At the CSU Fullerton School of Music,
We Believe …
…that people learn and perform best in a safe and positive environment. …in student-centered teaching and learning. …that developing musicianship is key to your future success. …that Everything we do, we do Together. …that the quality of your musical training really matters. …in the power of music to change lives for the better. …that professionalism is a teachable skill. …that great conductors and singers must also be great teachers. …that how you do anything affects how you do everything. …in Reaching Higher to help you achieve your goals. …that Everything relates to Everything. …that together we are stronger. …that you will teach the way that you were taught. …that where you have been is much less important than where you are going.
WHAT we do is important. WHY we do it, is for YOU!
music.fullerton.edu 2 • Cantate • Vol. 33, No. 2 • Winter 2021
California Choral Directors Association
IN THIS ISSUE 5 | 2020? HINDSIGHT! from the president’s pen · by jeffrey benson 6 | GET MORE DOGS letter from the editor · by eliza rubenstein 8 | FIGHT OR FLIGHT when gun violence came to choir
· by kaytie holt, interviewed by eliza rubenstein
15 | YOU’VE GOT THIS! ideas that work for virtual rehearsal
· by nicola bertoni dedmon
18 | FLEXIBLE DREAMS the composer’s voice · by dale trumbore 19 | GEORGE HEUSSENSTAMM COMPOSITION CONTEST by david montoya
20 | SEEN & HEARD 22 | ALL-STATE HONOR CHOIRS by molly peters
22 | “SING UP!” MEMBERSHIP UPDATE by polly vasché
25 | VISION FOR THE FUTURE scholarship fund donors
25 | CCDA SUMMER CONFERENCE AT ECCO 26 | NEWS AND NOTES happenings from around the state
30 | TOP FIVE: LGBTQ PERSPECTIVES
We used to have risers....now we have these! Here’s hoping 2021 is a better year for choruses everywhere. Photo by Cari Earnhart, from an outdoor rehearsal at CSU Fresno.
by joshua palkki
34 | TOP FIVE: HIGH SCHOOL CHOIRS by stacey kikkawa
35 | TOP FIVE: COLLEGE AND UNIVERSITY by corie brown
35 | TOP FIVE: CHORAL COMPOSITION by david montoya
38 | CCDA DIRECTORY
Leading the Way
Cantate • Vol. 33, No. 2 • Winter 2021 • 3
CANTATE Volume 33, Number 2
Official publication of the California Choral Directors Association, an Affiliate of the American Choral Directors Association Eliza Rubenstein, editor
cantate.editor@gmail.com
GUIDELINES FOR SUBMISSIONS We welcome and encourage CCDA members to contribute articles, announcements, music and book reviews, job vacancy listings, photographs, and other items of interest to Cantate! Please send queries and article ideas to You are also welcome to submit completed articles, but please note that not all articles received will be published. cantate.editor@gmail.com.
Deadlines for publication are as follows: August 15 (Fall issue); November 1 (Winter issue); March 1 (Spring issue). The editor reserves the right to edit all submissions.
ADVERTISING IN CANTATE Please visit our website (www.acdacal.org) or e-mail us at cantate.ads@gmail.com for complete information on advertising in Cantate, including rates, deadlines, and graphics specifications. Advertisements are subject to editorial approval. On the cover: An empty concert hall waits for the music to return. Photo by Radek Grzybowski via Unsplash.com.
4 • Cantate • Vol. 33, No. 2 • Winter 2021
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 state institutions and their programs throughout 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.
California Choral Directors Association empowers choral musicians to create transformative experiences for California’s diverse communities. CCDA is a 501(c)3 non-profit, tax-exempt corporation and an affiliate of the American Choral Directors Association.
UPCOMING EVENTS ACDA National Conference March 18-20, 2021 (online at acda.org) CASMEC (California All-State Music Education Conference) February 19-20, 2021 (online at calcda.org)
California Choral Directors Association
From The president’s pen:
2020? HINDSIGHT! appy New Year! As we bid 2020 a strong “good H riddance,” many of us are beginning this year
Jeffrey Benson is Director of Choral Activities at San José State University. The
Washington Post hails his choirs for singing
“with an exquisite blend, subtlety of phrasing, confident musicianship and fully supported tone…that would be the envy of some professional ensembles.”
He is also the Artistic Director of Peninsula Cantare, a community chorus based in
Palo
Alto. He received his Masters degree and his Doctorate in Choral Conducting/Music Education from The Florida State University and his
Bachelors
degree in
Music
Education from New York University.
with grand New Year’s resolutions. We’ve transformed our profession to an online or hybrid world in order to survive this year, and now we’re hoping to make improvements so we can stay relevant to our singers. Transformations are often uncomfortable. If you’re like me, it seems virtually impossible to break out of habits we’ve created after years of standing in front of our choirs. The pandemic has forced our transformation in many ways, but the challenge now is to use this scary time as a growth opportunity for ourselves and for our singers. I know that online teaching has forced me to let go and allow the singers to be in control more, in spite of my inner control freak tendencies. Although I’ve worried about the controlled chaos that ensues, I’ve learned more from my singers this year than ever before. My stepping back allows their leadership and ideas to flourish even more. I can’t wait to see this controlled chaos in action once we’re back to fully in-person rehearsals! In speaking with many of you over the past few months, I’m amazed that in spite of how difficult this time has been, you’ve been able to look at your teaching and your rehearsals with a new critical eye toward growth. You’ve all had to start over. But the choral community has taken this transformation seriously enough to throw out old habits that have not been working. I’m unbelievably grateful to so many conductors and teachers who are sharing every resource they can with us on social media platforms and through e-mail. This pandemic has brought us closer together as a profession. I know I have personally benefitted from the ideas and workshare that has been circulating through our community (and saved us hours of precious time). Thank you to all of our CCDA community for your servant leadership in our state!
s an organization, CCDA continues to make plans to transform and stay A relevant for you! If you haven’t already
Leading the Way
registered, please consider joining us for a virtual California All-State Music Education Conference (CASMEC) from the comfort of your living room, February 19-20, 2021. It will be an inspirational weekend for you to connect with colleagues, and attend informative interest sessions. Thanks to Kristina Nakagawa for organizing another amazing choral strand for this year’s virtual event, all while crafting content that will speak to our current needs in the middle of virtual rehearsals. We are grateful for the continued collaboration among all of the CASMEC organizing team: CMEA, CBDA, CAJ, and CODA. Please join us for this exceptional event! CCDA’s All-State Honor Choirs have already begun their work toward virtual performances this spring thanks to the leadership of Molly Peters, Susie Martone, and Angelina Fitzhugh. The planning and brainstorming for this event began last summer as your CCDA Board tried to figure out how to keep providing transformational experiences for the young singers in our state. I’m grateful for, and proud of, the work our honor choir committee is doing to bring four outstanding conductors to inspire our All-State students in new ways. Feel free to “stop in” to one of the All-State Honor Choir rehearsals on zoom over the next month. And stay tuned for those virtual performances later this spring! As you look ahead to summer and fall, I urge you all to keep your focus on what we can do after we’re back to our “normal” rehearsals. We will continue the learning and growing we’ve done over the past year. While none of us wants to go back to the start, we have all learned a tremendous amount during the pandemic. I simply can’t help but sing the Stephen Sondheim lyric, “I know things now, many valuable things that I hadn’t known before…and though scary is exciting, nice is different than good.” I am working on using the valuable things I’ve learned to find the good that has been added to my teaching throughout all of this “scary.”
Cantate • Vol. 33, No. 2 • Winter 2021 • 5
letter from the editor:
GET MORE dogS I Eliza Rubenstein is the Director of Choral and
Vocal Activities at
Orange Coast College, and the
Artistic
Director of the Orange County Women’s Chorus and the
Long Beach
Chorale & Chamber Orchestra. She holds degrees from
Oberlin College and UC-Irvine, and she is a former animal shelter supervisor and the co-author of a book about dog adoption.
Eliza’s family includes her partner,
Julie
Fischer; four dogs; and a cat named
Wilbur.
She’s passionate about grammar,
Thai food,
photography, and the
St. Louis Cardinals and
St. Louis Blues.
n times of stress, some people do yoga, some for as long as I’ve had both choirs and pets. Communicating with animals, like drink, some binge-watch Tiger King, and communicating with singers, is an ever-shifting some buy stuff on eBay. My partner, Julie, process of balancing expectations and and I just get more dogs. compassion, language and movement, At least, that’s been our approach to intellect and intuition. Carter’s insatiable 2020, during which our family has doubled thirst for problem-solving demands that we its canine population with the addition of two keep supplying him with problems to solve; new spotted teenagers. Carter, an Australian like a bright child, he’ll find trouble if we shepherd pup with a soprano range and a don’t. Russell, who only a few months ago dagger-sharp, dagger-dangerous mind, came was quivering in the back of a kennel 2,000 to us just before the initial COVID shutdown; miles away, has reminded us that learning Russell, an Aussie/border collie/coonhound relies on trust and teaching mix with the fur of a calls for grace; thanks to an bunny and the eyes of open heart on his part and David Bowie, found his uncharacteristic patience way from an Alabama on ours, we’ve watched him animal shelter into our bloom from crybaby into home in October. clown. In dog training as in We did not need choral music, our students any more dogs. We had are our teachers. two already (yellow Labrador and retired ut—okay—dogs really service dog Dayton, and don’t have that much Australian shepherd to do with choir, and that, and agility star Elliot), too, is the point. The along with three cats and pandemic and the swathe of two bonus horses, and cancellations it cut through that’s enough by nearly all of our years and careers any reasonable person’s have been a stark reminder Clockwise from upper left: standards. that choral music can’t be Carter, Elliot, Dayton, and Russell. But we are not, the entirety of our identities apparently, reasonable or the archive of all our hopes. people; we are midlife suckers, she a There is no gratitude in me for a year veterinarian and I a dog-trainer-and-animalthat’s killed 350,000 people (many more, by shelter-manager-turned-conductor, who are the time you read this) and laid bare so many helpless under the gaze of a soft cookies-anddesign flaws in the mechanics of our society. cream face. Thus our 2020, though marked There are silver linings, though, and this like everyone else’s by fear and loss and unexpected, unwanted “grand pause” in the frustration, has also been filled with puppy musical world as we knew it has forced me to breath and clicker-training and morning reaffirm the non-choral parts of my life, my dogpiles on the bed. Distance learning for self. Who am I without the rush of rehearsals us means practicing down-stays from 30 feet and the goal of performance? What else in my away. Zooming happens regularly in the back life engages my brain and animates my soul? yard. Our hybrid model is Russell, with his When the singing resumes, I hope I’ll Aussie polka dots and his classic coonhound recall this reset and recommit to this balance. nose for squirrels. When I’m stressed in the future about releases What does this have to do with choral and vowels, I hope I’ll remember to take a music? Well, it’s not altogether unrelated, breath, step back, and get more dogs. since living with and educating dogs has been Metaphorically, anyway. Five is a lot. teaching me how to be a better choral director
6 • Cantate • Vol. 33, No. 2 • Winter 2021
B
California Choral Directors Association
CASMEC Professional Development Sessions Virtual Conference
February 19-20, 2021
Registration is now open at www.casmec.org Active Members: $55 Retired Members: $10
Non-Members: $75 Collegiate Student Members: $10
Choral Interest Session Topics: Exploring American Composers: Engage Fixed Mindsets about Quality Music Jonathan Napier-Morales Amplifying Womxn’s Voices in the Reimagined Choral Classroom Dr. Alyssa Cossey Black Voices: The Transformative Power of Choral Music Dr. Marshaun Hymon Harnessing the Power of Mirror Neurons in the Choral Rehearsal Dr. Nicole Lamartine Maintaining Culture Through a Crisis: Keeping Students Energized, Engaged, and Excited Dr. Scott Glysson No Spandex Required: Yoga Stretches for Choirs Melissa Trevino Keylock Stuck in the Middle: a Focus on Junior High & Middle School Roger Emerson Authentic, Inclusive, and Intentional Programming Dr. Alexander Lloyd Blake Tools and Tactics to Lead Music Groups in Change for Better Inclusion and Equity Dr. Nate Risdon and Timir Chokshi Students at the Crossroads Special student session in collaboration with the state’s student ACDA chapters plus CCDA Awards Ceremony and Happy Hour to honor our 2021 CCDA Choral Director of the Year & 2021 CCDA Early Career Choral Director
Leading the Way
Cantate • Vol. 33, No. 2 • Winter 2021 • 7
FIGHT
or
FLIGHT
A choir director recalls the day gun violence came to her school
By Kaytie Holt, interviewed by Eliza Rubenstein
8 • Cantate • Vol. 33, No. 2 • Winter 2021
California Choral Directors Association
On November 14, 2019, a student arrived to the campus of Saugus High School on his 16th birthday carrying an unregistered .45 caliber pistol. He used the gun to wound three of his schoolmates and kill two others—15-year-old Gracie Anne Muehlberger and 14-year-old Dominic Blackwell—before killing himself. In the aftermath of the tragedy, Saugus High choral director Kaytie Holt was commended as a hero for sheltering students in her classroom and treating one victim’s wounds while they waited for help. As the anniversary of the attack approached, Kaytie shared some of her recollections of that day— and her thoughts on how to keep other schools from having to experience a similar catastrophe. Photo by Max Kleinen via Unsplash.com
Leading the Way
Cantate • Vol. 33, No. 2 • Winter 2021 • 9
Eliza Rubenstein: Do you remember your sequence of thoughts and feelings as the shooting at Saugus High was unfolding? Can you describe it? Kaytie Holt: I remember the incident very well. We were listening to some clinician tapes from a Jazz festival we had visited the previous weekend, so we didn’t hear the gunshots. Four or five girls ran into my room. One of them was a student from another one of my choirs. That student told me they had heard gunshots. I didn’t believe this was real, but I acted as if it was to be safe. I locked the door and turned off the lights, I told all of my students to get in my office, I grabbed students from practice rooms and told them to get into my office, and then I barricaded the doors. After that, I joined my students in the office, which has another locking door. Once we were inside I tried to keep students calm, reassuring them that this might not be real, when thy student who had run into my class told me she believed her friend had been shot. I didn’t believe this was possible, as the girl had run into my classroom, but I still took a look. To my horror I saw a gunshot wound through her side. I told my students that I was so sorry that things were about to get scary and that they didn’t deserve to feel so scared. I told them it would be okay, that the incident was probably over, and that I needed to get the gunshot wound kit, so they needed to lock the door behind me. I left my office to grab the kit and returned. One student was guarding the door with the fire extinguisher, and another had called 911 to report the injured student. I did my best to use the kit to wrap up the gunshot wound. To my dismay, when I moved her arm to treat the wound in her side, she exclaimed in pain. She told me she believed she had been shot in the arm as well. When I looked, she had, which immediately filled me with fear because I only had one gunshot wound kit. I emptied out the first aid kit and decided on a maxi-pad. Another student helped me keep pressure on it, and the paramedics arrived shortly after. The student who was shot was incredibly brave, strong, and resilient. She is one of my favorite people today, and I am so thankful she survived. ER: What prepared you to act as you did during the crisis at your school? Did you have
10 • Cantate • Vol. 33, No. 2 • Winter 2021
specific training that you called upon? Were there other experiences in your past that helped inform your actions and reactions? KH: A few things prepared me for this crisis, including an active shooter training that occurred in the Los Alamitos school district when I was doing my student teaching. My master teachers relayed a lot of information to me that I actually used. Saugus also had active shooter drills and posters in all rooms describing what to do in an emergency situation. There was also a training on how to use the gunshot wound kit. I feel like these things helped “prepare” me as best they could, but nothing can really prepare you for what happened. Unfortunately, I also think that growing up in a world where school shootings are common, I [had] pictured the incident several times. I walked through what I would do in my mind several times, because it was becoming more and more common, and every time I would hear about it on the news, I would think of what I would do. I think that this mentally helped me when I went into “fight or flight” mode to just do what was needed. ER: You’ve been honored and awarded for your life-saving actions, and called a “hero” by educators, students, parents, and media across the country. What’s that like for you? KH: I don’t really like the “hero” title. I have some guilt about it knowing that there are a few other teachers who did the same thing I had to do who stayed out of the spotlight. It’s also just such a dark situation that it always feels wrong to have anyone say anything positive as a result of it. I just wish it hadn’t happened. I also feel like I did what anyone would have done if they found themself in that situation, it’s the only thing you can do. You have to solve the problem put in front of you. I do, however, appreciate the great kindness I have been shown. I’ve been able to share that positivity with my students, which has been nice. ER: You’ve shared some strong feelings about the fact that a student was able to acquire a gun (apparently an unregistered weapon built from a kit) and use it to kill and wound other students. If it were up to you, what would we be doing as a society to ensure that this doesn’t continue to happen?
California Choral Directors Association
KH: This question is always difficult for me to answer, because so many people were affected by this tragedy, and I may not share the same opinion as some of the survivors, some of the victims’ families, some of the staff, and some of the students. I don’t want to represent the school or speak on behalf of everyone who has been affected, because we do not all feel the same way. However, in my own personal opinion, and speaking only for myself, if it were up to me there would be a lot more gun restrictions, especially on “ghost guns.” The student who carried out the murders on my school campus acquired a ghost gun [a gun sold as a kit], which has fewer regulations because it isn’t technically a gun yet—it has to be assembled. It is unclear to me whether the student was able to acquire it at age 15 or if his father (who had been deceased for a few years and suffered from mental illness) acquired it. Either way, neither of them would have been able to purchase a gun legally. Ghost guns should have the same restrictions. I personally feel strongly about banning assault weapons and putting stricter laws on all firearms. I can tell you that having another person on campus with a gun would not have helped the situation at all. It was over in 16 seconds and claimed the lives of three children and wounded others. As a society, I would ask for people to speak up and demand these laws be put in place, especially those on ghost guns.
more understanding, and more open. I feel the great awareness of how short life can be and quickly life can change and I think that has made me a different person and has given me a new outlook—not necessarily a bad one, just a more honest one.
ER: Do you feel that you’re a different musician in the aftermath of this tragedy? A different teacher? A different person?
ER: Two students died in this attack. Had you taught or known them? How do you hope they’re remembered?
KH: I definitely feel like a different teacher and person. I teach with the students’ wellbeing and mental wellness first. I don’t think this is very common in music. I think that lots of teachers see mental health as an excuse, that the real world is hard, and that students need to learn that. Well, I’ve seen the result of student mental well-being going unnoticed and it is not something I ever want to see again. Not to mention that my students are dealing with lasting trauma that will probably be with them their entire lives. So many young people are dealing with traumas, and I think we forget that sometimes. Sometimes our rehearsal is not the most important thing. As a person I’ve tried to be more empathetic,
KH: I did not know the two students, but I do know their best friends—the girl I provided first aid for and another choir student who was also shot—and if the two students who did not make it were anything like their best friends, then it is a great loss. They have been described to me as funny, social, kind, and it really just feels like the school is a little darker without them. I hope they will be remembered for their achievements, for their laughs, for their smiles, and for being the amazing friends they apparently were. My students always speak so highly of them.
Leading the Way
ER: How about your students? Obviously it’s been a challenging and unusual year for other reasons, too, but how have they been affected, and what have they found useful or helpful in the year since their classmates were killed? KH: My students are incredible. They are strong and resilient and honest. They often tell me what they need and how they can be helped, which I’m grateful for. It’s hard. Many of us have PTSD. Students running on campus or loud noises usually creates a mass panic. It’s really challenging, but my students also are the reason I go to work in the morning. They have been so supportive and hardworking. We have worked really hard as a school to better support mental wellness. We have a wellness center on campus and easily accessible social workers and counselors. I have taken over as the wellness center site coordinator as I am really passionate about the need for this. We have also done several songs dedicated to the classmates who did not survive the shooting. Nothing really takes away the pain, but we try to grieve together in a healthy way, and we work to honor their memory and move forward with them in mind.
ER: What’s your message or advice for other
Cantate • Vol. 33, No. 2 • Winter 2021 • 11
teachers and choral directors working in a nation where mass shootings are all too common? KH: That’s a tough one, because like I said, nothing can prepare you for this incident. I think that it’s important for me to say, while it is grim, that it is more likely a matter of “when” instead of “if,” and that teachers should genuinely think of their plan for what they would do when faced with an active shooter situation. Know how to treat a gunshot wound, know where you would hide your students, and know that you might have to put that plan into effect. If you don’t want a shooting to happen at your school, you need to start really thinking about what you can do to prevent mass school shootings, because at this rate they will only increase. Something needs to change. I wish I could say something more positive. I have seen beautiful things come out of students and our community after this tragedy, but it will never be worth the great loss of children’s lives or the livelihood of all the students who survived this event. So be prepared, as much as you can be, and be ready, or take action.
WHAT ABOUT
ECCO?
We know you’re wondering about the CCDA Summer Conference at ECCO! The CCDA board is carefully monitoring the evolving COVID crisis and will make a decision about this summer’s event as soon as possible. follow CCDA on social media and be sure you’re receiving our e-mails so you’ll receive updates as they become available!
12 • Cantate • Vol. 33, No. 2 • Winter 2021
California Choral Directors Association
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Cantate • Vol. 33, No. 2 • Winter 2021 • 13
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14 • Cantate • Vol. 33, No. 2 • Winter 2021
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California Choral Directors Association
You’ve got this!
Ideas that work for virtual rehearsal
By Nicola Bertoni Dedmon
T profession as we know it, and as intimidating or frustrating as online choir can be, it is crucial that he year 2020 changed our
choral conductors are able to create the best possible experience for our singers as the world navigates the pandemic. As I write this, I have completed roughly half of my semester entirely online. For context, I teach two auditioned choirs—one large and one chamber ensemble—at Fullerton College, which is a community college in Orange County. The experience has been more positive than I was originally expecting, and though I certainly yearn for the day we can all be together again in the same room, I am grateful for the opportunity to continue to make music and further the precious sense of community our choirs have always fostered. The students are learning and progressing in their skills, and I do genuinely feel that they have benefitted from this experience, despite the fact that things would be much easier were we together physically. I have learned many lessons and tricks along the way, some through failure. I hope that sharing these lessons and tricks with the CCDA community may make the prospect of teaching choir online less overwhelming and yield a higher rate of efficiency and success within each rehearsal.
The broad brush: General suggestions
Don’t forget the reason we’re doing this in the first place. If I have learned anything at all from this
Leading the Way
pandemic, it’s that choir exists for reasons beyond just performances, festivals, and awards. Of course, these are important goalposts for students in normal circumstances, but they are not the reason people want to sing together; otherwise our rosters would currently be empty. I encourage my colleagues to view choir right now as an activity that provides personal and mental enrichment, rather than a competitive sport of sorts. Your choir/program is the only one that matters right now, and comparing your process or product to another school or organization is a dangerous road to travel. Some programs have far more resources than others, and their finished virtual product will look cleaner as a result. Some programs will be permitted to return face-to-face sooner than others, which opens up a clear competitive conundrum. We are entering a time during which the playing field is even more skewed than it usually is, so try not to get lost in all of that. When designing your online choral curriculum, it’s important to focus on the unique needs of your singers—for example, how much repertoire can they handle while still feeling successful? Perhaps it is much less than usual. We have to be okay with that. I find that teaching choir synchronously (in a live, scheduled manner) is much more effective than doing so asynchronously. It is important that singers come together and connect at least once per week, since connection/community is one of the pillars of choral singing. In March, I tried giving my students assignments to complete on their own, and the results were quite poor—it was a lonely experience for the
Cantate • Vol. 33, No. 2 • Winter 2021 • 15
singers, and the higher purpose of what we were trying to accomplish was completely lost on them. As a result, students were unmotivated. After switching to synchronous, live rehearsals, students have expressed to me that they are much happier and feel more motivated.
challenging, and they should be proud of the progress they have made, as frustrating as the process may be. Sometimes it can make all the difference just to have that validation.
No matter what you have planned for the day, always leave 5-10 minutes at the beginning for pure socializing in breakout rooms. It’s good to give them a question to start the conversation, but just let them do their thing without micromanaging them. I started one lecture without it, and the energy was remarkably low. Remember that virtual interaction and engagement is unnatural, so it takes more coaxing to get singers to a place where they can feel comfortable participating fully in a virtual setting. It is well worth the time to get the singers to a place where they are far more engaged and comfortable in front of their screens during the remainder of rehearsal.
One online program that has been crucial to our choirs’ success is Soundtrap. Soundtrap is an online Digital Audio Workstation (DAW) that uses streaming technology so that students can sync their tracks with others in the class in real time. This enables everyone, both singers and conductor, to hear the composite recording of all voices together much, much faster, and it removes the process of the conductor having to download files and manually line them up in their own DAW. (Bandlab is a similar online DAW that is free, but I have not used it.) I use Soundtrap as a tool to gauge student progress very quickly. After each rehearsal, or during my prep hour, I listen to the composite recording on Soundtrap and make a list of what to rehearse for that piece the next time. It’s not a perfect replacement for in-person feedback, but it is so much better than not hearing anything until an end-of-unit assessment. It’s important to note that with Soundtrap, more than about 20 people on one project at once can overwhelm the system, so for my large ensemble, I break everyone into smaller groups.
Balance live instruction with activities they do on their own time. Live instruction gets pretty exhausting, and their attention spans will be limited. I typically rehearse with participant microphones muted for about an hour of our 85-minute class time, and I leave the final 25 minutes for their daily assignment, which is due at the end of class. During the activities they’re completing at their own pace, keep the Zoom on! It is helpful to field their questions on the chat as they work, and sometimes they will find significant musical issues as they record and you can be right there to fix it as those come up. Try to keep assignments during scheduled class time in order to keep homework to a minimum. A colleague and friend of mine, Eliza Rubenstein, put it perfectly: When this period of time is over, we want our singers to say “Choir really helped make that more bearable,” not “Choir just added to the stress.” Pay special attention to new members. I’m figuring out now just how ridiculously challenging it is to learn how to sing in a new choir for the first time, especially for students who are still developing their rudimentary skills. It is much easier and faster to build these skills in person. I held a few rehearsals with just the new members, and that seemed to be helpful. Another option is to use breakout rooms to give new members some private, real-time feedback on their rudimentary skill development. If nothing else, just be sure to give them special praise in front of the rest of the class to acknowledge that their journey is indeed more
16 • Cantate • Vol. 33, No. 2 • Winter 2021
The details: Rehearsal-specific tips
If you do use Soundtrap or Bandlab, create rehearsal time to listen to the previous rehearsal’s composite recording with everyone singing together. Allow students to give their input on what they think they did well and what they can improve. The process of hearing themselves as a group is incredibly rewarding in itself, and also, this helps them continue to exercise their critical listening skills—this is a huge missing component when you take away the live experience. Use Google Forms! Tons of students will have tech issues with either Soundtrap or Bandlab or even Zoom. So, make a form they can fill out when they have those issues, and you can see all the results in one place. Students will also have music questions after class, so make a Google Form where they can submit those and you’ll see all the results in one place. Your e-mail inbox will thank you. Try to keep the singers moving as much as possible. Physical warm-ups like “shake outs” or jumping jacks are great. When working on sections of music, particularly when it comes to phrasing, I ask my students to show me their phrasing with their hands
California Choral Directors Association
as they sing. Sometimes I will even choreograph a phrase, which, of course, is a commonly used in-person rehearsal tool. By flipping through their videos as they do this, I can tell fairly well in real time how well they understand the phrasing. I’ve found that only focusing on one piece per rehearsal has been quite successful. Of course, this might change over time, but I am okay with taking a slower repertoire pace if it leaves the students feeling more successful and less filled with chaotic energy at the end of each session. Zoom is exhausting and lonely, and it really does take its toll. I think instructors should recognize and accept this. During live instruction with the students muted, try “looping” small sections of the piece where you repeat that section several times, playing a different voice part every time, but still ask the students to sing their own parts every time you repeat. For example, if I wanted to rehearse measures 1 through 8 of an SATB piece, I would “loop”/repeat those measures four times, one for each voice part, but ask each singer to sing their own part four times in a row. Repetition in rehearsals is always good, and this method requires that they balance it against a different part with each repetition. People sing much better with human voices than they do with piano/midi tracks. If there is any possible way to get them recording with human voices, it will yield a much better result. Plus, if you get some excellent singers to do it, they can have the opportunity to sing with and model after professionals—something they usually wouldn’t be able to do. Silver linings! You can also use these tracks during rehearsals to aid the learning process. I typically share my computer sound (without sharing my screen) and I have them sing sections of the piece using tracks I created on Garage Band. This is particularly useful when I want us to hear two parts at one time. For example, if I wanted to isolate the soprano and bass parts of one section, I would go to that section, click “solo” next to the soprano and bass tracks, and have the singers sing along with that. When I am rehearsing one part at a time or working on a specific phrasing or articulation marking, I tend to sing it myself live and have them sing with me. Either way, human voices elicit a much better, much more musical result from the singers. Take the time to compliment your singers. As you listen to your tracks and you hear students who do a particularly good job, or who have jumped a large hurdle, send them an e-mail telling them so. Don’t
Leading the Way
just do it as an assignment comment—end them a very short e-mail that says “Hey, I just wanted to give you this affirmation: you did XYZ so well on your recording. Really good work!” Recording parts by yourself is a skill that requires a level of confidence many students do not have, so they need our positive reinforcement more than ever.
A
typical live Zoom rehearsal for us might look something like this:
Total rehearsal time: 1 hour, 25 minutes 5-10 minutes: Breakout room socialization 5-10 minutes: Announcements and warm-ups ~45 minutes: Live rehearsal (using a balance of pre-recorded tracks and live singing) 20 minutes: Student Soundtrap recordings (on their own time) Remember, experts in virtual choir classes simply don’t exist yet. Continue to be easy on yourself as a conductor and teacher, because this is not normal. What works extremely well for one choir may not work for another. Trial and error is okay. Small and even large failures are inevitable. Don’t judge your skills as a teacher from this impossible scenario—the most important thing to remember is that if they are gathering and singing, they are learning. If you have any questions or would like to further discuss this topic, feel free to reach out to me via e-mail: NicolaBDedmon@gmail.com or NDedmon@ fullcoll.edu.
Nicole Bertoni Dedmon is currently on faculty as a Choral/Vocal Professor at Fullerton College, where she coordinates the Choral Area and conducts the Concert Choir and Chamber Singers. She also teaches Applied Voice lessons and Music Appreciation. She currently serves on the board of ACDA Western Division as an R&R Coordinator. Professor Dedmon is a graduate of James Madison University (BM) and Westminster Choir College (MM).
Cantate • Vol. 33, No. 2 • Winter 2021 • 17
the COmposer’s voice:
FLEXIBLE DREAMS hich of my dream projects—the “bucket W list” pieces that I hope to write, future albums I’d like to record, and places I’d like to travel—will I work toward this year?
Dale Trumbore is a Los Angeles-based composer and writer whose music has been performed by organizations including the
Los Angeles
Children’s Chorus, Los Angeles Master Chorale, Modesto Symphony, Pacific Chorale, Pasadena Symphony, The Singers, and
VocalEssence.
How to Go On, Choral Arts Initiative’s album of
Trumbore’s
choral works, was a
#4-bestselling Classical album on iTunes the week of its release.
Hear Dale’s music at daletrumbore.com.
What collaborations will I pursue in order to make each dream project happen? What stories am I going to tell with the music I write? Near the beginning of each new year, I review past career goals and set new ones, and I ask variations of these same questions each time. As part of this process, I usually flip through my copy of Julia Cameron’s The Artist’s Way, which I reread less for its exercises in creativity and more for the six years’ worth of notes and goals I’ve scribbled in the margins. During each pass through the book, I annotate goals I’ve outgrown and check off ones that have happened. Occasionally I’ll use a different book or a PDF workbook to write down new goals, too, and I have a few files on my computer with lists of things I want to achieve before turning a specific age that I revisit annually: 25 goals before I turn 25. 35 before 35. Looking back over years of goals, I can assess not only which dreams have actually happened, but the kinds of goals that come to fruition. Year after year, certain dream projects do become reality, not always exactly as I’d described, but more or less as I’d hoped they’d take shape. Last year, though, I noticed one big exception. Goals that mentioned very specific people—conductors I’d like to work with, and performers or ensembles I hoped would program or commission my work—were much less likely to pan out. This makes sense, of course; while composers can promote their music, we ultimately have little control over precisely who programs our work. We can’t will or force a conductor to commission us. Still, for years, I’ve fixated on certain ensembles. As I made yet another list of dream collaborators, I imagined that if these conductors would only commission me, surely I’d feel successful and happy.
18 • Cantate • Vol. 33, No. 2 • Winter 2021
On the rare occasion that my goal to work with one of these ensembles did happen, though, it rarely turned out as I’d hoped. A coveted commission would arrive, but with a text I didn’t love, and I’d be ashamed of the resulting piece. I’d idolize a competition—a long-awaited chance to work with a particular ensemble—and finally win, only to receive a premiere that was under tempo and underrehearsed. Even when an ensemble I longed to work with programmed my music in a gorgeous, near-perfect performance, I’d notice that, listening in the audience, I felt the same anxious, chattering thoughts I feel during every performance of my music: Is this piece any good? Do I even like this piece anymore? Does anyone here like this piece? Reality can’t possibly meet the unreasonably high expectations I’ve attached to these lists of “dream collaborators.” No matter how talented a performer is, no collaboration will turn me into a different person: someone who is never full of self-doubt, who feels as if every new piece she writes is perfect. I’ll probably never feel that way. I don’t think I’d want to feel that way. I do think that considering which collaborations you’d love to pursue in the future can be tremendously valuable. This is especially true when you’ve already established a working relationship with your envisioned collaborators. But when your instinct in setting dream goals for your music is to passively make a list of people with whom you’d like to collaborate, it might be more worthwhile to ask yourself why you’re drawn to these particular performers. Would working with any one of these collaborators contribute something to your career that you truly couldn’t achieve any other way, or with anyone else? ow, as each new year approaches and I N consider how I’d like my musical future to proceed, I remind myself to set goals for dream
projects rather than dream collaborators. I build flexibility into each dream, accepting that I can’t know precisely how each project will take shape until it becomes reality. Take How to Go On, the title piece on Choral Arts Initiative’s album of my choral
California Choral Directors Association
music: I knew I wanted to write a secular requiem for close to a decade, long before I’d met CAI’s conductor, and before CAI even existed. For years, I also dreamed of making a first album of my choral works, but when I imagined those two distinct goals, I never could have guessed that they’d overlap. If I’d written a secular requiem for a different chorus, maybe it would have been simpler. Maybe there would have been less divisi and fewer movements; maybe it would have set different texts. Maybe my secular requiem would have been written, as I’d initially imagined it, as an concert-length work for chorus and orchestra. With another collaborator, I could have fulfilled the same dream with an entirely different piece. But now, going back through the margins of The Artist’s Way yet again, I place a check mark or write “How to Go On” wherever I’ve mentioned wanting to record an album of my choral works or compose a secular requiem. Those two
dream projects have been realized in a uniquely wonderful reality; I can no longer imagine wanting them to exist any other way. And now, I set new goals. I imagine future albums, and while I have a loose concept for what each will hold, the ensembles recording those albums are undefined. When I find the right collaborators, they will inevitably shape these recordings. I imagine writing a piece for chorus and orchestra within the next year or so; the dream and intent are perfectly clear, but here, too, that new piece will depend on which ensemble commissions it. I’ll continue to hone my vision for these projects until I find the right collaborators for each particular dream, and then I’ll open them up to reality. At least in my universe, that’s the way that dream projects come true. Originally published on daletrumbore.com, January 2018.
CCDA’s George Heussenstamm Choral Composition COntest The CCDA/George Heussenstamm Choral Composition Competition at ECCO now moves into its sixth year! Last year’s winner was Greg Lapp, with his beautiful Three Songs from “Twelfth Night” for mixed a cappella choir. Winning composers are invited to attend ECCO for free! Last year, Mr. Lapp presented his work at our virtual Choral Summit, with George Heussenstamm in attendance. Please visit www.GeorgeHeussenstamm.com to learn more about our talented and generous benefactor. • CCDA members are invited to submit a single, original composition. We are looking for single, stand-alone compositions, not sets and not arrangements. Shorter works (3-5 minutes) are preferred. Previous winners are not eligible to apply. • Please submit your anonymous, unpublished score, a cappella or with piano accompaniment (no obbligato instruments), any voicing, along with an anonymous demo recording (MIDI is acceptable, but voices are preferred if possible) to davypavy@aol.com. Please use the link on the CCDA website to enter all composition and composer information via Google Form. • Please be sure to remove the composer’s name anywhere that it might appear: title page, copyright notice, headers/ footers, etc. and on audio file information. • All scores must be submitted in PDF format. All audio files must be in MP3 format. • Submissions will be accepted from February 15, 2021, through March 15, 2021, 11:59 p.m. PST. • Submissions that do not meet the above requirements will not be considered. • Compositions will be judged on the following seven criteria: overall effect, harmonic interest, setting of text, overall craft, originality, cosmetics of score, and marketability. • As we are interested in finding works that might considered for inclusion in the CCDA Choral Series with Pavane Publishing, we will consider the composition’s marketability. The winning composition will be chosen by a committee of three CCDA members and will be announced on the CCDA website on April 15, 2021. The winning composer will receive a scholarship for tuition, room, and board at ECCO 2021if the conference takes place in person this year, and will have their composition distributed and read at the summer conference, whether it occurs in person or online. New this year: The winning composer will also receive a $500 cash prize. The winning score may be given consideration for inclusion in the CCDA Choral Series (Pavane Publishing). CCDA reserves to the right to declare “no winner” if it is deemed appropriate.
Leading the Way
Cantate • Vol. 33, No. 2 • Winter 2021 • 19
SEEN & HEARD Clockwise from top right: Kent Jue, Artistic and Executive Director of Ragazzi Boys Chorus, remotely conducts 83 boys in their live concert “Beyond the Stars” (photo by Steven Kirk); members of the Irvine High School choral program (Tina Peterson, director) practice their ukuleles outdoors; and Melissa Keylock leads the San Diego North Coast Singers in a caroling event beneath a Southern California sunset (photo by Francesca DeBellis). Send your best photos of your choir’s activites—musical or extra-musical—to cantate.editor@gmail.com if you’d like them to be considered for publication in a future issue!
20 • Cantate • Vol. 33, No. 2 • Winter 2021
California Choral Directors Association
Leading the Way
Cantate • Vol. 33, No. 2 • Winter 2021 • 21
ALL-STATE honor choirs by Molly Peters
H
ere we are on the cusp of something brand new and unprecedented: Our first ever all-virtual All-State Honor Choir event! We’ve had lots of successes and a handful of setbacks as we have reshaped this event for 2020-2021 (including Google locking me out of the All-State e-mail account for 24 hours, thinking I was sending you all spam, hahaha). I want to say a huge thank you to the honor choir team. The legwork for this experience started way back in the summer when we felt an inkling that in-person auditions and events would likely not be possible. Summer Zoom meetings with Lauren Diez, Angelina Fitzhugh, Jeffe Huls, Susie Martone, Tina Peterson, and Christy Rohayem helped shape the audition process and timeline, and the audition and placement process went very smoothly, even though it was a new process for many students and teachers. I also want to thank all of you who have gone along with this vision and put your trust in us to give your students the high-quality honor choir experience they deserve. I know it will be different, but I am so excited about the conductors we have on board and the repertoire they have selected. And we have the opportunity to do something we could never do at an in-person event: a combined finale featuring all four honor choirs! Our conductors—Dr. Judy Bowers, Dr. Amanda Quist, Dr. Anthony Trecek-King, and Mr. Tesfa Wondemagegnehu—are not only incredible human beings, but also amazing
educators who will make this virtual All-State a memorable and transformative experience for our students. lease check your email and our website often for updates, including rehearsal details. We will solidify the rehearsal P times for each ensemble before the end of this calendar year. California All-State Honor Choir Concerts In conjunction with the California All State Music Education Conference (going virtual for 2021) Zoom rehearsals: Saturday, January 31st and Saturday, February 13th, 2021, times TBA All recordings will be due by Friday, February 26th, 2021 (videos will be uploaded directly to the Visual Arts, Inc. website for processing) High School All-State information: calcda.org/ calendar-of-events/honor-choirs/all-state-honorchoirs/ Junior High/9th Grade All-State information: calcda.org/calendar-of-events/honor-choirs/ junior-high-all-state-honor-choir/ If you have any questions, please contact me (mepeters79@gmail.com) or Angelina Fitzhugh (JHS/9th Grade chair; afitzhugh@pasud.org). We are honored to serve you and your students in this new capacity!
Fall 2020 ACDA “Sing Up!” Membership Drive Numbers & Notes 37 New or Renewing CCDA Members—more than three times our average number! 27 States participating in the drive California Led the way, as other states gained between 1 and 21 members Many thanks to Tina Peterson and Jason Pano for editing and posting videos that promoted with passion and sincerity the exceptional values of CCDA/ACDA! National ACDA tells us, “We know we have to inspire our members, keep them connected to their peers, and show our relevance to what they are facing.” California leadership is working diligently and successfully to accomplish these goals and more. Membership is a year-round effort—please renew promptly and invite colleagues to join!! —Polly VaschÉ, CCDA membership chair
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California Choral Directors Association
Where creativity meets inspiration. Study music at the No. 6 public national university (U.S. News & World Report, 2021), with leading performers, scholars, and composers, on the edge of the Pacific Ocean.
Graduate Choral Conducting Program A graduate degree in Choral Conducting from UC Santa Barbara will vibrantly engage the student in study and application of innovative rehearsal techniques, conducting pedagogy, repertoire exploration, performance practice, and skill-building for 21st century musicians. Students will gain knowledge, skill, and ability, whether the goal is to teach in academia, hone skills for leadership of pre-professional or church choirs, or explore entrepreneurial opportunities in the field. Interactive podium time can include work with the UCSB Chamber Choir, Women’s Chorus, the UCSB Singing Gauchos, and other ensembles, providing students with regular, real-world experience. Students may pursue the Master of Music (MM), Doctor of Musical Arts (DMA), or the combined MM/DMA degree program in Choral Conducting. Full tuition scholarships are available for most admitted students, plus competitive fellowships and teaching assistantships, including a teaching assistantship as conductor of the UCSB Women’s Chorus.
Welcome
Dr. Nicole Lamartine
Sorensen Director of Choral Music “I am thrilled to be joining the world-renowned UCSB music faculty as Sorensen Director of Choral Music. It is an honor for me to reinvigorate the choral program to meet the 21st century needs of our community of music students, non-majors, and graduate students. I look forward to a future full of collaboration, innovation, inclusivity, diversity, excellence, and inspiration!“
Visit music.ucsb.edu/programs/performance/choral or contact choir@music.ucsb.edu to learn more.
Leading the Way
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24 • Cantate • Vol. 33, No. 2 • Winter 2021
California Choral Directors Association
Vision for the
Future
Scholarship Fund Donors special care has been given to the preparation of donor acknowledgments. We regret any errors or omissions. please contact us at (657) 217-0767 or exec_admin@calcda.org with corrections. Thank you for your support!
President’s Circle Platinum ($500 and higher) Daniel Afonso * President’s Circle Gold ($300 and higher) Lou De La Rosa * in memory of Jim Heiner Dr. Robert Istad and Mr. David Navarro * Buddy James, in honor of Joseph Huszti Duane and Linda Lovaas * Nick Strimple * Dr. Jonathan Talberg *
President’s Circle Silver ($100-$299) Charlene Archibeque Jeffrey Benson * Mary Hamilton Brandon Harris Albert Mabeza Susanna Peeples * Dr. Christopher and Tina Peterson Olga Spriggs Dr. Angel M. Vázquez-Ramos and Jody R. Vázquez *
Sponsor ($50-$99) Kyle Ball Anthony Lien, in honor of Joseph Huszti, Buddy James, Michael Najar, and Matthew Potterton David Vanderbout Supporter (up to $50) Anonymous Zanaida Robles * Founder’s Circle
VISION FOR THE FUTURE ANNOUNCES TWO NEW AWARDS CCDA’s Vision for the Future committee, chaired by Lori Marie Rios, is proud to announce two new awards supported by your generous contributions to our VFTF fund! Vision for the Future Creativity Grant Supporting ideas that focus on “creating opportunities promoting excellence” Vision for the Future Equity Scholarship Intended to support and encourage choral directors who are BIPOC (Black, Indigenous, and people of color) Thank you to Chris Peterson, Christy Rohayem, and the CCDA Diversity and Equity Committee for developing these new scholarships. Visit calcda.org to learn more about how to apply or how to donate!
Leading the Way
Cantate • Vol. 33, No. 2 • Winter 2021 • 25
News and notes
from around the state FAR SOUTH REGION The 3rd Coralifornia International Festival (“Un Canto sin Fronteras”) was held virtually in November, featuring over 10 days of concerts, talks, masterclasses, and workshops. Twenty-six choirs from Mexico, the United States, Cuba, Panama, and Colombia participated, including the San Diego Chorus, Common Ground Voices/La Frontera, Los Bordershop Quartet, and the San Diego Women’s Chorus. Emilie Amrein and André de Quadros co-hosted a conversation about the innovative and equity-centered work in The Choral Commons. SACRA/PROFANA commissioned Amy Gordon to write a new piece during the Covid-19 pandemic. “In times of Hibernation” is the intended middle point in a song cycle about the COVID experience. Artistic Director Juan Carlos Acosta directed the video, which may be viewed here: youtu.be/KSkJGGwSCxQ Stan Wicks retired from First United Methodist Church of San Diego after more than 22 years as Music Director. In addition to his music ministry, Stan continued the long tradition of the church-based community Masterwork Chorale and welcomed many musicians to join in frequent collaborative events and Summer Sings. San Diego Master Chorale moved to a full, virtual concert season this fall, presenting six events ranging from virtual performances to interviews with composers. Music Director John Russell also prepared and curated both brand-new and never-
Send news of hirings, retirements, awards, commissions, premieres, collaborations, or projects to your regional representative!
before-released recordings of live performances. In November, the Choral Consortium of San Diego hosted a free virtual singalong featuring nine choral directors representing a variety of choral ensembles from San Diego and Tijuana. Featured conductors included Dzaya Castillo (Centro de Artes Musicales), Kathleen Hansen (San Diego Women’s Chorus), Ruthie Millgard (San Diego Children’s Choir), and Keith Pedersen (Point Loma Nazarene University).
NORTHERN REGION The Mendocino Music Festival Chorale, under the direction of Jenny Matteucci, has published two virtual choir videos and made available several inspiring online workshops in January. See the videos and learn more at mailchi.mp/mendocinomusic/two-winter-songs! Vox Musica, under the direction of Daniel Paulson, presented a live performance in which they sang synchronously for their patrons. For this performance, Paulson utilized Rehearsal Live Share, which allowed the ensemble to sing synchronously with each other in the virtual environment. The performance featured new melodies sung alongside sacred Native American tribal songs. Elizabeth Unpingco, director at Bear Creek High School, Sacramento, has also enjoyed working with a senior choir (average age 65-70) and making music with them through Zoom and BandLab. Unpingco was initially reluctant to introduce these technologies to
26 • Cantate • Vol. 33, No. 2 • Winter 2021
“older” singers. They, however, soon proved her wrong and showed that with patience, you can teach anyone anything! Sacramento Choral Society and Orchestra, under the direction of Donald Kendrick, have worked tirelessly to weather COVID-19 together. Their goal is to outlast the current pandemic and bring the gift of music and community back to the region. Check out and support their 2020-2021 virtual season at sacramentochoral.org/2020-2021-virtualseason-outline. Chanteuses Women’s Choir of Sacramento, under the direction of William Zinn, is going to “reboot” a concert of “Poetry in Song” planned for last spring. They will work remotely through the Rehearsal Live Share software and assemble a concert with virtual choir recordings and perhaps some live recordings if the pandemic allows them in the coming months. They are very excited to have had their recent virtual choir offering, “The Work of Christmas” by Dan Forrest, reposted on the CCDA website!
BAY AREA Two San Francisco Bay Area youth choral institutions, Ragazzi Boys Chorus and Cantabile Youth Singers of Silicon Valley, are singing together using the JackTrip Foundation’s “Virtual Studio” technology. Thus far, both groups have successfully rehearsed and recorded music using this system since September, with up to 90 musicians (ages 6-18) participating in their respective rehearsals.
California Choral Directors Association
The St. Mary’s Cathedral Choir with members of Pacific Edge Voices and the Benedict Sixteen presented a live and live-streamed performance of the Duruflé Requiem, conducted by Ash Walker, on November 1. The Mission Peak Chamber Singers, led by Ofer dal Lal, presented two special and timely virtual performances: “A Time to Choose Love: Election 2020” and “With a Roof Over Our Heads: A Musical Response to Homelessness.” Schola Cantorum Silicon Valley (Buddy James, director) used virtual technology to connect with choral communities around the world, partnering with choirs in Lithuania, Kenya, Brazil, Mexico, South Korea, and Australia to produce side-by-side Virtual Choir performances from their respective holiday traditions.
CENTRAL COAST REGION Nicole C. Lamartine, newly appointed Sorensen Director of Choral Music at UC Santa Barbara, is redesigning the graduate choral experience to focus on the “how” and “why” of choral leadership and audience engagement. Students in the MM and DMA programs engage in study and application of innovative rehearsal techniques, conducting pedagogy, repertoire exploration, performance practice, and skill-building for 21st century musicians.
CENTRAL REGION A chamber choir from the Modesto Symphony Orchestra Chorus presented a virtual holiday performance under the direction of its conductor, Daniel Afonso, in lieu of MSO’s annual Holiday Candlelight Concert. Adam Serpa, choral director at Modesto High School, is working with board members of the Stanislaus County Music Educators Association to propose protocols that would allow in-person rehearsals of vocal and instrumental ensembles. The county’s Department of Health has thus far eliminated all such rehearsals. Jennifer Garrett, Director of Choral Activities at Bakersfield College, hosted composer Eric Whitacre for a Kern County-wide event in which he shared information and insight about his creative process and his musical journey. The online event was attended by 190 singers. On November 14th, John Sorber, Director of Choral Activities at College of the Sequoias, hosted a virtual solo clinic for local high school students. The teachers and students appreciated the event and want to do it again! Director of Choral Studies and Vocal Music at CSU
Leading the Way
Bakersfield, Angel M. Vázquez-Ramos, is currently working on a virtual performance of Ron Kean’s “If Not for Music.” This piece was composed with a desire to unite Kern County singers (middle school, high school, and college age) in song during this challenging time. Here is an update from Ryan Clippinger, choral director at Arvin High School and recipient of the 2020 CCDA Early Career Award: “I spent the summer working with Patrick Burzlaff to help write online curriculum for all Kern High School District vocal music classes. My main job was to build an online pentatonicbased sight-reading curriculum from scratch so that all teachers had a place to start. Overall, I am loving online learning. Though it doesn’t beat in-person learning, one of the biggest silver linings I’ve found is the greater opportunity to have more meaningful conversations about music, culture, and about the world as a whole with my students. I’ve learned that my students are very well informed about the world around them, so our conversations have really centered around expanding on the information they already have at their fingertips. My students and I are becoming better humans together through this, and I am truly thankful for that.”
SOUTHERN REGION Keith Hancock has taken the virtual-choir medium to the heights of excellence. None of us ever thought we would be video and audio engineers, but Keith has inspired us with his song choices and quality of the end product. Check out his Tesoro High School choirs on YouTube! Stacey Kikkawa at Fullerton Union High School has been teaching an online piano class without pianos, using online resources, creative instruction, and her bubbly and infectious personality to make the experience as positive and engaging as possible for her students. Stacey’s story is a good reminder to us that our students need us to be positive and provide a welcoming and safe space. Thank you, Stacey, for your inspiration. Adrian Rangel-Sanchez has developed a song-writing curriculum for the choral musicians at Portola High School, who are learning to use the elements of music to create and compose their own songs. Thanks to our Regional Representatives (Andrew Kreckmann, Northern; Buddy James, Bay Area; Angel Vázquez-Ramos, Central; Carolyn Teraoka-Brady, Central Coast; Tina Peterson, Southern; and Arlie Langager, Far South) for collecting and sharing news from their areas! Send your news to your regional representative if you’d like to be included in a future issue.
Cantate • Vol. 33, No. 2 • Winter 2021 • 27
LMU Music Welcomes
DR. T.J. HARPER Director of Choral Activities
Loyola Marymount University Choral Music Program Located in Los Angeles, the second largest artistic and entertainment market in the country, the LMU Choral Music Program offers undergraduate degrees in music with concentrations in Choral Conducting, Composition, and Vocal Performance. Scholarships are available. CHORAL ENSEMBLES Consort Singers Concert Choir Treble Voices Sinatra Opera Workshop
cfa.lmu.edu/music
28 • Cantate • Vol. 33, No. 2 • Winter 2021
California Choral Directors Association
UNIVERSITY of SOUTHERN CALIFORNIA THORNTON SCHOOL of MUSIC
choral& sacred music
DEGREES OFFERED Choral Music BM, MM, DMA Sacred Music MM, DMA
APPLICATION DEADLINE DECEMBER 1, 2021 visit music.usc.edu/choral
MUSIC.USC.EDU
Leading the Way
@USCTHORNTON
Cantate • Vol. 33, No. 2 • Winter 2021 • 29
Top Five for your Choir:
LGBTQ PERSPECTIVES A
Joshua Palkki joined the faculty of the
Bob
Cole Conservatory of Music at California State University, Long Beach as Assistant Professor of
Vocal/Choral
Music Education in
Fall of 2016. At
CSULB, he leads the University Choir, teaches courses in music education (including choral repertoire and pedagogy), interfaces with the
College of
Education, and mentors graduate students in music education.
Dr.
Palkki is passionate about teacher education and preparing preservice teachers to be competent and caring teachers with the knowledge and skills to address issues of social justice through music education.
ccording to the recently published 2019 School Climate Survey by GLSEN (Gay, Lesbian, Straight Education Network), 86% of LGBTQ+ students were harassed or assaulted at school. We as choral conductor-teachers can be safe people for queer students—but we must be open to discussing queer issues bravely and openly. If you have questions or concerns, please contact me. In this role, I’m here to help. Michael Bussewitz-Quarm The World, This Wall, and Me SATB a cappella Mark Foster/Hal Leonard (forthcoming); mbqstudio.com “The World, This Wall, and Me” was commissioned by Ithaca College and the text references Michael’s gender transition (she is an openly trans composer). “Everyone has their own timeline,” Michael said when I interviewed her in the summer of 2020. She described a time when she needed to put up walls to protect herself. Walls have a dual purpose: to protect you from pain and suffering but also to separate you from others. At some point, Michael says, she was ready to cross to the other side, writing, “Walls can provide comfort and shelter from the storm. But when the storm is over, we can break free of the walls we put up so that we can fully be present in the lives of those surrounding us.” Steve Milloy (composer and arranger) Original lyrics by Vanessa L. German, David Major, Bruce Preston, and Norman Welch Bayard Rustin: The Man Behind the Dream SATB and piano or instrumental ensemble Self-published (bayardthemanthedream.org) Bayard Rustin is a mostly forgotten figure of the American Civil Rights Movement. The mastermind behind the March on Washington, Rustin was forced to the fringes of the movement because he was an openly gay man. The fourteen-movement cantata Bayard Rustin: The Man Behind the Dream
30 • Cantate • Vol. 33, No. 2 • Winter 2021
(47 minutes including narrations) was co-commissioned by six LGBTQ choruses including the South Coast Chorale in Long Beach. Composer Steve Milloy writes, “The idea of writing this work has been in my head for quite some time now. Bayard Rustin’s role in the civil rights movement has largely been ignored in history due to the fact that it exposes some truths in America’s past that many people would rather ignore or keep hidden. The election of Barack Obama as the United States’ first black president in 2008 and the advances of LGBTA rights in America have brought these truths to the foreground. They cannot be ignored anymore. It is my hope that this work sheds some light on a man who helped shape the civil rights movement and show that there are ways to advance a just cause without violence.” The full instrumentation requires eight players: piano, bass, drums, guitar, reed (alto sax, clarinet, flute), synthesizer, and two percussionists (bongos, anvil, chains, aluminum trash can lid, plastic buckets, tambourine). Jack Curtis Dubowsky Text by Harvey Milk Harvey Milk: A Cantata SATB and piano or wind ensemble destijl music SM-12-0002 “Written in 2012 by Jack Curtis Dubowsky, Harvey Milk: A Cantata is a five-movement work for SATB chorus and piano (or wind ensemble). The text comprises various speeches and letters written by Harvey Milk, the first outwardly-identifying gay elected official in San Francisco, assassinated by a fellow City Council member in 1978. Commissioned by Lick-Wilmerding High School and the Lesbian/Gay Chorus of San Francisco, this powerfully moving 20-minute work is accessible for high school and community choruses, incorporating different musical styles throughout the cantata. Although focusing on the text of a single man, Milk’s words speak universally of equity, justice, and hope, which continue to resonate in the 21st century.” –Dr. William Sauerland
California Choral Directors Association
Kelly McCandless Amen SSAATB and piano Self-published (KellyMcCandlessMusic@gmail.com)
Benj Pasek and Justin Paul, arr. Kirby Shaw This Is Me (from The Greatest Showman) SATB a cappella Hal Leonard 00326210
“I composed ‘Amen’ in part as a response to the recent turmoil surrounding the United Methodist Church’s relationship with the LGBTQIA+ community. I initially set out to compose a prayer of self-acceptance, a meditation on the meaning of the word ‘amen.’ The inspiration for this piece’s text comes from a variety of diverse sources: a 12th-century antiphon by Christian mystic Hildegard of Bingen, a 1918 speech by the retiring president of the Royal Astronomical Society of Canada, and four verses from the Bible. ‘O splendidissima gemma’ and ‘Astronomy: A Cultural Avocation’ both explore the concept of primordial, celestial material that constitutes humans and all creation, and the Bible verses entreat us to embrace these “universal” traits in one another. These texts remind us of our worth on a grand scale, from the cosmic to the deeply personal. We are each a single expression of a greater majesty, so a prayer for self-acceptance is transformed into a prayer for acceptance of all, especially our LGBTQIA+ siblings and selves.” —Kelly Allyn McCandless
“This is Me” has become something of an anthem for queer choruses in the United States because of its radically inclusive text: When the sharpest words wanna cut me down I’m gonna send a flood, gonna drown ’em out I am brave, I am bruised I am who I’m meant to be, this is me Look out ’cause here I come And I’m marching on to the beat I drum I’m not scared to be seen I make no apologies, this is me This engaging Kirby Shaw arrangement is a cappella and provides the opportunity to feature soloists.
University of Redlands Bachelor of Arts • Bachelor of Music Master of Music • Artist Diploma New Graduate deGrees Offered IN MM Vocal Chamber Music & MM Pedagogy Music Scholarships & Graduate Assistantships Available Information and Applications www.redlands.edu/music 909-748-8014 music@redlands.edu
ChOral faCulty Joseph Modica, Christopher Gabbitas, Nicholle Andrews VOICe faCulty Melissa Tosh, Marco Schindelmann, Patricia Gee, Cynthia Snyder, Donald Brinegar
Leading the Way
Cantate • Vol. 33, No. 2 • Winter 2021 • 31
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32 • Cantate • Vol. 33, No. 2 • Winter 2021
@FS Choirs
California Choral Directors Association
SEE OUR PROGRAM IN ACTION!
Leading the Way
Cantate • Vol. 33, No. 2 • Winter 2021 • 33
Top Five for your Choir:
High School CHoirs T Stacey Y. Kikkawa is the director of the
Choral and Vocal Music Program at Fullerton Union High School, and the current
California
Choral Directors Association Repertoire and
Resources Chair
for
High School.
Ms. Kikkawa has led high school programs in
Northern and
Southern California including
Campolindo
High School (Moraga, CA), and Beverly Hills High School. Ms. Kikkawa completed her masters degree in choral conducting
he differences among high school programs have never been more on display than this year. If you doubt me, just look at your choir/distance learning/hybrid learning groups on Facebook: Everyone has an opinion on which repertoire would work best. It’s great that everyone wants to help, but it isn’t helpful when they don’t read your specifications to understand what will work for your choir. Here are my program’s “specs”: Total students: 68 Choirs: 4 (beginning SA, beginning TB combined in 1 period with intermediate SA, auditioned SATB) Teaching model: Hybrid; we have 48-minute periods and a 6-period day, with 3 total cohorts (2 alternating in-person cohorts, 1 fully virtual) Technology: Chromebooks, Google Classroom (LMS), Soundtrap (projected use in 2021) Support personnel: Full-time accompanist (shout-out to the amazing Amelia!) Budget for creating a virtual choir: $0 I’m here to tell you that the specs come first; don’t feel guilty or upset because your program can’t virtually perform a highly recommended 8-part octavo that everyone loved when the world rehearsed in-person. Forgive me, but instead of repertoire, here are five things that you probably are considering or should consider when Facebook throws every octavo title at you for your curriculum needs.
performance at
California State University, Fullerton under
Dr. Robert Istad.
1. Realistically consider your population. Questions you should be asking yourself: What is the rate of students turning in digital assignments? Will doing a virtual concert increase the amount of participation, or will it become another stressor? Will your students hate the process, or be excited about it? Is it realistic to do one, or is it just peer pressure? 2. Time vs. money. Not all of us will have the budget to “farm out” our digital concerts. If
34 • Cantate • Vol. 33, No. 2 • Winter 2021
you have the funds to do it, great! If you don’t have the funds to do it, great! My accompanist quickly became an audio engineer, while I played video editor. If you do not have the funds, don’t feel obligated to choose repertoire based on a normal concert, or obligated to do a virtual concert at all. It will stress students out, and it ultimately will stress you out. 3. End game. What is the goal? Is the virtual concert for you, or for them? Are you choosing songs for recruitment, inspiration, morale, or to stay busy? For me, I’m a probationary teacher who needs to keep my program visible and numbers up, regardless of COVID. Don’t feel guilty because of another person’s product! They are not you! 4. Logistics. I had a point in the middle of a project where I had an option to use Soundtrap, but I had a high success rate of submitting recordings and videos through Google Form. Do I stop the project and keep Google Form, or take time away from the project to introduce/train students on Soundtrap because everyone else is using it? I chose to stay with Google Form until the semester’s end. Are you doing something that works? If it’s not broken, don’t fix it. 5. After choosing your repertoire. Are you breaking down the song appropriately for your students to learn? Are you teaching them how to learn their part through a track? Are you taking the time to “rehearse”? Keep in mind: you are an experienced musician. You might have no issue learning a part through a track with a 99% success rate, but the majority of your students are not there yet. Don’t assume that they’re going to grasp it with the accuracy that a choral music educator can. If you prepare and plan with thought and care, your success rate will be higher.
V
irtual concert or not, right now, it’s not about repertoire standards. It’s about what you deem to be successful—for your situation, your students, and you.
California Choral Directors Association
Top Five for your Choir:
COLLEGE and UNIVERSITY T Corie Brown serves as Professor of Choral Music Education at San José State University. She brings diverse conducting experience in both public and community settings, and leads the
SJSU Concert
Choir and Treble Choir. Her scholarship focuses on collaboration in higher education, as well as how to better serve marginalized students in the choral classroom.
As
conductor and choral mentor, she aided in the creation of the choral department of the
Fundación Nacional Batuta in Colombia, South America from 2012-2014, after teaching in
Chicago
and in her home state of
Michigan.
Leading the Way
hese five works speak of hope and community, ideally reminding our singers that there is indeed light at the end of the tunnel. I’ve also found these particular pieces to be successful for virtual recordings: They are easier for singers to record accurately because they are mostly homophonic, and thus are also easier to line-up and unify audio, especially if you have a larger ensemble. Let’s remind ourselves that there is no trophy for doing complex (and frustrating to record) pieces virtually. The five works are organized from most accessible to most challenging.
Lissa Schneckenberger, arr. Andrea Ramsey Hope Lingers On SATB, (opt.) body percussion MusicSpoke Four years ago, I was sitting in a pub on the East coast on Christmas Eve, and a woman named Lissa stood up and taught us the words to the chorus of her song: “...in our darkest hour, hope lingers here.” I rushed up to her afterwards with tears in my eyes, begging her to give me the music to her piece, so I could program it with my future ensembles. The message hit me then as it does today. The song incudes flexible voicings and optional body percussion (we did it this fall just by adding a cajon and shaker track, which worked well). MusicSpoke’s digital downloads make purchasing convenient.
May Erlewine, arr. Corie Brown Never One Thing SSAA, piano, cajon, (opt.) body percussion Hal Leonard As our singers explore their complex identities, some for the first time, it is useful to have a piece through which they can share their journey. I arranged “Never One Thing” not only because of the empowering text, but also because our SA ensembles still have less repertoire than is ideal that is catchy and up-tempo. Perform it with cajon and piano, and add body percussion, even just for fun in rehearsals; photos of your students’ many “faces” in the video would surely add visual appeal. Feel free to experiment with percussion, but be sure not to take this too slow, especially virtually. Felix Mendelssohn Verleih’ uns Frieden SATB and piano (orchestration available) E.C. Schirmer “Verleih’ uns Frieden,” or “Grant Unto Us Peace,” is a short chorale cantata written in 1831, with text by Martin Luther. It can be sung in German, Latin, or English, with piano or with strings. The lush, languid lines are enjoyable for any choir, and it is excellent for tone development. For virtual choir, it works well at a medium tempo, and I found laying the piano track underneath the midi files gave singers more confidence in recording.
Arr. Undine Smith Moore We Shall Walk Through the Valley SATB unaccompanied GIA Publications
Vicente Lusitano Regina Caeli SATB, unaccompanied cpdl.org
This unaccompanied arrangement by the “Dean of Black Women Composers” is a balm for our times. Introduced to me by the quintessential recording of VocalEssence, this is an artful arrangement of the traditional spiritual setting of Psalm 23, and a timely chance for our choirs to experience the beauty, nuance, and depth of our complex American musical history. Choral Tracks has conveniently already created tracks for this arrangement.
The little-known Renaissance composer Lusitano was an African-Portugese priest and the first Black published composer who established an international music career. The Latin text honors Mary, and is an opportunity to turn attention to the women in your choir or community, whether through including their photos in the video “b-roll” or incorporating them visually in your performance. This is the only piece on the list that is polyphonic, but it’s brief and worth the work! Cantate • Vol. 33, No. 2 • Winter 2021 • 35
Top Five for your Choir:
Choral composition T David V. Montoya has been teaching music in the
California public
schools for
26 years,.
He currently teaches at both and
La Habra
Sunny Hills High
Schools, and he is a published composer.
Learn more about him and explore his compositions by visiting his website, www. montoyamusic.com.
he disappointments of COVID will not keep us from making music in the same room again soon. We must keep our ears on beautiful music, challenging music, meaningful music. The time will be upon us in the near future when we can sing freely together again, and now is a unique chance to hone our listening and our study, so that we will be ready. Here are some devastatingly beautiful selections for you to keep in mind.
Juhi Bansal In Perfect Light SATB a cappella JuhiBansal.com A tranquil reflection on finding solace in death through images of stars in the night sky, this work was commissioned by Los Angeles Opera (as part of the cantata We Look to the Stars) and premiered by singers from Pasadena City College and CalTech, under the direction of Rodger Guerrero. The text (adapted from “The Old Astronomer” by 19th-century English poet Sarah Williams) says “Though my soul will set in darkness, it will rise in perfect light. / I have loved the stars too fondly to be fearful of the night.” Zanaida Robles Veni Sancte Spiritus SATB and piano ZanaidaRobles.com A mixture of Latin and English make this lilting and joyous piece sing with the kind of hope that we need right now. Robles has created a piece that is driving yet delicate, passionate yet gentle. The harmonies are very accessible, and the and the 5/4 time signature adds a unique feel to this traditional text. Fahad Siadat The Vast Sea Six-part mixed voices a cappella Seeadot.com If you are looking for a unique piece, this is surely it! This piece uses vocal sounds on
36 • Cantate • Vol. 33, No. 2 • Winter 2021
wordless syllables, along with English words, to create a multi-textured experience for your advanced ensemble. The use of nasal sounds and microtones help to take your audience on an incredible journey across the sea. Rehearsal tracks are available for purchase, and the group that you perform it with may be anywhere from a sextet to a full choir. You will find this piece to be vibrant and new! Jessica Rudman A Forest That Is a Desert SATB a cappella JessicaRudman.com This beautiful three-movement work is meant to reflect the mental effects of those who suffer from dementia, and their loved ones. A deeply moving work, this piece was commissioned by the Choral Arts Initiative for the 2019 PREMIERE Project Festival under the direction of Brandon Elliot. The texts were written by Kendra Preston Leonard. Watch the video and you will be moved by the heartfelt and honest musical setting. Jasper Randall The Cloths of Heaven SATB divisi Pavane Publishing (CCDA Choral Series) Randall’s setting of the Yeats text, the winner of the 2017 George Heussenstamm Choral Composition Contest at ECCO, is the first release in the CCDA Choral Series, and it deserves a look if you have not seen it already. This beautiful and challenging composition is wonderful for an advanced high school choir, community choir, or professional group. The musical setting is expressive and descriptive of the text, in 21st century harmonies. The work was commissioned by Lesley Leighton for the Los Angeles Master Chorale Chamber Singers and can be heard at www. JasperRandall.com.
California Choral Directors Association
Leading the Way
Cantate • Vol. 33, No. 2 • Winter 2021 • 37
CCDA BOARD Directory EXECUTIVE BOARD President Jeffrey Benson (408) 924-4645 jeffrey.s.benson@gmail.com President-Elect Chris Peterson (657) 278-3537 cpeterson@fullerton.edu Vice President Robert Istad (562) 822-5952 robert.istad@gmail.com
REPERTOIRE & RESOURCES
REGIONAL REPRESENTATIVES Bay Area Buddy James (510) 885-3128 buddy.james@ csueastbay.edu Central Angel Vázquez-Ramos (714) 305-1087 vazquezramosa@gmail.com
Development & VFTF Lori Marie Rios (818) 679-7463 lmrdiva1@gmail.com
Central Coast Carolyn Teraoka-Brady (805) 689-1780 cteraokabrady3@gmail.com
Treasurer Jenny Bent (707) 664-3925 bentje@sonoma.edu
Far South Arlie Langager (858) 774-0412 alangager@miracosta.edu
Membership Polly Vasché (209) 526-9692 pollyvasche@pacbell.net
Northern Andrew Kreckmann (973) 903-0466 a.kreckmann@csus.edu
Executive Administrator Kathleen Preston 921 N. Harbor Blvd., #412 La Habra, CA 90631-3103 (657) 217-0767 exec_admin@acdacal.org
Southern Tina Peterson (562) 453-9681 tgpeterson@me.com
EVENT CHAIRS Summer Conference at ECCO Jeffe Huls jhuls@smmusd.org CLA Coordinator John Sorber (559) 303-9961 johnso@cos.edu All-State Honor Choirs Molly Peters (213) 880-7597 mepeters79@gmail.com
CCDA State Conference at CASMEC Kristina Nakagawa (408) 205-6050 artistic@ resoundingachord.org
Children’s & Community Youth La Nell Martin (510) 350-6639 lanellmartin7@gmail.com
Ethnic & Multicultural Perspectives Anthony Arnold (408) 799-5867 arnold_anthony@cusdk8.org
Junior High & Middle School Angelina Fitzhugh (650) 387-6730 afitzhugh@pausd.org
LGBTQ Perspectives Josh Palkki (202) 679-3350 josh.palkki@csulb.edu
Senior High School Stacey Kikkawa (310) 551-5100 skikkawa@fjuhsd.org Two-Year College John Sorber (559) 303-9961 johnso@cos.edu College & University Corie Brown (541) 743-6335 corie.brown@sjsu.edu Student Activities Susie Martone (415) 735-0910 susie.martone@gmail.com Choral Composition David Montoya (626) 419-8031 davypavy@aol.com
Music in Worship Christy Rohayem (510) 908-3047 crohayem@gmail.com Pop & A Cappella Bret Peppo (925) 808-9689 bpeppo@dvc.edu SSAA Choirs Lauren Diez (714) 904-1035 laurendiez415@gmail.com TTBB Choirs Mel Carrillo (559) 827-3560 mpcarrillo03@gmail.com Vocal Jazz Michelle Hawkins (650) 738-7134 hawkinsm@smccd.edu
Community & Professional Choirs Tammi Alderman (626) 299-7020 x3615 tammialderman@gmail.com
COMMUNICATIONS Cantate Editor Eliza Rubenstein erubenstein@occ.cccd.edu cantate.editor@ gmail.com
38 • Cantate • Vol. 33, No. 2 • Winter 2021
Webmaster & Graphic Design Anthony M. Lien (530) 204-8512 amlien@lienhome.net
Social Media Coordinator Jason Pano (408) 768-0733 jasonpano@yahoo.com
California Choral Directors Association
Leading the Way
Cantate • Vol. 33, No. 2 • Winter 2021 • 39
California Choral Directors Association 921 N. Harbor Blvd., #412 La Habra, CA 90631-3103
Congratulations to CSULB’s Pacific Standard Time and Bob Cole Chamber Choir for their invitations to perform at the National Conference of the American Choral Directors Association!
“There are people who know vocal jazz, and others who understand the choral idiom, but no one weaves the two together with as much passion, insight and artistry as Christine Guter at CSULB.” —Deke Sharon
“The Bob Cole Chamber Choir is the ‘gold standard’ for American college choirs. It simply doesn’t get any better than CSULB”—Eric Whitacre
