spring 2003, volume 28, issue 3 president’s article · los angeles. truly, exciting times lie...

Spring 2003, Volume 28, Issue 3

President’s Article

The 2003 National Con-vention in New York City was an unforget-

table experience (especially if you were one of the many stranded by the Great Storm of 2003!). Highlights for me included Berlioz’s Requiem and Rene Clausen’s 2003 Raymond Brock Commission work, Memorial, performed by students from Concordia under Rene’s direction, yet the list goes on and on and on, and the Western Division was wonderfully represented by phenomenal choirs and clini-

cians from our western states. It was a particular pleasure to see so many of you at our Western Division reception on Friday evening. Many thanks to everyone who joined us and our Northwest Division friends for that event.

In this issue of Tactus, Division President-Elect, Eliza-beth Kamerin, presents plans for our next Western Division convention, scheduled for February 25-28, 2004, in the lively city of Las Vegas, Nevada (PLEASE NOTE DATE CHANGE). Also included here are the offi cial application materials for Performances and Interest Sessions; please consider submitting an application to bring your choir or to present an interest session.

We’re looking forward to another fabulous Western Divi-sion convention. Our headquarters hotel will be the fabulous Hilton Casino and Hotel, and three honor choirs are planned (Middle School/Junior High, Women’s, and World Music). Please encourage your choristers to consider applying for one of these choirs!

Finally, we are excited about the Spring of 2005, when our division is to host the next national ACDA convention in Los Angeles. Truly, exciting times lie ahead for the Western Division of the American Choral Directors Association!

Steve Hodson, Western Division

President

Whereas the human spirit is elevated to a broader understanding of itself through study and performance in the aesthetic arts; and

Whereas serious cutbacks in funding and support have steadily eroded state institutions and their programs throughout the country;

Be it resolved that all citizens of the United States actively voice their affi rmative and collective support for necessary funding at the local, state, and national levels of education and government to ensure the survival of arts programs for this and future generations.

ACDAAdvocacyResolution

TACTUS SPRING 2003Page 2 TACTUS SPRING 2003Page 2

ACDA Western Division

Offi cers2002-2003

PresidentSteve Hodson824 Westmont RoadSanta Barbara, CA 93108w: 805-565-6192 h: [email protected]

Past PresidentRon Kean7609 Saddleback DriveBakersfield, CA 3309-1234w: 661-395-4547 h: 61-398-9150Fax: 661-395-4078e-mail: [email protected]

President-ElectElizabeth Kamerin2312 North Peppertree StreetVisalia, CA 93291w: 559-583-0157 x3331 h: 625-1789e-mail: [email protected]

Division TreasurerHenry C. “Bud” Klein1366 Pueo StHonolulu, HI 96816-5012w: 808-735-9004 h: 808-735-5162Fax: 808-735-1678e-mail: [email protected]

Tactus EditorDr. David Ashcraft6931 E. 4th Street, Tucson, AZ 85710-2207w: 520-731-7315 h: 520-296-2106e-mail: [email protected]

Editors2002-2003

Arizona Amy Van Winkle215 Chestnut DrivePrescott AZ 86301w: 928-454-2322, x164h: 771-2682 [email protected]

CaliforniaHanan Yaqub3633 Colorado StreetLong Beach CA 90814w: 562-439-0577 h: 714-505-6254 x124 [email protected]

Hawaii Beth Uale729 Kii StreetHonolulu, HI 96825w: 808-971-6922 h: [email protected]

Nevada Lezlie Koepp3729 Shannagolden Las Vegas, NV 89129w: (702) 799-3220 x238 h: [email protected]@interact.ccsd.net

Utah Bonnie Simpson11539 S. Waterside RoadSo. Jordan UT 84095w: 801-412-2000 h: [email protected]

Tactus Materials Due Dates: Submissions due : Fall Issue—9/1 Winter Issue—12/1 Spring Issue—3/1Send to:

David Ashcraft, Tactus Editor6931 E. 4th StreetTucson, AZ 85710-2207W: 520-731-7315 • H: 520-296-2106 • FAX: 520-722-4299e-mail: [email protected]

IN THIS ISSUE:Articles

Presidents Column, Steve Hodson ........................... 1ACDA Advocacy Resolution.................................... 1ACDA Advocacy Resolution.................................... 2ACDA Western Division Offi cers & Editors............ 2Tuxedos for Sale ....................................................... 2Editor’s Notes, David Ashcraft ................................. 3Convention 2004..................................................... 3Music with Sacred Text, Paul Raheb......................... 4Literature Ideas, Music We Have Forgotten and

Music Yet to be Discovered, Paul Raheb............... 6Application for Choral Performance,

ACDA Western Division Convention............... 6-7Introduction of New Western Division

Chairs, Anne-Marie Katemopoulos...................... 9California ACDA Summer Conference at ECCO.... 10Western Division R&S Chairs 2002- 2003 ............ 11Arizona ACDA 10th Annual 4-Corners Workshop ... 11ACDA Application Form....................................... 12AdvertisersLaurendale Assoc/Black Engineering........................ 8Mark Custom Recording ServiceMark Custom Recording Service............................ 10

ACDA reserves the right to approve any

application for appearance and to

edit all materials proposed for publication.

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TACTUS SPRING 2003

Editor’s NotesDavid Ashcraft, Tactus Editor

Convention 2004Many of you have been searching for information regarding our upcoming Division convention to be held in

Las Vegas in 2004. Following the masterful negotiations of our fearless leader, Dr. Gene Brooks, I am thrilled to announce that we have secured the Hilton Hotel as our convention site. We have had to move the date to February 26, 27, 28, 2004 to accommodate several confl icts, but the move has allowed for an amazing hotel rate of under $120 at the Hilton, which includes the parking fee. This is a fabulous hotel, with wonderful convention facilities, and an excellent location.

We will have three honor choirs this year. A Women‚ Ä ô s Honor‚ Ä ô s Chorus, A World Music Mixed Honor Chorus, and a Middle School Junior High Honor Chorus. The Women‚ Ä ô s and World Music Honors Chorus are available to High School Juniors and Seniors through Adult. Junior High auditions will cover grades 6-9. Audition tapes for the Honor Choirs will be due in October 2003.

In this issue of the Tactus you will fi nd the application for both interest and performance sessions. Please consider applying for interest sessions and performances for this terrifi c convention in the City of Live Music!

Remember, if you are going to need a choir, or wish to be considered as an interest session choir, you must also send an audition tape. ALL CHOIRS THAT PERFORM ON THE CONVENTION MUST BE AUDITIONED.

If you have any questions regarding the convention, feel free to contact me at [email protected], or call 559-786-7946.

At this time of the year, high school and college graduates are seriously contemplating potential majors and job choices, a daunting task for many,

to say the least. No doubt, the array of possible career paths available in the 21st Century eclipses the choices most of us had twenty, thirty, forty or more years ago.

A common conversation I hear almost daily in the envi-ronment in which I exist challenges young people to pursue an occupation which will guarantee security and reap the largest fi nancial benefi ts. Our top students seemingly are encouraged to study law, medicine, or computer science.

At the same time, research is proving the value of the arts, and particularly music study in terms of raising test scores, improving self esteem, decreasing school dropout rates and connecting with other educational disciplines. The facts, now fi rmly based on sound longitudinal research, are clear more than ever.

Each day children, adolescents and adults enter our choral rehearsal spaces yearning to fi nd, as the late Maurice Skones put it, “the meaning of life.” Music, and certainly choral music with its rich textual dimensions, tie together our various cultures and allow constant social commentary while just plain creating beauty.

As we contemplate alternatives to what we have chosen as our mission in life, an important question we might ask is, If not we, who?” Who will take responsibility for pass-ing this incredibly important gift on to others?

It stands to reason then that we must inspire, cultivate and ignite the best, brightest and most talented to follow in ourfootsteps. It is not necessary to encourage these individuals to look elsewhere. Not only is this vital for the perpetuation of our art, but it is necessary for the well being of others.

I am reminded of my college graduation nearly thirty years ago when I shared the podium with the guest speaker, Dr. Merlin DuVall, founding Dean of the College of Medicine at the University of Arizona and later Assistant Secretary of Health, Education and Welfare. As the music degrees were about to be conferred, he rose next to me. I whispered to him that these degrees were music, not medicine and he replied by saying, “Yes, I know. That was my bachelor’s degree and I am proud that it helped get me where I am today.”

Contrary to popular opinion, nothing is more important than what we do. We are needed now more than ever. I charge us all to keep on keeping on.

TACTUS SPRING 2003

Music With Sacred Text Paul J. Raheb, Chair

Western Division High School Repertoire and Standards

Perhaps you have struggled with the constant challenge of intonation with your choirs, I know I HAVE!

I came across this article written by James F. Daugherty, Ph.D., Choral Music Educa-tion Professor at the University of Kansas in the Kansas ACDA “Choral Range”. I found Dr. Daugherty’s article on Spatial Proximity to be fascinating, and decided to employ the concepts that he discusses in his article. Low and behold, my choir’s intonation not only improved, but the female singers, now, with no prompting on my, ALWAYS “spread out” when asked to stand. They enjoy the freedom that comes with increased proximity in rehearsal and performance. While seek-ing Dr. Daugherty’s permission to reprint his article, I reported about my choir’s success he responded with,

“Glad to hear of the positive response from your singers, and note particularly your observation that the women seemed pleased. My 2002 IJRCS study did fi nd empirical evidence suggesting just that, i.e. that those singing higher frequencies benefi ted from a greater degree of spac-ing than, for instance, men (who, while appreciating some more space did not require as much as the women). On the basis of Ternstrom’s SOR work, I had speculated as much in the article, but it is good now to have data that show not only do singers prefer it that way (women with more spacing than men) but so do audiences.”

Here is Dr. Daugherty’s article. I hope you fi nd it a worth while read. (Reprinted by permission of the Kansas Choral Range.)

Choir Spacing Makes a DifferenceJames F. Daugherty

The University of KansasNext to music listening, choral sing-

ing is likely the musical activity that engages the largest number of people. Yet, currently, less is known empirically about choir acoustics —-the production, propagation, and perception of choral sound— than any other musical phenom-enon.

The acoustics of the individual sing-

ing voice, of course, have been well researched over the past three or four decades. Thanks to the work of Johann Sundberg, William Vennard, and others, we can now approach the solo voice with scientifi c understanding.

Choir sound, however, is decid-edly more than the sum of its parts. The “chorus effect,” as Sten Ternstrom explains, occurs when “many voices and their refl ections create a quasi-random sound of such complexity that the normal mechanisms of auditory localization and fusion are disrupted. Choral singing, in effect, dissociates sound from its indi-vidual sources and endows it with an independent, if not ethereal, existence” (Ternstrom, 1989).

That very quality of the blending of voices into composite sound is both the appeal and challenge of choral singing. It also makes research exceedingly diffi cult. Within the past decade, however, promis-ing progress has been made, notably at the Royal Institute of Technology in Stock-holm by Sten Ternstrom, a colleague of Sundberg in the music acoustics research group. The purpose of this article is to share one facet of that work as it intersects with my own research on the contribution of choir spacing to overall choral sound.

Choral methods materials routinely impart advice about choir formation: whether to use a sectional or a mixed formation, the merits of a block or line pattern, where to place the men, the pro-posed intricacies of positioning “strong” and “weak”’ voices, etc. According to such materials, the formation strategy chosen can impact signifi cantly the sound of a choral ensemble. Such commentary is well-intentioned. Yet it constitutes anecdotal opinion, not universal or empirical fact.

Indeed, the only two empirical studies of choir formation prior to the research reported here found that formation per se had little real infl uence upon auditor pref-erence for choral sound. Data from my own investigations led me to suspect that the spacing between and among singers contributed more to the quality of a choir’ s sound than its formation.

To test that hypothesis, a study was designed using an intact, “real life” high school choir. Singers were ran-domly placed in two formations, block sectional and mixed quartet. They were then recorded digitally in both forma-tions using three spacings: close, lateral, and circumambient. To mitigate against conductor bias singers followed the conductor on a television monitor, using the same pre-recorded video conducting in all trials. A series of other controls, such as retaining singers in the same riser row for each trial, manually adjusting excerpts for peak amplitude consistency, and random ordering presentation of excerpts, were also instituted. Thereafter, 160 persons, evenly divided between male and female, chorally experienced and non-experienced auditors, and age (18-25 years and 26-39 years) listened to the recorded excerpts and expressed a preference for most pleasing choral sound. Singers were likewise questioned.

Results indicated that singers and auditors both preferred consistently those excerpts sung with more spread spac-ing. Auditors expressed signifi cant and consistent preference for all excerpts sung with spread spacing, regardless of formation. Choristers (95.6%) consis-tently and signifi cantly preferred spread spacing over close spacing and attributed to spread spacing more independent sing-ing, improved vocal production, and abil-ity to hear better both self and ensemble.

Sten Ternstrom has investigated what he terms Self-to-Other ratio (SOR). This phenomenon may ultimately relate to singer preference for spacing. In a choral situation, singers attend to two sounds: the airborne feedback sound of the singers own voice and the reference sound of the choir as a whole. Choral singers appar-ently have rather defi ned preferences for the balance between self sound and other sound. According to Ternstrom’s research, when the reference sound of the rest of the choir overpowers the feedback received from one’s own voice, as might happen in a choir singing with cramped spacing between and among singers, potentially all manner of chaos may ensue: compen-satory oversinging, intonation problems, and less than ideal vocal production. Venue acoustics, of course, can exacer-bate the problem still further, especially in absorbent and overly reverberent rooms.

Moreover, Ternstsrom’s studies fi nd

Continued on Page 5

TACTUS SPRING 2003

that SOR preferences tend to differ among voice types. Sopranos, for instance, tend to have a higher SOR and basses a lower SOR. Lower SOR’s seem to obtain in the center section of a choir, and higher SOR’s on the ends of a choir.

Such fi ndings offer many possibilities for future research. It occurs to me, for instance, that the supposed advantages of a mixed formation so often mentioned in choral methods literature may in fact stem from intuitive spacing concerns, i.e., a desire to separate voices that emit simi-lar frequencies. Some choirs may prefer mixed formation, perhaps for that reason. Yet mixed formation per se does not nec-essarily impact audience appreciation of choral sound. Indeed, studies to date have pointed to a slight audience preference for sectional formation. Spacing, how-ever, appears to contribute signifi cantly to preferred choral sound in the sound-scape of both choir and audience.

Results of present research into this area of choir acoustics suggest very prac-tical applications for your choir. Position your singers with suffi cient space between them laterally, ideally 18-24 inches. If possible, grant them circumambient space as well (the equivalent of a vacant row between all rows of the ensemble). Since all choirs and all singing venues are not alike, experimentation may be neces-sary to determine optimal conditions for your choir and venue acoustics.

Consider also that research results suggest that “weaker” singers may at fi rst resist spread spacing, especially circum-ambient spacing. These singers may actu-ally have to hear themselves for the fi rst time. “Average” and “strong” singers, however, appear to prefer spread spacing. Male voices, particularly basses, may do fi ne with a little less spread spacing, espe-cially if they are positioned in the center block of the choir. Soprano voices, by contrast, will likely do well with as much spacing as feasible.

Let your singers assist in the process of experimenting with spacing. Not all voices emit the same acoustical power, and some individual variation in spacing may work well.

Spacing your singers is not a magic technique to solve all choral sound prob-lems. But it may add a desirable nuance to choral sound, while improving intona-

Continued from Page 4 tion and blend. Spacing, moreover, is a vocally non-intrusive strategy that is rela-tively easy to implement with smaller and medium-sized ensembles.

For further reading:Daugherty, J. F. (1999). Spacing,

formation and choral sound: Preferences andperceptions of auditors and choris-ters. Journal of Research in Music Educa-tion, 47 (3), 224-238.

Daugherty, J. F. (2000). Choir spac-ing and choral sound: Physical, peda-gogical, and philosophical dimensions. In B. Roberts (Ed.), Sharing the Voices: The Phenomenon of Singing II: Proceed-ings of the International Symposium. St. John’s, Newfoundland, Canada: Memo-rial University of Newfoundland Press, 77-88.

Daugherty, J. F. (2001). Rethinking how voices work in choral ensemble. Choral Journal, 42 (5), 69-75.

Daugherty, J. F. (2002). Choir spac-ing and formation: Choral sound prefer-ences in random, synergistic, and gender specifi c placements. International Journal of Research in Choral Singing, 1 (1), <www.choralresearch.org>.

Ternstrom, S. (1989). Acoustical aspects of choir singing. Ph.D. thesis, Department of Speech, Music, & Hear-ing, Royal Institute of Technology, Stock-holm, Sweden.

Ternstrom, S. (1999). Preferred self-to-other ratios in choir singing. Journal of the Acoustical Society of America, 105/6: 3563-3574.

Ternstrom, S. & Karna, D.R. (2002). Choir singing. In R. Parncutt & G. E. McPherson (eds.) The Science and Psy-chology of Music Performance: Creative Strategies for Teaching and Learning. New York: Oxford University Press.

Literature IdeasMusic We Have Forgotten and

Music Yet To Be DiscoveredSubmitted by Paul Raheb, HS Repertoire and Standards Chair

At the Round Earth’s Imagined CornersWillametta SpencerSATB- A cappellaShawnee Press A986

Blow, Blow Thou Winter Wind John RutterSATB Accompanied Oxford 0193855666

Come To Me My LoveNorman Dello JoioSATB Accompanied Hal Leonard HL00007541

David’s LamentationJoshua ShankSATB- A cappellaSanta Barbara Music Pub-lishing SBMP 416

Elohim HashiuvenuSalamon Rossi / ed. Fritz RikkoSATB- A cappellaTheodore Presser 312-41119

Four Longfellow Settings Daniel GawthropSATB- A cappellaDunstan House DH0206

Hark, I Hear The Harps Eternal arr. Alice ParkerSATB- A cappellaLawson Gould/Warner Brothers LG51331

Kyrie EleisonRon Kean SATB Accompanied Pavane Publications P1208

Lebenslust Franz SchubertSATB AccompaniedHinshaw HMC 425

Sure On This Shinning Night Z. Randall Stroope SATB AccompaniedMark Foster MF3057

Tritt auf dem Riegel von der Tur Orlando di LassoSSATB A cappellaTheodore Presser 312-41095

The Promise Of LivingAaron CoplandSATBB – Piano 4 HandsBoosey & Hawkes OCTB5020

When Love And BeautyArthur Sullivan SSATB A cappella Broude Brothers

ZigeunerlebenRobert SchumannSATB Accompanied (w/SATB soli)Walton Music W2706


Please type or print legibly.I. General Information

Name of ensemble________________________________________________________________ Number of singers______________

Voicing: SSA(A)_____ TTB(B)_____ SATB_____ Other_____

Choir’s R&S Classifi cation___________________________________________________________ Age level____________________(Boychoir, Children’s, College/University, Community, Ethnic/Multicultural, JazzShowchoir; Junior High/Middle Level, High School, Male Choir, Music & Worship, Two-Year College; Women’s Choir)

Name of institution____________________________________________Institution telephone (_____)_________________________

Institution address_____________________________________________________________________________________________

City_________________________________________________________ State_______________Zip_________________________

Name of director______________________________________________________________________________________________

Director’s home address_________________________________________________________________________________________

City_________________________________________________________ State_______________Zip_________________________

Director’s home telephone (_____)________________________ Summer telephone (_____)__________________________________

Member of ACDA? Yes_____ No_____ Member #_____ Expiration date _____/_____/_____

Eligibility: Conductors must be current members of ACDA and must have been employed in the same position since Fall 2000. No choral ensemble or conductor may appear at successive division conventions. It is understood that ACDA will not assume any fi nancial responsibility for travel, food, and lodging for performance groups. This application implies that the above-mentioned group is prepared to travel and perform at the convention, if accepted.

Signature of director_______________________________________________________________________________

Signature of administrator___________________________________________________________________________ (Principal, department chair, minister, etc.)

II. Proposed Program for Performance

The total program time may not exceed 25 minutes. The use of photocopies or duplicated music at ACDA conventions is prohibited. Accompaniment tapes/CDs may not be used on the audition tapes/CDs or on ACDA convention programs.

Performance Time Title ComposerComposer (in minutes and seconds)(in minutes and seconds)

__________________________________________ _______________________________________ _____________________

__________________________________________ _______________________________________ _____________________

__________________________________________ _______________________________________ _____________________

__________________________________________ _______________________________________ _____________________

__________________________________________ _______________________________________ _____________________

__________________________________________ _______________________________________ _____________________

__________________________________________ _______________________________________ _____________________

__________________________________________ _______________________________________ _____________________

__________________________________________ _______________________________________ _____________________

APPLICATION FOR CHORAL PERFORMANCEACDA Western Division ConventionLas Vegas, Nevada • February 25-28, 2004

TACTUS SPRING 2003

III. Audition Tape and CD Specifi cations

A. Each of the three recorded selections for this performance application should be prepared on superior quality stereo cassette tape or CD. No accompaniment tapes or accompaniment CDs may be used.

B. The total length of the audition tape or CD should be 10 to 15 minutes and should include three selections (all by the ensemble listed on the application), one each from 2002-2003, 2001-2002, 2000-2001.

C. Show choir performance applications should include both an audio cassette or CD and a videotape (1/2” VHS).D. Selections recorded on the audition tape or CD:

Selection #1 (from 2002-2003)

Title_____________________________________________Composer_______________________________________

Recorded at: Concert Site__________ Recording Studio__________ Rehearsal Site__________

This recording’s sound reproduction is: edited__________ unedited__________


Title_____________________________________________Composer_______________________________________


This recording’s sound reproduction is: edited__________ unedited__________


Title_____________________________________________Composer_______________________________________


This recording’s sound reproduction is: edited__________ unedited_________

IV. Programs

Applicants must submit one program (or photocopy) for each of the years represented on the tape/CD.

Mailing Instructions

Mail this completed form with audition tape/CD, programs, to

Elizabeth Kamerin, Convention Chair, 2312 N. Peppertree StreetVisalia, California 932912312 N. Peppertree StreetVisalia, California 932912312 N. Peppertree Street

***postmarked no later than June 1, 2003.***

Materials will not be returned.

Notifi cation of Results: July 15, 2003

The criterion for recommending a choir’s acceptance to appear at an ACDA convention will be the quality of musical performance as demonstrated on tape or CD.

Preparation of Tapes and CDs:

Only tapes and CDs prepared in compliance with specifi cations listed on the application form and accompanied by requested program information will be considered. The tape or CD should contain only complete pieces. If a longer work is excerpted, several minutes should be devoted to it on the tape or CD. Only one performing group may apply per tape or CD. Performing forces proposed for the convention program should be the same as those on the tape or CD, and the repertoire should be essentially the same kind as that proposed for the convention performance.

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When I fi rst began my teach-ing career, I was fortunate to have the unceasing support

and guidance of Jan DeShera. I am proud to have been selected as her suc-cessor as R Division Chair for jazz and show choirs. As I assumed the chair, I discovered that several of our chairs are also new to their positions, and as such, a biography of each is included here as a means of introducing them–and myself–to you:

Anne-Marie Katemopoulos (Divi-sion Chair; [email protected]) has taught at Abraham Lincoln for the past twelve years, teaching Womenʼs Choir, Voice Studio, two jazz choirs and Musical Theatre. She is a graduate of San Jose State University with a B.A. in Music Performance (Voice), and an M.A. in Music (Choral Conducting). Anne-Marie is the recipient of numerous awards and accolades, including the Carmen Dragon Memorial Scholarship in Conducting from the CSU System and Chevron, the Distinguished Alum-nus award from the SJSU School of Humanities and the Arts Alumni Association; she was selected as the 1999 Lincoln High School Teacher of the Year. Anne-Marieʼs busy schedule includes frequent appearances as music director, clinician and solo performer; she also maintains a private voice studio, preparing singers for musical roles in school and community theater productions throughout the Bay Area.

Joyce Bertilson (State Chair, Ari-zona; [email protected]) has been an educator for nineteen years. She is currently in her sixth year at North Canyon High School. Joyce previously taught choir and computers at the middle school level and general music for grades 1-6. She earned her

Introductionof New Western Division Chairs

Anne-Marie KatemopoulosWestern Division Jazz and Show Choir R and S Chair

Continued on Page 10

Bachelorʼs degree in Music Education with a minor in Computer Science along with a Master of Education from Northern Arizona University and also has her certifi cation in Level I Orff. In addition to serving as the Jazz/ Show Choir R for AzACDA, she is also an active member of MENC. Throughout her teaching career, her choirs have received numerous awards and she often serves as a clinician and adjudi-cator for state music contests and area festivals. She was recently honored with being selected for Whoʼs Who Among Americaʼs Teachers.

John Knutson (State Chair, Califor-nia; [email protected]) is currently in his second year as Director of Choral and Vocal Jazz Ensembles at Cuesta College. John holds a Masters in Con-ducting degree from Northern Arizona University and a Bachelors in Piano Performance from the University of Minnesota. He is also a member of the professional vocal jazz ensemble Voca-logy, formed by Phil Mattson in 1998. Under his direction, the Cuesta College vocal jazz ensemble performed at the 2003 IAJE convention in Toronto, Canada. He has served as a clinician at jazz and choral festivals in Illinois, Iowa, Minnesota, Arizona, Califor-nia, and Idaho, and Oregon. John has numerous choral compositions; his vocal jazz arrangements are available through UNC Jazz Press.

Elizabeth Kammerer (State Chair, Hawaii; [email protected]) is the choir director at Kahuku High and Intermediate on the north shore of Oahu in Hawaii. In her tenth year of teaching at Kahuku, she is respon-sible for the schoolʼs show choir, Vocal Motion, and the HS and Intermediate Choirs. Beth graduated from Susque-hanna University with a Bachelor of

Music degree. She is a member of ACDA, Kappa Delta Pi, and was named the Hawaii State Teacher of the Year in 1997.

Janet Taylor (State Chair, Nevada; [email protected]) began her career in music education in 1992 when she moved to Las Vegas to work in the Clark County School District, after earn-ing her Bachelors and Masters of Music Education degrees from the University of Kansas. Since living in Las Vegas, Janet has taught both Middle School and High School and is currently in her 8th year of teaching at Eldorado High School. Janet serves as President of the International Association for Jazz Edu-cation - NV Unit, is the R Chair of the Vocal Jazz Division for the American Choral Directors Association - NV Unit, is a member of Delta Kappa Gamma, the Music Educators National Conference/Nevada Music Education Association, is Organist and Choir Director for St. Matthewʼs Episcopal Church and also a member of the Eldorado HS DECA Chapter. In the spring of 2002, Janet was recognized as Teacher of the Year by Lite 100.5 (top 15 picks) through student nomination, and has also been recognized as a Whoʼs Who of Teaching from 1998-2002.

As this newsletter goes to press, the position of Utah state chair remains open; I am hopeful that this position can be fi lled soon.

As the school year draws to a close, and you begin the selection process for your fi nal concerts, why not consider something from the jazz and show choir realm?

More and more publishers are pub-lishing quality literature, available in a variety of different voicings. The read-ing session at the national convention last month in New York proved just that. The literature featured represented the gamut of diffi culty levels, from accessible to challenging, in varying styles. If you were unable to attend, I urge you to consider the following: 1) “Come Fly With Me” - arr. Kirby

Shaw SATB WB CHMO2090


2) “It Never Entered My Mind” - arr. Paris Rutherford SATB HL 08743207

3) “Like What I Got” - Ken Kraintz SATB SMP SMP 01-002

4) “Blame It On My Youth” - arr. Sonja Sarr SSAA UNC

5) “Doctor Blues” - Peter Blair SATB Her 15/1744H

6) “The Night We Called It A Day” - arr. Steve Zegree SATB SP A2182

7) “Baby Driver” - arr. Eldridge/Meader SATB SP A2140

8) “Iʼll Be Around” - arr. Paris Ruth-erford SATB HL 08743214

9) “I Will” - arr. Dan Davison SATB Walton HL 08501468

10) “Some of These Days” - arr. Kirby Shaw SAB HL 08743229

11) “Evening Prayer” - arr. Phil Matt-son SATB HL 08743195

12) “If I Should Lose You” - arr. Kirk Marcy SATB UNC

13) “They Say Itʼs Wonderful” - arr. Jeremy Fox UNC SSATB

14) “New York State of Mind” - arr. Steve Zegree SATB HL 08201461

15) “Sing, Sing, Sing” - arr. Darmon Meader SATB SP A 2181

Her=Heritage Press WB=Warner Brothers HL=Hal Leonard UNC=University of Northern

Colorado Jazz Press SP=Shawnee Press SMP=Sound Music Publications I urge you to consider programming

this literature — your students will love it, and so will your audiences!

I realize that sometimes it can be daunting to fi nd literature from this fi eld that is appropriate to your ensem-bles; moreover, the diffi culty in learn-ing appropriate performance practices can be even more intimidating. Please remember that our enthusiastic repre-sentatives are delighted to assist you as needed, and donʼt hesitate to contact us for further assistance.

Continued from Page 9Announcement:

California ACDA Summer Conference at ECCOAugust 3-6, 2003

Headliner: René ClausenRegistration information available in May.

For more information, contact:Jan Lanterman, Executive Secretary

California ACDA2348 Clay Street • Napa, CA 94559

(707) [email protected]

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ACDA 2002 Western - 5x7.5 ad 12/23/02 12:14 PM Page 1

TACTUS SPRING 2003

Boychoir Chair

Thomas Jones 1142 E. Belmont Avenue, Phoenix AZ 85020w: 602-264-5328 h:[email protected]

Children’s Choirs

Anne Tomlinson585 E. Colorado Blvd., Pasadena, CA 91101w: 626-793-4231 h: [email protected]

College and University Choirs

Iris Levine3341 Carolyn Avenue, Culver City CA 90232w: 909-869-4566 h: [email protected]

Community Choirs

Daniel Hughes1616 Hollenbeck Avenue #15, Sunnyvale CA 94087w: 415-596-6594 h: [email protected]

Ethnic and Multicultural Perspectives

Paul A. Smith2916 Saint George #101, Los Angeles CA 90027w: 818-885-3169 h: 213-667-2974 [email protected]

Junior High Middle Level School Choirs

Mary Wagner3654 N. Tirol Circle, Mesa AZ 85215w: 480-472-2133 h: [email protected]

Male Choirs

Dan Earl2787 Guerneville Road, Santa Rosa CA 95401w: 707-528-5600 h: [email protected]

Music and WorshipMichael Busch23 Greenbough, Irvine, CA 92614w: 949-854-8002 x1520 [email protected]

Senior High School Choirs

Paul Raheb2750 West Clinton Court, Visalia CA 93291w: 559-730-7818 x127 h: [email protected]

Two Year College Choirs

J. Edmund Hughes5926 E. Julep, Mesa AZ 85205w: 602-285-7297 h: [email protected]

Vocal Jazz and Show ChoirsAnne-Marie Katemopoulos154 Menard Drive, San Jose, CA 95138w: 408-535-6300 x291 h: [email protected]

Women’s Choirs

Polly Vasche607 Rio Vista Drive, Modesto CA 95355-4423w: 209-576-4255 h: [email protected]

Youth and Student Activities

Devid Weiller2335 Barneby Avenue, Henderson NV 89014w: 702-739-3008 h: [email protected]

Western Division R&S Chairs 2002- 2003

Announcement:Announcement:

Arizona ACDA 10th Annual Arizona ACDA 10th Annual 4-Corners Choral Workshop 4-Corners Choral Workshop

at the cool mountain campus of at the cool mountain campus of at the cool mountain campus of Northern Arizona UniversityNorthern Arizona University

June 26-28, 2003June 26-28, 2003Guest Clinicians: Jean Perry, Guest Clinicians: Jean Perry, Steve Zegree, Charles SmithSteve Zegree, Charles Smith

For more information go online For more information go online to www.azacda.orgto www.azacda.org

APPLICATION for MEMBERSHIP in the AMERICAN CHORAL DIRECTORS ASSOCIATION

Please Fill Out Completely Membership Account No. _____________

Please accept my application for membership in Name:ACDA as indicated below: Mr. Ms. Mrs._____________________________

c NEW c RENEWAL RENEWAL RENEWAL Send ACDA publications to:Active $65.00 Institutional $75.00 c/o ___________________________________Associate $65.00 Industry $100.00 Street _________________________________Student $20.00 FOREIGN ACTIVE City ________________________ State _____Retired $25.00 Airmail $90.00 Phone (___)______________ Zip + 4 _______Life $2,000.00 Surface mail $80.00

************************************************** Alternate Address:Life membership payable Canada same as U.S. c/o __________________________________in annual installments Please remit in U.S. Street ________________________________of 100.00 or more. funds only. City ___________________ State _______ Phone (___)____________Zip + 4 _________ Make check or money order payable to: American Choral Directors Association

IMPORTANT - Please Complete This SectionPlease check areas of activity: Please check (√) classifi cation of choirs directed:1 Elementary School c Children c Boy c Girl c Men2 Junior H.S. c Women c SATB/Mixed 3 Senior H.S. c Ethnic/Minority c Jazz/Showchoir5 ACDA Student Chapter6 Jr./Community Choir Jr./Community Choir Jr./Community Choir Place of Employment ______________________7 College/University Title and/or position _______________________8 Community Choir9 Church Choir Church Choir Church Choir Mail to:P Professional Choir Professional Choir Professional Choir Gene Brooks, Executive Director, ACDAS Supervisor/Administrator Supervisor/Administrator Supervisor/Administrator P.O. Box 6310, Lawton, OK 73506-0310As an ACDA member, I will comply with the copyright laws of the United States of Ameria. (Compliance with these laws is also a condition of participation by clinicians and performing ensembles that appear on any ACDA-sponsored event or convention.) ACDA is a founding member of the International Federation for Choral Music (IFCM). If you need additional information about IFCM, please check box. c

Arizona Music Educators Association, Inc.American Choral Directors AssociationWestern Division6818 E. Kingston PlaceTucson, AZ 85710

Non-Profi t Org.U.S. POSTAGE

PAIDTucson, AZPermit 371

spring 2003, volume 28, issue 3 president’s article · los angeles. truly, exciting times lie...

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