Tactus Winter 2023

Tactus

AMERICAN CHORAL DIRECTORS ASSOCIATION

WESTERN REGION NEWSLETTER

WINTER 2023

Cover photos obtained from the Library of Congress.

Photo descriptions

(top right) Hawai'i: Father Damien and Kalawao Girls Choir. Kalawao, Molokai. 1878

(bottom right) California: Potato pickers singing a hymn on a Sunday afternoon. Kern County, California 1937

(top left) Nevada: Piper's Opera House. Virginia City, Nevada. 1939

(middle) Utah: The organ and choir of the Tabernacle. Salt Lake City, Utah. 1904

(bottom left) Arizona: Hopi men singing in the Hopi House. Grand Canyon, Arizona. c. 1905

A Letter from the Editor

Dear Readers,

Tactus wishes you a Happy New Year! It is my hope that this year brings us all greater peace and meaningful connection In the holiday season, we witnessed a resurgence of singers gathering again to make music In Honolulu, barbershop groups, community ensembles, school, professional, and worship choirs worked incredibly hard to bring joy to their audiences Many choirs teamed up with one another to perform in joint concerts, drawing excited audiences from around O'ahu and beyond I hope that this winter season has similarly brought communities in our Western Region closer together

On my way home the other day, I drove past a student driver car The license plate read: "IM TRYIN" Sometimes I catch myself dreading even beginning something because I cannot fully imagine the end product What if I fall short of my own or others' expectations? What is the point if the result doesn't end up being the most amazing, impressive choral endeavor? What if I am not successful enough?

Thing is, we have to start somewhere to get anywhere

This issue features choral powerhouses who all started by first trying something:

For one music therapist, salvaging a microphone from a trashcan and having a love for conversations led to her starting a podcast

For one high school choral retiree, reflecting on her incredible career inspired her to create a resource website

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 you to keep trying Before you eagerly flip the page, I will leave you with a quote from Dolly Parton

READER'S

DIGEST

If this charge (or just Dolly Parton in general) inspires you to try something, tell me about it! I would love to feature your worthwhile efforts in a future issue

You can email me at tactuseditor@acdawestern org

Aloha, Olivia Arnold Tactus Editor

Hawai'i-ACDA R&R Middle School Chair Hawai'i Music Educators Association Secretary

A message from our president

Youmightbeacommunitychorusdirectorandhave-

I hope that your holiday season was wonderful and restful! OK, so I know that all the Christmas and holiday concerts and the preparation for all those concerts was a bit overwhelming. What you do during the holiday season is very important!! Did you notice in your community that the holidays bring the

community together? You are someone who can truly help to make that happen. You are an influencer!!!! Not on social media, (although you should have a big presence there too!) but you make a huge difference in your community.

In your community, you create much of the holiday spirit, both secular and spiritual!

Here’s what I mean:

If you are a vocal music school teacher in public schools (all grade levels) you have -

1.Winter Concert for Parents

2.Winter Concert for your school and its feeder schools

3.You have your local community run out “gigs” where you sing for every civic organization that you can. (The list is way too long to detail! Right?)

4.You have private concerts/octets that help raise money for your program. (It’s ok to tell them what people normally donate. It is a donation not a fee).

The good news is that the concerts end normally when you get out of school. Except when they don’t. Some of the most interesting and most lucrative “gigs” for my kids have come after school has let out! That is another story!

You might be a college or university conductor or instructor and have -

1.Winter/Christmas Spectacular on campus often many performances of this program.

2.Other holiday recitals/juries and expected concerts for the college/university end of term.

1.Your“ChristmasConcert”withwhateveryoucando foryourcommunity.

Youmightbeachurchchoirdirectorwith-

1Your“BigMusicSunday”beforeChristmaswith brass,bellsandlotsofprep.

2ChristmasEveservices-3:00-5:00-7:00-9:00 and11ormidnight

3ChristmasDayservices-(maybe)

You may be one, two, three or all of these! That is what we do. Do you get it? They all connect together. You have influence in so many aspects of our community. This not about how busy you are, it is how you influence you community! You need to be involved.

So what does that mean? You may not know it but because you are a choral director you signed up to be a leader in your community. We can create unity and community by joining or creating community arts organizations (thanks, Brandon Elliott - new Arts Commissioner Moorpark), creating or helping to create community choirs of adults, teens and children. Look around where you are! Do you see organizations that represent your community? Are there “Y'all Come Sing” groups? Or is it only semiprofessional ensembles? There are singers of all shapes, sizes and experiences out there! How are you going to reengage them into choral music? The answer is different for each of us but over the next few issues I hope that we can tackle THE HOW! I can tell you that I engaged our community in Orange California by creating two massive events that have become "Community Happenings" for the last 28 years.

We have created two “Community Happenings” in the City of Orange that have become hometown traditions. We have a “Tree Lighting and Candlelight Choir Procession” and a “Third of July Celebration”. Both events have thousands of people in attendance every year! They both started with a partnership between the Orange Community Master Chorale, Orange High School, the First Methodist Church of Orange and the City of Orange.

For Tree Lighting we now have other high schools, St. John’s Lutheran Church Children’s Choirs, directed by Audrey Mink and other churches involved along with a full orchestra. This event happens on the first Sunday in December each year. (Even the during pandemic! It was

virtual, again a story for a different time!) We have a plaza in the center of Orange Streets leading into the plaza are blocked and we bring in bleachers from the city and high school, set up 2500 chairs, set up sound, lights, gather a choir of 300+ singers, a 55 piece orchestra, and light the City Tree, singing carols with the citizens and they listen to a choral music program! It is a FREE event for the community Tons of volunteer and community support But how this happens is a process that started with action! More of that to come!

The “Third of July Celebration” is mainly a collaboration with the OC Master Chorale, Orange High School, and the City of Orange To answer the first question of why the 3rd of July not the 4th of July, is simple When we started we could not get the pyrotechnics on the 4th so we moved to the third They were all booked on the 4th of July Now it is the one holiday I get off! This event is held in a community park So again, lots of set up and community support! We do traditional patriotic themes and of course there are lots of “Sing-alongs” with all of the traditional songs - This land is your land, Yankee doodle, etc Now, I have to teach these songs to my high school students because they don’t learn them in elementary school anymore! I know it sounds a bit corny, but I like corn! This is what my community responds to There are normally over 10,000 + people at this event And the audience pays for the show! There are food trucks at the event but most people bring their picnic lunches It is very community in it’s feel!

These two events have become “Y’all Come Sing” events so singers don’t have to be a member of the Master Chorale to sing in the choir! They just need to let me voice place them, come to the rehearsals and memorize the music!

Both events started with the Orange Community Master Chorale organizing and paying for everything. EVERYTHING! And yes, we had to create programs and charge for ads. It took the city a couple of years to figure out if it wanted to be a part of the events and to help finance the events. Now it pays most of the cost of both Tree Lighting and 3rd of July.

The point of this article is that YOU ARE THE LEADER in community for the arts. Don’t complain that there is nothing there! Start something! It will take a while, or maybe a long while.

Be the spark! Be the inspiration of a new event for your community Others who are maybe not choral directors in your community want to help and have ideas Be open to the voices around you! We will continue this talk in later articles

If you have something to add please email me (president@acdawestern org) I would love to get your thoughts and Ideas! Start your 2023 with big dreams and remember that ACTION IS WHAT MAKES DREAMS A REALITY!

Michael Short is the current president of Western Region ACDA For the last 43 years Michael has directed choirs from elementary, middle, high school, community college and adult community and church He is currently the choral director and department chairman at Orange High School, founder/director of the Orange Community Master Chorale, president of the Greater Orange Community Arts Theater Foundation (GOCAT) and director of music for the First United Methodist Church all in the city of Orange, California Michael has been married to Vicki for 40 years and they have two grown children and three very cute and smart grandchildren

MIKE SHORT AND MEMBERS OF THE WACDA BOARD VISIT PASADENA AS PLANNING FOR OUR 2025 REGIONAL CONFERENCE GETS UNDER WAY PHOTO COURTESY OF JULIE DANA

Drawing the Circle Wider

BY LOU DE LA ROSA

How many times have we heard that phrase over the past two years?

And yet, it wasn’t until last summer's CCDA Summer Retreat at ECCO (Episcopal 'Conference Center, Oakhurst) that it truly sank in. Over the 3 days with headliners Judy Bowers and Tesfa Wondemagegnehu at our “Summer Camp for Choral Directors,” I began to truly understand how to achieve greater inclusion. My college Concert Choir has always been an auditioned ensemble. The class is a requirement for music majors enrolled in applied music but also open to the general population by audition. For students who may or may not have sung in choir in high school, that can be fairly intimidating, and so the field is narrowed even before I see anyone.

As with so many programs, COVID did a number on enrollment at my college, in my department, and as a result, in my choral program. When we restarted in-person rehearsals last year, I was down by over half from pre-pandemic enrollment. This is not where I thought I would be at this point in my 39year career, but that’s life. If I were still teaching high school, I would have asked counselors to send to my choir anyone who could fog up a mirror. So that is essentially what I did in August.

Following Judy Bowers’ lead, I realized that I can teach people how to match pitch, how to sing with good tone, and how to read music, so it was time to roll up my sleeves and get back to real teaching. The result? After two weeks of school, my numbers were up by over 35% as word got around that choir enrollment is open to all. Coming into the second semester, that pattern looks to be repeating. What’s more, the core of music majors in the ensemble (which translates to juniors and seniors from my high school days) provide support as we read through new literature on solfege. The ‘deer in headlights’ look of the new singers recedes as their confidence and excitement grows.

I look forward to more growth this semester and the into the future. Of course, an added benefit is growth in the diversity of my choir. Access, inclusion, diversity, and enrollment improved with such a simple act.

Give it a shot!

Lou De La Rosa is the Director of Choral and Vocal Studies and Chair of the Performing Arts Department in the Cilker School of Art & Design at West Valley College Mr De La Rosa has served on the board of directors of multiple professional organizations. He presently serves as Past President of the Western Region of the American Choral Directors Association In 2021 he received the Medal of Honor from the California All-State Music Education Conference for dedication to music education in the State of California He is the happily married father of three daughters, two sons-in-law, three granddogs, and a grandcat

Suffrage Cantata Reflections

BY MARY READ

Br and liv reward

Vox Fe so tha sticks which and hop y g women voice, and through music to affirm the worth and dignity of every person’ despite a global pandemic, and the sheer inspiration that the Women’s suffrage movement both demonstrates and provides

The richness of the historical record, previously all but unknown to most of us, is woven artfully throughout the score by Dr Andrea Ramsey Her many-layered talents as a composer, scholar and music educator shone through at every level, and spoke deeply to our diverse group of singers The centering of the marginalized voices of women of color from that time helped us contextualize suffragette history, too often written by and about white, upper-class women only We loved reading the texts of these trailblazing feminists of color, seeing their faces in archival photos, and recognizing that, without fierce representation at that critical moment in history, we would be doomed to lose our rights and have to repeat their bitter fight

Performing as a group with my sisters is very different than performing all alone in a totally quiet place, with a video track of Dr Iris Levine conducting Technological challenges notwithstanding, we DID it! The film produced by Helen Mendoza (another founding member) was astonishingly beautiful and affecting Through the music, narration texts and video the visceral experience of fear, torture, determination and triumph soared through each of us, linking us to our historical foremothers in body and breath Witnessing the reactions to our video concert

r a live ACDA nt, we or the oulder, rry the mphant , g men of the earth! – stirred our hearts and lifted our heads in pride The recognition of how much work still remains to be done humbled us all

I am in awe of the orchestra, the technical support crew, and most of all, our amazing narrator Simone Ledward-Boseman The blending of historical information into each movement would not have been as effective without her voice, literally She was an integral ‘instrument’ performing on every level with the group, pacing herself flawlessly in very complicated interactions I am forever grateful to have witnessed her extreme artistry And Lisa Edwards –the piano sings with your touch and we are all transported

Many educators reached out after the concert with comments that this material needs to presented in every high school across the country I couldn’t agree more These are our foremothers, and we must continue their unfinished work, standing on their shoulders and reaching farther toward equality from a society that enjoys more recognition of diversity than ever before in our national story As we have recently seen, these freedoms are fragile, and we must dedicate ourselves to their propagation If we do, “failure is impossible”!

With pride, gratitude, and a deep sense of responsibility to carry the fight for equal rights for ALL persons forward, these are my reflections on performing the Suffrage Cantata at the Western Regional ACDA conference in March 2022

During the pandemic, VOX Femina Los Angeles was honored to present Dr. Andrea Ramsey’s Suffrage Cantata in both a film version and a live performance. Following is one singer’s reflections on this incredible, and memorable, experience.

Score Preparation Tips from the Oregon Bach Festival

BY DR DEANNA JOSEPH Professor of Music and Director of Choral Activities Georgia State University School of Music, Atlanta

For a conductor, score study is one of the most fundamental and critical parts of the preparation process. Years ago, I had the opportunity to study conducting at the Oregon Bach Festival. Months prior to stepping on a flight to Eugene Oregon, I received a large packet in the mail with detailed instructions on how to prepare for the class including books to purchase, scores to buy, and most importantly, how to study the scores. After months of what felt like the most thorough preparation I had ever done in my life, I flew to Oregon and watched Helmuth Rilling conduct monumental choral-orchestral works from memory. Amazed by his ability to know and memorize the score, I eagerly anticipated an open Q&A session with the great conductor. After minutes spent on less interesting topics, finally, one brave conducting fellow asked him the question on all our minds: “Maestro, how do you study scores?” Rilling answered, “I look at them.”

If you’re like me, and you need more instructions than that (!), this article may help you. I use it as a checklist when preparing a score and it’s a great way to “leave no stone unturned” as you get to know a piece of music.

Score Study Guide

From the Oregon Bach Festival Master Class in Conducting

I. Historical context of the composition

A. The function of music in the culture of the time

B. The place of the composition in the composer’s output

1. When was the work composed?

2. For what occasion was the work composed?

3 What were the circumstances of the first performance: location, performance forces, and audience?

4 What was the stage of the composer’s life and work at this time?

5 What is the relationship of this work to the composer’s other compositions?

6 Does this composition have any special historical significance?

C. General concepts of performance practice of this historical period

1. Tempo

2. Dynamics

3. Ornamentation

4. Instruments: their design and sound (natural horn; design of timpani, brass, wind, and string instruments and bows used in performances of Bach and Mozart’s musical etc.); their use (options regarding use of continuo instruments, balance of instruments with solo and ensemble voices, etc.)

5. Forces generally used for the types of music you will be performing.

II. Score Analysis

A. Text

1. Biblical, liturgical, or literary source and context

2. Literal and symbolic meaning (use of allegory, etc.)

3. If sacred text, theological significance

4. Poetic structure

5. Sonic structure: use of onomatopoeia and other factors of vocal expression

B. Structure of music

1. Tonal structure: tonal center and significant departures from that center, variations from diatonic structure, identification of large sections of the movement or piece

2. Melodic structure: motives (pitch and rhythm), phrases, periods, sections

3. Other structural matters: repetition of melodic and harmonic materials, texture, elements of orchestration and voicing, use of dance-forms, relationship of vocal or solo instrumental material to orchestral material, etc.

C. Relationship of text and music

1. Basic “affect” (affekt) or character of a composition, movement or section, and its implications regarding tempo, dynamics, and articulation

2. Use of musical elements (melody, harmony, dynamics, texture, orchestration, vocal range, dance-forms, etc.) to represent and interpret the text

3. Relationship of rhythm and accent of language to melodic, harmonic, and dynamic (nuance) structure of the music

4. Relationship of diction to musical articulation

III. Interpretive decisions based on historical context and score analysis

A Tempo

B Dynamics Note: when composers give no dynamic markings or only an outline of dynamic structure, as in the baroque and classical periods, it is essential that the conductor prepares an exact concept of dynamic structure and marks it in the score

C Musical articulation for vocal and instrumental forces, based on textual (meaning), linguistic (diction), and musical (melodic structure) analysis

1 Balance of ensemble forces

2 Ornamentation Note: in baroque and classical music, the conductor must prepare a specific realization of all ornaments – be able to notate and demonstrate (sing or play) each vocal and instrumental ornament in precise pitch and rhythm One may modify one’s interpretation in consultation with the performers, and/or in response to practical concerns of performance, and/or due to further study of the score; but a conductor must prepare a realization of each ornament and mark precise notation of the realization in the score or on score-paper prior to the first rehearsal

IV. Determination of conducting vocabulary to communicate interpretation (including character and mood) of the composition to the performers

1. Posture and general physical attitude

2. Baton or right-hand gestures

3. Left-hand gestures

4. Facial expression

5. Succinct verbal comments that may be used as necessary to reinforce physical attitude, gestures, and facial expression

V. Score Mastery

1. With the score closed and without using written notes, be able to summarize the general historical context and the text of the composition; and be able to visualize the outline of the form of the composition – movement by movement and section by section: tonal centers, general structure, meter, tempo, general character or “affect”.

2. With the score open, be able to hear every detail of the music, including all the interpretive decisions you have made, while reading the score in silence.

Dr Deanna Joseph is Professor of Music and Director of Choral Activities at the Georgia State University School of Music where she conducts the University Singers and leads the master’s program in choral conducting In 2015, she was the recipient of the College of Arts and Sciences’ Outstanding Teacher Award at Georgia State, where she was selected out of a pool of over 800 faculty. A recent review of her work states, “[t]he choir sings with great musicality, excellent intonation, clear diction, and a healthy and beautiful pallet of tone colors…” (The Choral Scholar).

In May of 2017, the University Singers under Dr. Joseph’s leadership won first place in the renowned Marktoberdorf International Chamber Choir Competition while on a concert tour of Austria and Bavaria.

Dr. Joseph is an active guest conductor and headline clinician and has conducted all-state and honor choirs in more than twelve states. Dr. Joseph’s research in the area of 19th-century choral-orchestral performance-practice has led to invited presentations on the topic at several division conferences of the American Choral Director’s Association and at the national convention for the National Collegiate Choral Organization. In October of 2012, she was selected as one of 25 presenters from ten countries to speak at the Lund Choral Festival in Sweden.

Prior to her appointment at Georgia State University, Dr. Joseph served on the faculties at Smith College, the University of Massachusetts at Amherst and Hobart and William Smith Colleges.

Dr. Joseph holds conducting degrees from the Eastman School of Music, where she was awarded the Walter Hagen Conducting Prize. She is the founder and artistic director of the Atlanta Summer Conducting Institute (ASCI), a weeklong, summer conducting master class that draws conductors from across the country.

SEATING CHARTS IN YOUR MIDDLE SCHOOL CHORAL CLASSROOM

BY DALE DUNCAN

REPRINTED FROM "MUSIC IN THE MIDDLE WITH MR. D" BLOG, APRIL 2016

Here are some of the tricks I use when creating my seating charts

1) 6th graders are new to me each year I have about 70 per class in two classes To help learn their names a little more quickly, and for purposes of grading the children, I use alphabetical seating charts for the first nine weeks When behavior problems reveal themselves, I move the children as needed, but I often feel like Harrison Ford in the photo above because I don't know the children yet :-)

2) Also with 6th graders, during the 2nd nine weeks, I begin working toward dividing into 2 parts During 1st nine weeks, we sing lots of rounds, and I've managed to assess their abilities to hold their parts I place the children who are strongest at holding their part into the alto section

3) I always place several of my strongest and most reliable sight singers in the back row in all three grades I sprinkle some of the strongest singers into the first three rows as well to help the weaker singers feel more confident

4) In 7th grade, I split my two classes by gender I get a few new students, but not a lot, so I base my seating charts on the information I learned about them in 6th grade When we do two part warm up exercises or when we sing in two parts in our songs, I listen intently I am able to identify the "sharp" singers with ease I never place them in the back Sharp singing is infectious at this age I also listen for the altos who end up singing soprano, and then I place them into the soprano section For me, at this age, it isn't about "range" It's about pitch and tonal awareness The folks whose ears aren't awake enough yet to hold a harmony should not, in my view, be forced to sing alto It's an exercise in frustration for you, the child and for every singer who sits around them

5) By 8th grade, everything is pretty clear except that some of the boys voices have dropped a lot, and they aren't sure what to do with it In 8th grade, my students sing SAB/3-part I still have some boys who can sing alto or soprano, and I place them there if they are comfortable singing with the girls Sometimes, for social reasons, they are not comfortable with that, and I try to be sensitive to it

6) I almost always place my students in this arrangement as I face my students.

6th grade and 7th grade treble: Altos on my left; sopranos on my right.

7th boys:

Baritones on my left; Tenor/Cambiata on my right.

8th Grade: Alto on my left; Changed voices in the middle; Sopranos on the right.

With 8th grade, depending on the year and the competency level of the girls, I've also tried this: Alto on my left; Sopranos in the middle; Changed voices on the right.

7) Behavior: I keep the "at risk" students in the front two rows when possible. This includes students with ADD/ADHD and other students who appear to have focus or behavior issues based on my experience with them in my classroom. I place a high-achiever who is unflappable between the children who are "at risk".

I hope that gives you some ideas!

Reproduced with permission from the copyright owner.

Read more here!

Dale Duncan taught public school for a total of 30 years in North Carolina, New Jersey and Georgia. During his career as a public school educator, his students consistently received Superior Ratings at the state Large Group Performance events in both performance and in sight reading, and created and performed “live” song and dance musical revue events each spring in addition to many other choral performances over the years. Dale is also known by the choral music educator community worldwide as the creator of the S-Cubed Sight Singing Program for Beginners. During his career, Dale was honored as “Life Changer of the Year” by the National Life Group for his work and was also honored as a “Grammy Music Educator Semi-Finalist”. Dale’s work is featured on numerous music-educator focused podcasts, ChorTeach magazine, Choral Director Magazine and on ACDA’s ChoralNet. One of Dale’s most important life’s missions is to help middle school chorus teachers. Known by his peers as “Mr. D”, Dale has his own blog, YouTube Channel and a large social media presence on Facebook, Twitter and Instagram that is aimed at helping middle school chorus teachers to be successful working with this unique age group! Now that Dale has retired from public education, he is conducting Honors Chorus/Allstate events, teaching teachers at conventions and adjudicating choral performance events whenever he is invited! Dale is a former US National Aerobic Gymnastics Gold Medalist featured on ESPN many moons ago. He loves all animals, taking care of outdoor plants, working out, and playing tennis and pickleball!

BY DENNIS HOUSER, ARTISTIC DIRECTOR PRESCOTT CHORALE

What impact does choral music have on your community?

We live and sing in a very special community One that comprises many diverse age ranges Our audiences can range from young children to those who are "experienced concert goers!" The common thread among all of them is that they want to hear choral music that both inspires and engages We sing primarily classical music most often with orchestra, both full and chamber. We strive to perform works that have not been presented here previously. We bring vitality and excellence in our performances. We preface all of our performances with a 30 minutes preview that explains what they will hear in the performance.

How do your singers connect music to their identities?

Good question. My response would be that the music that we program touches the parts of their souls that are not reached by daily life. The quiet places that both text and music reach. The likes of these composers: Brahms, Bach, Beethoven, Puccini (Messe di Gloria) and reaching into the current, Whitacre, Forrest, Kirchner, Rutter, Paulus, Wilberg and many others too numerous to mention here The music must, to the singers, be: inspiring, challenging, attainable and enjoyable

PHOTO CREDIT: KATHLEEN WELLS, FOGHARA ADVERTISING & PUBLIC RELATIONS

Prescott, AZ

BY JENNIFER TIBBEN, ARTISTIC DIRECTOR

What impact does choral music have on your community?

Reno has not historically been a community with a rich choral heritage. There are a few community groups, but we joke that Bella Voce is the biggest kept musical secret in Reno, which isn’t necessarily a good thing. We do have a loyal following that attends our December and May concerts. For the regular attendees and the performers, choral music adds a richness of communication and connection that is very highly valued.

How do your singers connect music to their identities?

The singers in Bella Voce come from a myriad of walks of life – and singing is a crucial ingredient in their daily lives I think that they all would say that singing is a thread in the fabric of their lives that makes every day better. Coming to rehearsal on Monday night, no matter how bad the day has been, makes them happier.

BELLA VOCE (Italian for beautiful voice) is northern Nevada’s premier women’s chorus. We have been singing for over 30 years and are known for excellent vocal technique, beautiful sound, and high quality performances of both classical and contemporary music. Based in Reno, Bella Voce consists of 25-30 auditioned singers, ages 22 to 70+, who come from a variety of professions, musical training, and backgrounds. We perform two major programs every year in December and May in Reno and Carson City. Members of Bella Voce share a love of singing and enjoy the challenges of performing music that is innovative and diverse, familiar and new. Our mission is to foster the appreciation, preservation, and performance of women’s choral music. Bella Voce hosted its fourth Treble Voice Turnout event in November at North Valleys High School. Five treble voice choirs from five Washoe County High Schools gathered for the choral festival and there were almost 250 singers. We sang for and with each other, appreciating the joy and strength that can come from singing together throughout life.

PHOTO CREDIT: JENNIFER TIBBEN

Reno, NV

BY RICK VELOTTA, PRESIDENT

How do your singers connect music to their identities?

Our singers have a broad mix of experience and a wide range of ages. Most of the chorus’s membership consists of music educators who teach in public and parochial schools throughout the Las Vegas Valley. For them, the experience is part of their career path. Others, like me, sing because of the wonderful music experience we had in high school and college. I feel music is a part of who I am.

Las Vegas, NV

What impact does choral music have on your community?

While I always hesitate to use the word “unique,” I think the Las Vegas Master Singers holds a unique place within the “entertainment capital of the world.” There are dozens of entertainment options offered in casino showrooms every night and we must differentiate ourselves from them on a regular basis. We do that by offering something the showrooms don’t offer – a rich delivery of well produced choral literature. We’ll collaborate with organizations like us or we’ll go with our own programming, always mindful of what the competition offers. We take advantage of our long-standing relationship with the University of Nevada-Las Vegas School of Music for artistic leadership and the use of its facilities, but we also perform out in the community to develop our audience. We seem to have a dedicated following of people who enjoy and appreciate choral music performance

PHOTO CREDIT: RICK VELOTTA

Albert J. McNeil

Albert J. McNeil, UC Davis professor emeritus of the Department of Music and an original faculty member and chair of the Department of African American and African Studies, died on Nov. 29. He was 102.

In remembering McNeil’s significant contributions, the faculty of the Department of African American and African Studies jointly “recognize how it is built on the labor of past faculty, including McNeil, who kept it going through hard times, building the foundations for the next 50 years.”

During his tenure at UC Davis from 1969-1990, McNeil transformed the University Chorus into a full public performance group and created the Chamber Singers. While teaching at Davis, McNeil also directed the Sacramento Masterworks Chorale and the Sacramento Symphony Chorus.

Raised in Los Angeles, McNeil’s parents were entertainers who occasionally hosted Duke Ellington, Louis Armstrong, Lionel Hampton, and others in their living room. McNeil began his professional career as an apprentice to the composer, actor, and arranger Jester Hairston. McNeil had a lifelong friendship with Hairston and many other famous artists of his day. Building on his work with Hairston, McNeil went on to prepare singers for 1950s films, including Porgy and Bess, Carmen Jones and The Land of the Pharaohs, subsequently forming an ensemble for film work, the Albert McNeil Jubilee Singers, which he founded and directed for more than 50 years. Throughout his career as an educator and performer, McNeil had a profound impact on the performance, preservation and presentation of African American spirituals.

McNeil believed in bringing the music he championed throughout the world. He took the Jubilee Singers on several tours throughout the U.S. and to 77 countries, taking part in the U.S. Department of State’s Cultural Exchange Program three times. He also brought the University Chorus on tour with the UC Davis Symphony Orchestra to Australia, Tahiti and French Polynesia, and with the University Chorus on its own to the former USSR, China, Spain, and a European tour with stops in San Moritz, Paris, Geneva, Munich, Salzburg, and Vaduz.

After his retirement from UC Davis, he directed the choir of the Congregational Church of Christian Fellowship in L.A., and worked as an adjudicator, guest conductor, and choral clinician. His many awards include a Michael Korn Founders Award for Development of the Professional Choral Art (1999), the ACDA Lifetime Achievement Award (2004), and the CCDA Howard Swan Award (2014). He was on the board of directors for the L.A. Master Chorale, Chorus America and the Neighborhood Music School. He served two terms as member of the Choral Panel, the National Endowment for the Arts and was an ACDA Life Member.

The University Chorus, Alumni Chorus, and the UC Davis Symphony Orchestra will perform Gustav Mahler’s Symphony No. 2 in memory of McNeil on March 12, 2023, at the Robert and Margrit Mondavi Center for the Performing Arts.

ALBERT J MCNEIL REHEARSING UNIVERSITY CHORUS 1990 (GERTH ARCHIVES)

CAN BE EMAILED TO DEPARTMENT STAFF MEMBER PHIL DALEY VIA PEDALEY@UCDAVIS EDU DONATIONS CAN BE MADE IN MCNEIL’S MEMORY TO THE AL MCNEIL FUND FOR NON-WESTERN PERFORMANCE AT UC DAVIS

AUTHORED BY PHIL DALEY, REPRINTED FROM REMEMBERING ALBERT J MCNEIL, PROFESSOR EMERITUS, PUBLISHED DECEMBER 6, 2022

Choral Choral Choral podcast podcast spotlight spotlight spotlight

Choral Podcast Spotlight: Music Therapy Chronicles

Please introduce yourself and your podcast!

Hello, my name is Tricia and I am a Board Certified Music Therapist I work primarily in schools and have a clinical mental health focus In 2019, I started Music Therapy Chronicles to inspire and connect listeners through meaningful conversations from diverse perspectives Like a Music Therapy Conference you can listen to anywhere! Since then, I have hosted and produced around 200 episodes, created several continuing education courses, and launched a self care community Podcasting has been a wonderful way to connect with other professionals and listeners from around the world

What audience does MTC hope to reach?

My hope is that the podcast reaches anyone who can benefit from listening. Music Therapists, teachers, allied health professionals, future Music Therapists and students, parents and carepartners, etc. I think we can all learn from each other. Some of my favorite conversations on the show are with non-Music Therapists because I learn so much from them.

What is the mission of the Music Therapy Chronicles podcast?

The Music Therapy Chronicles is a podcast aimed to inspire and connect listeners through meaningful conversations from diverse perspectives. Music Therapists are often rather isolated professionally. Many of us are the only Music Therapist at our place of work, and may even have to travel to many locations during the work week. Annual Music Therapy Conferences are a special place where we can all gather, share ideas, connect, make music, and celebrate the wonderful work we get to do. I wanted to capture and share that experience all year round, so I created the podcast in the hope that the weekly episodes would encourage my colleagues throughout the year. Ironically, I have not been to a conference since starting the podcast due to the pandemic.

Have you personally learned about any new areas of music therapy through your podcast interviews?

Since our scope of practice is so large, I have always been aware of the many ways a Music Therapist can practice The podcast has allowed me to connect with people who are creating amazing resources, offerings, books, media, etc about Music Therapy and/or for MT’s I love hearing about collaborative projects; either between MT’s and other professionals, or of MT’s overlapping disciplines within their practice (reiki, sound healing, speech therapy, etc )

What was your journey like getting into music therapy?

My journey to becoming a Music Therapist was very organic. I always say, ‘I didn’t know where I was headed, but I’m glad to be here.’ To become a Board Certified Music Therapist, one must a 1.) get a degree in Music Therapy, 2.) complete a 1200 hour internship, 3.) and pass a national board certification exam. Like clinical therapists, occupational therapists, physical therapists, and other healthcare professionals, we work with people to improve their lives and wellbeing. Our specialty is to use the medium of music. You can learn more about what Music Therapy is by listening to the podcast; Music Therapy Chronicles.

How do personal development and self care intersect? What do these themes share in common?

I argue that personal development is true self care. Personal development is anything you do to grow as a person. To develop a skill set, knowledge base, or idea takes time and effort. The same is true for our development as people. Personal development might not always feel great in the moment, but the effort spent serves us tenfold in the long term. It is a lifelong process to achieve our highest potential. We've all heard about how important self care is, filling up our own cup allows us to overflow and care for others. Unfortunately, self care is often viewed as this ‘feel good’ concept, and has become a huge industry. I think refocusing on personal development and how that fuels our self care is important for our personal sustainability and growth. When we learn about ourselves, we better understand how we perceive the world and interact with others. When we grow as individuals, we have more skills to use as professionals. When we spend time on our personal weaknesses, we improve them while improving our strengths simultaneously.

In what ways do you see the field of music therapy changing?

I think Music Therapy is both ever-changing and consistent. We are always uncovering more research to explain the phenomena we see every day as clinicians. I feel a majority of us are eager to see more systemic changes within our field, and they can’t come soon enough. For example, having the terms ‘Music Therapy’ and ‘Music Therapist’ widely recognized and valued so we can spend more of our energy on our clinical work instead of explaining and justifying what we do. I welcome anyone reading this article to learn a bit about Music Therapy (perhaps by listening to the Music Therapy Chronicles) and join our advocacy efforts. Any and all support is welcome and appreciated.

Any personal favorite moments from your podcast?

I don’t think it’s possible to choose singular memorable moments from the show So many of the interviews have been insightful, inspiring, eye opening, and meaningful One of my favorite things about the process is seeing how the episodes connect They often have similar themes (sometimes with contrasting opinions) or sentiments, and I enjoy connecting the ideas over time It’s significantly impacted my clinical practice and my personal life

What about podcasting brings you the most joy?

I love connecting with the guests during the interviews. I’ve met so many wonderful people and had some amazing conversations. I always leave an interview feeling inspired and connected, which I hope translates to the listeners. I’ve learned so much about both my professional and personal selves and I couldn’t be more grateful to have the opportunity to share that with the world.

Could you talk a bit about advocacy and spreading awareness for neurological disabilities through music?

One of the most magical things about using music as a clinical tool is that music is experienced globally in the brain This means that multiple areas of the brain are activated when we experience music (listening, singing, playing, composing, etc ), which makes music a very powerful tool for improving the lives of people with neurological disabilities Through music we can get a more holistic picture of how the brain is functioning, and we can take advantage of this global activation to create new neural pathways - neuroplasticity Music is a great tool to help people grow and show how much one can overcome when given the opportunity and tools

I am interested in getting my own podcast started... what should I know? Do you have any tips?

My biggest tip is to just start. You don’t need any fancy equipment (my microphone came from a high school trash can), your logo doesn’t have to be perfect, you don’t have to have the whole feel of the show figured out... If you wait for everything to be perfect, then you’ll never start. Analysis paralysis definitely kept me from starting my show for a long time. So, just start. You can always pivot and change things later. Your podcast will grow with you, embrace that and start where you are right now.

How can our readers find your podcast?

Right now, you can find the podcast anywhere you listen to podcasts. We are MusicTherapyChonricles on all the social media platforms and MusicTherapyChonricles.com is the hub for everything. Subscribing to the show and our newsletter are the best ways to stay up to date - and there may be some exciting changes to come!

Tricia Caiati, MT-BC is a board certified Music Therapist currently serving clients in three states across the New England Region of the United States. Tricia co-founded the Music Therapy Podcast Collective (MT-PC) to provide CMTE opportunities for podcast listening in the form of pod-courses. She is also the CSO for The Tutti Ensemble, a non-profit adaptive band program providing individual lessons and ensemble experiences for diverse learners. Tricia enjoys spending her free time exploring outdoors, reading, and creating through different mediums.

Welcome to HighSchoolChoralResources.com!

BY BARBARA RETZKO

It was Friday, March 13, 2020. The Ridge High School Concert Choir was six days away from sharing their one-night-only performance called Thru’ the Decades and the excitement in our rehearsal space was electric!

And then, we received the district-wide email: All schools will dismiss their students at noon. All teachers should prepare for two weeks of remote instruction using something called Zoom because of a global pandemic. We were told: Don’t advance the curriculum.Don’t worry about grades. Just check in with your students every day. We received instructions on how to use Zoom and home we went.

Two weeks became four. March became April. And then May. Graduation would become virtual as did my Choral program. Virtual Choir? Ours is a wonderfully interactive and communicative field, ripe with feelings, emotions, and memories built through every rehearsal interaction and every melody sung. It is neither distant nor can it ever be communicated effectively by way of a computer screen. After 40+ years of bringing my students into the indescribable experience that is the Choral Art, I was not interested in reimagining or redefining my life’s work through a 13” monitor.

For years, I told my students that I would leave when I felt I had nothing left to give. I would leave on my own terms, in my own time, and on the crest of the wave. All I wanted to do was to see my kids and rehearse our rep. But all I was able to do was try to create meaningful, grade-producing activities to keep those on my rosters engaged. The realization hit me mid-May that my plan to leave the teaching profession was being taken out of my hands.

So, after a long and glorious career, on July 1, 2020, I retired as the original Choral Director of Ridge High School.

Regardless of how we exit, leaving the profession immediately prompts the question: What are you going to do now? For me, the short answer was found in offering to fill the needs of friends, family, and colleagues. Can I run an errand for you? Can I research a topic for a lesson you’d like to present? Can I create Sibelius™ Rehearsal tracks for you to share with your singers?

I brought home over four decades of teaching materials that needed a new home. Looking at that material, I thought it might be beneficial to the next generation of teachers to have free, organized, and targeted reference guides. As I looked ahead to what would become more of the same the following September, I couldn’t see myself not helping. Basic Music is Basic Music. All that material was not going to go out of date and I needed a new purpose.

That purpose became the impetus for the creation of https://www.highschoolchoralresources.com. A place where I could share ideas, projects, philosophies, assessments, worksheets and answer keys to help enhance the education that Choral Directors everywhere were struggling to provide their students every day. It was cathartic. It was inspiring. It was a way for me to pay forward all that I had experienced in a truly glorious career. And to-date, Google tells me that there have been 32,800 all-time page views, confirming that the need was and is there for this type of a resource!

There are dozens of pages throughout the site to explore: Monthly Ideas, Concert Programming, Student Teaching Reflections, Worksheets, Answer Keys, and more. It is the site I wish I had had in the middle of my career as a reference and resource. My greatest wish is that it can be used by you to save some time during your busy Choral Director’s life!

One of my favorite contributions are the pages devoted to Music Theory. Back in the day of my high school choral experience, everything was taught to us by rote. No sight-singing, solfege, or music theory. If you could hold it in your head, you did well. As someone who “liked to sing”, I decided to go to college as a Music Education major. (How hard could it be?)

As it turns out, pretty hard! I remember the fear and embarrassment of being asked to sing a perfect 4th at my audition and having no idea what they were asking. I hated the struggle in every Music Theory class as I worked just to keep up. I vowed that if I were to succeed in getting a degree and a job, I would teach theory to every student I ever had, never wishing that feeling of ignorance on anyone.

I created the semester course that you can find on my site. There are tons of worksheets, but no tests or quizzes. I used the concept of repetition equals retention. Everything created with the goal of ‘testing out’ of Music Theory 101 in college.

I didn’t get to formally teach Music Theory to all my students, but those who took the class represented a sweeping cross-section of the high school population: Garage band kids, song writers, budding composers, and aspiring teachers. They were all a joy! What else will you find on the site? How about:

Seven years of collegiate Woman’s Choir programs from my time as the Director of the Voorhees Choir at Rutgers University including YouTube clips and sample syllabi.

Sample Concert Program formats and Fliers. Student Teacher Co-Op materials. There are articles from workshops I have presented including, "Things I Wish I Knew in my First Few Years of Teaching" and "What Teachers Expect from a Student Teacher."

Choir Retreat Program: I highly recommend the ideas, framework, and schedule that can be found under the A Cappella Choir Honors section for hosting a retreat as a bonding experience for your students.

For fun, you’ll find a Super Bowl National Anthem Bracket. Like many of the resources on the site, this was contributed, but it looked interesting!

It’s all there and so much more. I am happy to have been asked to share it with you and hope that it serves its initial purpose – to pay forward a career in Choral Music Education that was rife with memories to last a lifetime Please feel free to reach out via email if I can help in any way!

Recently retired, Barbara Retzko served as Ridge High School’s Choral Director in Bernards Township NJ from 1980-2020. There she led five award-winning ensembles and served as Conductor for School Musicals. From 20002002, she served as Choral Director at the International School of Düsseldorf, Germany where her singers performed in Honor Choirs in Den Hague, Netherlands, Stavanger, Norway and Berlin, Germany. In May 2002, May 2006, and May 2019, she served as Guest Conductor for International Honor Choirs in Zurich and Basel, Switzerland. From 2006-2013, Barbara served as Associate Professor at Rutgers University (Douglass College campus), directing the Voorhees Choir.

Barbara Retzko possesses a strong commitment and dedication to the Choral education of all singers. She received her Bachelor of Arts in Music Education from Trenton State College and her Master of Arts, Summa cum laude, in Choral Conducting from the same. She is at home with her fabulous husband Rick, in Bernardsville, NJ.

Barbararetzko@hotmail.com

Reflections on

BY PHILIP BRUNELLE

When the Covid epidemic arrived shutting down all in-person music activities here in Minnesota and elsewhere, I did not want folks in their apartments and homes to be without a link to music – so the idea of a daily 10-minute focus on a single composer that I had performed during these past 50+ years seemed like a good possibility connecting with the average listener rather than an academic audience. Between my roles at VocalEssence and Plymouth Congregational Church I have performed the music of more than 300 composers, so there would be no lack of names! And, because I have become personal friends with the many living composers, these “Musical Moments” could make the composers come alive to listeners.

I asked my son Tim (an excellent videographer) if he would meet me once every week or two and record a series of these sessions at Plymouth Church with me seated at the piano where I could play choral excerpts from the music being presented Tim agreed and the project was launched The challenge was – which composers, as there were so many to choose from I decided that each week or two would include composers (both men and women), a Minnesota composer, and a mix of composers living and past, keeping in mind international composers To ensure accuracy, I contacted all of the project’s living composers explaining what I was doing, requested a photo and asked approval of their biography Almost all the composers responded

This turned out to be a wonderful exercise for me recalling names I had forgotten as well as experiences with so many of them; anthems they had composed for me and works we had premiered at VocalEssence or Plymouth Church. The first day, March 23, 2020 featured Dominick Argento, Minnesota composer of wonderful choral works, operas, organ music and song cycles for solo voice. He was my professor, a mentor and a dear

Philip Brunelle, artistic director and founder of VocalEssence, is an internationally renowned conductor, choral scholar and visionary He has made his lifelong mission the promotion of the choral art in all its forms, especially rarely heard works of the past and outstanding new music. Under his leadership, VocalEssence has commissioned more than 300 works to date. Philip has conducted symphonies (New York Philharmonic, Seattle Symphony, and Minnesota Orchestra among others) as well as choral festivals and operas on six continents. He is the editor of two choral series for Boosey & Hawkes and chairman of the review committee for Walton Music. Philip

is also the Organist-Choirmaster at Plymouth Congregational Church in Minneapolis For two decades Philip was deeply involved with the International Federation for Choral Music (IFCM). He served as president of the Sixth World Symposium on Choral Music, held in Minneapolis in 2002. He was a Vice President of the IFCM Board and served as Executive Director for the 2014 World Symposium on Choral Music in Seoul, South Korea. Philip served as Artistic Advisor for the 2017 World Choral Symposium in Barcelona, Spain and later

Musical Moments

friend so it made sense to begin “Musical Moments” with him… not knowing how many sessions would follow! The second day featured the Norwegian composer Egil Hovland, another friend and a man who came to Minneapolis on several occasions when his music was heard in VocalEssence concerts and on Sunday mornings at Plymouth Church.

and, I believe, created a warmth for each one I did not have a number of sessions on which to end but as we approached 250 my son and I agreed that 300 would be a great finale Actually the project encompasses a total of 330 videos, of which 320 feature one composer, five feature eight composers, four discuss general topics related to choirs, and one is a conversation with my son about the project Though I narrated all the sessions myself I was pleased to have some of the noted vocalists living in the Twin Cities assist me for sessions that I felt would be enhanced with a solo voice

“Musical Moments” episodes are available online at: They are now are also available on the ACDA website:

he celebrated his 52nd anniversary with VocalEssence and at Plymouth Church and looks forward to his 53rd season with both organizations.

Philip is the recipient of the Weston H. Noble Lifetime Achievement Award, given by the North Central American Choral Directors Association; the F. Melius Christiansen Lifetime Achievement Award, American Choral Directors Association-Minnesota Chapter’s highest honor; and the Michael Korn Founder’s Award for Development of the Professional Choral Art, Chorus America’s highest lifetime achievement award.

It was a delight to recall personal experiences during these sessions – dinner with Olivier Messiaen, giving Dave Brubeck a theme to improvise on, watching Conrad Susa play games with my children, visiting composers in their homes – all of which made the sessions personal for the listener that summer was Artistic Director of the 2017 China (Qiandongnan) International Folk Song Choral Festival in Kaili, China. He also served on the national boards of the National Council for the Arts (NEA), Chorus America, the American Composers Forum and the American Guild of Organists. For more than 40 years he served as a guest conductor and pianist on American Public Radio’s A Prairie Home Companion, appearing on the very first and the final broadcasts and many in between. Since January 1982 he has written “Choral Old and New”, a column for The American Organist. In 2021,

PHOTO CREDIT: PHILIPBRUNELLE.ORG

DIVERSITY,

EQUITY AND DIVERSITY, EQUITY AND INCLUSION COLUMN INCLUSION COLUMN

This issue we focus on doing a deep dive on the rich history of Taiwanese choral music and how the repertoire base has navigated components of coloniality, multicultural influence, and cultural affirmation Written by composer and vocalist, Hung Wen, a composition graduate student at the University of Hawai'i, Hung provides information and resources to help diversify and anchor our practice

Jace Kaholokula Saplan Diversity, Equity, and Inclusion Chair

Compositions of Choral Coloniality: The Goddess of Spring by Uyongu

Yatauyungana

BY HUNG WEN, MUSIC THEORY AND COMPOSITION PHD CANDIDATE, UNIVERSITY OF HAWAI'I

“What is Taiwanese choral literature?” I started to think about this question because choral music is not traditional for the Taiwanese that lived five hundred years ago But now, we feel familiar with the choral repertoire After the Age of Discovery, the Spanish and the Dutch ruled areas of Taiwan’s west coast These countries brought missionaries and church music into the island, so the ancestors became familiar with this new music genre and singing style In the early 20th century, the Taiwan government brought western music into the schools Elementary through high school students were taught choral music The people gradually forgot or became unfamiliar with the traditional vocal music and singing style This paper discusses the colonial construction in a choir piece composed by a Taiwanese indigenous composer by understanding Taiwan’s regime history and how it has influenced choral works

Taiwan is between two mainland countries, China and Japan, and adjacent to the Philippine Islands across the Bashi Channel From a geopolitical perspective, Taiwan is located in the central area of the East Asian Island arc, a vital hub for Asia-Pacific trade transportation and an important military strategic location Since the 15th century, Taiwan has always been ruled, under control, and colonized by outsiders After WWII, control of Taiwan was turned over from Japan to the Republic of China In 1949, the Republic of China government evacuated from mainland China and entered Taiwan after the Chinese Civil War To fight against the Chinese Communist Party, a declaration of martial law began when the

Republic of China’s government moved into Taiwan

During that time, the government promoted the Chinese Cultural Renaissance, causing the second fault in the inheritance of the local Taiwanese and aboriginal culture Martial law was lifted in 1987, and local awareness rose Taiwan's government also completed the first peaceful party rotation in 2000

At present, the ethnic population of Taiwan is generally divided into Taiwanese and native Taiwanese

The former is Han, mainly from mainland China The latter are indigenous people; currently, there are 16 ethnic groups officially recognized Han Chinese makes up over 95% of the population, mainly Fujian and Hakka

After the Chinese Civil War in 1949, a further 1 2 million people from mainland China entered Taiwan On the other hand, indigenous Taiwanese comprise approximately 2% of the population and now mostly live in the eastern mountains Although the indigenous peoples have been forced to ban traditional cultural rituals on many occasions, they still retain their language, practices, costumes, and traditional beliefs Taiwan's complex historical background and multiculturalism have profoundly influenced the development of choral music Through the spread of Christianity and the promotion of school education, it has become a popular music genre in Taiwan Following the government changes in Taiwan's history and the rejection and absorption of western culture, choral music has played a pivotal role in Taiwan's music history In addition, choral music is often used as a medium to reflect social patterns and consciousness Choral music has also become a standard propaganda

DIVERSITY, EQUITY AND INCLUSION DIVERSITY, EQUITY AND INCLUSION

tool for cultural and political ideology through music competitions and concerts.

Uyonge Yatauyungana (July 5, 1908 – April 17, 1954) was born during Japanese rule and died during the government of the Republic of China. He is a Taiwanese Tsou musician and educator. He served as a local officer and a leader of the indigenous autonomous movement in early post-war Taiwan. In 1952, during the White Terror period of martial law, he was accused of treason by the R.O.C. government for claiming indigenous autonomy. In 2020, he was posthumously pardoned by the Transitional Justice Commission. During his undergraduate years, he taught modern western music theory and literary classics. He also assisted the Russian scholar N. A. Nevskij in compiling a survey of the Tsou language and folk literature of the Tefuye tribe. Yatauyungana later studied Japanese haiku poetry and literature which influenced his musical appreciation and poetry style. In 1930, he returned to Dabang Primary School to teach and devoted himself to tribal education, health, agriculture, and economics. He also wrote several songs to teach students to sing. His music composition expressed caring for the Tsou and was influenced by Japanese charm and the Tsou's folk songs. A small part of the lyrics is written in Japanese but most are sung in the Tsou language.

The Goddess of Spring is a two-part chorus composed by Yatauyungana in prison. The content expresses the yearning for his wife and hometown. The melodic line is influenced by Japanese Enka (popular songs), and the composition technique is very westernized. He configured many 3rd and 6th intervals, which is not often seen in Tsou folk music. The melody range is not so broad that it is a lyrical piece without many emotional ups and downs. The song was banned from

singing until the declaration of martial law was lifted, while his work received significant attention after 1990. Many organizations have used this piece to symbolize freedom and democracy in recent years.

Finally, I want to talk about colonial construction under the context of the Goddess of Spring. By understanding Taiwan’s political history and the composition background, the colonial construction of this work can be seen as complex and multi-layered. The composer devoted his life to the revival of Tsou culture. However, under the influence of Japanese culture and westernization, his works hardly have the characteristics of Tsou music. Yatauyungana wanted to use choral music as a medium to preserve the Tsou language and traditional music. But, musical language has long been gradually influenced by colonial culture: the melodic content is entirely Japanese tunes and accompanied with Western counterpoint. Furthermore, I think he hopes to achieve decolonization through choral music, but ultimately, the essence reflects the success of the Japanese colonization. Ironically, this work was regarded as a forbidden song during the Republic of China government because the style and lyrics are both reminiscent of Japanese style. While this work was criticized, Yatauyungana wanted to express his feelings for the Tsou. In the end, Yatauyungana was shot for treason.

High schools and adult choirs have frequently performed this piece in recent years. "De-Sinicization" has been heatedly discussed in Taiwan in the past ten years. Since 1987, De-Sinicization has been a political movement to reverse the Sinicization policies of the Chinese Nationalist Party after 1947. Many proponents claim that it created an environment of prejudice and racism against the local Taiwanese Hokkien and indigenous Taiwanese population.

DIVERSITY, EQUITY AND INCLUSION DIVERSITY, EQUITY AND INCLUSION

Additionally, proponents claim that it created an environment of prejudice and racism against the local Taiwanese Hokkien and indigenous Taiwanese population. Additionally, proponents acknowledge the indigenous and multicultural character of the island in Taiwan. De-Sinicization emphasizes preserving Taiwan's national identity (not the same country as China, but as two countries). Under this trend, the Goddess of Spring is regarded as a symbol of freedom, democracy, and a new identity and is used to fight against the stale, old, and the majority Chinese culture.

Undoubtedly, the indigenous identity has also received unprecedented attention. Based on the above explanation, I interpret the extension of colonization as the power changes between mainstream culture and minority culture. The social consciousness of the new generation wants to emphasize Taiwan's local culture and especially aboriginal culture that is not inherited from mainland China and tries to weaken the connection of traditional Chinese culture. Therefore, the government pays more attention to local artistic works and lists many early indigenous educators and musicians as important intangible cultural heritage. However, I feel a little biased as I myself am Tsou and a descendent of Yatauyungana.

Yatauyungana’s image has changed from treasonous to being a national hero due to the difference in time and environment. But for the Tsou people, since the period of Japanese rule, we have never truly possessed the right to decide: pessimistically, whether it is Japanese or Han (Republic of China), it is almost impossible for us to escape the history of colonial rule. Although the evolution of the times and the rise of social consciousness have attracted more and more attention to the issue of aboriginal people, the Tsou is still an endangered culture and a community that is close to facing the disappearance of language and tradition. In such an environment, The Goddess of Spring has become a representation of the new generation of Taiwanese decolonization (deSinicization). However, has the decolonization component indeed succeeded from the Tsou's perspective? Or has it become another victim of political intervention?

The colonial history is very complicated and multilayered, and as a result, a Taiwanese identity cannot be clearly considered from one single angle. In such an environment, I think Yatauyungana's music faithfully reflects the influence of colonial construction.

1 The first time was the period of Japanese rule At that time, the Taiwanese must speak Japanese and be loyal to the Tennō, the Japanese emperor

2 The Tsou (Chinese:鄒) are an indigenous people of central southern Taiwan They are one of the Austronesian language groups. Reside in Chiayi County and Nantou County numbered around 6,000, and approximately 1 19% of Taiwan's total indigenous population, making them the seventh-largest indigenous group

UYONGE YATAUYUNGANA ,THE GODDESS OF SPRING, 1952

Western Region Leadership

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