Tactus Fall 2023

AMERICAN CHORAL DIRECTORS ASSOCIATION

WESTERN REGION NEWSLETTER

FALL 2023

Western Region Leadership

Western ACDA Board Executive Committee

Michael Short, President

Lou De La Rosa, Past President

Julie Dana, President-Elect

David Sonnichsen, Treasurer

Lori Marie Rios, Special Advisor to the President

State Presidents

Katie Gerrich, Arizona President

Arlie Langager, California President

Chris Serrano, Hawai‘i President

Jennifer Lowry, Nevada President

Emily Mercado, Utah President

Western ACDA 2024 Conference Committee

Cari Earnhart, Conference Committee Chair

Scot Hanna-Weir, Conference Committee Vice Chair

Lori Marie Rios, Special Advisor to President

John Tebay, WACDA Membership Co-Chair

Shawna Stewart, WACDA Membership Co-Chair

Kim Ritzer, Registration Chair

Ryan Duff, Registration Committee

Joan Steinmann, Recording Secretary

Angelina Fitzhugh & Emily Mercado, Interest Session Co-Chairs

Corie Brown & Kristina Nakagawa, Interest Session Liaisons

Carolyn Teraoka-Brady, Site Liaison (Performance)

Molly Peters, Camille Killpack, & Jennifer Heder, Performance Co-Chairs

Marc McGhee & Vivian Santos, Honor Choir CoChairs

Tammi Alderman & Jennifer Tibbens, Reading Session Co-Chairs

Lou De La Rosa & Jennifer Lucy Cook, Composer Track Co-Chairs

Western ACDA 2024 Conference Committee con't

Tim Westerhaus, Conducting Master Class

David Hensley, All-Conference Sing Coordinator

Heather Scobie, Hospitality Chair

Jodi Reed & Ryan Holder, Exhibits Co-Coordinators

Scott Glysson & Alec Schumacker, College Fair CoChairs

Western ACDA Board Advisory Committee

Jennifer Tibbens, Lifelong R&R Coordinator

Alan Petker, Community Chair

Tim Westerhaus, Repertoire R&R Coordinator

Angel Vasquez Ramos, World Musics and Cultures Chair

Rodger Guerrero, Collegiate R & R Coordinator

Desirée La Vertu, College and University Choirs

Michelle Jensen, Student Activities

Christina Swanson Hall, Youth R & R Coordinator

Aimee Stewart, Community & Children R&R Chair

Athena Mertes, Junior High Middle School Choirs Chair

Dan Jackson, Senior High School Choir Chair

Emily Burkhardt, Elementary School Choir Chair

Diversity, Equity & Inclusion Committee

Jace Saplan, DEI Committee Chair

Kristina Nakagawa

Yu-Feng Huang

Tiffany O'Neill

Ernest Harrison

Emily Mercado

Ryan Duff

Nicki Manlove

Communications Committee

Elizabeth Baker, Social Media

Anna Caplan, Webmaster

Olivia Arnold, Tactus Editor

A Letter from the Editor

Dear Readers,

For me, organizing and editing the fall 2023 issue of Tactus was another grand adventure! I solicit the majority of content for each issue; with that, I meet folks from all around the region and the world. An article I was especially excited to put together was for a mentor and dear friend, Nola Nāhulu. She is the kind of choir director who you’ll see at the University of Hawai‘i Friday night choir concert, chatting with former students, community members, and directors, and who will also be up early Saturday morning working with her children’s choirs

In text messages, she adds no less than three emojis - per line - and in person, she talks with her hands and loves to laugh

Aunty Nola was especially involved in the spring with two projects I helped to coordinate: a middle school choir festival and a college choir tour to Hawai‘i. Excited to bring Nā Leo Pili Mai back following the pandemic, Nola, Joanna Habermann, and I put our heads together. On a Saturday morning after the Hawai‘i Youth Opera Chorus rehearsals were finished, Nola brought mango to snack on and pua fresh from the trees

of Kawaiaha‘o. We hatched a plan to involve middle school choirs from around the island of O‘ahu in the festival with Dr. Erica Glenn as the guest clinician. It was a fabulous day of music-making, hula, and stories. I am so grateful to these women, along with the staff at HYOC, Kawaiaha‘o Church, and the middle school choir teachers, for making this event possible and a great experience for the singers Mahalo!

Later that spring, my alma mater college choir traveled from Washington and Lee University to Hawai‘i on tour. To say that this was a dream come true is the understatement of the year. Reuniting with my formative mentors, Dr. Shane Lynch and Mrs. Lacey Lynch, we organized a choir tour with performance and cultural learning opportunities. On the first full day of choir tour, Nola and the Gioventu Ensemble greeted us at the Cathedral of St. Andrew with chant and hula. Soon, the University Singers were learning to step, sing, and workshop the music of Queen Lili‘uokalani with Nola’s expert knowledge. Mahalo also to Aunty Kanani and Uncle Phil for helping lead the hula workshop!

We are so fortunate to have a kind of Aunty Nola in our lives who works so tirelessly to make our music communities joyous and vibrant Readers, I hope that you are inspired by our fantastic colleagues featured in this issue as much as I am If I might suggest a takeaway from this issue, it would be to encourage readers to find ways to work with one another. We are stronger together and can create meaningful experiences when we combine our talents! As I grow as an educator and musician, I continue to learn the incredible value of collaboration.

Feel free to email me at tactuseditor@acdawestern.org.

All the best, Olivia

Arnold Tactus Editor

A Message from our President

Join me in welcoming the new State Presidents of the Western Region! The way to continue to grow and become stronger is to reach out to them and others on your state boards Discover who they are and ask questions! Share your opinions and ideas with your state leaders (and Region). They want to hear from

you! Whether you are a brand-new conductor or an experienced one, feel free to reach out, say hello, ask a question, give your opinion, ask for help, or say thank you! Get involved in your state!

Arizona

Katie Gerrich is the Director of Choirs at McClintock High School in Tempe, AZ. Katie has taught in Tempe for 22 years, the past nineteen at MHS. She holds a Bachelor of Music Education and a Masters in Education and Human Relations from Northern Arizona University. At NAU, she served as President of the Shrine

of the Ages Choir and studied under the direction of Dr Edith Copley, Dr Alan Rieck, and Mrs Sally Hanson Katie has served as chair for both the Arizona Southwest Regional Choir and the Arizona All-State Jazz Choir. Katie truly enjoys mentoring student teachers and is a requested guest director, clinician, and collaborative pianist She lives in Chandler, Arizona with her husband and 7 year-old daughter. She is honored to serve as the Arizona ACDA President!

California

kgerrich@tempeunion.org

Arlie Langager is the choral music professor at Mira Costa College in California. After receiving her undergraduate degree in vocal performance, Arlie taught voice in the Conservatory of Music at the University of Lethbridge She began her graduate degree in voice performance and pedagogy at the University of Calgary before earning a Master of Music degree in Conducting. Prior to completing her Doctor of Musical Arts at the University of Texas at Austin, she taught courses in choral music education, supervised student teachers at elementary and secondary levels, and directed choirs at universities in Canada. Dr. Langager has conducted tours and

and festivals with choirs from children through college ages and is frequently engaged as clinician and guest conductor. Dr Langager actively serves on the boards of several nonprofit organizations She is VicePresident of Vox Peregrini, a pilgrimage choir that has walked in Ireland and Spain.

Hawai‘i

arlie.langager@gmail.com

Christopher Serrano serves as the Music and Technical Director at Church of the Crossroads and the General Music Instructor at Ala Wai Elementary School in Honolulu, Hawai‘i where he is known by his students as "Mr Chris " Mr Chris earned a Bachelor of Arts in Music from Jacksonville State University in

Alabama. Mr. Chris earned his Post-Baccalaureate in K-12 Music Education at the University of Hawai‘i at Mānoa. His academic excellence was recognized through multiple scholarships and the Grow Our Own Teachers Initiative. Mr. Chris’ leadership in music education and community engagement span both classical and multicultural music, showcasing a dedication to fostering creativity and cultural awareness christopher serrano@k12 hi us

Nevada

Jennifer Lowry has been teaching in the Clark County School District for seventeen years. She grew up in Wyoming where she was actively involved in music. Mrs. Lowry earned her Bachelor's Degree in Music Education from Western Washington University. In 2014, Mrs. Lowry was the guest conductor for the Middle School

Honor Choir in Casper, Wyoming Under her direction, her choirs have been invited to perform at a Regional American Choral Directors Association (ACDA) Conference (Santa Barbara, CA, 2014) and a National ACDA Conference (Kansas City, MO 2019). Students have performed at District Solo & Ensemble Festivals and Regional ACDA Honor Choirs. She was the NMEA Middle School All-State Choir Co-Chair for

A Message from our President

three years and was most recently the Western Regional ACDA Middle School Honor Choir Manager. In her free time she enjoys spending time with her husband, daughter, and dog, traveling, reading, and sailing on her new sailboat! steinjl1@nv.ccsd.net

Utah

Emily Mercado, Ph.D. is an Assistant Professor of Choral Music Education and the Music Education Area Head at the University of Utah where she teaches choral music education courses at the undergraduate and graduate levels, supervises music education student research, and conducts Voci Altissime, a treble voice choir Mercado is an active conductor, clinician, adjudicator, and researcher

Mercado is also actively involved in developing community partnerships with area schools. Mercado received a Ph.D. in Music Education from Louisiana State University, a Master of Arts in Teaching degree from Oregon State University, and a Bachelor of Arts degree from Oregon State University Prior to joining the faculty at The University of Utah, Mercado taught choir for nine years at Crescent Valley High School

and Cheldelin Middle School in Corvallis, OR. Mercado also held the post of Associate Conductor of the Corvallis Repertory Singers. emily.mercado@utah.edu

IIncomingPresidents ncomingPresidents

Welcome, incoming WACDA State Presidents for 2023-2025! Thank you for taking on this time of service to your states and our region at large. We are excited for the trajectory of our work under your leadership!

Arizona President: Katie Gerrich

California President: Arlie Langager

Hawaiʻi President: Christopher Serrano

Nevada President: Jennifer Lowry

Utah President: Emily Mercado

Thank you, our outgoing WACDA State Presidents for their leadership, music, creativity and foresight! You have led your states through a pandemic and a restart of choral music in our world. Choral music not only survived but thrived under your leadership. Thank you for the hours, days, months and years that you have given for the choral art and to the thousands of lives you have affected with your hard work.

Arizona President: Ted Gibson

California President : Christopher Peterson

Hawaiʻi President: Justin Ka’upu

Nevada President: Michael Polutnik

Utah Presiden : Cherilyn Worthen

AUTHORED AND DESIGNED BY ELIZABETH BAKER

OutgoingPresidents OutgoingPresidents

The winter issue of Tactus will serve as the Conference Program. In the following pages, sponsors and advertisers will find a variety of options to meet every budget and to target messages to:

Conference attendees

Performers

Honor Choir parents

Prospective students

Advertise in print in Winter Tactus (Conference Program) in the Honor Choir program, or both.

Advertise digitally on the conference app.

Advertisement sizing information can be found on the Tactus Advertisement portal, https://acdawestern.org/tactus-ads/

Submit advertisements to: https://acdawestern.org/2024conference-promotionalopportunities/

2024 Western ACDA Conducting Master Class Overview Call for Applications

Western ACDA announces three conducting master classes at our regional conference (March 6-9, 2024, Pasadena, CA), led by exceptional conductorteachers within our region. As part of our mission to foster the growth of choral leaders at various stages of their conducting careers, each master class is open to attendees based on experience. The 2024 master classes are non-competitive: although the selection process is by audition, there is not a competitive element to the master classes.

Conducting Master Class Categories 1

Conference Attendee: this category is open to all attendees, including graduate students.

Undergraduate Student: this category includes students enrolled in collegiate programs at the post-secondary level of bachelor’s or associate's degrees.

New Teachers & Emerging Conductors: this category is open to conductors with 5 years or less of conducting experience (including the current 2023-2024 year)

Conducting Master Class Ensembles

Three performing choirs at the region conference will serve as master class ensembles, representing a variety of ages and settings. They may include adult community chorus, high school chorus, children’s community chorus, and collegiate chorus.

General Overview

Conducting Master Class Clinicians 1 2

Conference Attendee Clinician: Dr Iris S Levine

Undergraduate Student Master Class Clinician: Joseph Huszti

3.

New and Emerging Conductors Clinician: Dr. Marcela Molina

Applications Due: October 31, 2023 11:59 pm PST

Video Verification Due: October 31, 2023 11:59 pm PST

Applicant Notification: November 15, 2023

Questions? Contact the coordinator, Dr. Tim Westerhaus: timothy.westerhaus@nau.edu

Application Form

Video Verification

2.

3.

2024 Western ACDA Conducting Master Class Clinicians and Biographies

Dr. Marcela Molina has been affiliated with the Tucson Girls Chorus since 2006, first serving as Artistic Director and taking the helm as Executive Director in 2011. Under Dr. Molina’s guidance, the Tucson Girls Chorus has grown significantly in programming and community engagement With her leadership, the TGC has transformed into a vibrant and collaborative organization that creates access to inclusive programming for youth, and provides resources to music educators and support to their classroom all year-round. In addition to her work with the TGC, Dr. Molina serves as Director of the Tucson Symphony Orchestra Chorus.

Born in Bogotá, Colombia, Dr. Marcela Molina holds degrees from Westminster Choir College and the University of Arizona. She has contributed articles to Antiphon, and the books Teaching through Performance in Choir, Volume 2 and Choral Reflections: Insights from American Choral Conductor-Teachers She was named 2019 Choral Director of the Year by Arizona American Choral Directors Association (AzACDA), and she often serves as a clinician and guest conductor for choral festivals Dr Molina has served on the board of the AzACDA as well as standing committees for ACDA Western Division. She currently serves on the board of Chorus America.

Joseph Huszti, Professor Emeritus, retired from UC Irvine in 2014 after a 54-year teaching career, 37 at UCI. Joining ACDA in 1960 as the 214th member, he continues to be active as a singer and conductor of the Men in Blaque. His first position was in 1959 at Bakersfield College and he subsequently headed choral programs at the University of Delaware and Boston University His mentors included Howard Swan, William Vennard, Todd Duncan, Robert Fountain and Otto Werner-Mueller

In 1965, the Bakersfield College Choir became the first American choir to win the International Musical Eisteddfod, Llangollen, Wales. The BC Choir held command performances for Pope Paul VI and President Lyndon B. Johnson. During his tenure at UC Irvine, twenty-seven international concert tours included prize-winning performances at the International Musical Eistedfod, the Bela Bartok International Choral Competition, the Koorfest and the World Choir Games. Huszti headed the Young Vocalists Program at the Tanglewood Festival from 1972-1977 where he collaborated with Leonard Bernstein, Aaron Copland and Norman Dello Joio, among others Huszti has held leadership positions in ACDA in Delaware and Boston He served as Western Division President from 1980-82 Huszti was honored by CCDA with the Howard Swan Award in 2020

Nationally recognized for her excellence in choral conducting, Iris S. Levine is founder and artistic director of VOX Femina Los Angeles, L.A.’s premier women’s chorus. Dr. Levine has charted VOX Femina on an impressive journey, building its prominence in the choral community by way of numerous concerts and appearances at ACDA conventions, Chorus America conferences, and more. Under Dr. Levine’s artistic leadership, VOX Femina Los Angeles has commissioned more than 50 new works for women’s voices.

Dr Levine is faculty emerita at California State Polytechnic University, Pomona where she served as Director of Choral Activities, Dean, Interim Provost and Vice President for Academic Affairs She is an active member of ACDA, with former leadership roles as state, regional, and national R&S chair for Women’s Choruses.

Dr. Levine is the editor for the Iris S. Levine Treble Choral Series with Pavane Publishing. She authored the chapter on “Working with the Women’s Community Choir” in Conducting Women’s Choirs: Strategies for Success and she is a contributing author in Choral Reflections: Insights from American Choral Conductor-Teachers. Dr. Levine is highly sought as guest conductor, clinician, and adjudicator for choral festivals throughout the country.

It's Party Time!

Perspectives on Creating a "Composer-Friendly" 2024 WACDA Conference

BY ANDREW MAXFIELD

This is the party I’ve been waiting for! Under the vision of Jennifer Lucy Cook, and in cahoots with Lou De La Rosa, I’ve had a hand in planning an especially “composer friendly” regional conference. On behalf of Jen and Lou, I invite you all to Pasadena. Party hats recommended!

You might assume that all ACDA conferences are “composer friendly.” After all, a music marketplace, large or small, is at the center of every conference, and composers seem to be buzzing around already! What isn't friendly about that? As a composer, I prepared for my very first ACDA national conference in 2015 Having recently released an album and large collection of sheet music, I figured I would hazard showing my wares to the world. Not only did I prep my shiniest smile and best elevator pitches, but I invested money in sheet music samples and related promotional fodder. I felt like I was preparing for an awkward first date, but I was wrong: I was actually preparing for a series of about a thousand awkward first dates, all packed into the conference weekend The only thing more awkward than these dates in which I would get up the guts to share my music with a hurried stranger were all of my actual awkward first dates, one after another throughout college. Thankfully, actual dating ended, eventually, and conference-style dating got easier the more I practiced.

Many choral conference attendees may not appreciate the complexity and expense of bringing new music to the marketplace, and the work involved in trying to find those teeny, tiny conversational openings that reveal a possible intersection between a director's artistic vision and a composer's trunk full of musical offerings. In many ways, effort of this magnitude (with such meager probable gains) is a fool's errand, not just because so many composers are hoping for the same lucky outcomes, but because we're competing with - the entire inherited catalogue of published music, from Perotin to pop arrangements

In an era when choral publishers are releasing rafts of new music every quarter, and CPDL and IMSLP are scooping up every sprawling scrap of the public domain, is there room for a new octavo by a living composer who is preparing right now to make small talk with you in Pasadena? What's the point of writing yet another piece when the market is saturated, and every new piece competes with everything from Nuper Rosarum Flores to "A Nightingale Sang in Berkeley Square?" These are the kind of questions that can halt a composer's pencil mid-melisma Honestly, there are no good answers, and yet, the fool's errand attracts no shortage of those like me, who are addicted to the creative buzz and to forming new relationships that lead to new art.

The present might be a gift, as they say, but it's a tricky one to unwrap since no one knows what it sounds likeyet. We're all guessing at it, trying to use our craft and resources to peel back a bit of the wrapping for a glimpse inside, like trying to see a glimpse of ourselves and our place in the cosmos as time unfolds There's less guesswork in programming music that found its legs in the past and of course it's essential to ground ourselves in the broad root system of the multi-faceted tradition of human singing. But what's a tree without its branches?

Besides, that's where the party is.

If artists are called to tell the story of their time, then it's no one else's job but ours, yours and mine, to make sense of the present in sound.

rrive in Pasadena, there will be share your artistic vision with will be a comfy lounge area where th each other, and a multi-day re you can listen to recordings and ic You'll hear the results of the ition and there will be sessions ollaborators find each other. especially "composer-friendly" be an especially fun and productive eryone, since it's imaginable that ter ourselves in the creative aspects mposers may not uniformly have the g the life of the party , but we might lay in greening and growing the art And if, generations from now, ng old stuff, stuff that's new right tuff then we'll have reason to don

ANDREW MAXFIELD is a choral, orchestral, chamber, and opera composer who chases fascinations with Renaissance counterpoint and jazz harmony like he chases his two kids and their nutty dog His works have been praised as “rhythmically vital superbly judged … [and] tender” by Fanfare Magazine, and, in addition to receiving a 2021 King's Singers New Music Prize, Special Commendation, his work has been performed recently by The Gesualdo Six, Choir of Royal Holloway, Salt Lake Symphony, Emporia Symphony Orchestra, Utah Opera, UGA Hodgson Singers, and many others

Song as Savior: The Estonian Singing Revolution and Ukraine’s Developing Voice

BY ERICA GLENN

June 10, 1988: Tallinn, Estonia

Over 20,000 Estonians have been deported to Russia and at least 10,000 killed under Soviet occupation. Any display of Estonian patriotism is strictly forbidden. But at the Tallinn Old Town Festival on this summer afternoon,15,000 Estonians suddenly break into patriotic song En masse, they march to the Song Festival Grounds where the world’s largest choral festival has been held since 1896. Word travels quickly, and soon over 100,000 have gathered 10% of the country’s population. They flood the 750,000 square foot field in front of the massive arched stage body against body waving the banned Estonian flag and singing Alo Mattisen’s “Five Patriotic Songs” through the night: “I am Estonian and I will remain Estonian, because I was created Estonian ” This marks the beginning of the Estonian Singing Revolution Three years of musical protest will eventually culminate in the successful overthrow of Soviet rule

February 10, 2014: Kyiv, Ukraine

A Ukrainian flag spattered with mud hangs in the uncertain breeze. Smoke rises from the charred rubble in Kyiv’s Independence Square, and Ukrainian protestors huddle among sandbag barricades, surrounded by riot police with metal shields. The police have already proven that they are willing to use guns and grenades even against unarmed students. When Russian pop begins blaring from a police boombox on the perimeter, a Ukrainian performs Chopin’s “Revolutionary Etude” in passionate response at a piano painted in the colors of the flag Cheers erupt from the crowd as people gather to take turns at the seat of musical protest. In earlier weeks, pop stars filled this same square, celebrating Ukrainian identity with folk-inspired song. The square is less festive now, but the bloodiest clash is still to come. In just a week, more than two dozen will be killed and over one-thousand injured, prompting Ukrainian singer Sofiya Fedina to release a single on YouTube in honor of the victims

I have stood in both of these hallowed spots the Tallinn Song Festival Grounds and Kyiv’s Independence Square. For these two Russian border countries, music has served as the spiritual fuel for fierce and unified resistance. I can only hope that what I see in Estonia in 2023 is a forecast of good things to come for the people of Ukraine. Today, Estonia is a member of the EU with a high-income advanced economy, and the Song Festival (a Masterpiece of the Oral and Intangible Heritage of Humanity) continues to grow in scale. Last week, I attended the 2023 Tallinn Youth Song and Dance Festival and watched 10,000 dancers and 30,000 singers celebrate Estonian culture before an audience of 100,000. Estonian flags dotted the bleachers and fields, and the audience frequently erupted into spontaneous song and dance At the Tallinn Song Festival Grounds, tens of thousands settled onto blankets with plates of salad and meat (the Estonian equivalent of a hotdog at a football game), and the 19,000 singers onstage began a spontaneous “wave” that rippled through the entire audience. (Imagine a country of people who treat choral music like a Taylor Swift concert!) The raucous energy continued through the lighting of the festival flame and the singing of the national anthem. Then a hushed silence fell over the crowd as choral composer Pärt Uusberg led his choir of 19,000 in a meditative original composition. For everyone present, this was not just an entertaining experience but a sacred one Citizens of all ages attend the Song and Dance Festival. The woman crouched next to me on a plastic bag

must’ve been in her 80s The couple to my left who loaned me a poncho when the rain began to pour was in their late 20s. Young children pressed to the front, searching eagerly for the best views and with good reason! The dance festival at Kalevi Stadium was a jawdropping spectacle of whirling striped skirts and intricate dance formations, and the folk music festival in Freedom Square introduced massive ensembles of instruments like the kannal (a kind of dulcimer) and the torupill (an Estonian bagpipe). The folk music of Estonia is decidedly non-Slavic influenced more by Nordic and German culture, although the polka (imported from the Czech Republic) became popular in the nineteenth century.

The Estonian language is, of course, Finnic. Estonians share more in common with their brothers across the Gulf of Finland than they do with their Russian neighbors to the east (The first settlers in Estonia were Danish ) This is not the case with Ukraine Ukrainian is a Slavic language, and the country’s cultural history intersects with Russia’s in ways that are far more complex. Yet Ukraine has always managed to assert a distinctive voice of its own, and that unique voice has been amplified by song throughout its complicated history Aided by the advent of technology and the internet, protest music played a critical role in the Orange Revolution of 2004, and ten years later, it asserted an even greater influence during the more violent Maidan Revolution in Kyiv and the subsequent Russian invasion of Crimea

FROM THE THE PERMANENT COLLECTION OF THE TALLINN SONG FESTIVAL GROUNDS VISITOR CENTRE

I spent the summer of 2022 working in Poland among Ukrainian refugees. Through dozens of interviews, I discovered that songs like “Chervona Kalyna” and the Ukrainian National Anthem have been instrumental in creating unified diasporic communities and keeping morale high. One woman explained that she never sang before the war. “But when the bombing got really bad in Kyiv, I would take my youngest in my arms, curl over her in the fetal position, and sing ” The vibrations calmed and connected the two of them Now the power of group singing is connecting refugees and fueling Ukraine’s resolve to press towards independence at any cost. Might we someday see a Ukrainian Singing Revolution? And will Ukrainians someday celebrate the music of their homeland on free soil perhaps even as an EU member country? Only time will tell.

Dr Erica Glenn holds a doctorate from Arizona State University (Choral Conducting), an EdM from Harvard (The Arts in Education), and an MM from Longy Conservatory (Music Composition) She is the Director of Choral Activities at Brigham Young University - Hawaii where she currently conducts the Hoʻlōkahi Chamber Choir and Seasider Singers Prior to her appointment at BYUH, she taught at Dean College; the DC Kennedy Center; the Soul Arts Academy in Manhattan; Arizona State University, where she led the Women's Chorus and New American Choir; and the American International School of Utah, where she worked in senior management as Founding Director of Performing Arts and conducted six award-winning choirs. Dr. Glenn also co-founded the Arizona Women's Collaborative and Phoenix Singing

Dr. Glenn is a current American Councils Scholar in Estonia (2023), and she recently completed musicological research on a Fulbright in Poland among Ukrainian refugees (2022). She has published with Santa Barbara Music Publishing, Pelican Music, LazyBee Scripts, The Salt Lake Tribune, and USA Today. In 2021, Dr. Glenn became a national finalist for the American Prize in Conducting In 2020, she was named a Conducting Fellow in the Cortona Sessions and founded VirtualChoirConductor.com. She has also presented at the 2023 NATS International Region Conference, the 2022 MCCCD Global Forum on Social Justice in the Arts, the 2019 AATSEEL-AZ Slavic Conference, the 2019 ACDA-AZ Student Symposium, and the 2016 ACDA-WD Conference Research interests include the cognitive science behind audience perception of conducting gesture, the effects of kinesthetic movement in the choral classroom, the Estonian Singing Revolution, the role of music in the current war in Ukraine, and the lost history and music of the Ukraine's first female composer (Stefania Turkevych). www ericakyreeglenn com

KUNGLA RAHVAS INTERVIEW WITH THE FESTIVAL’S ARTISTIC DIRECTOR (JUNE 1990)

SONG FESTIVAL 2023 PHOTOS, COURTESY OF ERICA GLENN

In Remembrance of Doris Sadako Dudley

BY DR KIONI DUDLEY

From a very young age, Doris was quite independent; moving ahead on her own and taking on what others would see as too great a challenge. When she was five, Doris saw children walking to school One morning she followed them ten blocks from her home to Island Paradise School The principal called her parents and told them she was trying to enroll herself. That day, her mother registered her in kindergarten.

At age eleven, Doris took the entrance test at St. Theresa School, again on her own. Even though the family was Buddhist, her parents agreed to her attending the school when she was

accepted Doris similarly applied to Maryknoll and continued piano and voice lessons through high school. She led her grade-level class to win the school singing competition, teaching the song and accompanying the class on the piano. Doris also won the English Award at graduation. After researching music schools, Doris applied and was accepted at the Oberlin Conservatory of Music in Ohio in 1949. The Pan Am Clipper serviced Hawai‘i once a week with eight available seats and jet planes would not touch down in Hawaiian until 1955 Therefore, Doris travelled to Oberlin by ocean liner and railroad

After her junior year, this young Japanese girl took a student ship to Europe and travelled extensively seeing the major musical sites and historical places. She greatly admired the European attitude and treatment of students. Doris studied piano and voice at the Geneva Conservatory of Music for a year. Returning to America, she was invited to attend the University of Colorado Music School where she received a Bachelor of Music Education degree and held graduate credits as an undergraduate student She became a member of Sigma Alpha Iota, a music honorary society, and two education honorary societies, Kappa Delta Pi and Pi Lambda Theta. She married Alexis San Miguel at that time and had two sons, Luis Kazuo and Daniel Kenji San Miguel. She was married to Dr. Kioni Dudley for forty-two years.

Returning to Hawai‘i, she taught elementary and secondary music in the public schools She first taught at Mā‘ili Elementary School on the Wai‘anae Coast where she was known as “Mrs San Miguel ” Doris fell in love with the musicality of the Hawaiian children and stayed for 13 years, developing the voices and musicality of thousands of students. Doris later served as a Music Resource Teacher for the Honolulu District.

er retiring, she taught piano and board classes to senior citizens at ward Community College

Even at 74, Doris continued investing her community Living in the new ond City area, she had become keenly are that it was growing into a cultural teland, a suburbia of bedroom mmunities with nothing of music and arts for its people. In an effort to r the experience of singing highlity four-part harmony to the West e, and at the same time offer the ortunity for local audiences to hear music, she founded the Kapolei orale in 2006. In its first ten years, the d in the Dudleys’ living room Over the Chorale sang at more than a bringing joy to civic, church, and udiences. In 2020 the University of hu invited the Kapolei Chorale to join them as The Kapolei Chorale/UHWO University Chorus.

In 2011, there was still not a single auditorium in West O‘ahu and Wai‘anae High School no longer had a band Doris, then 79, decided to do something about it Her vision was to create an Annual Leeward Music Festival which would spotlight truly outstanding talent across the island. The festival would feature one or more choruses, bands, or dancing groups from the K12 schools of the Leeward District. The participants enjoyed learning from and being inspired by the other performers.

The yearly show was a tremendous success. Held at the 500-seat Kroc Center in East Kapolei, it played to sold out houses most years It was also repeatedly shown on the four stations of ‘Ōlelo where it is seen by tens of thousands more Doris organized the festival, searching out and auditioning new talent each year, securing the site, designing the tickets and program, managing publicity, and overseeing the program on show day. When she was 88, she was in the final weeks of preparing the 10th Annual Leeward Music Festival when Covid forced a shut down.

Through the years, many students came back to thank Doris Doris Sadako Dudley was an amazing and giving woman

AUTHORED BY DR KIONI DUDLEY

Calling All New Music Educators!

J.W. Pepper is offering new music teachers extra support through the New Music Teacher Club! Members receive regular check-ins from our knowledgeable team along with specialized resources that address their unique situations and challenges. First-year teachers can sign up on our website, and we invite your members to nominate music teachers to join as well. Nominees will receive details and a signup form via email.

In addition, we have launched a J.W. Pepper New Music Teacher Community group on Facebook! This is a place for first year and veteran music educators alike to ask questions, share experiences, and inspire each other. I hope your members will join our community and find this resource helpful going into the new school year!

Hawai

i Youth Opera Chorus OPERAtunities Summer Youth Program 30th Anniversary

BY NOLA A. NĀHULU

Aloha mai Kākou,

Let’s talk story and take you on a journey! In 1961 the Honolulu Children’s Opera Chorus was founded to provide the Hawai‘i Opera Theatre with youth to sing in productions. La Boheme was the first collaboration and Eileen Lum & Richard Vine prepared the youth for the production. Over 100 children auditioned for 20 roles. With such great interest, Richard and Eileen founded the Youth Opera Chorus here in Hawai‘i Nei! Fast forward to 1993: we are now the Hawaiʻi Youth Opera Chorus (HYOC)! One of our parents (Lynne Johnson) asked, “where are the operas composed specifically for youth?” This question inspired our journey Just this June, we celebrated our 30th anniversary! In 1993, HYOC created its first summer youth opera program. Our staff member, Erik Haines, developed the name “OPERAtunities” and selected our first opera, Yanomamo. Yanomamo was a great fit for our program, “Living off the Land in a Rainforest.”

1993

by Peter Rose and Anne Conlon (1988)

The Yanomamo (forest people) is a tribe in the Amazon basin which has lived for thousands of years in harmony with the ‘aina

In the summer of 1994, we debuted our first commissioned youth opera. From this first commissioned work, our parameters have remained: all parts will be sung by youth and the story will come from Hawai‘i Our commissioned works have been about Hawaiian history, legends, life, and the lives of our ali‘i (royalty) We are ever so grateful to local composers who have taken us under their wings to support our keiki e ‘opio. In addition to learning the opera (chorus, solo, dramatic staging) the youth make their own props, create and paint staging backdrops, have make-up and hair workshops, and participate in dance and drama classes.

Feel free to check out our website for HYOC staff and videos of past performances: Hawai‘i Youth Opera Chorus: www hyoc org

Our composers and their operas in

1994

by Neil Mckay (1994) Kahalaopuna, Daughter of Kahaukani e Kauakuahine, Gods of wind and rain teach the keiki of Manoa

how to appreciate the raindrops and rainbow

of Mānoa!

1998

by Herbert K Mahelona (1998)

Hawai‘i is a land rich with culture and spiritual heritage handed down orally. They represent family stories sharing the cultural diversity found here in Hawai‘i!

1996, 2016

StorybyJamesWong,composedbyHerbertK Mahelona(1997)

The Time Portal (‘Ipuka) opens every 200 years.Auli‘idoesnotreachtheportalintime and is left to witness the next 200 years of Hawaii’s transformation including the overthrow of Queen Lili‘uokalani and the bombing of Pearl Harbor. We reflect, we learntoforgive,andliveinpeace.

oauli’ithelastmenehune fnu’uanuvalley

1995, 2015

la’ieikawai

by Neil Mckay (1995)

La‘ieikawai e ‘Onohiokala meet by chance and fall in love at first sight.

‘Onohiokala visits La‘ieikawai in Pali‘uli where there’s always a rainbow. On the way he meets the Snow Goddess, Poliahu, on Mauna Kea.

‘emalani

2013 - 2014

by Herbert K. Mahelona (Part I-2013, Part II-2014)

We follow the life of ‘Emalani from birth through life at the Royal School, travels to Kaua‘i e England and finally life after the lose of both ‘Iolani e Prince Albert.

ka’ilia

by Bert Moon (2006)

of High

Chief

her dreams by a knew that she she found the to the Kahuna

by Herbert K Mahelona (2017)

The opera begins outside on the grand lawn of Washington Place. We are transported back in time to the Royal School where Lydia is learning to play piano and composing which become her passions. She even travels to England to visit with Queen Victoria!

nani na pua mahaloissimo

2023

This past June we celebrated MAHALOISSIMO, our 30th Anniversary. MAHALOISSIMO was a concert including excerpts from all eight operas. We even invited some of our “youth” who debuted the original roles back in the 1990s In June of 2024, we will be celebrating the 30th Anniversary of our first commission with a NEW YOUTH OPERA “SCALES”. This original story written by native Hawaiian Acaia Awai is about dragons who live on the island of Maui They take the form of humans with special powers, like invisibility or creating ice Our composer, Tonia Ko, is an HYOC alum who actually was part of OPERAtunities as a youth!

Nola Nāhulu is the Artistic Director, Director for Gioventu Musicale, and Ho‘okahi Ensembles Ms Nāhulu became Artistic & Music Director for the Hawai‘i Youth Opera Chorus in 1986. Since then, the chorus has grown from twenty singers to as many as 225 children in the core program grades K-12. The focus of the organization is that of Music Education. There are nine graded ensembles, optional hula, piano and vocal coaching as well as choral conducting internships available for high school and college students and other teachers She conducts the High School, Select & Boy Choir ensembles. The organization serves an average of 1500 students each year through its various outreach projects including hosting 3 choral festivals and music education outreach in an average of 8-10 schools a year. She serves as a teaching mentor and choral clinician to music education students and multiple visiting guest ensembles each season. She is considered an authority on Hawaiian Choral Music

Ms. Nāhulu is a member of HMEA (Hawai‘i Music Educator's Association), Treasurer for SGM (Society for General Music) and is past president for ADCA (American Choral Director’s Association) Hawai‘i Chapter. She currently serves on the Board of Directors for the Hawaiian Music & Dance Foundation, Hawai‘i Arts Center for Youth, and the Hawai‘i Alliance for the Arts

Ms. Nāhulu serves as a teaching mentor and choral clinician to music education students and multiple visiting guest ensembles each season. She is considered an authority on Hawaiian Choral Music. “In honor of her many contributions, Nola received the YWCA Leadership Award in 2010, she was featured on the PBS “Long Story Short” program in 2011, she was named a Honpa Hongwanji Living Treasure in 2013, and she was awarded a Ho‘okele Award by the Hawai‘i Community Foundation for excellence in nonprofit leadership in 2014.” She has received lifetime service and choral excellence awards from the Windward Choral Society and Honolulu Chorale in 2018. She is recognized by the Aha Hipu‘u of the Hawaiian Benevolent Societies for her work in cultural preservation and excellence in 2019.

DIVERSITY, EQUITY AND DIVERSITY, EQUITY AND INCLUSION COLUMN INCLUSION COLUMN

Mel Bonis: A Conductor’s Guide

IESE PURCELL WILSON

The historiography of women composers throughout time has always been questionable and has revealed that only few names have had enough evidence to pierce through the male/eurocentered textbooks on the history of western music. Names like

Hildegard von Bingen, Clara Schumann, and Fanny Mendelssohn are now commonplace throughout current classical academia but what of the name Mel Bonis? It was allegedly said of this late romantic composer “I didn't know a woman could write that. She knows all the ins and outs of being a composer." This was said by Camille Saint-Saëns to Jean Gounod after auditioning her quartet. (Géliot 2007) Who is this woman? What is her music?

Through this conductor practitioner guide I would like to dive into the key moments of how her music was discovered, a basic biography of her life, and then ultimately ask a variety of critical questions about the obstacles that prevented her from a larger reputation as well as further examine the historiography regarding her life as we currently know it

I. Discovery

Our story of Mel Bonis actually begins with the story of how the general public gained access to her music which was through a German cellist named Eberhard Mayer, who after first being moved by Bonis’ music in 1985 was finally able to get in contact with her daughter Jeanne in Paris, France 1997. Being in her advanced years this would require the help of Jeanne’s niece (and great-granddaughter of Mel Bonis) Christine Géliot who did not know much about her great-grandmother but as a musician herself decided to descend into the cluttered basement alongside her aunt where she was enthralled with the musical finds and eventually confess, “I took a look at the Mass, about which I'd never heard, read it and fell in love…I realized that I had a true treasure in my possession,

and that I was going to take responsibility for it.” (Géliot 2007) And a large treasure it was, for the scores of Mel Bonis (both published and unpublished) came to an estimated total of 300 compositions. This included 20 chamber pieces, 150 works for piano solo, 27 choral

pieces, organ music, songs and orchestral works (Tsou) Christine Géliot would go on to write Mel Bonis’ biography and create the Mel Bonis Association where she continues to serve as president with the help of the publishing company Armionne who are able to sell her works through the website https://www.melbonis.com/EN/Partitions/ and offer unpublished works through contacting the association The irony of all this is that the descendents of Bonis have given voice to her music which is not a support Mel ever had in her immediate family.

II. Biography

Unlike the German romantic women composers like Fanny Mendelsohnn and Clara Schumann, Mélanie Bonis was born in 1858 without being a musical prodigy and into a lower middle-class family in Paris that had a strict religious tradition and didn’t have any ties to the arts or music Said Géliot, “Nothing predisposed her to a musical future She taught herself the piano in a mostly hostile family context until the age of twelve.” (Géliot 2007) But due to the suggestion of a family friend, Monsieur Maury, who was a cornet professor at the prestigious Conservatoire, he was able to convince the family to give her a musical education and was accepted upon her merit by famed French composer César Franck in December 1876, “where she shared courses with such fellow students as Claude Debussy and Gabriel Pierné ” (Géliot 2007) She studied composition from Ernest Guiraud and piano accompaniment from Auguste Bazille It was at this point of her schooling that Mélanie chose to go by “Mel” to avoid feminine connotation as a composer because it was clear that

DIVERSITY, EQUITY AND INCLUSION DIVERSITY, EQUITY AND INCLUSION

composition could never be a woman’s profession. While in school, young Mel met a man in her singing class who would impact her life for as long as she lived His name is Amédée Landély Hettich who Géliot described as “a singing student with a strong personality, [who could also be identified as a] poet, journalist and musical critic with some influence already at the age of twenty-two.” (Geliot 2020) Bonis over the course of years would go on to put much of his poetry to music. It wouldn’t last long until her family found out, so tragically after placing second in accompaniment and a winning first prize in harmony in the conservatory’s competition, young Mélanie was forced to resign from the school by her family–who was indifferent to sending her there in the first place–but also felt that marrying Hettich would mean marrying into a "dangerous artistic world." (Geliot 2020) The family preferred that Mel do more feminine suited work like “dress-making” and to ultimately marry well, which was a matter they took into their own hands.

In 1883, Mel Bonis was married against her will to Albert Domange who was an energetic businessman who was widowed twice, had five children, and was also twenty-two years her senior He also did not share the major two passions of Mel’s life which were her religious/spiritual ideals and her love of music. She would go on to have three children with Domange and would play the nurturing role of Madame Domange which was a bourgeois lifestyle in a mansion with her large family and about a dozen servants. (Géliot 2007)

feeling that united them.” (Geliot 2020) Music became the grand medium in which she expressed her spirituality through sacred works, but also to express sensual themes that would not typically be associated with a woman who had a steep religious upbringing, which may be a reason why Mel published under numerous pseudonyms which include names like, “Pierre Domange, Melàs Bonisouffsky, Henry Wladimir Liadoff, and Jacques Normandin.” (Geliot 2020) It is clear that Hettich, who was also a married man, was the strongest temptation in this religious woman’s life, of which they both succumbed to and Mel would go on to secretly give birth to Madeleine on September 8, 1899 in Switzerland (Palazetto Bru Zane)

But her life was never that simple because Amédée Hettich came back into her life encouraging Mel to compose and would connect her to musical circles which included her future publisher Alphonse Leduc. She would go on to put more of Hettich’s words to music which included the piece “Elève-toi, mon âme” which Geliot interprets as, “expressing the passionate

The birth of Madeline starkly affected how Mel lived her life. She decided to not raise the child and instead had her attend a boarding school. Madeline would not receive the last name Hettich until after her father Amédée became a widower but still didn’t know who her real mother was. Meanwhile, Bonis in response to having a secret child out of wedlock decided to enhance her focus on music and publications as well as much prayer According to Géliot, “She became a member of the ‘Société des compositeurs de musique’ (SCM) This society organized composition competitions that attracted (and rejected) the most renowned composers: Mélanie twice won prizes, notably with her ‘Suite pour harpe chromatique et quatre instruments à vents.’ In 1910, a unique achievement for a woman at that time, she became secretary of the SCM, working daily with the elite of the Parisian music world, people like Massenet, SaintSaëns, Fauré, etc ” (Geliot 2020) We can see that Mel is no longer just Madame Domange but a composer on a mission to network in order to have her music heard Amédée would continue to attend the performances that were important to Mel. And then World War I came.

At age 15, Madeline’s foster mother died and due to being a war orphan she is adopted by Mel Bonis and is introduced to the family as her goddaughter.

DIVERSITY, EQUITY AND INCLUSION DIVERSITY, EQUITY AND INCLUSION

In 1918, her husband died but she is comforted by the fact that her son Edouard returned home after being a prisoner of war Now with Madeline and Edouard being in the same home, a romance began to bud between the two half children of Mel Bonis without them even knowing it! This forced Mel to finally confess everything. In Bonis’ biography on the official website it says, “According to the cruel moral laws of the time, the secret had to be kept: such a revelation, in such a milieu, was at that time impossible. It would have shattered the honour of the whole family. Mélanie forced her daughter to swear secrecy on the bible.” (Geliot 2020) Madeline was deeply hurt, but in time would actually move in with Melanie and after marrying would write and visit her often In 1932, her youngest daughter died which compounded her depression as she spent much of her later years lying down and in isolation. This was a major event that likely triggered the composition of her magnum opus, “Cantique de Jean Racine,” which features an SATB choir, tenor soloist, organ, and choir…but it was never

privileges that Mendelssohn and Schumann had who were both in financially stable musical families and lived in Germany which when combined with Austria has been the capitol of composition since the classical era Bonis’ family had nothing to offer her Also, in this time period, a career as a composer was not an accepted option for a woman so there was no career path to security as a woman. Both the social system and family pressures leave Bonis no choice but to marry for security or enter a socially accepted role like being a dressmaker. In addition to that, in order for Mel to be published she needed an “inside-man”, Amedee Hettich, to connect her to publishers under an androgenized version of her name as well as a variety of male pseudonyms which is not something that is seen in the lives of Schumann and Mendelssohn. Which leads us to another societal question.

What are the “cruel moral laws of the time” that Mel Bonis was experiencing? This fortunately has been well documented. In a 1980 publication in the Journal of European Studies H.D. Lewis published an article entitled The Legal Status of Women in NineteenthCentury France and brings to light multiple detailed points regarding the unfair treatment of women in circumstances of adultery Here are three excerpts:

“The husband could use the adultery of his wife as a sufficient ground for divorce but the wife would not have a similar ground in the case of a husband’s adultery unless it had been committed in the maison commune.”

published. Unfortunately, the publishers stopped publishing her works around the turn of the century and virtually none of her choral pieces were published in her lifetime In a letter to her daughter she lamented, “My great sadness is never to hear my music played.” (Geliot 2007) Mel Bonis would die on March 18, 1937 and the knowledge of her 300 works would remain dormant until 1997 when Eberhard Mayer comes into contact with Christine Geliot.

III. Critical Questions:

One of the broad questions that this narrative implies is, “what were the social obstacles that kept Mel Bonis from being a well-recognized composer?” One may especially wonder after winning so many awards throughout her life, why can’t she be famous like Fanny Mendelssohn and Clara Schumann? From what is known currently, we can see that the family and societal expectations played the most impactful role in affecting the trajectory of the rest of her life. Due to being in a low socioeconomic status while also being a woman, she was not afforded the same

“The Code civil specifically stated that any wife charged with adultery would be sent to prison for between three months and two years ”

“The Code civil was prompt to punish an adulterous wife, no mention was made of her lover. This was the famous article 32g which gave the husband the right to kill both lover and wife if he caught them en flagrant délit in the home. A wife who killed her husband in the same circumstances was committing murder.”

It should also be noted that unlike today, cheating on a spouse involved consequences from the state that were lopsided to dominantly punish women It is clear that in the repercussions of Mel’s adulterous action(s?) with Amedee would likely leave her divorced and nowhere to go for security due to not having a wealthy family and the fact that Hettich was also married during this time period. These short excerpts of the law also illustrate the intimidation of the law primarily towards women which locks them into playing the traditional roles of

being wives and mothers.

Another question that needs further research is answering the question, “how can the narrative of Mel Bonis become more credible?” The majority of the sources that tell the story of Mel Bonis’ life come from the research done by the great-granddaughter, Christine Geliot, the works have little to no citations. There are 10 citations in the biographical article published by Geliot in the Journal of Singing - The Official Journal of the National Association of Teachers of Singing, and there are no citations in the biography on the website owned by the Mel Bonis Association, of whom Geliot is the president There are times in her citations that she simply references family stories that have been passed down It is worth considering that any family can be selective in how they portray the image of their ancestors particularly when there isn’t evidence to substantiate or contradict. The only other major work that wasn’t compiled by Christine regarding Mel Bonis was a book of memories put together by the family in 1974 entitled Souvenirs et Reflexions, but it lacks an English translation, was compiled before the discovery of all her music, and is (once again) only the narrative that the family selects and crafts Technically, the family could fabricate an engaging story for more attention to Mel in order to have more of her music sold. It is also worth considering that Eberhard Mayer was searching for more of Bonis’ music for over a decade but could not find records or music from the establishments that Mel was succeeded in such as the conservatory and the SCM. This does call into question the awards and claims, however, through a feminist lens we can also entertain the idea that the recording of the success of a woman in the conservatory or SCM were not deemed as important records to keep. Another theory could be that World War II tore France apart shortly after the death of Bonis and the value of musical performance was not as important as the nation focused its efforts to survive a Nazi invasion/occupation. In the end, we do know that she lived, composed these 300 works, and she really did have a daughter with Hettich. Everything else needs further research in order to substantiate this narrative

IV. Conclusion

In closing, it is clear that Mélanie Bonis lived a life of cinematic proportions that ends in lonesome tragedy. After being discovered over 50 years after her death, Mel Bonis’ wish to have her music played is coming true even though she never had support from her immediate family including when she became a Domange. What can be seen throughout her story is a

woman who identifies as a composer and longed to be heard and after the birth of her illegitimate child Madeline did all within her power to compose as well as network in order to enhance her craft and have her music performed Saint-Saëns was right, she knew all the ins and outs of being a composer and after living a tragic life finally gets to be recognized and fully respected as one in an era that is finally learning to value the compositions of women.

Choral Works:

“Adoro

For SATB Choir

Opus 150 posthume Manuscript undated, ed Armiane 1998

“Ave

For SATB Choir and Organ

Opus 166 posthume. undated manuscript, ed. Armiane 1998

For SATB Choir, Tenor, Harp, and Organ

Opus 144 posthume. Manuscript, 1934; first ed. ESCHIG, 1977; ed Armiane, 1998

“Inviolata”

For SATB Choir

Opus 163 posthume. Manuscript, 1920, ed. Armiane,1998

“Kyrie

For SATB Choir

Opus 170 posthume. Undated manuscript, ed. Armiane, 2001

“Messe

For SATB Choir a cappella

Opus 164 posthume Manuscript undated, First ed Armiane, 1998

Kyrie, Gloria, Sanctus, Agnus dei

“O

For SATB Choir and Organ

Opus 131 posthume. First ed. P. Schneider, 1930; ed. Armiane, 1998

For SATB Choir, Soprano, Tenor, and Organ

Opus 145 posthume First ed Delepine, 1935; ed Armiane, 1998

For SATB Choir

Opus 44 first ed. Leduc. 1899; ed. Armiane, 2000

For SATB Choir, Soprano, and Alto

Opus 169 posthume. Undated manuscript, ed. Armiane, 2000

Te”

Verum”

“Cantique de Jean Racine”

in F# Minor”

A Capella” (Messe à la Sérénité)

Solutaris”

“Panis Angelicus”

“Priere de Noel”

Text from A. L. Hettich

“Salve Regina”

DIVERSITY, EQUITY AND INCLUSION DIVERSITY, EQUITY AND INCLUSION

“Sub Tuum”

For SSAA Choir, Soprano, Alto and Organ Opus 132. Manuscript, 1921; first ed. P. Schneider 1930

For TTB Choir or SATB Choir Opus 168 posthume. Manuscript 1915, ed. Armiane, 1999

Bibliography

Bonis Posterity “Bonis, Mel – Souvenirs Et Réflexions ” Edited by Bru Zane Media Base Bru Zane Media Base Palazzetto Bru Zane, February 18, 2020 http://www bruzanemediabase com/fre/Documents/Temoignages/Bonis-Mel-Souvenirset-Reflexions

Bonis, Mel, and Bru Zane Media Base “Lettre à Mel Bonis : Éditions Baudoux (1899) ” Bru Zane Media Base Association Mel Bonis, February 18, 2020 http://www bruzanemediabase com/index php/eng/Document-and-imagebank/Archives/Lettre-a-Mel-Bonis-editions-Baudoux-1899

Géliot, Christine "Compositions for Voice by Mel Bonis, French Woman Composer, 18581937 " Journal of Singing - the Official Journal of the National Association of Teachers of Singing 64, no 1 (09, 2007): 47-57 http://login ezproxy1 lib asu edu/login? url=https://www proquest com/scholarly-journals/compositions-voice-mel-bonisfrench-woman/docview/1402827/se-2

Geliot, Christine “Mel Bonis | Biography ” Mel Bonis Composer L'association Mel Bonis, 2020 https://www mel-bonis com/EN/Biographie/ Lewis, H D (1980) The Legal Status of Women in Nineteenth-Century France Journal of European Studies, 10(39), 178–188 https://doi org/10 1177/004724418001003902

Tsou, Judy "Bonis, Mélanie (Hélène) " Grove Music Online 2001; Accessed 15 Apr 2023 https://www oxfordmusiconline com/grovemusic/view/10 1093/gmo/9781561592630 001 0 001/omo-9781561592630-e-0000045497.

Iese Purcell Wilson lives in Tempe, Arizona working on a M.M. in Choral Conducting at ASU under the tutelage of Dr. Jace Kaholokula Saplan. His life mission is to hold space and build bridges at the complex intersections of the society Wilson’s background is Samoan, Hawaiian, Filipino, and English. While raised in the US and claiming space in both the LGBTQ+ & Faith communities, he sees choral music as a catalyst to resolve social dissonances and create models for an ideal society in the choral classroom He believes when done with well informed context, choral music can preserve, express, and advance indigenous cultures or other marginalized communities.

Wilson assisted in preparing the “The Battle of Kuamo‘o”, an original Hawaiian opera, at Kamehameha High School to be performed at the Edinburgh Festival Fringe. This work helped educate local Hawaiians about their lost culture and history and educate festival goers While studying at BYUHawai‘i, he worked with the Presidents Council & church leadership on LGBTQ topics and initiated the first LGBTQ forum in campus history. Wilson’s advocacy extends to podcast interviews on “Listen, Learn, and Love”, “Questions from the Closet”, and continues that advocacy through forums and conferences on topics about the Latter-day Saint/LGBTQ intersection.

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