Look for new information posted soon about the new leadership for ACDAEast. Peggy Dettwiler took the reins officially on July 1.
And help us connect…
Let’s face it. Choral directors are busy people who are communicating on several different channels every minute of every day. More often than not, a well timed message while waiting in line at the grocery store is the one that gets the read and the response.
That’s why we’re building additional bridges through social media, hoping that a well-timed post featuring a teaser about the upcoming conference will entice you to click through and read more. And the best part is that you can share social media news with friends who aren’t (yet!) part of ACDA.
Get connected, and help us connect with your friends and colleagues who can benefit from all ACDA has to offer!
See you online!
The Kegerreis Fund
A Living Legacy
The Helen Kemp Lifetime Achievement Award
CALL FOR NOMINEES
I have learned a great deal about ACDA since assuming the role of Eastern Region President just over a year ago, not the least of which has to do with finalizing contracts with hotels, performance venues, and local vendors who, in the last place, provide the real backbone that will bear out whether a convention is “somewhat successful” or “inspiring and rejuvenating.” Seasoned choral directors know that the truly defining element of a meaningful musical experience is largely a result of everything that happened behind the scenes before the sound of the very first pitch. Sometimes I think music teachers would be better served with a degree in business administration than credentials in performance practice and score study.
But alas, I find myself reminiscent about so many of my experiences at various ACDA events. The first time I saw The Albert McNeil Singers or The King’s Singers, not to mention so many moments of serendipity when a choir you scarcely knew about delivers an awe-inspiring performance that goes right to the heart!
Your leadership team is well aware of the planning and finagling it takes for you to get time off work, let alone funding to attend a conference, which is why we’re working tirelessly not only to get the word out about early registration, but also to encourage our constituency to make a few days of rejuvenation and reacquaintance with professional colleagues and friends a top priority for 2018. In a profession where we are so frequently isolated by the nature our specialty, one cannot overestimate the community and support system that is ACDA.
In these coming weeks we will be cranking up the social media machine to bring our community together, and you can help with that by sharing and reposting on the various social media threads. I will say many times, beginning right now, that while Pittsburgh is a fabulous convention city, the savings of booking early cannot be overstated, unlike cities like Boston and New York where competition keeps fares low until the very last minute. To that end, we’ll be posting airfares regularly in an effort to urge you to BOOK NOW and save!
If you’re not already following us on Facebook (ACDA Eastern Division), Twitter (@acdaeast), and Instagram (acda_east), (Snapchat coming soon!) I encourage you to do so as we will soon begin posting brief teasers for what you’ll experience in Pittsburgh next March. How about that… something joyful to read on your newsfeed.
Paul D Head
Eastern Region President
2018 HONOR CHOIR CONDUCTORS
Jared Berry, Honor Choir Chair
ELEMENTARY HONOR CHOIR Susan Brumfield, conductor A treble choir of singers who will be in grades 4, 5, or 6 in March 2018 Dr. Susan Brumfield is Professor of Music Education at Texas Tech University, and holds a Ph.D. in Music Education from the University of Oklahoma. She is known throughout the United States and Europe as a clinician, consultant, author, composer, arranger and choral conductor. Dr. Brumfield is the author Jean Ritchie’s Kentucky Mother Goose, a book and CD memoir with American folk legend Jean Ritchie, which features rare and never-before-seen illustrations by Maurice Sendak. Other publications include Hot Peas and Barley-O: Children’s Songs and Games from Scotland and Over the Garden Wall: Children’s Songs and Games from England. Dr. Brumfield is currently working on Giro Giro Tondo: Children’s Songs and Games from Italy. She is a contributing author for John Jacobson’s Music Express Magazine and McGraw Hill’s Music Studio. An internationally recognized expert in the Kodály approach, Dr. Brumfield is the author of First, We Sing! Kodály-Inspired Teaching in the Music Classroom (Hal Leonard), a set of Kodály-based of curriculum and resource materials for K-5 music. This comprehensive series includes the Teacher’s Guide, Teaching Strategies for Primary Grades, Teaching Strategies for Intermediate Grades, Practice Activities for Rhythmic and Melodic Elements and First, We Sing: Songbooks One and Songbook Two. Forthcoming volumes include Songbook Three, Active Listening in the Music Classroom and Songs for Reading and Writing. Other ancillary materials include applications for interactive whiteboard, student workbooks and classroom materials. Founder and Artistic Director of The West Texas Children’s Chorus, Dr. Brumfield is also in frequent demand throughout the world as a commissioned composer and guest conductor. Her choral music is published with Hal Leonard Music, Colla Voce Music and BriLee/Carl Fischer, and includes more than forty titles. With four choirs consisting of singers from Kindergarten through college, the West Texas Children’s Chorus organization serves children throughout the South Plains area, and serves as a teaching lab for TTU Music Education students. In addition to performances with the Texas Tech University Choirs, the Lubbock Chorale and the Lubbock Symphony Orchestra, the choirs have performed at the Texas Music Educators’ Conference, national conferences of the Organization of American Kodály Educators and the Amerian Orff Schulwerk Association, and has been featured in concerts at Carnegie Hall and other prestigious venues in NYC. The choir travels throughout the US on its bi- annual tours. Dr. Brumfield was honored in both 2012 and 2014 with the Texas Tech University College of Visual and Performing Arts Award for Outstanding Research, and as a two-time finalist for the President’s Book Award. In 2015, Dr. Brumfield was the recipient of the Louisiana Tech University Outstanding Alumni Achievement Award.
JUNIOR HIGH HONOR CHOIR Gary Packwood, conductor An SATB choir of singers who will be in grades 7, 8, or 9 in March 2018 Gary Packwood is the Program Administrator and Director of Choral Activities at Mississippi State University, where he oversees all administrative aspects, and conducts the Women of State and the MSU Singers. Dr. Packwood’s other duty includes serving as the Head of Music Education, and teaching conducting and secondary choral methods. Dr. Packwood has conducted a multitude of ensembles, through invitation, for the state, regional, and national conference for both the National Association for Music Education (NAfME) and for the American Choral Directors Association (ACDA). Through invitations, his choirs have also performed in some of Europe’s most distinct venues including Notre Dame Cathedral, Chatres Cathedral, La Madeleine Church, Sacra Coeur Church, The American Cemetery at Omaha Beach, Normandy, France, St. Nikolas and St. Stephen in Austria, and St. Nicholas Church in The Czech Republic. A Lifetime member of ACDA, Dr. Packwood has served in numerous positions in NAfME and ACDA, and is currently the President-elect of Southern Division ACDA. A frequent guest conductor, Dr. Packwood has served in this function for all-state and honor choirs in 28 states and on three continents. Internationally he has served as guest conductor and lecturer for the 2013 and 2010 Festival Internacional de Musica at the Universidade Federal de Campina Grande, Brazil; the 2009 Visiting Professor of Music and Conducting at Sultan Idris Education University in Tanjung Malim; Aswara Conservatory of Music in Kuala Lumpur, Malaysia; 2007 artist-in- residence and guest conductor at the Conservatory of Music – University of Uberlandia, Brazil; and 2006 Festival Internacional de Musica at the Universidad Federal de Piaui, Brazil. He is a member of Golden Key International Honour Society, Phi Mu Alpha and Pi Kappa Lambda. Dr. Packwood is currently a Choral Review author for the Choral Journal and his own articles have been published in MENC’s journal, Teaching Music, and the 2ndEdition of the AmeriGrove Dictionary. Dr. Packwood earned the Bachelor of Music Education degree from Southeastern Louisiana University, the Master of Arts degree from Florida Atlantic University, and Doctorate of Musical Arts degree from Louisiana State University.
WOMEN COMPOSERS REPERTOIRE HONOR CHOIR Sharon Paul, conductor An SSAATTBB choir of singers who will be in grades 11 or 12 or college in March 2018, or adults Sharon J. Paul is Professor of Choral Conducting, Director of Choral Activities, and Chair of Vocal and Choral Studies at the University of Oregon, where she teaches graduate courses in choral conducting, repertoire, and pedagogy, and conducts the University Singers and the internationally award-winning Chamber Choir. Dr. Paul has presented interest sessions at regional, state, division, national, and international music conferences and appears frequently as adjudicator, clinician, and honor choir director throughout the United States, with recent engagements in Utah, Washington, Nevada, California, Pennsylvania, Texas, and Georgia. In the fall of 2014 she received the University of Oregon’s Fund for Faculty Excellence Award, and in 2015 she was named the Robert M. Trotter Chair of Music, one of only three endowed chairs at the University of Oregon’s School of Music and Under her direction, the University of Oregon’s Chamber Choir has garnered international acclaim in recent years. In May, 2015, the Chamber Choir was one of 10 choirs worldwide invited to compete at the 14th International Chamber Choir Competition in Marktoberdorf, Germany, where they received second prize overall, won a special prize for the best interpretation of the compulsory work, and were the only student group to achieve a Level I recognition for an “excellent performance at the international level.” Previously the Chamber Choir won First Prize at the 2013 Fleischmann International Trophy Competition at the Cork International Choral Festival in Cork, Ireland. In their first international tour they took top honors in two categories at the 2011 Tallinn International Choral Festival in Tallinn, Estonia. In the summer of 2017 the Chamber Choir will tour Spain, culminating with an appearance at the World Symposium on Choral Music in Barcelona. Dr. Paul served as Artistic Director of the San Francisco Girls Chorus (SFGC) and conductor of Chorissima and Virtuose, the organization’s acclaimed performance ensembles, from 1992 to July 2000. Under her leadership, the chorus released four compact discs, premiered major works by composers such as Chen Yi and Jake Heggie, represented the United States at four international festivals, and performed at the California Music Educators’ state conference, the American Choral Directors’ Western Division conference, and the International Society for Music Education’s international conference. In June 2000 the SFGC was the first youth chorus to win the Margaret Hillis Achievement Award for Choral Excellence, a national honor presented by Chorus America. In the same year they were also awarded an ASCAP Award for Adventurous Programming.
HIGH SCHOOL HONOR CHOIR David Fryling, conductor An SSAATTBB choir of singers who will be in grades 10, 11, or 12 in March 2018 David Fryling (www.DavidFryling.org) is director of choral activities at Hofstra University, where he conducts both the select Hofstra Chorale and Hofstra Chamber Choir and teaches beginning and advanced studies in choral conducting, as well as graduate-level studies in choral conducting and choral literature. In addition, he serves as an adjunct professor for the Hofstra School of Education, where he supervises choral music education student teachers during their field placements. In fall 2014 David was inducted into the Long Island Music Hall of Fame as the “Educator of Note” in recognition of his years of leadership in the Long Island music education community, and in the fall of 2016 David was named a semi-finalist in both college/university and community chorus divisions of The American Prize in Choral Conducting. An energetic and engaging conductor, clinician, and adjudicator of professional, community, and high school choirs, David’s recent invitations include various all-state and regional honor choirs, master classes, workshops, and adjudications throughout New York and in New Jersey , Vermont (New England Music Festival), Connecticut, Rhode Island , Pennsylvania, Virginia, North Carolina, Mississippi, Michigan, Tennessee, Louisiana, Texas, Utah and Alaska. He has also been music director and conductor of Hofstra Opera Theater productions of Purcell’s Dido and Aeneas, Chaikovsky’s Iolanta, and Poulenc’s Dialogues Des Carmelites, and has served since 2014 as a guest artist on the conducting faculty of the New York State Summer School of the Arts (NYSSSA) School of Choral Studies in Fredonia, NY. In fall 2013 David founded the eVoco Voice Collective (www.evoco.vc), a nonprofit organization of singers of the highest musical, technical, and expressive abilities, who together believe in the transformative and educational power of music. Passionate advocates for excellence in the vocal art, eVoco presents choral performances and recitals of the highest caliber throughout the year. The group’s two main ensembles, the Mixed Ensemble and the Women’s Ensemble, have an “open door” policy for all rehearsals, and teachers and students of music, especially, are encouraged to “sit in” throughout the process, in the hope that the groups’ weekly work together will serve as a continual learning space for students, educators, and music enthusiasts alike. For seven summers, David served as coordinator of the Vocal Artists program at the Interlochen Center for the Arts in Michigan, where he was conductor and music director of the World Youth Honors Choir and Festival Choir & Orchestra. These two choirs formed the core of the high school choral experience at this intensive six-week arts camp, and under his direction they performed large-scale works including Brahms’ Nänie, Pärt’s Credo, Vaughan Williams’ Dona Nobis Pacem, Orff’s Carmina Burana, Gershwin’s An American in Paris, Brahms’ Ein Deutsches Requiem, Duruflé’s Requiem, Poulenc’s Gloria, and Mozart’s Mass in C (“Coronation”). Before his appointment at Hofstra, David served as music director and conductor of the University of Michigan Arts Chorale and assistant conductor of the Michigan Chamber Singers, University Choir, and the internationally acclaimed Michigan Men’s Glee Club. While in Ann Arbor, he was also the music director and conductor of the Michigan Youth Women’s Chorus, a year- round all-state honors choir composed of select high school sopranos and altos from across Michigan. In addition to his professional teaching and conducting responsibilities, David has served the American Choral Directors Association for many years, and is currently Vice President of the Eastern Division. When not on the podium, he enjoys freelancing as a professional choral tenor in the greater New York metropolitan area.
Being a long time jazz fan, and firmly believing that jazz is America’s music and we need to teach it, I began a search years ago to find choral repertoire suitable for children and youth choirs. ACDA has long had a Jazz R&S committee, and I always tried to attend the reading sessions, but often came up empty handed. While there were frequently a few treble voiced pieces included in the wonderful repertoire they presented, the orientation was typically more towards older voices, with topics that were, shall we say, not terribly appealing to kids. (I don’t know many children who really care to sing about lost romance, often the subject of some of the best jazz repertoire!) Many of the arrangements were too complex. Or, repertoire thatwas dubbed a “jazz” arrangement was often dumbed down and had little jazz left in it, particularly in the accompaniment.
So I began writing my own arrangements as a solution. Gradually, I found a few other composers who seemed to also understand how to write for young voices, how to select songs to arrange that kids would love to sing, and how to write accompaniments that sounded like jazz. Interested in learning more about how to getyour young singers introduced to jazz? Please join me at my “Jazz Choral Music for Kids!” session on Saturday, February 13! We will have a reading packet of repertoire, and you will be singing and scatting your way through the session. I will be presenting ideas to get even your youngest singers started, methods to help them understand the language of jazz aka scat, and a variety of music of different levels of difficulty. And, you will have fun!
Not comfortable with the genre, but curious? Even more reason to come! Be there or be square!
Dr. Joy Hirokawa is Assistant Professor of Music Education at Moravian College (Bethlehem, PA) and the Founder and Artistic Director of The Bel Canto Children’s Chorus. Under her direction, the choir has appeared on ACDA, NAfME, and PMEA conferences, and has traveled internationally. Dr. Hirokawa is a frequent guest conductor and clinician, presenting regularly at ACDA, NAfME and PMEA conferences and conducting numerous honor choirs nationally. Her published arrangements include her jazz arrangement of “Lullaby of Birdland,” recently included Voices in Concert, the new choral text published by McGraw-Hill and Hal Leonard, and “My Favorite Things,” featured on numerous honor choir programs. Her newest jazz arrangement for young voices is “Accentuate the Positive,” available from Hal Leonard. She is the current ACDA Eastern Division Repertoire and Standards Chair for Children and Youth. Dr. Hirokawa taught in the public schools for 20 years prior to her appointment at Moravian College.
Choral musicians claim the immense power of choral singing to transform individual lives and communities. This is because:
- we sing
But, it’s also because of
- what we sing
- where we sing
- who is singing
and many other reasons.
The question that I pose is this:
Are we, as choral musicians, doing enough for ALL PEOPLE?
Are we doing enough to engage all people, not only as audiences, but as choral participants? By all people, I refer to people in poverty, in conflict, in hospitals, in prisons, in war zones, in psychiatric institutions, and so on.
I maintain that choral music is not simply good, as we like to say, but it CAN be good, strong, inclusive, healthy, humane, compassionate, empowering. It can also be elitist, exclusive, selfish, disempowering. Indeed, we have yet to fully explore the multi-faceted power of choral music in diverse settings.
To enquire into ways in which choral music can be a force for healing, social change, and personal transformation, my session will look at the forgotten world, those whom choral educators and conductors have excluded, neglected, or forgotten. There are many social issues that we might give more attention to, and my presentation deals with only two of them, incarceration in American prisons, and the conflicted environment of Israel and the Arab world. In the former, I will discuss and interrogate the Empowering Song approach, which my colleagues and I have utilized as an alternative to conventional choral and music education approaches. In the latter, I will narrate various aspects of the Community Heartsong Project. Originally conceived as a project to bring Arab and Israeli choirs and conductors together, it has progressed to include work specifically on community choral development in the Palestinian West Bank.
On February 9, I will conduct a new choir, the Common Ground Voices in a concert for the King and Queen of Sweden, at the Eric Ericson International Choral Centre. This unique choir consists of Arabs, Israelis, and Swedes. Additionally, on February 6, I will lead a workshop for choral conductors and music educators interested in working principally with asylum seekers. Freshly returned to the United States for ACDA, I expect to report on the short-term outcomes of this project. My presentation will also draw on my experience as artistic director of the new conducting institute at the Eric Ericson International Choral Centre.
Thus, my focus will be the power of transformation for people in prisons, in conflict situations, and in poverty. The purpose of this presentation is twofold. First, there is much to be gained from understanding what processes and procedures have happened in some of these projects. Secondly, the presentation will discuss strategies, problems, and repertoire for those who may interested in pursuing this kind of work in their own communities.
André de Quadros, conductor, scholar, music educator, and human rights activist, has conducted and undertaken research in over forty countries and is a professor of music at Boston University, where he also holds positions in African, Asian, and Muslim studies, and the Prison Education Program. He is the music director and conductor of the internationally acclaimed Manado State University Choir, and two new international project choirs, VOICES 21C and Common Ground Voices. He is artistic director of four international projects: a conducting program at the Eric Ericson International Choral Centre – CONDUCTING 21C: Musical Leadership for a New Century; the London International Music Festival, Aswatuna – Arab Choral Festival and the Bali International Festival in Indonesia. For the last four years he has co-led choral programs in two Boston prisons. Since 2008, he has partnered in projects with Palestinian and Israeli choral musicians in Israel, Jerusalem and Galilee, and in the Arab world.
Several days ago, I was thrilled to read the New York Times article by Phillip Lutz, “A Different Note on Race at Yale.” It recognizes the efforts of Dr. Ian Quinn to implement a tradition of Sacred Harp hymn-singing at Yale University. Referring to his first experience in 2008, Dr. Quinn said, “It just turned my whole world upside down. How moving it was for me to see this musical space where anybody could just walk in off the street and have this experience of singing in four parts without having to audition, without having to feel like they were performing.”
Coincidentally, it was also in 2008 that I was invited to attend my first Sacred Harp event. As I was preparing to leave graduate school for greener pastures, a senior member of my community chorus gifted me his dated copy of The Sacred Harp (1971), with information about local and regional “singings.” I was familiar with a long list of shape-note arrangements, but I was embarrassed to say that I had never been to a traditional singing before. In response, I programmed an entire concert of shape-note tunes, and to address my ignorance, invited Jesse P. Karlsberg and Lauren Bock to lead several singing schools in Potsdam, New York in 2009. (Jesse is currently the vice president of the Sacred Harp Publishing Company. His 2015 dissertation, “Folklore’s Filter: Race, Place and Sacred Harp Singing,” is referenced in the NY Times article mentioned earlier.) Like Dr. Quinn, the experience “revolutionized my relationship to music,” and since 2009 I have taken dozens of students to regional Sacred Harp events.
From the website of The Sacred Harp Musical Heritage Association (www.fasola.org):
“Sacred Harp is a uniquely American tradition that brings communities together to sing four-part hymns and anthems. It is a proudly inclusive and democratic part of our shared cultural heritage. Participants are not concerned with re-creating or re-enacting historical events. Our tradition is a living, breathing, ongoing practice passed directly to us by generations of singers, many gone on before and many still living. All events welcome beginners and newcomers, with no musical experience or religious affiliation required—in fact, the tradition was born from colonial ‘singing schools’ whose purpose was to teach beginners to sing and our methods continue to reflect this goal.”
My own Sacred Harp addiction led to the idea of sponsoring an interest session that would provide a participatory experience for other choral conductors who, like myself, have conducted many shape-note tunes without having experienced a traditional Sacred Harp singing. This session is being co-presented by Dr. Thomas Malone, with special thanks to members of the local Sacred Harp community who will be in attendance. To make the experience as real as possible, a very brief introduction will be followed by a solid forty-five minutes of singing.
What better place than Boston to start a new musical addiction? Early eighteenth-century Bostonians produced America’s first two music textbooks in 1721. Singing schools began in Boston, and spread across the Northeast, spurring the compositional creativity of William Billings and other tunesmiths from the First New England School. Composers and singing-school teachers began using fa-sol-la solmization and shape-notes to teach music across the expanding frontier. Today, Boston is home to one of the most vibrant and active Sacred Harp communities in the Northeast.
It is my hope that this experience will help instill in others a deep appreciation for traditional shape-note singing, a desire to become more active in local Sacred Harp communities, or the motivation to establish communities where none currently exist. For more information about The Sacred Harp, please visit www.fasola.org.
Dr. Jeffrey Francom is associate professor and coordinator of the choral area at SUNY Potsdam’s Crane School of Music, where he conducts the Concert Choir and Crane Chorus, and teaches courses in music education and conducting. Previously, he taught at Suffolk County Community College on Long Island, where he also directed the Stony Brook Camerata Singers and Babylon Chorale. Prior to New York, Dr. Francom directed choirs at Mandarin High School in Jacksonville, Florida. He holds degrees from Stony Brook University (DMA), the University of Florida (MM), and Utah State University. Dr. Francom serves as a board member of NY-ACDA.