 only · ACDA-MN members may purchase as many tickets as they desire for any and all concerts · Discounted ticket order form will be posted on ACDA-MN website (acda-mn.org) beginning August 13 · Members may return ticket order form with payment via the US mail or order on-line using a credit card · General seating for all concert venues · No refunds or exchanges permitted for this special offer · Discounted tickets are not available from the Benson Great Hall box office Regular Ticket Prices · $20 per ticket/per concert (plus $2.50 per ticket handling fee) Total: $22.50 per ticket · Tickets will go on sale to the general public on October 1

Artistic Images Used to Create Our New ACDA-MN Logo…

Excellence • Integrity • Legacy Community of Directors (batons) Clean and Classic Impression

ACDA-MN New Executive Assistant With increasing responsibilities assigned to the office of Executive Director, the ACDA-MN Board of Directors has authorized the appointment of a new part-time Executive Assistant. Barbara Geier, retired choral director from Eagan High School, has accepted the position and will be assisting primarily in the continuing development and management of on-line honor choir auditions, along with serving as Registrar for the annual Summer Dialogue and State Conference. Welcome Barb!

To support and inspire a community of choral musicians in our state • www.acda-mn.org

2012-13 HONOR CHOIR SEASON NEW 9-10 HS WOMEN’S CHOIR. As a result of increasing audition numbers at the high school level, particularly among sopranos and altos, a new honor choir will be developed beginning in the 2012-13 season for 9-10 high school women. The audition period will occur at the same time next fall as the 910 Mixed Choir auditions. Selected students will be alternately placed between the Mixed Choir and the Women’s Choir to assure balance of quality throughout the two choirs. ON-LINE AUDITIONS. Following an extremely successful first launch at moving to on-line auditions in the fall of 2011, ACDA-MN will once again retain the outstanding professional services of Opus Event to receive auditions during the 2012 audition season. After discovering a few glitches at the start with many ACDA-MN members not having established prior membership credentials with the ACDA national office, the process went beyond expectation for the first year, thanks in large part to the outstanding audition tutorials created by Executive Assistant Barb Geier. Audition numbers remained high despite the fact that we moved to a completely new process. In addition to on-line auditions, the honor choir co-chairs developed comprehensive audition rubrics to help guide the teacher and student in preparing their audition. REVISED SELECTED CAP PER SCHOOL. Also in 2011, ACDA-MN attempt to cap the number of selected honor choir students per school. Initial reaction by member directors has been very positive and encouraging. Despite this response, and entertaining the need to respond to several larger school programs that are distinct in their school’s population, the ACDAMN Board of Directors and the Honor Choir Co-Chairs will adopt a slightly revised cap selection with up to five students selected per school starting in the 2012-13 honor choir season. The selection cap will be utilized only if audition numbers per choir warrant its implementation. In addition, the cap of students auditioning per school will also increase slightly, giving directors and students more flexibility in encouraging their qualified students to audition.

2012-13 State Honor Choir Schedule (Audition website will open August 13, 2012)

4-5-6 Children’s Honor Choir Saturday, November 17 ACDA-MN State Conference Event St. Andrew’s Lutheran Church • Mahtomedi Mary Alice Stollak, guest conductor On-Line Auditions Due: Wednesday, September 26 7-8 Boys’ Honor Choir Friday, November 16 ACDA-MN State Conference Event St. Andrew’s Lutheran Church • Mahtomedi Timothy Peter, guest conductor On-Line Auditions Due: Wednesday, October 3 7-8 Girls’ Honor Choir Friday, November 16 ACDA-MN State Conference Event St. Andrew’s Lutheran Church • Mahtomedi Karen Fulmer, guest conductor On-Line Auditions Due: Wednesday, October 3 9-10 High School Women’s Choir Thursday, February 14 MMEA Mid-Winter Clinic Event Central Lutheran Church • Minneapolis Phillip Swan, guest conductor On-Line Auditions Due: Wednesday, October 31 9-10 High School Mixed Choir Thursday, February 14 MMEA Mid-Winter Clinic Event Central Lutheran Church • Minneapolis Judy Sagen, guest conductor On-Line Auditions Due: Wednesday, October 31

4-5-6 Children’s Honor Choir

Star of the North • Spring 2012

7-8 Girls’ Honor Choir

7-8 Boys’ Honor Choir

9-10 High School Honor Choir

2012-13 State Honor Choir

November 16 – 7-8 Boys and Girls November 17 – 4-5-6 Children February 14 – 9-10 HS Women and Mixed

ACDA-MN Events Master Calendar www.acda-mn.org/master-calendar

To support and inspire a community of choral musicians in our state • www.acda-mn.org

mmea update Dan Hampton Montevideo High School

It seems that spring has arrived in full glory and if you are like me, my life begins to transition from long winter work days filled with pre-dawn ensemble practices, after school solo/ensemble festival rehearsals, and evening musical rehearsals, to a more sane schedule as the year winds down. Then comes summer and a time to rejuvenate, recreate, learn, and prepare for another year. Having the jobs we do allow us the opportunity to transition to different schedules and paces. My wife is especially jealous that at the end of the school year I have one point at the beginning of June when I can say that all is put away for while – even if it isn’t really for all that long. The seasons for MMEA have shifted as well. The Mid-Winter Clinic was a great event and I thank all of my colleagues who performed with their ensembles at the clinic. The performances were outstanding, and I thank you for being willing to put your choir, and yourself, in the spotlight. Thanks also to the many colleagues who assisted with the all-state choirs during the clinic. I am continually impressed by the willingness of our music educators to give of their time to lend a hand. Lately, MMEA’s focus has shifted to preparing for this year’s all-state experience. As I write this article, I am looking forward to draft day next week when we will pick this year’s allstate choirs. The conductors for this year’s choirs are Christopher Aspaas (St. Olaf College) with the Men’s Choir, Rollo Dilworth (Boyer College of Music, Temple University) with the Mixed Choir, and Rhonda Fuelberth (University of Nebraska-Lincoln) with the Women’s Choir. They are all very excited to be working with the all-state program this year at St. John’s University. As MMEA begins work on this year’s all-state experience, we are also investigating options for future changes to the all-state audition process. A number of you attended the Choir Open Forum at the MMEA Mid-Winter Clinic and participated in discussions about this issue. Essentially, MMEA seems to be at a crossroads and we need to decide in which direction we will head. Presently, auditions are not able to

Star of the North • Spring 2012

bring in enough money to pay for all costs associated with the audition process. MMEA has made it a priority to keep audition costs reasonable in order to encourage more participation, so the deficit is passed on to the all-state camp fees. In addition to this problem, MMEA is very aware that the limited number of audition sites is affecting participation. We know that excessive distance to audition sites has caused some schools to opt out of auditions. We also realize that access to quality accompanists to play for the auditions is an issue for some directors. The question facing MMEA is how to best address these issues and should we be making wholesale changes to the process. Also, we are concerned that accommodating certain concerns will throw out positive aspects of the live audition piece of the all-state experience. Our first step in attempting to bring down costs will likely be to go to an online registration/payment process much like the Opus Events system used by ACDA. Beyond that, additional changes may include going to a recorded audition which

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is also submitted online. We are not entirely sure that we are willing to give up the live audition piece yet, but the thought of making the all-state program more accessible to those in the outlying areas of the state holds great appeal. If MMEA does move to recorded auditions, the elements of the audition would need to change because both sight reading and tonal memory require an independent administrator to ensure an impartial, fair audition. It has been a frustrating process as we seek to renovate the audition process, but I think the end result will be worth the effort. I appreciate all of the input I have received from colleagues in the past, and please continue to convey your thoughts to me in the weeks and months to come. I would also appreciate hearing your thoughts on what elements you would see as most helpful in a recorded audition. You can contact me at dhampton@monte.k12.mn.us.

went live on Tax Day. Many thanks to Rick Geiger (Coon Rapids High School) for spearheading an effort to revamp the site and make it more user friendly.

Hopefully, by the time this article is printed, many of you will have had a chance to view our redesigned MMEA website that

2012 Summer Dialogue

ACDA National Conference March 13-16, 2013 Dallas, TX

It was wonderful to see so many Minnesota choral educators in Madison at the NC-ACDA convention. What a fantastic experience with fine performances and enlightening sessions. I can now say that I have NC-ACDA to thank for my new iPad and the fact that my school just agreed to buy my choir room a 70” TV. Go NC-ACDA! Best wishes to you all as you close out your school years. I look forward to running into you at dialogue at St. John’s this summer.

Don’t Miss…

August 7-10 St. John’s University • Collegeville Craig Hella Johnson, headliner and guest conductor ACDA-MN Directors’ Chorus

Perform. Worship. Lead.

Timothy Sawyer Mary Kay Geston Voice Faculty Carol Eikum Doreen Hutchings Catherine Larsen

Women’s Chorale Chamber Singers Choral Music Education

Director of Choral Activities College Choir Men’s Chorus

Choral excellence in a Christian environment. nwc.edu/music | 888-878-5514 | 651-631-5218 | music@nwc.edu To support and inspire a community of choral musicians in our state • www.acda-mn.org

fmc endowment fund update Spring greetings! Minnesota has been very fortunate to experience such a beautiful and early spring, which has provided us with much energy for renewal and rejuvenation! I hope that you have taken some time to enjoy the spring season despite everyone’s schedules being jam-packed with many choral music activities at this very busy time of year.

diana j. leland Director of Development, F. Melius Christiansen Endowment Fund

To date, the FMC Endowment Fund Committee has awarded 188 scholarships to ACDA-MN members totaling over $121,000. Congratulations to our ACDA-MN members who were awarded F. Melius Christiansen (FMC) Endowment Fund scholarships in early January 2012. The 2012 Graduate Study scholarship recipients are: • Chad Felton, North Dakota State University, Fargo, ND • Jason Horner, Luther Seminary, St. Paul, MN and St. Olaf College, Northfield, MN • Dwight Jilek, Michigan State University, East Lansing, MI

2012 ACDA-MN North Central Scholarship Recipients

The 2012 ACDA North Central Division Conference (Madison, WI) collegiate scholarship recipients are: • Kathrynne Buckmaster, St. Cloud State University • Ryan Fellman, Concordia College - Moorhead • Randall Olson, from St. Cloud State University Included below are messages of gratitude from these recent FMC Endowment Fund scholarship recipients. “My time at Michigan State has been fruitful and worthwhile. This scholarship presents so many opportunities for furthering my education. I miss Minnesota and many colleagues and friends; however, I continue to foster new friendships and look forward to the knowledge and possibilities the future will bring. My sincere gratitude and thanks to ACDA of Minnesota and its FMC Endowment Fund for this scholarship award.” – Dwight Jilek, graduate student “Please accept my sincerest gratitude. I am so very excited to continue my study of choral music in collaboration with Luther Seminary and St. Olaf College. Because of this scholarship award, I will be able to focus more time and energy in studying music. I am grateful for the support of ACDA-MN and the excellent leadership within the organization. I look forward to my continued involvement as a member.” – Jason Horner, graduate student “Thank you so much for the great opportunity that this scholarship provided me. The ACDA North Central conference in Madison was amazing, and there are so many things that I learned and am anxious to take into my future classroom. It was truly inspiring to hear so many great choirs spreading the joy of choral music. Thank you again!” – Kathrynne Buckmaster, ACDA North Central Division conference attendee

Ryan Fellman (Concordia), Kathrynne Buckmaster (SCSU) and Randall Olson (SCSU).

Star of the North • Spring 2012

“My experience at the North Central ACDA conference changed my entire perspective on choral education. I was careful to go into the conference with a critical approach and still walked out inspired and more interested in choral music than ever before. I was humbled

and honored when I discovered that ACDA had also awarded me with the opportunity to attend the conference on a scholarship. Without this financial support I wouldn’t have been graced by the presence of choral greats such as Weston Noble, Dale Warland, and composer, Stephen Paulus. Thank you, ACDA.” – Randall Olson, ACDA North Central Division conference attendee “Because of this scholarship, I was able to see many people who have affected my life and growth as a choral musician as well as connect with choral conductors, teachers, and composers alike who were interested in the advancement of their art. It felt incredible to be amidst a community of people who were all so dedicated to choral music, and I was able to connect with people in a way that would not have been possible without the scholarship. The many fine choral ensembles present at the conference also inspired me with their level of musicianship and artistry. I am making a presentation to my ACDA student chapter at Concordia College about what I learned at the conference. I will definitely highlight the FMC Endowment Fund and what it entails and also how to become more involved with ACDA-MN. I am hopeful that other students will benefit from this scholarship opportunity in the future. I am thankful to those who afforded me the opportunity to learn and flourish as a future choral director.” – Ryan Fellman, ACDA North Central Division conference attendee

As we celebrate ACDA-MN’s 50th Anniversary during 2012, I hope that you will consider making a gift to the FMC Endowment Fund as a gesture of thanks and gratitude for everything that choral music has done to enhance your musical career and life. You are also invited to become a 50th Anniversary Legacy Patron at the $50 level in support of ACDA-MN’s 50th birthday. Please consider renewing or making a new pledge to support choral music in Minnesota in honor of celebrating our special 50th anniversary year. You may visit the FMC Endowment Fund website at http:// www.fmcendowment.org/ to make an on-line contribution at any time. Hopefully, your plans this coming August will include attending ACDA-MN’s annual Summer Dialogue, which will be held on the campus of St. John’s University. That event will greatly assist you with rejuvenating and renewing your skills in choral music. I will look forward to greeting you at that time! Best wishes for making many beautiful choral music memories during spring 2012. Happy 50th birthday, ACDA-MN!

To support and inspire a community of choral musicians in our state • www.acda-mn.org

Summer-Fall 2012 Schedule of Events – ACDA-MN june

july

september

10 11 15

Deadline, State Conference Application Deadline, FMC Summer Dialogue Scholarship Application 5-9 pm • Executive Board of Directors 9-4 pm • State Board of Directors, Minnetonka HS Deadline: Summer Dialogue Early Registration Rates

Deadline: Summer Dialogue Regular Registration Rates Deadline: Summer Dialogue Housing Reservations FMC Committee Annual Meeting

august 6

9-9 pm • State Board of Directors, Saint John’s University 7-10 Summer Dialogue 13 Launch of new ACDA-MN website Honor Choir on-line auditions open 17

Star of the North • Spring 2012

october 3 13 27

7-8 Boy/Girl Honor Choir Auditions Due FMC Committee Meeting Men’s/Women’s Choral Festival – Saint John’s University SSA Commissioning Consortium World Premiere

Articles/Ads due for Star of the North Fall Issue

Moving? New School? New Address? Change of Email or Phone Number? Contact Bruce Becker, Executive Director execdirector@acda-mn.org Keep Your ACDA Address Book Current!

4-5-6 Children’s Honor Choir Auditions Due

STATE DUES REMINDER

Add $15 to Active, Life and Retired membership categories when renewing your membership with the ACDA National Office.

ACDA-MN: A GOLDEN LEGACY The recent decades (2000’s)

2002 ACDA-MN and the IFCM host the Sixth World Symposium for Choral Music and International Choral Festival in Minneapolis/St. Paul. Organizing Committee and Board of Directors: Bruce Becker, Steve Boehlke, Philip Brunelle, Lauretta Graetz, Jack Hoeschler, BJ Johnson, Wayne Kivell, Diana Leland, Scott Romaine, Kathy Romey, Tim Sawyer, and Frank Stubbs. 2003 Receipt of $90,000 to the FMC Endowment Fund for profits realized from the World Choral Symposium and International Choral Festival.

The “Star of the North,” David Scholz, editor, wins its fourth national award for excellence, the only award given in the large state category.

2005 The “Star of the North,” Ryan Connolly, editor, wins its fifth national award for excellence, the only award given in the large state category.

Reorganization of annual state honor choir program: 45-6 Children, 7-8 Boys, 7-8 Girls, and 9-10 HS Mixed.

ACDA-MN 50th Anniversary Taskforce established. Founding members are: Steven Albaugh, Bruce Becker, Steven Boehlke, Mary Kay Geston, Jan Gilbertson, Amy Johnson, Diana Leland, Carl Lipke, Judy Sagen, and Linda Smith.

Legacy articles on Minnesota choral luminaries regularly featured in Star of the North.

2010 Hosted North Central Division Conference.

“Star of the North” converts to interactive on-line publication.

Development of extensive on-line state archives.

25th Anniversary of Summer Dialogue celebrated.

Retirement of Charles Hellie, ACDA-MN state treasurer, 1999-2010.

2011 The “Star of the North,” Mark Potvin, editor, wins its eighth and ninth national award for excellence.

The ACDA-MN website named “Best State Website” National Award from ACDA, Tom Hale, web master.

First SATB Commissioning Consortium world premiere of “Music in the Night” by David Dickau.

2007 The “Star of the North,” Kari Douma, editor, wins its sixth national award for excellence, the only award given in the large state category.

Official launch of ACDA-MN 50th Anniversary Celebration at Summer Dialogue.

Unveiling of new corporate logo.

Development of on-line auditions for statewide honor choirs.

2006 Joint sponsorship of F. Melius Christiansen 135th Anniversary Concert – Orchestra Hall. College Choirs: Augsburg Concordia-Moorhead; Concordia-St. Paul; Gustavus; St. Olaf

Receipt of $100,000 matching gift to the FMC Endowment Fund from the Wenger Foundation.

2009 The “Star of the North,” Kari Douma, editor, wins its seventh national award for excellence, the only award given in the large state category.

The position of Executive Director was established. Bruce W. Becker hired.

Retirement of ACDA-MN first Executive Secretary Wayne Kivell, 1997-2009.

State dues initiative of $15 per active, paid, paying, and retired members.

Bylaws for the F. Melius Christiansen Endowment Fund Committee written by Bruce Becker. Mary Kay Geston, Diana Leland, and Carl Lipke approved by ACDA-MN Board of Directors.

Joint sponsorship of Minnesota Collegiate Choral Festival – Benson Great Hall, Bethel University College Choirs: Minnesota State University-Mankato; Northwestern College; St. John’s University; University of MinnesotaDuluth; University of St. Thomas.

2012 Second Commissioning Consortium for SSA ensembles, “Some Glad Day”, Carolyn Jennings, composer.

Launch of new and redesigned ACDA-MN website and on-line membership database.

Minnesota Sings! Nine statewide simultaneous choral festivals: Bemidji, Duluth, Edina, Mankato, Marshall, Moorhead, Rochester, Roseville, and St. Cloud.

50th Anniversary Celebration, “One Amazing Weekend, Three Inspiring Concerts,” featuring in public performances: VocalEssence; Cantus; St. Olaf Choir; Magnum Chorum; ACDA-MN Anniversary Directors’ Chorus; Concordia Choir-Moorhead; The Singers; University of Minnesota Singers; Minnesota Boychoir; ACDA-MN State 11-12 High School Honor Choir.

Honoring of past recipients of the FMC Lifetime Achievement Award at Summer Dialogue Banquet.

Honoring of past presidents and ACDA charter member Murrae Freng at 50th Anniversary Banquet.

To support and inspire a community of choral musicians in our state • www.acda-mn.org

Remember a Loved One • Honor a Mentor • Acknowledge a Friend A gift to the F. Melius Christiansen Endowment Fund is a lasting way to remember or honor loved ones, musical mentors, friends, or colleagues. Your contribution will help sustain the distinguished legacy of exemplary choral music in Minnesota.

A Special Gift...A Lasting Legacy Plan a special gift that will make a di erence for many years to come Designate the F Melius Christiansen Endowment Fund as a bene ciary in your will or trust. The following statement will ensure that your gift is appropriately directed: I bequeath ____% of my estate (or a specific fund) to the FMC Endowment Fund of the American Choral Directors Association, a 501 (c) (3) non-profit corporation located at 12027 Gantry Lane, Apple Valley MN 55124. A bequest and estate planning form is available at: www.fmcendowment.org/bequest-estate-planning-form For further information contact: Diana J. Leland, Director of Development, 612.861.5071, Dland6648@aol.com

Our Legacy: A Distinguished Past...A Vibrant Future

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Star of the North • Spring 2012

How do you RENEW?

Celebrate a little EVERY day… ~ Dr. Eugene Rogers

Dr. Eugene Rogers is the Associate Director of Choirs at the University of Michigan, where he teaches undergraduate conducting and conducts the Men’s Glee Club and the University Choir. His past appointments include Macalester College in Saint Paul, Minnesota, the Boys Choir of Harlem, Waubonsie Valley High School in Aurora, Illinois, and Anima Young Singers of Greater Chicago (formerly the Glen Ellyn Children’s Choir). At Macalester College, where he served as Director of Choral Activities, Rogers commissioned and premiered numerous new works and began the Songs of the Earth (World Music) Concert Series. Professor Rogers has appeared as guest conductor, adjudicator and lecturer in over fifteen states as well as Africa, Canada, Singapore, England, Portugal, Hong Kong, and Italy. Recently, he was one of three featured conductors and lecturers for Singapore’s Ministry Branch of Education Inaugural World Youth Choir Festival for Secondary and Junior College students and directors. In addition to his duties as a conductor, teacher, and singer, Dr. Rogers is the Artistic Director of the Disneyland Hong Kong Winter Choral Festival, and serves on the boards of Early Music America, Michigan American Choral Directors Association (College and University R & S Chair), Imuka Singers, LLC, and the American Composers Forum, where he functions as editor for the ChoralQuest series.

Paul Ayres Eric William Barnum Abbie Betinis Jenni Brandon Matthew Culloton Christine Donkin Martha Hill Duncan Edward Eicker Frederick Frahm Chris Gable Ola Gjeilo Jocelyn Hagen Norman Mathews Scott Robinson Wayland Rogers Paul J. Rudoi Timothy C. Takach

MINNESOTA SINGS!

Saturday, November 10, 2012 A choral festival for choirs at all levels at nine locations throughout the state: Bemidji • Duluth • Edina • Mankato Marshall Moorhead • Rochester • St. Cloud • St. Paul Star of the North On-line edition available at: www.acda-mn.org

New Registration Rate Deadline SUMMER DIALOGUE June 15 – Early Rate July 15 – Regular Rate After July 15 – Late Rate Save dollars by registering early!

Vocal music by living composers. Download choral pdfs for $1 per copy.

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To support and inspire a community of choral musicians in our state • www.acda-mn.org

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Pick Mark Potvin

Men’s Chorus

Princeton High School

She Walks in Beauty Laura Farnell TB, piano Alliance Music AMP0547 She Walks in Beauty is a gorgeous piece of art and simultaneously a teaching piece of the highest caliber. Set in a tessitura for both voice parts that is neither monotonous nor taxing, this simple duet marries lovely poetry with long, beautiful lines. Given to a choir of developingvoice men, the piece deftly addresses a host of technical skills publishers tend to ignore. More settled voices would find great enjoyment in the piece as a small ensemble or in a festival setting. Ensembles of the highest competency can conquer the tune’s pitch and rhythm in a single rehearsal, jumping quickly into an exploration of its artistic potential.

A Trilogy of Knighthood Julie Gardner Bray TTB, piano Heritage Music 15/1315H For the choir who struggles day in and out to match pitch, accurately count rhythms, and operate their voices as they mature, this standard of the men’s repertoire deserves another mention. Comprised of three movements hearkening to medieval themes (The Ceremony, Lady to the Flowers Go, and Equus to the Fight), the work is even more appealing today than when published given the recent success of the Eragon and Lord of the Rings franchises. Die Post Franz Schubert, arr. Pysch TBB, piano National Music Publishers 08761907 Arts songs and arias set for chorus are too often disasters that feel either cheap or uninspired. Not so for this setting from Schubert’s Die Winterreise! The arrangement alternates between unison passages and well-scored triads, heightening the angst and anticipation of the love-sick original as only an over-acting men’s chorus can. A lilting compound meter gallops throughout, offering ample opportunity to influence phrase

Star of the North • Spring 2012

shape and intensify breath energy through kinesthetic activities in rehearsal. The Boatman’s Dance Aaron Copland, arr. Irving Fine TTBB, Baritone solo, piano Boosey & Hawkes 48003226 This delightful and straight-forward arrangement of the opening solo in Copland’s first set of Old American Songs is another warhorse of the men’s chorus canon. The solo is easily learned and can be passed between shared singers as if calling from one river bank or barge to the other. For those teaching private lessons to reluctant young men, this arrangement could provide a gateway from the chorus rehearsal to the voice studio. How Can I Keep from Singing? arr. Gwyneth Walker TTBB, piano Brass Quintet, Percussion, and/or Chamber Orchestra Available E. C. Schirmer 6336 Driving rhythms in common time aren’t the common convention for this nineteenth century Quaker hymn. The men’s chorus edition of Walker’s setting is arguably more memorable than the original (SSAA) version, though defined by the same block chords and playful articulation that so magically capture the effervescent joy of the text. Particularly satisfying is the contrasting statement of “Yet I believe that love abides,” as it dissolves into the vocal dance that builds to the coda. Opting to add brass and percussion infuses the repeated tolling of the text “singing” with a ring akin to the finest carillon. Oh, Sing Jubilee to the Lord Guds Menighed, Sung, arr. Brad Holmes TTBB a cappella Morningstar Publications 50-2611 Luther College’s first-year Norsemen have sung a manuscript edition of this arrangement for the past two decades, bolstering its profile in their appearances at both the 2010 North Central and 2011 National ACDA conferences. Every skilled men’s chorus finally has access to this powerful and infectious hymn of praise. The piece alternates between imitative interplay and homophonic solidarity, culminating in barbershop-esque harmonies that drive through the final key change. Though certainly embodying every stereotype of men’s chorus, this piece is an absolute winner in every way.

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Pick Karla Miller

Two Year College choirs

North Hennepin Community College

Fa Shu Ha (Under That Flower Tree) arr. by Tsai, Yu-Shan/Lyrics by Gu, Siou-Ru Earthsongs, Copyright 2011 SATB/Solo Fa Shu Ha refers to the old name for a Hakka village in rural Taiwan. It represents a symbol of modern prosperity and development in this village; like that of the blossoming Tung flower tree. It is somewhat ironic, though, because neither flowers nor trees exist in the village now. Ms. Yu Shan Tsai dedicated the first edition to the Formosa Singers whose mission was to preserve the beautiful languages and cultures of the ancestors. The melody and harmonies are hauntingly beautiful. Three Japanese Peoms: 1. Snow (Yuki) 2. Wind (Yama Gawa Ni) 3. Rain (Murasame) Ruth Morris Gray Alfred Music Publishing Co., Inc., #33069 SATB/Piano This would be a wonderful selection for any nature-themed program. These poems about snow, wind, and rain were written sometime in the ninth century. They are a fast learn and yet sound so lovely. I have added a wind chime to the second selection and a rain stick to number three for a little glitz and sparkle. All On a Cold Winter’s Night Douglas E. Wagner Heritage Music Press 15/2731H SATB/Piano “Peace, peace now warms my soul, all on a cold winter’s night.” Greensleeves is used for the melody put together with a beautiful “wintry” text. Emotion abounds when describing the beauties of the season. Some counterpoint is used with moments of total harmonic peace. An oboe solo adds very artistically to the flowing piano accompaniment.

Come, Sable Night arr. by Robert Sieving SBMP992 SATB, Piano Our very own Robert Sieving has arranged this octavo for mixed choir using the 2nd movement of Mozart’s Piano Concerto in A. It is set to a poem by an Elizabethan poet. Experience Mozart’s gift (and Robert’s) to music by programming this beautiful selection. Psallite Bryan Johanson Earthsongs S-348 SATB/Piano Yes, another setting of “Sing joyfully to God, all the earth” but a definite contender in my “favorites” category. This composition is so energized with rhythmic vitality. It will be challenging because of the rhythmic aspects but well worth the effort. It will be a favorite for your singers and for your accompanist (though it will take a skillful pianist). Bugler’s Holiday Leroy Anderson/arr. by Sally K. Albrecht Alfred Music Publishing Co., Inc. 35792 SSATB with piano or a cappella Here it is! I know what you may be thinking … but this really works. Sally Albrecht has written a very fun transcription of this well-known piece. It would be perfect in a pop concert or for interjecting familiar music in a jovial way. The first time I heard it I smiled through the entire performance. It brought me back to my childhood when every morning my dad would be listening to WCCO and the “Bugler’s Holiday” would be played after the farm market report. Your older audience members will love it!

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Pick Aaron J. Carpenter

Boys’ Choir

Artistic Director, Land of Lakes Choirboys

Wir eilen mit schwachen, doch emsigen Schritten J.S. Bach SA This duet from Bach’s Cantata No. 78 Jesu der du meine Seele is a great way to introduce Baroque music to your treble singers. With melismas dancing through both the soprano and alto lines, the text by Johann Rist is set in motion. The German in the first part of this work is accessible due, in part, to its repetitive nature. The ‘B’ section creates a bit more of challenge not only musically, but also textually. Still, this selection will help your singers grasp the styles of the period and introduce them to one of the great masters. Walzer der Freude Johann Strauss/arr. Gerald Wirth Hal Leonard SSA Can you go wrong with a Strauss waltz? Audiences love this setting of one of the many Strauss waltzes. Gerald Wirth, Artistic Director of the Vienna Boys’ Choir, teams up with his wife, Elke Wirth, to create this rousing story of a drop of water that dances and journeys all the way to the ocean. Text is presented in German and English. Your singers will take to this song quickly and will want to perform it again and again. Beginning with a simple two-part dance, this composition develops with twists and turns in key signatures, dynamics, and emotion. This would be a great addition to any boys’ choir music library. Music, Like a Radiant Light Mark Patterson BriLee Music Unison, optional Two-Part The notes flow gently around a beautiful text, “Music, like a radiant light, streams through the silence of the night; ringing forth with splendor bright; singing, shining, bringing joy to life.” A perfect selection to celebrate the joy and mystery of music, as it “never shall fade.” Beginning with flute, piano, and unison voices, the piece adds an optional alto line that combines the A and B sec-

Star of the North • Spring 2012

tion into a beautiful duet. This is a great piece of music for collaborations with other choirs who are joining together to celebrate the joy of making music. Two Psalm Settings David and Susan Palo Cherwien Choristers Guild Unison/ two-part The first of these two psalm settings is of Psalm 8:1-5, 9. “Majestic Your Name, O God” captures the meaning of the text immediately with an optional trumpet call before the voices enter with a fanfare-like melody with continued forward movement. The ascending and descending lines, based on major scales, is a perfect tool for applying solfeggio to the music. The second setting is of Psalm 19:14. Once again, Mr. Cherwien embraces the text, “Let the words of my mouth and the meditation of my heart be acceptable in your sight, O Lord, my strength and my redeemer.” The reflective nature of this setting allows your choristers to express the emotion of the text with simple melody and harmony lines. ¡El cielo canta alegria! Pablo Sosa/arr. Roger Bergs Boosey & Hawkes SSA Heaven is singing for joy! This fiery composition by Sosa is one every conductor should have in his or her music library. The Spanish text is simple and the editors offer a great IPA pronunciation guide. The arrangement can be performed SSA or unison and can be combined with the SATB arrangement. Add some Latin American instruments to get the full flavor of the songs origins. When Jesus Wept William Billings/arr. Gerald Custer GIA Publications, Inc. SAB Considered the “father of American choral music and hymnody,” William Billings’ hymn has been sung by many generations of singers and church-goers. The simple melody, known to many, gets a new look by Gerald Custer. Custer, in his arrangement for SAB voices adds a piano accompaniment that reflects the text. Although this setting is arranged for SAB it can be easily and successfully adapted for SSA voicing. It could also be sung without accompaniment as a processional.

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Pick Ethnic/Multicultural Perspectives choirs

Jonathan Kopplin

Night Yoik Frode Fjellheim SSA voices, piano, and frame drum Boosey & Hawkes (Hal Leonard) 48004923 Frode Fjellheim is a Norwegian musician who specializes in the yoik tradition of the Sami people. The Sami are an indigenous culture of the northern areas of Scandinavia and Russia. A yoik is a style of chanting that sounds very similar to Native American chants. The text does not have specific meaning or translation, but is meant to represent a person or emotion. When introducing the piece I have sung the chant to my students, and asked them to attempt to guess the culture of origin. The answers are often quite varied, but one year I had a Swedish foreign exchange student that accurately guessed the song’s origin. Early in the process, I feel it is important to teach the melodic motives from rote as it would be taught among the Sami people. Also, although the piece is voiced for an SSA ensemble the nature of the composition and many like it, make it very adaptable for a variety of ensembles: men, high school mixed, even junior high. Nukapianguaq arr. Stephen Hatfield SSAA a cappella (also available SATB) Boosey & Hawkes (Hal Leonard) 48004460 Canadian composer Stephen Hatfield is well known for his multicultural arrangements. Nukapianguaq is an older arrangement that I stumbled upon recently that represents the chants of the Inuit tribes of North America. A fairly lengthy piece (approximately 8 minutes), it incorporates a lot of monody within the texture. Some of the challenges include maintaining intonation through key changes, and sections in which different groups are performing in different meters and tempos simultaneously. These elements create unique musical challenges that aren’t often found in traditional repertoire.

Ipharadisi arr. Jerry Ulrich SATB a cappella Neil Kjos Music #8990 Dr. Jerry Ulrich, of Georgia Tech University, arranged this South African piece and it has been one of the more popular multicultural pieces that I have programmed during my career. The divisions within the voice parts are not overly complicated and are approachable for any reasonably balanced high school choir. Ulrich built the piece upon a series of layered melodic motives upon a rhythmic ostinato sung by the basses. Program Ipharadisi as a festive concert opener or closer early in the year. Wawaki Gerardo Guevara SATB a cappella Earthsongs #S-130 Guevara’s setting of this Quichuan poem from the indigenous people of Ecuador, is a dialogue between the men’s and women’s voices. The piece is manageable for a high school ensemble, and my students have enjoyed the interplay between the genders. A quality recording of this piece was made by Dr. Karle Erickson’s World Voices on the album, A Cultural Odyssey. Bambulele Will Lopes SSAA a cappella self published http://www.willopesmusic.com A native of Recife, Brazil, Will Lopes is a composer, singer, pianist, and church musician in the Twin Cities area. I became familiar with Mr. Lopes’ musical abilities while we were graduate choral conducting students at the University of Northern Iowa a few years back. Bambulele is a setting of a Brazilian folk song about a Bambu tree. The arrangement is for four part treble choir, and along with having a great rhythmic component, the harmonies are laced with jazz

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elements. This is a fun up-tempo piece that I look forward to programming next year. For sound files and excerpts of this piece and some of Mr. Lopes’ other compositions, please visit the website listed above. We are fortunate in our state to have many quality choral composers actively churning out repertoire. In order to maintain this resource it is important that we support these musicians in our programming whenever possible. In the Dark Forest (V tiomnom lese) arr. Alexander Sveshnikov SATB divisi a cappella Musica Russica FS007 The arrangement of In the Dark Forest may be familiar to many of you. Sveshnikov’s arrangements of Russian folk tunes provided the hallmark of the Soviet choral sound during the 20th century. An extremely fun sing, it allows you to work on homophonic tuning and Russian pronunciation with your ensembles. The divisi within the piece makes it appropriate repertoire for larger sized high school ensembles, collegiate, and community choirs. Musica Russica also publishes arrangements of this piece for men’s choir and women’s choir.

Star of the North • Spring 2012

Our Golden Legacy: 2012-13 STATE HONOR CHOIRS November 16 – 7-8 Boys & Girls November 17 – 4-5-6 Children February 14 – 9-10 HS Women & Mixed

STATE 11-12 HIGH SCHOOL HONOR CHOIR Appearing and performing in the René Clausen World Premiere

A Golden Grand Finale Concert Sunday, November 18, 2012 • 4:00 pm St. Andrew’s Lutheran Church • Mahtomedi

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Pick Lukas Warren

Showchoirs

St. Francis High School

Light of a Clear Blue Morning Dolly Parton/arr. Craig Hella Johnson Hal Leonard – 08750799 SATB A classic country tune worked up in a beautiful, refined, and sophisticated arrangement. Craig Hella Johnson’s elegant writing style features a soloist (or more!) singing the beautiful and inspiring text with the chorus serving up lush harmonies beneath. The conclusion uses a clever layering of chorus, soloists, female trio, and recorder that artfully depicts the depth of the text. Although almost entirely a cappella, this piece could serve a great ballad in a spring show. Somebody to Love Queen/arr. Roger Emerson Hal Leonard – 08202531 SSATB This classic “Queen” tune really is a lot of fun. This arrangement can feature a number of soloists, either male or female. It also is a great way to add an instrumental combo to your choir, and either give a few instrumental students a new experience working with choirs or allow some of your singers to showcase their instrumental chops! While there is certainly a repetitive harmonic structure, the voicing is 5-7 parts all the way through the piece and includes some interesting and complex chords not normally found in standard pop charts. Give this one a look! Like Breathing Pasek and Paul/arr. Anita Cracauer www.customarrangements.net SATB This tune could serve as a great ballad number in any setting, especially a spring concert. Anita’s arrangement of “Like Breathing” is a good challenge for upper level choirs and includes some beautiful melodic lines and lush harmonies that you and your students will certainly enjoy exploring. As a former teacher and career arranger, Anita has a deft awareness and ability to create arrangements that are set in appropriate ranges for students, still maintaining a musical integrity

that will challenge students. This arrangement includes a male soloist (although the solos can be removed and re-voiced) and a beautiful a cappella section that will certainly be memorable for your students and audience members alike. Not While I’m Around Stephen Sondheim/arr. Mark Brymer Hal Leonard – 08621703 SATB (other voicings available) From the classic musical Sweeney Todd, this piece has a timeless and simple melody that is shared between both the men’s and women’s parts. This text is one of the few “positive lights” from the show and easy for younger students to connect with. The part writing is clever enough that even beginning level choirs will be able to find success in this tune without having to resort to singing only simple harmonies. There are some great 7th and 9th chords that are all approached with stepwise motion in all voices and very easy to tune and easy for your students to enjoy! On My Way Jeanine Tesori/arr. Anita Cracauer www.customarragements.net SSA (SATB also available) This is a snappy, upbeat tune from the musical “Violet.” As with all of Anita’s arrangements, a great deal of attention is paid to appropriate part writing and enhancing musical integrity. As it can be hard to find upbeat, optimistic music geared toward women, this piece has a text that would be perfect for an end-of-year concert. This piece also would be a great way to introduce some simple, but affective, choreography to enhance its performance value. Jai Ho A.H. Rahman/arr. Ethan Sperry Earthsongs - S-321 - SATB An ability to be accompanied by a myriad of percussion instruments allows Ethan Sperry’s Jai Ho! to be a great closer for any concert. Complex, layered, dance rhythms drive this piece, while the wonderful Bollywood melodies soar in the upper voices. While this piece is very challenging and has lots of part divisi, the payoff for your students in worth the hard work. This tune will be very well received and a great “change of pace” closer.

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In remembrance... Gregory S. Larsen (1947-2012) Gregory S. Larsen – a teacher, organist, and church music director – died peacefully on March 10th in Denver, Colo. Greg was surrounded by his family when he passed away from brain cancer. He was 64. Greg was born in Jacksonville, Florida and grew up Faribault, Minnesota. He took an interest in music at a young age. His sisters remember waking up very early in the morning to the sounds of a ten year old playing Grieg, Bach, Rachmaninoff, Gershwin, and other composers on the piano. Greg was a teenage choirmaster and organist at the Cathedral of Our Merciful Savior. After graduating from the University of Minnesota, Greg went on to study arts administration at Indiana University. He completed a graduate degree from the University of Montana-Missoula, at the age of 50, in integrated arts education. Greg also served as choir director and organist for a number of other churches: St. James On-the-Parkway (Minneapolis MN, 1967-1978); St. James Lutheran (Minneapolis, early 1980s); St. John the Evangelist (St. Paul MN, 1983-1988); St. Stephen The Martyr (Edina MN, 1988-1993); St. Paul’s Episcopal Church (Minneapolis MN, 1993-1999); and interim positions at a number of other parishes. Those who knew Greg well recalled that he was most happy teaching young people about the beauty of music and the arts. Greg taught general and choral music at a number of schools including: Northeast Junior High School (Minneapolis MN, 1969-1971); Shattuck School-St. Mary’s Hall (Faribault MN, 1971-1975); The Blake School (Hopkins MN, 1975-1999); Black Hawk Middle School (Eagan MN, 1999-2002); and Graland Country Day School (Denver CO, 2002-2008). Greg is survived by his loving wife of 42 years, Laurie; son and daughter-in-law, Peter and Meghan (Berkeley CA); son, Joseph (Minneapolis MN); sister, Andrea Strowd (Pima AZ); sister and brother-in-law, Lisa Larsen and Raymond Flaherty (Helena MT); sister-in-law and brother-in-law, Julie Johnson and Paul Frenz (Minneapolis MN); two nephews, Timothy Strowd (Pima AZ) and Jake Flaherty (Helena MT); stepmother-in-law, Eva Johnson (Edina MN); and sheepdog-mix, Finn (Denver CO).

Star Starofofthe theNorth North••Spring Spring2012 2012

Sigurd Christiansen (1942-2012) Texas Lutheran University (TLU) faculty, staff, students, alumni, and friends today express their deepest condolences as they celebrate the life and legacy of a beloved member of the TLU family, Dr. Sigurd Olaf Christiansen. Dr. Christiansen passed away on January 29 at his home in North St. Paul, Minnesota, with his family by his side. Christiansen was the choir director at TLU for 29 years, serving as chair of the music department for much of that time where he taught and mentored thousands of students, including TLU’s current music and choral director, Dr. Douglas Boyer. “Dr. Sigurd Christiansen brought such life and energy through his presence at Texas Lutheran. He brought to Texas the Christiansen legacy so well known, honored, and revered in the Lutheran universities,” said Dr. Boyer. “He was my choral director when I was a student at TLC and he impacted my life greatly. I will never forget when we were in the balcony of the chapel and we had just completed singing through the Schein Die mit Tränen säen. He looked at us and said, ‘This is when I know that I am home, when I am making music with you.’ I feel the same way when I’m working with the TLU choirs. I feel like I am home.” One of his greatest gifts to TLU was his contribution to the development of Christmas Vespers. “I have tried to continue his legacy by creating a worshipful service where the music leads to a personal, spiritual message for the listener. This I learned from Dr. Christiansen,” said Dr. Boyer. Under the direction of Dr. Boyer, the TLU School of Music will honor his memory by commissioning Thomas Pavlechko, Cantor and Composer In Residence at St. Martin’s Lutheran Church in Austin, to arrange the hymn “Joy to the World” for wind ensemble, choir, and congregation. This arrangement will be dedicated to Dr. Christiansen and performed every year at Christmas Vespers. TLU’s Spring Choir Tour, “A New Creation,” also will be dedicated to the life and legacy of Dr. Christiansen. Dr. Christiansen is survived by his wife of 46 years Karen Christiansen (Carlson), son Sten (Lisa), and daughters Lia (Matt Benson) and Lis (Andy Fuller) and five grandchildren, Ella and Erik Christiansen and Annika, Kai and Ava Benson. He was a voracious reader, accomplished composer, poet, carpenter and handyman. He was a fantastic father who was always up for a game of tennis, hoops, a ski, a skate or time together. His life was one of unwavering love, devoted service, ceaseless humor, and unending curiosity. A private service for the family will be held this summer at Bad Medicine Lake in Minnesota. Memorials can be made to the National Multiple Sclerosis society designated for research. http://www.nationalmssociety.org

William H. (Bill) Stevens (1936-2012) Stevens, William H. (Bill) age 75, of New Hope, passed away on March 9, 2012. He was born on October 9, 1936 in Des Moines, Iowa, and graduated from Clover Park High School in Lakewood, WA in 1954. He has degrees in music education from Drake University and a Ph.D. in vocal music from the University of Oklahoma. He taught public school vocal music in Madrid, St. Charles, and Woodward, IA, Howard Lake, MN, and Kansas City, KS. He taught vocal music and related subjects at St. Mary’s University, Winona, MN 1978-1991. His many interests included singing, gardening, woodcarving, fishing, karate and recording textbooks for the Minnesota State Services for the Blind, where he volunteered for 19 years. He is preceded in death by his parents Lyman and Hazel, and brother John. He is survived by wife Marna, daughter Becky (Steve) Nett, and son David (Beth) Stevens, and five grandchildren, Katie Nett, Ryan Nett, Kelle Nett, Madeline Stevens, and Sophia Stevens. In lieu of flowers, memorials preferred to Communication Center - Minnesota State Services for the Blind, 2200 University Avenue West, Suite 240, St. Paul MN 55114. Tribute to Bill Stevens By Robert Sieving William H. (Bill) Stevens (1936-2012) was a multi-talented musician and Renaissance man. There were few topics that didn’t interest him; his curiosity ranged from the choral music of Johann Friedrich Fasch to the impenetrable subject of quantum physics. One day while we were in graduate school, Bill and I took an afternoon off to drive to a spot in the country for a lazy day of decompression and talk. While rummaging for mushrooms, Bill’s delighted cry revealed his spotting of some watercress along a little creek, prompting an enthusiastic discourse on the delights of Asian cooking with readily found North American flora. This vignette projects a wider sense of knowing Bill, a wonderful pal and thoughtful colleague. He was a masterful storyteller, a gourmet cook, carver of Northwestern Native American art, reader of audio books for the blind, and a host of seemingly unrelated activities that nonetheless revealed a first-class mind in love with the world around him. He was adored by his family, respected and admired by his students, and loved by friends and colleagues. The selection of music at Bill’s celebration of life service reflected his wide-ranging love of disparate musical styles: a hymn used at Bill and Marna’s wedding, a chorale from Bach’s St. John Passion, string music ranging from pieces by Jacque Mazas

and Ignaz Pleyel to Hopak from Mussorgsky’s “Pictures at an Exhibition,” all ending with a joyous rendition of the Widor Toccata. The program cover was graced with a musical excerpt in Bill’s beautiful manuscript from his Fasch dissertation. There is much to learn from Bill’s example: good-humored tolerance, a fascination with the world’s infinite sweep of experiences, the willingness to work anonymously for others’ benefit, and, permeating through his life, a love of the art that unites us all with his spirit and that of our larger human family. Requiescat in pace, my friend. Frank Joy (1921-2012) Frank Preston Joy was born October 31, 1921 in Lougheed, Alberta, Canada, and died February 1, 2012 in Boise, Idaho. Frank married Myrt (Peterson) Joy on September 2, 1942 and they were married 69 years. Frank is survived by four children: Stephen (Dorothy), Kathleen (David) Gural, Gary, and Bryan; grandchildren: Stephen V., Roxanne, Tanya, Amy, Erica, Lindsay and Nathan; great grandchildren: Ali, Rachael, Jack, Tyler, Chloe, Merrick, Carter, and Callie. Frank is also survived by his sister Thelma, Minneapolis, sisters-in-law; Mary Joy and Darlene Peterson of Minneapolis; brother-inlaw Kenny (Loanne) Strandberg of Island Park, Idaho. Frank was preceded in death by his parents: Arthur and Elida (Arnesen) Joy; Brothers: Arthur, Ralph, James, and Leroy. Frank graduated from Miller Vocational High School in Minneapolis and received his BS and MS degrees from McPhail School of Music. Frank served in WWII as a chaplain’s assistant. He attained the rank of Tec 5 (sergeant) and received 5 battle stars. Frank and Myrt traveled extensively and lived in many places including Minneapolis /St. Paul, Arizona, Arkansas, Oregon, and Idaho. Frank was a music teacher for 37 years in Tigard, Oregon, St. Paul, and Maplewood, Minnesota, and was very close to his students. Frank directed many church choirs and worked in the printing industry. Frank will be greatly missed by his family and friends. In lieu of flowers please donate to your local Hospice Center. www.cloverdalefuneralhome.com

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ACDA-MN Members approve district re-alignment beginning in 2012

Star of the North â&#x20AC;˘ Spring 2012

ACDA of Minnesota State Conference

APPLICATION FOR CHORAL PERFORMANCE OR *DEMONSTRATION CHOIR Gustavus Adolphus College • St. Peter • November 18 & 19, 2011

Name of Director ______________________________________________________________________ ACDA Member #___________ Exp Date_________ Street_____________________________________________________________ City___________________________ State _____ Zip________________ Home Phone________________________________________ Home Email _________________________________________________________________ Name of Organization/Institution ____________________________________________________________________________________________________ Street______________________________________________________________ City___________________________ State _____ Zip_______________ Office Phone_________________________________________ Office Email ________________________________________________________________ Name of Ensemble_________________________________________________________________ Voicing: Size of Ensemble _________

Level:

Professional

College

High School

Junior HS

Middle School

SSA TTBB

Elementary

Community

SATB etc. ______________ Professional

Church

*Special Note: The State Conference seeks to feature successful small school choral programs at the elementary, middle or high school level as part of the expanded Friday Immersion program, culminating in a special concert and/or clinic performance in the Friday afternoon concert block. ____We wish to be considered as a demonstration choir with the opportunity to work with a clinician. The clinic length will be up to three selections and not the usual 25 minute program.

Size of student enrollment K-12 ______

Size of high school graduating class ________

RECORDINGS SUBMITTED WITH THIS APPLICATION: Include contrasting selections from the last two years, including at least one a cappella selection, if possible. Indicate the year each selection was recorded and check whether performance is edited or unedited. TITLE

COMPOSER

YEAR RECORDED

EDITED YES NO

#1____________________________________________________________

_______________________________

__________

____

#2____________________________________________________________

_______________________________

__________

____

#3____________________________________________________________

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__________

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RECORDING SPECIFICATIONS: 1) Must be a CD; 2) Submit complete selections only; 3) Total recording time should be between 8 and 15 minutes; 4) Put your name and the name of the ensemble on the CD and the CD cover; 5) Show Choirs are required to submit a DVD. PRINTED PROGRAMS (or copies) MUST be submitted with the corresponding recording. These programs should reference material on the recording. PERFORMANCE PROGRAM – Applicant is invited to submit possible repertoire for the conference performance on the reverse side of this form or on another sheet. Note: Total time for program, including applause, may not exceed 25 minutes. MAILING SCHEDULE • June 1 – Application, recordings and program must be received by ACDA of Minnesota Executive Director • June 15 – Applicant will receive written notification for acceptance or non-acceptance ELIGIBILITY • Conductor must be a member of ACDA, and employed in the same position for the previous two years. ACDA does not assume any financial responsibility for travel, food, or lodging for performance groups. This application implies that the above named group is prepared to travel to and perform at the conference if accepted. • On reverse side, list ACDA state conference appearances in the past five years. In the interest of fairness, ACDA reserves the right to select ensembles who have not recently been heard on conference programs. • Failure to comply with any or all of the specifications in this application will automatically disqualify your application. • ACDA reserves the right to approve any applications for appearance and to edit all material proposed for distribution. • Audition recordings will be returned only if address label and return postage is included.

____________________________________________________________________ Director’s Signature Date

June 1, 1, 2012 2010 to: Send audition application by June

____________________________________________________________________ Administrator’s Signature Date

Bruce W. Becker, Executive Director ACDA of Minnesota 12027 Gantry Lane Apple Valley MN 55124

To support and inspire a community of choral musicians in our state • www.acda-mn.org

the

Lastword RENEWAL FROM THE INSIDE OUT…

Bruce W. Becker ACDA-MN Executive Director

The first quarter of each calendar year is a time when ACDA-MN reflects upon itself as it evaluates all of the annual activities that occurred in the previous year. The comments and feedback offered by registrants at Summer Dialogue and State Conference along with those we typically receive day by day serve as the core of our evaluative work. From this process, we generate an intentional spirit of renewal throughout our entire organization. I call this “renewal from the inside out” and am excited to share how ACDA-MN will be renewed in the coming 50th anniversary year. RENEWAL: SUMMER DIALOGUE and STATE CONFERENCE Your ACDA-MN leadership team, even before the events are completed, is already thinking about ways to bring you an ever greater and more fulfilling experience in the future. Program chairs are thinking about dynamic clinicians and relevant topics that will relate to and nourish a membership that continues to experience dynamic changes in the music classroom and choral rehearsal hall. Consequently, we are committed to consistently serving our constituencies who teach at the elementary and middle levels. Further, we are broadening and expanding our outreach in the area of music and worship, seeking positive and supportive collaborations with other organizations. We are looking for ways to be more intentional about how we relate and offer services to our student members in their collegiate chapters. Finally, we continue to seek out outstanding facilities throughout the state that will host these major events. As we commit to the future, renewal is at the core of how we think and plan.

RENEWAL: NEW 9-10 WOMEN’S HONOR CHOIR Over the past several years, we have seen a huge increase in the numbers of students auditioning for the annual State 9-10 High School Honor Choir program. As interest grows, so has the frustration that many deserving and qualified female singers are not given the opportunity to participate because of the competition for few available spaces. We have seen well over 500 girls audition, to compete for only 65 positions. Beginning in the 2012-13 school year, ACDA-MN will renew its commitment to these singers and their directors by offering a new State 9-10 Women’s Honor Choir. Sopranos and altos will all audition for the 9-10 honor choir program each fall, and will be alternately placed in either the 9-10 Mixed Choir or the new 9-10 Women’s Choir, similar to the process used by MMEA in alternately selecting students for the three All-State choirs. RENEWAL: NEW WEBSITE Approved by the ACDA-MN Board of Directors at their January 2012 board meeting, are plans to re-design and reformat our website. A specially appointed design and development team of former webmaster Tom Hale and artistic designer Katryn Conlin have begun work and will have the new site ready to launch this coming August. The goal of the redesign is to modernize and update the look of the website, taking advantage of the newest applications in website design. In addition, a high priority in this makeover is to improve the overall navigation of the site. Another development tied to this makeover will be the expanded use of social media resources. It is our hope that our entire membership will personally experience the positive and professional renewal of this massive project.

Our Golden Legacy: A Distinguished Past…A Vibrant Future!

Star of the North • Spring 2012

RENEWAL: NEW MEMBERSHIP DATABASE During the better part of the winter quarter, along with web developer Tom Hale, have been developing a new and improved membership database on our website. For the past several years, we have been maintaining two separate databases, each with their specific limitations. As was the practice, each time a member would change their contact information, two databases would need to be manually updated. We have painstakingly transferred all information (one by one) from the former database to the new, affecting over 925 individual member files. The organization now has one updated and complete membership file for each ACDA-MN member, whose data can be easily and readily retrieved for a variety of user applications. What this means to you as a member is that now you have EASY access to full membership data on every ACDA-MN member available directly on the website. This renewed and updated on-line searchable membership directory is available to you 24/7. Contact information can be easily edited by the member who experience changes in email or land mailing addresses, phone numbers, work or home locations, or name change.

You have seen these helpful lists and reviews entitled “Pick Six” in each issue of Star of the North. Retired members Barb Hanson (Rosemount HS) and Michael Ellingsen (Blue Earth Area HS) have been entering data from 21 years of Star of the North past issues into a new on-line searchable database. Upon completion in early 2013, members may search for repertoire by composer, voicing, or accompaniment, or difficulty level. We anticipate this will be an incredible and renewing resource of locating quality choral repertoire for our membership. RENEWAL: MEANINGS FOR ACDA-MN AND YOU As I describe and share all of the renewed activities that we are about to experience in the coming year, I want to reflect upon some further meanings of the word “renewal” as follows: revive, regenerate, restore, refresh, rejuvenate, revitalize, reinvigorate, revamp, redo, refurbish, refurnish, renovate, refit, overhaul, recondition, and modernize. May you yourself embark on your own journey of renewal as you continue to connect with ACDA-MN as it seeks way to live out it’s mission statement: ACDA-MN exists to support and inspire a community of (RENEWED) choral musicians in our state.

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RENEWAL: PICK SIX REPERTOIRE LISTS Since 1991, approximately 1,700 repertoire titles have been reviewed and recommended by our ACDA-MN R&S Chairs.

That’s all for now...

SUMMER DIALOGUE PREvIEw AUGUSt 7-10, 2012

Saint John’s University – Collegeville, Minnesota

Our Featured Headliners

Craig Hella Johnson ACDA-MN Directors’ Chorus Session: The Artist-Teacher – Remembering Who you Are Friday, August 10, 1:30-2:20 pm

Rhonda Fuelberth MMEA All-State Women’s Choir Session: Developing Artistry Through Choral Singing Thursday, August 9, 9:00-9:50 am

Rollo Dilworth MMEA All-State Mixed Choir Session: Programming a Choral Showcase Concert – Some Guiding Principles Wednesday, August 8, 9:00-9:50 am

Chris Aspaas MMEA All-State Men’s Choir Session: Why Am I Here? Examining Vocation and Advocacy in a Challenging Time Friday, August 10, 9:00-9:50 am

Early Registration Rates available until June 15 Complete Registration Brochure available on-line at: www.acda-mn.org To support and inspire a community of choral musicians in our state • www.acda-mn.org

Membership Form

New Membership

Renewal: #

Please print clearly

Online Renewal: www.acda.org Fax or mail: ACDA 545 Couch Drive Oklahoma City, OK 73102-2207 Phone: 405-232-8161 x110 Fax: 405-232-8162 (no cover sheet please) ldefrancis@acda.org

2. Name First Name

Middle Name

Last Name

(If there are no changes in your membership info skip to #6)

Primary:

Address 1:

Boy Children & Youth Community Ethnic & Multicultural Girls Jazz Men SATB / Mixed Show Choir Women

Address 2: City: State / Province: Postal Code / Country: (

)

Fax:

(

)

Cell:

(

)

Last 4 # of SSN

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

3. Mailing Address

Phone:

Sufx

Primary Email:

Primary: ACDA Student Chapter College & University Community Elementary Junior High / Middle School Music in Worship Professional Sr. High School Supervisor / Administrator Two-Year College Youth & Student Activities

As a member, I support the mission and purposes of the American Choral Directors Association.

I would like to receive email notications from ACDA.

5. ACDA Membership - Including Choral Journal Subscription Visit our web site for a description of these types. www.acda.org/membership

One Year Two Years Three Years Active (US and Canada) $95.00 $190.00 $285.00 00 00 Active Iowa (Active members who live in the state of Iowa) $98. $196. $294.00 00 00 Active Minnesota (Active members who live in the state of Minnesota) $110. $220. $330.00 International (Those outside the US & Canada - payment must be in U.S. dollars) $135.00 $270.00 $405.00 00 00 Retired $45. $90. $135.00 Retired Minnesota (Retired members who live in the state of Minnesota) $60.00 $120.00 $180.00 00 00 Student (full and part-time students at any level) $35. $70. $105.00 Associate (Choral Singers, Administrators & non-directors) $95.00 $190.00 $285.00 00 00 Associate Minnesota (Administrators & non-directors who live in Minnesota) $110. $220. $330.00 00 00 Institution (Ensemble or School/Church Music Dept.) $110. $220. $330.00 Industry (Music-related businesses) $135.00 $270.00 $405.00 00 00 Paying Life** (Make a lifetime commitment) $2,000. Annual Installment of $200. or greater $__________ **(To qualify for life membership, you must have been an active member of ACDA for a minumum of 10 years) 6. Payment - Payable to ACDA in US Dollars. Total: $ Check #_________________ (Enclosed) Do not fax if mailing a check Visa

MasterCard

Discover

American Express

PO_______________ (PO form & this form must arrive together)

Membership will be renewed upon receipt of payment.

___ ___ ___ ___ - ___ ___ ___ ___ - ___ ___ ___ ___ - ___ ___ ___ ___ Expiration Date: ___ ___ / 20 ___ ___

C V V 2 Code: ___ ___ ___

Name on Card:__________________________________________ Signature: _______________________________________________ Billing Address:___________________________________________ Date: _______________________ ______________________________________________________ I agree to pay the total according to the credit card issuer agreement and acknowledge that all sales are nal unless duplicate payment is made, © ACDA Revised January 27, 2011

Star of the North • Spring 2012

North Central University Chorale performing at Carnegie Hall

You know us for our great chorale and music performance, now the College of Fine Arts

INTRODUCES

M U S I C E D U C AT I O N A partnership of NCU’s College of Fine Arts and School of Education. Outstanding instrumental & vocal musical training. Two North Central Alumni have received the Minnesota Teacher of the Year award. Learn more at northcentral.edu/ACDA

LARRY BACH Dean College of Fine Arts

admissions@northcentral.edu 910 Elliot Ave., Minneapolis, MN 55404 £ nää Ón ÈÓÓÓÊ UÊ ÀÌ Vi ÌÀ> °i`Õ

To support and inspire a community of choral musicians • www.acda-mn.org