ChoralNet - ChoralNet Daily New postings in ChoralNet DailySeeking Concert Opportunity SE Wisconsin, July 20, 2015 Dana Taylor, %25 %b %2014 %17:%Oct:%th 17OctGMT+0000
Angelus, a women's sacred music ensemble from the Mt. Vernon Senior Fine Arts
Academy (Mt. Vernon, IN) seeks a performance opportunity in Southeastern Wisconsin
on Monday, July 20, 2015.
Our concerts include works ranging from medieval chant an polyphony to the 
American Sacred Harp tradition as well as contemporary Irish and American works. 
The balance of the program is a cappella and is about 1:15 minutes in length. We 
ask no compensation for our performance but do seek permission to receive a free 
will offering and to sell our CD's. 
Recent concerts include appearances in Charleston, SC, Asheville, NC, 
Chicago, San Francisco and Dallas/Ft. Worth. In February of 2014, the ensemble 
presented a main stage concert at the American Choral Director's Association 
Central Division Conference in Cincinnati, OH. On this tour, we will be singing 
at St. Peter Cathedral (Rockford, IL), The Bishop O'Donnell Chapel (Madison, WI) as 
well as the Cathedral of St. John the Evangelist (Milwaukee, WI) 
A  copy of our bio/repertoire and references as well as reference recordings are available
on our webpage at: 
Thank you for your consideration and I look forward to hearing from you at 
your earliest convenience. 
Warmest Regards, 
Dana Taylor 
Music Cognition/Psychology Collection Vance Wolverton, %25 %b %2014 %17:%Oct:%th 17OctGMT+0000

Music Cognition/Psychology Collection


  1. John A. Sloboda: The Musical Mind/The Cognitive Psychology of Music.  New York: Oxford University Press, 1985.  Paperback, 291 pp.  Pristine condition.
  2. Robert Jourdain: Music, the Brain, and Ecstasy/How Music Captures Our Imagination.  New York: William Morrow, 1987.  Hardback, 377 pp.  Pristine condition.
  3. Anthony Storr: Music and the Mind.  New York: Maxwell MacMillan, 1992.  Hardback, 212 pp.  Pristine condition.
  4. Daniel J. Levitin: This Is Your Brain on Music.  New York: Dutton, 2006.  Hardback, 314 pp.  Pristine condition.
  5. Daniel J. Levitin: The World in Six Songs/How the Musical Brain Created Human Nature.  New York: Dutton, 2008.  Hardback, 354 pp.  Pristine condition.
  6. Oliver Sacks: Musicophilia/Tales of Music and the Brain.  New York: Alfred A. Knopf, 2007.  Hardback, 381 pp.  Pristine condition.
  7. Oliver Sacks: The Man Who Mistook His Wife for a Hat.  New York: Harper & Row, 1987.  Paperback, 243 pp.  Good condition.
  8. Mary Louise Serafine: Music as Cognition/The Development of Thought in Sound.  New York: Columbia University Press, 1988.  Hardback, 247 pp.  Pristine condition.
  9. Bonnie C. Wade: Thinking Musically/Experiencing Music, Expressing Culture, 2nd ed.  New York: Oxford University Press, 2009.  Paperback w/two CDs, 228 pp.  Pristine condition.
  10. Ken S. Roskam: Feeling the Sound/The Influence of Music on Behavior.  San Francisco: San Francisco Press, 1993.  Paperback, 73 pp.  Pristine condition.
  11. Eunice Boardman, ed.: Dimensions of Musical Thinking.  Reston, VA: Music Educators National Conference, 1989.  Paperback, 120 pp.  Good condition.
  12. Stephen Davies: Musical Meaning and Expression.  Ithaca, NY: Cornell University Press, 1994.  Paperback, 417 pp.  Pristine condition.
  13. Daniel L. Kohut: Musical Performance/Learning Theory and Pedagogy.  Englewood Cliffs, NJ: Prentice-Hall, 1985.  Hardback, 230 pp.  Good condition.
  14. Leonard B. Meyer: Emotion and Meaning in Music.  Chicago: The University of Chicago Press, 1956.  Paperback, 307 pp.  Good condition.
  15. Henry Pleasants: The Agony of Modern Music.  New York: Simon & Schuster, 1956.  Paperback, 180 pp.  Fair condition.
  16. Theodore Reik: Listening with the Third Ear/An Intimate and Revealing Account of the Inner Experiences of a Psychoanalyst.  New York: Arena Books, 1948.  Paperback, 495 pp.  Fair condition.


Price for collection, includes S&H: $120

What's on Great Sacred Music, Sunday, October 26, 2014 Robert Kennedy, %25 %b %2014 %13:%Oct:%th 13OctGMT+0000
In case you cannot hear the show live, the playlist is on Spotify for you to enjoy: GSM - October 26, 2014
Don't forget that we have more choral and organ music programmed on Sunday
evenings beginning at 10 p.m. eastern.
Rob Kennedy
Great Sacred Music
The Classical Station
Herbert Howells: Take him, earth, for cherishing
Choir of Truro Cathedral, David Briggs
Cesar Franck: Panis angelicus
Philharmonia Orchestra, Sir Charles Mackerras
Elisabeth Schwarzkopf, soprano
Thomas Tallis: Lamentations of Jeremiah, first set
Choir of St. Ignatius Loyola, New York City, Kent Tritle
Charles Gounod: O Divine Redeemer
English Chamber Orchestra, Barry Rose
Kiri te Kanawa, soprano
Carson Cooman: Be Present, Holy Trinity
Royal Holloway Choir, University of London, Rupert Gough
Samuel Rathbone, organ
John Rutter: Magnificat anima mea ~ Magnificat
The Vocal Arts Ensemble of Durham, John Rutter
J.S. Bach: Motet No. 1: "Singet dem Herrn ein neues Lied", BWV 225
The Tafelmusik Chamber Choir, Ivars Taurins
W.A. Mozart: Ave verum corpus, K. 618
Stockholm Radio Chorus; Stockholm Chamber Choir; Berlin Philharmonic
Ricardo Muti
Gabriel Faure: In paradisum ~ Requiem, Op. 48
Choir of King's College, Cambridge; New Philharmonia Orchestra
Sir David Willcocks
Henry Purcell: Sound the Trumpet! Sound the Drum!
English Concert and Choir, Trevor Pinnock
Henry Purcell: Now that the sun hath veiled his light
Chanticleer; Capriccio Stravagante, Joseph Jennings
Anonymous Incan composer: Hanacpachap Cussicuinin
I Cantori, Edward Cansino
Ignacio de Jerusalem: Invitatorio y Salmo 94 ~ Matins for the Virgin of Guadalupe
Chanticleer, with the Chanticleer Sinfonia, Joseph Jennings
from the Los Huelgas Codex, c. 1300: Chants for Evening
Anonymous 4
J.S. Bach: Fugue in G minor, BWV 578 (The "Little Fugue")
Michael Murray, organ
Gabriel Kney Organ, College of St. Thomas; St. Paul, Minnesota
George Frideric Handel: I know that my Redeemer liveth ~ Messiah
English Chamber Orchestra, Sir Charles Mackerras
Elisabeth Harwood, soprano
Antonio Lotti: Crucifixus a 8
Cambridge Singers, John Rutter
Tomas Luis de Victoria: O vos omnes
Choir of Clare College, Cambridge, Timothy Brown
Sir Charles Villiers Stanford: Justorum animae, Op. 38 No. 1
Choir of St. John's, Elora, Noel Edison
Sir Charles Villiers Stanford: O for a closer walk with God
Choir of St. John’s College, Cambridge, Christopher Robinson
Gabriel Faure: Cantique de Jean Racine, Op. 11
Winchester Cathedral Choir, David Hill
Stephen Farr, organ
Darius Milhaud: Two Prayers ~ Sabbath Morning Service
Prague Philharmonic Choir; Czech Philharmonic Orchestra, Gerard Schwarz
Yaron Windmueller, baritone; Rabbi Rodney Mariner, reader
Jean Lheritier: Nigra sum
Stile Antico
Joseph Gabriel Rheinberger
Trio in F, Op. 49 No. 10
Carole Terry, organ
Ladegast organ in Schwerin Dom, Germany
Leo Sowerby: I Was Glad
Choir of Trinity Church, Wall Street, New York, Larry King
Larry King, organ
John Ireland: Greater love hath no man
Guildford Cathedral Choir, Andrew Millington
Peter Wright, organ; Thomas Stockwell, treble; Nigel Edwards, baritone
Gordon Slater: Jesu, the Very Thought of Thee
Choir of St. John's, Elora, Noel Edison
Paul Halley, organ
Healey Willan: Rise up my love
Choir of St. John's, Elora, Noel Edison
Randall Thompson: Alleluia
Harvard University Choir, Murray Forbes Somerville
John Tavener: Song for Athene
Choir of Westminster Abbey, Martin Neary
Alexandre Guilmant: Finale ~ Sonata No. 1 in D minor, Op. 42
Robert Delcamp, organ
Casavant organ in All Saints' Chapel, University of the South, Sewanee, Tennessee
GUEST BLOG: "Travel and Concert Production Industry Member Collaboration," by Tim Sharp Scott Dorsey, %24 %b %2014 %15:%Oct:%th 15OctGMT+0000
       Each year throughout the world, thousands of choral music concerts and concert productions take place that are made possible to hundreds of thousands of audience members through the hard work and creative efforts of a very important segment of ACDA’s membership. This constituency of ACDA is the companies and individuals who make up our travel and concert production industry membership. While thousands of performances and concerts take place in our schools, communities, and faith environments, similarly, thousands of concerts take place through the creative work of our conductors working in collaboration with travel and concert production companies. Through both industry and individual efforts, all of our members overlap in ACDA’s mission to inspire excellence in choral music education, performance, composition, and advocacy.
       In September of this year, I met in Chicago with a large number of ACDA members from the travel and concert production industry to discuss meaningful ways we could work together to advance our mission. The threads of overlap are easy to identify, and throughout the day, opportunities to enhance our work together became more and more apparent. The leadership of our current industry representative and national board member, Brad Matheson, aided our discussion, as well as our immediate past industry representative, Alec Harris. Alec had successfully led the effort to align our print music publishing industry members in a similar pursuit during his term as industry representative, and Brad has been eager to help us pursue similar advancement with this membership category. Leading up to this event, travel industry member Oliver Scofield helped to get the ball rolling on this summit meeting at our 2011 National Conference in Chicago.
       Throughout the day of our meeting, it became apparent that our association and our travel and concert production industry members had several areas we could embrace that would advance our collective mission. These included maximum coordination when planning division and national conferences, collaboration on international initiatives that ACDA is now embracing, strategic scheduling of time at division and national conferences, and joint participation for future festivals and cultural exchange programs. It was vividly clear to all participants in the meeting that we value each other and that we pursue parts of the same mission.
The good news for all of us who tour and participate in concert productions away from home that are created by our industry partners is that ACDA and the travel and concert production industry members of ACDA want to work even closer together for the promotion of choral excellence in the United States and around the world. Even more exciting is the fact that we have identified specific areas where we can work even more closely together at connection points in our overlapping mission. These specifics include the 2016 America Cantat Festival, our International Conductor Exchange Program, our hosting of international choirs at division and national conferences, and the future possibilities of choral festivals in the United States.
       The American Choral Directors Association is proud of and grateful to our strategic industry partners who collaborate with and support us in our performance work. While we may come to our performances from educational, aesthetic, faith, or profit motives, as members of ACDA, we are all united in our motive of the pursuit of excellence in our performances.
Singing in Salt Lake: The Real Group Scott Dorsey, %07 %b %2014 %19:%Oct:%th 19OctGMT+0000
Appearing in concert during the 2015 ACDA National Conference in Salt Lake City, Utah:
The Real Group is a groundbreaking vocal group based in Sweden made up of members: Emma Nilsdotter, Katarina Henryson, Anders Edenroth, Morten Vinther, and Anders Jalkéus. With the voice as their sole instrument, they have created a unique musical expression in the field between jazz, pop, and Nordic European choir music. The group has been touring the world for almost three decades. In 1989 the group graduated from the Royal Academy of Music in Stockholm with the highest degree, and since then they have often been asked to perform at prestigious offi cial events along with their regular concerts, such as the Swedish queens birthday when they performed the Abbaclassic ”Dancing Queen” together with the former Abba member Anni- Frid Lyngstad. The group also sang at the opening of the Fifa World Cup in South Korea and Japan. Their wide repertoire has made it possible for the group to collaborate with symphony orchestras, jazz groups, pop bands, and artists such as Barbara Hendricks, Toots Thielemans, and Sir George Martin. The Real Group has made seventeen CDs and produced their own concert tours, TV programs, and been artistic directors for an A Cappella Festival in Seoul, South Korea. In 2008, the Real Group initiated and hosted “The Real A Cappella Festival” and in 2012 “The Real Group Festival” with visitors from more than twenty countries. They are in the process of developing the online educational site “The Real Group Academy.” In 2012 and 2013 the group toured as ambassadors for the charity program Star For Life in Sweden and South Africa. The Christmas album A World for Christmas was released in 2012 on Universal Music.
LEARN MORE about the 2015 ACDA National Conference and REGISTER today.
Saturday Respite: Trick-or-Treat, Walt Style Scott Dorsey, %02 %b %2014 %18:%Oct:%nd 18OctGMT+0000
With Halloween coming up, here’s a little taste of Disney’s take on trick-or-treat, circa 1952.
Take the Choral Journal Survey Scott Dorsey, %08 %b %2014 %17:%Aug:%th 17AugGMT+0000
The editor of the Choral Journal is currently conducting a reader survey to determine overall reader satisfaction with ACDA’s flagship publication.  The multiple-choice questionnaire takes less than five minutes to complete, yet it will provide enormously valuable information to the publication’s editorial team.  Naturally, the survey is anonymous.
Take the Choral Journal survey!
Sessions in Salt Lake: "Women's Vocal Colors" Scott Dorsey, %07 %b %2014 %21:%Oct:%th 21OctGMT+0000
The 2015 ACDA National Conference in Salt Lake City, Utah will feature the interest session:
As members of an equal voice ensemble, singers in women’s choruses have the potential to collectively create vibrant sonorities. While disparities between voice size and color can make a unified sound elusive, conformity to a single tonal model may produce a generic quality that sacrifices the vitality of individual voices. Varied musicianship skills, personality types, learning styles, and life experience also impact ensemble unity. Teaching singers to coordinate (rather than blend) vocal colors encourages them to shade and integrate these unique timbres instead of neutralizing them. The importance of mindfulness, relatedness, position, and part distribution all come into play.
LEARN MORE about the 2015 ACDA National Conference and REGISTER today.
ORIANA Women’s Choir Concert, Gloria, Voices Raised in Praise Julia Lee, %24 %b %2014 %22:%Oct:%th 22OctGMT+0000
ORIANA’S first concert of the season features three masterworks for women’s choir: Holst’s Choral Hymns from the Rig Veda, Britten’s Missa Brevis, and Vivaldi’s Gloria as it might have been presented at the famous Ospedale della Pieta, where Vivaldi was a resident violin teacher and composer.
The program, drawn from the 18th and 20th centuries, presents inspired examples of the gorgeous music available to women’s choirs today.
Mitchell Pady
Artistic Director
8 p.m. Saturday, November 22, 2014
Grace Church on-the-Hill (in the west end), 300 Lonsdale Rd., Toronto        
Tickets: Adults $25. Seniors $20, Students $10.  Tickets available through our website or: 416-978-8849
Contact info:
Welsh pronunciation help please Ron Richardson, %24 %b %2014 %20:%Oct:%th 20OctGMT+0000, I am a member of the Sacramento Mastersingers. We are doing an arrangement of Hunting the Wren (Ble rwyt t'in) for TTBB sung in Welsh. The arr. is by Jeffrey Jones-Ragona and the words are by John Lloyd, late 19th c. 
We have a recording but it goes by very quickly. Is there someone who is a native speaker that we could hook up with and maybe get a pdf of you speaking the text for us or even maybe help us out by phone. 
Any help would be greatly appreciated.
Thanks so much!!!
Music on the Hill Festival Chorus: Call for Singers Carol Bogard, %24 %b %2014 %19:%Oct:%th 19OctGMT+0000

Music on the Hill invites singers to join the Festival Chorus for a Christmas concert to be performed in Wilton on Friday, December 12.  Artistic Director David H. Connell will conduct.  Rehearsals are Tuesdays beginning Nov. 11 from 7 to 9 p.m at Norfield Congregational Church, 64 Norfield Road, in Weston, CT.  Advance registration required.  E-mail  Past performances of the Festival Chorus have included Rachmaninoff's All-Night Vigil; Poulenc's Gloria; Holst's Christmas Day; and works by Britten, Copland, Randall Thompson, Stephen Paulus, and Paul Halley, among others.  The December concert will be a joint performance with the Jubilate Ringers handbell choir.  To receive notice of future opportunities, join the mailing list by visiting the web page.


Opera Academy in Bulgaria featuring Gianni Schicchi, Suor Angelica and famous opera scenes Kalin Tchonev, %24 %b %2014 %19:%Oct:%th 19OctGMT+0000
It is with excitement that we announce the Fourth Varna International Opera Academy, which will take place in Bulgaria from May 26-June 21, 2015, in collaboration with the Varna Free University and the opera houses of Varna, Stara Zagora and Plovdiv.
Participants in the academy will receive elaborate training from expert faculty and will participate in a fully-staged orchestral production of Puccini's Gianni Schicchi, Suor Angelica, or orchestral performance of opera scenes.
Participants will be eligible for undergraduate or graduate credit through the Erasmus program. Candidates may apply for partial scholarships.
Live auditions casting lead and supporting roles will take place at four universities in the USA during October, November and December of 2014. To audition, participants should fill out the web form found at and clarify whether they plan to audition at one of our live audition sites or submit a video recording.
To apply, participants should visit to download an application, which can be sent to our office by mail or email. The Early Bird Registration deadline is December 10, 2014 and the final application deadline is February 13, 2015.
ASCAP Foundation Presents Harold Rosenbaum Choral Workshop for Composers in New York City – Date Changed to November 11 Jeffrey James, %24 %b %2014 %18:%Oct:%th 18OctGMT+0000
October 24, 2014
For Immediate Release
Contact: Jeffrey James Arts Consulting
516-586-3433 or
ASCAP Foundation Presents Harold Rosenbaum Choral Workshop for Composers in New York City – Date Changed to November 11
The ASCAP Foundation will present Harold Rosenbaum’s Choral Workshop for Composers on Tuesday, November 11, 2014, from 3:30 to 5:00 PM in the ASCAP Lounge on the 7th Floor of 1900 Broadway in New York, New York.
Harold Rosenbaum, ASCAP member and conductor of The New York Virtuoso Singers, will present topics such as the basics of writing for chorus (ranges, notation, format and font), and tips on how to create a user-friendly score for performers, as well as other practical advice, especially useful to composers submitting choral work to conductors. A brief Q&A will follow.
Each workshop attendee will be offered a complimentary ticket to the New York Virtuoso Singers November 15th performance at Merkin Concert Hall.
RSVP required, as seating is limited. RSVP at
More event information at
Harold Rosenbaum, recipient of the 2014 Ditson Conductor’s Award from Columbia University, is the founder and conductor of the New York Virtuoso Singers and the Canticum Novum Singers. He is also lead choral conductor for Parma Recordings, and a Soundbrush Records artist. He is the 2010 winner of ASCAP’s Victor Herbert Founders Award and the winner of the 2008 American Composer Alliance’s Laurel Leaf Award, given in recognition of “distinguished achievement in fostering and encouraging American music.”
A strong proponent of and advocate for contemporary composers and American composers in particular, Rosenbaum has commissioned more than 60 works, and has conducted more than 475 world premieres. Visit him at the newly re-designed
For more information, contact Jeffrey James Arts Consulting at
Part-time Vocal Director--SF Lise Shelton, %24 %b %2014 %17:%Oct:%th 17OctGMT+0000 DIRECTOR:
We are seeking a VOCAL DIRECTOR to work with high school singers in preparation for and during the 
school musical. We anticipate the director will work with singers before and during the production for a 
total of 50 hours, from November 2014-February 2015. Most of these hours of instruction will take place 
three to four days a week from 3:45-5 p.m. and on occasional Saturdays.
The ideal candidate:
 finds resonance with The Bay School mission and philosophy;
 possesses a Bachelor’s degree or higher in Music, Musical Theater or Vocal Performance;
 has experience:
o working with high school singers as soloists and in ensembles;
o being in a musical production and in directing musical theater performers;
o working effectively with a range of students;
 values individual learning styles;
 brings a diversity of teaching and life experience;
 values collegial collaboration as a means to improve the student experience as well as her/his 
own craft;
 dedicates her/himself to anti-bias and equity work and understands both culturally responsive 
pedagogy and the social justice dimensions of education;
 demonstrates a passion for musical theater as well as for teaching and learning;
 enjoys working with and inspiring high school learners in all areas of school life.
If interested in the position, please send all of the items below to:, attn: Lise 
Shelton, Assistant Head of School. 
1) Cover letter describing your interest in the position as well as how you anticipate contributing 
to the music and theater programs
2) Resume/C.V.
Middle School - need structure for a lesson idea Janice Timm, %24 %b %2014 %16:%Oct:%th 16OctGMT+0000 all - collective wisdom needed and I certainly don't have the time to reinvent something you may already have.
I teach a short activity-based music session to a small 7th grade class (twice a week, 30 minutes at a time), and as a "reward" I am allowing them to each bring in one or two pieces of music for them to teach and share and talk about (the only limits were it had to be school appropriate and it needed to be something that moved them or they love passionately).
Does anyone have a lesson plan or worksheet or even a list of questions/characteristics that will facilitate a lively and learning discussion?  I anticipate many different styles (from country to opera) and would like to talk about how the styles differ (or what they have in common) -- musically structure -- actually I am open to just about anything.
Thanks in advance,
Janice Hawthorne Timm
Ukiah CA
Associate Conductor - Star Valley Children’s Choir Derek Tam, %24 %b %2014 %16:%Oct:%th 16OctGMT+0000
Associate Conductor (Little Star, Level I) of Star Valley Children’s Choir
Star Valley Children’s Choir (SVCC), a non-profit choral organization in the San Francisco Bay Area serving over 70 children, is looking for a dynamic conductor to serve in the part-time position of conductor of the pre-choir and introductory (Little Star and Level I) choirs. Essential duties include direction of the pre-choir and introductory choirs at SVCC’s two locations, as well as participation in concert performances.
Essential job duties:
  • Teach a pre-choir class to children aged 4-6. Develop curriculum for weekly class that helps to develop children’s natural voice, as well as lay the foundation for musical literacy. Recommend students for promotion into the introductory choir.
  • Conduct the Level I choirs, which consist of children aged 5-8. Lead the choir in weekly rehearsal and conduct in performances. Encourage choristers to achieve musicianship and musical literacy goals as outlined in the choir curriculum. Conduct evaluations twice annually to recommend choristers for promotion.
  • Other duties as needed.
  • Bachelor’s in Music Education or Choral Conducting required.
  • Basic piano skills required.
  • One year’s experience of teaching in a school or community preferred.
  • Ability to communicate effectively with other staff members, parents, and the public.
  • Basic skills in Microsoft Office and social media.
  • Commitment to choral education and expanding a growing organization.
To apply: 
  • Electronically submit a letter of interest and a resume or CV with two references to Artistic Director, Derek Tam, at Video clips are welcome, but not required. Subsequent steps in the process include an in-person interview and a potential on-site audition.
This is a part-time position (5 hours on average per week) with no benefits. The associate conductor reports to the Artistic Director of Star Valley Children’s Choir. Most work will occur on Saturday afternoon and Sunday morning; however, there are occasional mandatory events (concerts, retreats, etc.) that require additional hours. Salary is commensurate with experience.
New carols OB Wigley, %24 %b %2014 %16:%Oct:%th 16OctGMT+0000
If there's anyone looking for new arrangements for a xmas program, please have a visit here:
Verbum Caro Factus Est! TTBB
Deo Patri Sit Gloria SSAA 
OB Wigley
Graduate conducting degree openings at the University of Toronto Hilary Apfelstadt, %24 %b %2014 %14:%Oct:%th 14OctGMT+0000
Graduate Choral Conducting Program at the University of Toronto
Applications are invited for the M.M. in choral conducting program at the University of Toronto for the academic year 2015 – 2016.   Materials may be submitted on line by December 1, 2014.   See for further information.   (Applications for the DMA degree will resume for the 2016- 2017 school year.  We have no openings for the upcoming year.)
Master’s degree students gain valuable ensemble experience and podium time with one of three choirs:  Women’s Chamber Choir, Men’s Chorus, or Women’s Chorus, and sing in the MacMillan Singers, a select SATB chamber choir.   Coursework includes individual lessons, a conducting seminar in choral repertory, and courses in vocal/choral pedagogy, orchestral conducting techniques, and musical analysis.   In addition, a variety of elective courses are offered.   Toronto has a rich choral scene and there are numerous opportunities for students to participate as section leads in local ensembles, as well as some conducting internships and independent positions.    The M.M. program is a two-year residency degree.
For further information, please contact Dr. Hilary Apfelstadt, Professor and Director of Choral Activities at
The Age Old Reason for Joy - a free Christmas carol for everyone Robin Mayhew, %24 %b %2014 %14:%Oct:%th 14OctGMT+0000 needed to learn and perform my new, free Christmas carol titled The Age Old Reason for Joy is available as free downloads from the dedicated page on my website (see link below)  There's the SATB score, a 2 part score for schools and young choristers, the words and accompaniment.  There is also a barber shop 4 part score plus other audio tools.  There is a YouTube link where one can see and hear a performance with a lot of smiling faces.  It's such fun to sing and the message will teach the young and remind the older just what Christmas is really all about.  As it's all freely available one could even sing it round the dinner table after the turkey, Christmas pudding and crackers by using a smart phone or tablet.
Best wishes and joyous singing
Magnificat in D Johann Pachelbel Michael J. Seredick, %24 %b %2014 %13:%Oct:%th 13OctGMT+0000ärenteiter - Ausgabe 2877    Concordia Edition 97-7612
Concordia Music webpage new copy price is $18.00.
Johann Pachelbel - Magnificat in D
for Chorus of Four Mixed Voices and Basso Continuo
977612WEB / 1967     Price New: $18.00
I'm offering 60 copies at 1/3 the price of a new copy.
$6.00 each plus shipping costs.
These copies look brand new.
Tempesta di Mare sings Bach, Praetorius and Rosenmuller in Philadelphia Martha Johnson, %24 %b %2014 %13:%Oct:%th 13OctGMT+0000
Laurie Heimes, Drew Minter, Aaron Sheehan, and David Newman all join Tempesta di Mare for a rich line up of music by Bach, Praetorius and Rosenmüller.
This program marks life’s milestones with J.S. Bach’s joyous birthday serenata Durchlauchtigster Leopold!, the modern-time premiere of Johann Rosenmüller’s festive wedding cantata, Es muß dir, wertes Paar, and Bach’s unswerving embrace of earthly life’s end, Komm, du süße Todesstunde, all bookended by vocal concertos for the new year—and the inexorability of time—by Michael Praetorius: Nun helft mir Gottes Gütes preisen and Das alte Jahr ist nun vergahn.
The performance on October 25 will take place at the Presbyterian Church of Chestnut Hill and on October 26 at the American Philosophical Society in Center City. General admission to the concerts is $24, with a few reserved seats remaining at $34. See for more information.
Who's in YOUR Choir . . . J.K.? Scott Dorsey, %22 %b %2014 %17:%Sep:%nd 17SepGMT+0000 ]]>Sessions in Salt Lake: "Vocal Percussion" Scott Dorsey, %10 %b %2014 %15:%Oct:%th 15OctGMT+0000
The 2015 ACDA National Conference in Salt Lake City, Utah will feature the interest session:
The session will focus on vocal percussion and its place in contemporary vocal music. The importance of rhythm, steady beat, tempo, and form will be discussed. A demonstration will include basic percussion sounds using a variety of consonants, learning a variety of styles (swing, jazz, rock, pop), microphone technique for vocal percussion, and the use of throat microphones. Notation for vocal percussion will also be addressed. Sponsored by the A Cappella Education Association.
LEARN MORE about the 2015 ACDA National Conference and REGISTER today.
Singing in Salt Lake: Anúna Scott Dorsey, %10 %b %2014 %16:%Oct:%th 16OctGMT+0000
Appearing in concert during the 2015 ACDA National Conference in Salt Lake City, Utah:
Anúna was founded in 1987 by Dublin composer Michael McGlynn with the aim of defining and developing a choral expression for his ancient and richly cultural homeland. Much of the group's repertoire explores the relationship between traditional choral ideas and McGlynn's particular  compositional voice. Anúna's name, originally An Uaithne, derives from the term for the three ancient types of Irish music: Suantraí (lullaby), Geantraí (happy song), and Goltraí (lament). Repertoire includes original works set to early texts, traditional arrangements, and works that explore aspects of ritual dating back to the earliest emergence of the Christian churches. Anúna can slip easily between  musical genres from the classical ethos of the BBC Proms to creating the hugely successful, unmannered vocal sound of the original Riverdance. They have appeared on two Grammy Award-winning albums, featured on multiple Billboard Charts, including the Hot 100.
LEARN MORE about the 2015 ACDA National Conference and REGISTER today.
“Five from the Folder: Mixed Voices” by Craig Zamer Scott Dorsey, %15 %b %2014 %15:%Aug:%th 15AugGMT+0000
1.  “Komm, Jesu Komm.” J.S. Bach. BWV 229 cpdl #04012
Funeral Motet for double SATB choir. Can be performed a cappella, with colla parte instruments, or just continuo.  Concludes with a four part chorale.
2.  “Il Carnevale di Venezia.” Giacochino Rossini. cpdl #24368
Lively accompanied chamber quartet in Italian.  Singing beggars in the street asking for charity during the busy time of Carnival.
3.  “Magnificat.” J.S. Bach. BWV 243. C. F. Peters Corp.
Thirty-minute work for choir and orchestra.  SATB soli and SSATB choir. The work is a great center piece for a Christmas or holiday program.
4.  “Lay a Garland.” Robert Pearsall. Oxford University Press.  ed. Bartlett
A cappella, SSAATTBB.  Composed in 1840, this Romantic madrigal uses Renaissance style imitation.  This edition includes a piano reduction.
5.  “Twas the Night Before Christmas.” Ken Darby & Harry Simeone. Shawnee Press
SATB setting of the Clement C. Moore Christmas poem, as recorded by Fred Waring’s Pennsylvanians. SATB soloists and a great piano accompaniment.
(“Five from the Folder” provides brief, text-length reviews of vocal works currently in the folders of choral directors throughout the United States.  To share five from your folder, contact Scott Dorsey at
2015 National Conference Exhibit and Advertising Space Now Available Scott Dorsey, %23 %b %2014 %20:%Jul:%rd 20JulGMT+0000
Interested in gaining access to the biggest choral audience of the 20154-15 academic year?  Then YOU need to advertise and exhibit during the 2015 ACDA National Conference (Salt Lake City, Utah, February 25-28).  Access to this remarkable commercial opportunity is limited to ACDA’s Industry and Institutional members only.
Space in the both the Program Book (the February issue of the Choral Journal) and the exhibit hall is limited, and will sell fast, so do not put this off.
You can LEARN MORE and APPLY online.  Contact Chris Lawrence ( with any questions.
Classical Idol Vocal Competition Eric Townell, %24 %b %2014 %00:%Oct:%th 0OctGMT+0000 Rochester Oratorio Society invites advanced vocal soloists to compete in Classical Idol IX, April 17-18, 2015, in Rochester, New York. Cash awards and performance opportunities. Applications: Information: ]]>Rochester Philharmonic Orchestra Side-by-Side Choral Concert Eric Townell, %24 %b %2014 %00:%Oct:%th 0OctGMT+0000 from the Rochester Philharmonic Orchestra!

The RPO with the assistance of the City of Rochester will be presenting another Community Side-by-Side choral concert experience. You will find more details listed below about the event. If you are interested in applying, just click on the link below and fill out the application form.


EVENT: Community Chorus Side-by-Side Concert with the Rochester Philharmonic Orchestra
DATE: Wednesday, January 21, 2015 at 8:00 PM at Kodak Hall at Eastman Theatre

REHEARSAL WITH ORCHESTRA: Tuesday, January 20, 2015 at 7:30 PM-10:00 PM at Kodak Hall at Eastman Theatre
Saturday, November 22nd - 10:00 AM - 12:00 PM
Tuesday, December 2nd - 7:00 PM - 9:15 PM
Tuesday, December 9th - 7:00 PM - 9:15 PM
Tuesday, January 6th - 7:00 PM - 9:15 PM
Saturday, January 17th - 2:00-4:00 PM

Eric Townell will be preparing the chorus and also conducting the concert. The concert will include repertoire by Brahms, Beethoven, Mendelssohn, and Wagner along with some lighter patriotic music.

Deadline for applications is November 1st.

Richard Decker
Artistic Administrator
Rochester Philharmonic Orchestra

composition masterclass with Novi Cantori Ellen Gilson Voth, %23 %b %2014 %22:%Oct:%rd 22OctGMT+0000’ Masterclass – March 28, 2015

The professional chamber choir Novi Cantori announces a composition masterclass on Saturday, March 28, 2015 in Westfield, MA. This special event will explore works in progress, with the director and singers of Novi Cantori providing feedback to the composers present.

This masterclass builds on the success of our Call for Scores last season. It is aimed especially for advanced undergraduate, graduate and young professional composers who value the opportunity to hear their music performed by an outstanding choir and receive feedback on their work and approach to choral composition.

maximum of 5 composers will be selected. These composers will be announced on the Novi Cantori website and in our spring season publicity, and their works may be considered for future performance.

Composers who submitted works for last year’s Call for Scores are eligible to apply. For this masterclass, composers should be within reasonable travel distance of Westfield, MA if selected. Decisions about the number of composers and the repertoire selected are final.

To apply, composers should submit the following by email (preferred) or mail, for consideration:

1) A separate sheet with complete contact information (name/address/phone #/email address), short biography and works list

2) Examples of one or two choral works (compositions or arrangements) for SATB choir that are in progress. They may be accompanied or unaccompanied works, based on a sacred or secular text. Completed works, published or unpublished, will not be considered. The work submitted should have a section that stands sufficiently by itself, and has not been previously performed.

Each piece should:

- be a fully legible score, with accompaniment (if applicable). If an unaccompanied piece, the scores should include a keyboard reduction of the vocal lines.

- show proof of clearance to use text (if not in the public domain)

- include a short statement (2-3 sentences) about the composer’s choice of text, concept of the piece, aspects that have come naturally in the process of writing, and areas of challenge

- include an audio or midi recording (mp3 or CD) – not required but recommended

Scores should be submitted as PDFs (not as notation files).

3) the name and contact information (phone #/email) of a reference who can speak to the composer’s musicianship, skills in writing and responsiveness to critique in a masterclass setting

For full consideration, composers should submit materials by January 31, 2015 to Dr. Ellen Gilson Voth, Artistic Director, at (preferred) or by mail to: Novi Cantori, P.O. 39, Agawam, MA  01001. “Application for masterclass” should be in the email subject line or on the outside envelope.  Incomplete applications will not be considered.


There is no cost to apply for participation. However, composers selected to participate must be able to travel to Westfield, MA to attend the masterclass, and pay the $50 masterclass registration fee.

Application deadline: January 31, 2015 (email or postmark deadline).


Novi Cantori is a professional chamber choir that performs throughout the greater Springfield and Pioneer Valley, MA region. The mission of Novi Cantori is to promote the finest in choral music from the Renaissance to the present, through innovative programming and community connection.

For more information, visit


"Songs of Thanksgiving:" Music on the Hill on Nov. 9 Carol Bogard, %23 %b %2014 %19:%Oct:%rd 19OctGMT+0000 Music on the Hill Festival Chorus performs songs of celebration and thanks in the spirit of the holiday with Artistic Director David H. Connell, Conductor.
The program features American composers ranging from the 19th century Southern Harmony  to "Breaths" by Ysaye Barnwell of Sweet Honey in the Rock fame.  Included are the Randall Thompson "Alleluia;" "I Will Sing to the Lord" by Imant Raminsh; "The Road Home" by Stephen Paulus; modern renderings of familiar hymns and spirituals; and works by local composers Edward Thompson and the concert's conductor.
This is the first of two holiday concerts by the Festival Chorus.  On December 12th, the chorus will be joined by the Jubilate Ringers for "Sounds of the Season," a Christmas concert, to be held in Wilton at St. Matthew's Episcopal Church.
To receive concert updates or learn about pariticpating in Music on the Hill workshops and ensembles, join the mailing list by visiting
Bass soloist for Handel's Messiah Warren Puffer Jones, %23 %b %2014 %20:%Oct:%rd 20OctGMT+0000
The Kemp Concert Series at the First Presbyterian Church in Oklahoma City seeks a professional caliber Bass soloist for the performance of Handel’s Messiah on December 20th, 2014.  The performance will be with a professional orchestra.
The Bass soloist will sing:
            #5 Thus saith the Lord
            #10 For behold, darkness
            #11 The people that walked in darkness
            #47 Behold, I tell you a mystery
            #48 The trumpet shall sound
-Performance: Saturday, December 20th, 7:30pm
-Dress rehearsal: Saturday, December 20th, 10am-12:30pm
-One additional coaching rehearsal with the conductor, which can be scheduled on Friday, December 19th to accommodate an out-of-town singer, or earlier in December as available.
Market/union rate
(If the contracted singer is from out of town, 2 nights lodging will be provided along with a small travel stipend)
To apply:
Interested singers should send via email to
            -a resume
            -a sample recording (opera or oratorio)
Position open until filled.
Warren Puffer Jones
Music Director
First Presbyterian Church, Oklahoma City
John Rutter Christmas Carols Christine Gaudreau, %23 %b %2014 %18:%Oct:%rd 18OctGMT+0000 Instrumental parts and full scores for 10 John Rutter carols
Composer/Arranger/Edition: John Rutter
Starting: as soon as possible
For: through December 20
Copies: full set of parts
Willing to rent: Yes
The Evergreen Chorale would like to borrow or rent the orchestral parts and the full scores for the following Rutter carols:
What Sweeter Music
Shepherd's Pipe Carol
Carol of the Children
Angels' Carol
Esta Noche
El Noi de la Mare
Carol of the Magi
Carol of the Children
Donkey Carol
Star Carol
Dormi Jesu
Please email Christine Gaudreau at christine@evchorale if you have any of these materials available.
6-week Choral Project Jennifer Anderson, %23 %b %2014 %18:%Oct:%rd 18OctGMT+0000
Skilled choral singers needed for 6-week project in January and February. Quality repertoire is diverse and engaging. VocalPoint was most recently honored by Classical Minnesota Public Radio by being 1 of 3 local choirs chosen to sing at Harmony in the Park. Learn more about auditions at
For This and More (I Thank You Lord) from Raycreations Music John Ray, %23 %b %2014 %17:%Oct:%rd 17OctGMT+0000 your church choir needs an easy to medium anthem for Thanksgiving or general use, please consider 
my newest publication, "For This and More (I Thank You Lord)."
Thank you,
John Ray
Raycreations Music
Looking for new jolly holiday pieces incorporating a children's choir? Gordon Thornett, %23 %b %2014 %16:%Oct:%rd 16OctGMT+0000
The following two Christmas/holiday pieces, which you can both see and hear on, are for adult choirs (SATB) which can also incorporate a unison children’s choir:
Christmas Candles -
Christmas Time in the Eyes of a Child -
The following piece is just for a children’s choir, in Unison (plus optional 2nd part) with piano accompaniment:
The Sleepy Shepherd Boy -

All the above are obtainable from Swirly Music (or if an 'instant print' version is preferred, from
An Italian Celebration with Joseph Martin - Only a few spaces left! Krista Montgomery, %23 %b %2014 %15:%Oct:%rd 15OctGMT+0000
Only a few spaces left! Register today!
Lucca • Florence • Montecatini • Pisa • Rome
With optional extension to Venice
April 15-27, 2015 with optional Venice Extension, April 27-29
  • Perform concerts with JOSEPH and SUE MARTIN in LUCCA and ROME!
  • See FLORENCE, home of Michelangelo's David
  • Behold the famous LEANING TOWER OF PISA
  • Visit the beautiful Tuscan city of LUCCA, which is surrounded by intact Renaissance-era city walls
  • Encounter the sights and sounds of ROME including TREVI FOUNTAIN, THE SPANISH STEPS, THE PANTHEON, PIAZZA NAVONA, and the COLOSSEUM
  • Enjoy hotel accommodations conveniently located in central Rome
  • Enjoy "free time" in Pisa, Montecatini, and Rome for exploration on your own
Full or partial choirs and individuals welcome; non-singers also welcome.
For church and community choirs.
An Italian Celebration details or contact Krista Montgomery, 888-935-5551, Ext. 3
Holy Night/ Silent Night Suzanne Kraai, %23 %b %2014 %13:%Oct:%rd 13OctGMT+0000 anyone know a great arrangement that is a 'show stopper'? 

Perhaps with a country or pop vibe? 
Breaking down High School Rehearsal Ciara Hargrove, %23 %b %2014 %11:%Oct:%rd 11OctGMT+0000, All.  I want to get a sense of how others run their rehearsals at the High school level.  I have a successful program that meets every other day for 80 minutes.  I am grateful for this, but I don't have extra time for sectionals, etc.  So... eventually, I end up running line by line and part by part.  This means that at any given time, 3/4 of the chorus is waiting to sing.  I have done "learn the other part" where everyone sings every line we go through, I have had assignments for other parts while I teach one line, I have tried (but not successfully) to run sectionals within class.  This last option is tough due to no other adult in a room with 62 people.  Am I doing the right thing, here?  Do most of you run line by line, part by part?  Is this normal?  Can I attack learning a piece of music in a new way?  Thanks
Finale User Jim Way, %23 %b %2014 %14:%Oct:%rd 14OctGMT+0000 need a Finale user who will input a legible, hand-writen score (4 part + piano) into Finale notation score (music only). I will pay per page. Please let me know your charge.
My email address is
Thank you.
New 15th Century Carol for SATB by Tom Council from Colla Voce Music Chris Matthews, %23 %b %2014 %14:%Oct:%rd 14OctGMT+0000
Click the cover image to view and listen to the score in its entirety.
This subdued setting of a 15th century text, by Tom Council , is an ideal choice for inserting a quiet and reflective moment in your mixed choir's upcoming holiday concert.  Take a listen today at and, while you're there, don't forget to search with the "Christmas" tag to view all of our holiday offerings.
Congratulations to Nicole Melody! Phil Sheets, %23 %b %2014 %13:%Oct:%rd 13OctGMT+0000 Church of the Good Shepherd UMC in Oswego IL is proud to announce the hiring of Nicole Melody of Bolingbrook IL as the new choir director. Ms. Melody has a BA in music from Xavier University in Chicago and has an extensive background in music directing, singing, teaching and editing. The church looks forward to a long and healthy relationship filled with glorious music! ]]>Video: "More than Singing: Girls Choirs Build Community, Character" Sonia Schnee, %23 %b %2014 %11:%Oct:%rd 11OctGMT+0000 Arts News has just released a 5 minute mini-documentary called "More than Singing: Choirs Build Community, Character." The video can be viewed at
The Princeton Girlchoir's annual Children Making a Difference concert teaches young girls about service and community while raising funds for a local nonprofit. The Princeton choir is joined by the newly-formed Philadelphia Girls Choir. "Singing has the mission of creating great citizens," says Philadelphia Girls Choir Music Director Nathan Wadley.  Melissa Malvar-Keylock, Associate Director of the Princeton Girlchoir, explains, “Learning perseverance, learning discipline, all these things are above and beyond just singing beautiful music.”
Visit to access our archive of over 50 cultural and sustainability videos. 
- NJ Arts News 
CJ Replay: Pärt Magnificat Scott Dorsey, %23 %b %2014 %16:%Sep:%rd 16SepGMT+0000
(An excerpt from the Choral Journal article, “Deterministic Techniques in Arvo Pärt's Magnificat” by Allen H Simon)
       Estonian composer Arvo Pärt (b. 1935) has gained notoriety in the 1990s for his minimalist works such as Berliner Messe and Passio. Vestiges of the composer's early experiments with serialism and deterministic techniques, however, still linger in his recent work. His frequently performed Magnificat (1989) is based on a deterministic structuring of rhythm, melody, harmony, dynamics, voicing, and texture, organized around the pattern of word divisions and syllabic stresses in the text. The term "deterministic," as used in this article, refers to a process by which the manipulation of musical elements (pitches, rhythms, harmonies, textures, dynamics, etc.) is determined by formulas or predictable sequences. Serialism is one type of determinism, but composers have used any number of formulas, often extramusical, to determine and manipulate the musical elements of their pieces. In Pärt's Magnificat, these structures and their combinations operate below the surface, creating a riveting diversity within a seemingly static harmony. Part takes a few liberties with the formulas, but the piece remains tightly constructed from a limited palette of musical gestures.
       The rhythms in Magnificat are determined entirely by the syllabification of the text. Dotted bar lines in the score are not metric but are used as word separators with measures ranging from one quarter note to more than a breve in length. For words of two or more syllables, each unaccented syllable is set to one quarter note; the accented syllable receives a longer note. A one-syllable word receives only a quarter note unless it is the first word in a phrase, in which case, it may be a longer note. The longer notes alternate between dotted-half notes and whole notes, an alternation that continues strictly throughout the piece without regard for phrase endings.
       In most cases the last syllable of the final word in each phrase receives a long note, giving the last word two long notes. Any dotted-half note generated by the formula is replaced by a dotted-whole note in this final word. In odd-numbered phrases, a quarter note is slurred to a long note on the stressed syllable. The long note on that syllable, whether a whole note or a dotted-whole note, is reduced by half – a whole note becomes a half note and a dotted-whole note becomes a dotted-half note.
       Pärt introduces two rhythmic variants of this structure. In two phrases the upper voices enter a quarter note later than the lower voice on stressed syllables. One instance occurs at "dispersit superbos," and the second is at "et divites dimisit inanes." In addition, the last phrase of the piece-not the expected doxology but a repeat of the text "Magnificat anima mea Dominum" is
Set in augmentation of the established rhythmic pattern.
READ the entire article.
New ChorTeach Issues Available Scott Dorsey, %22 %b %2014 %20:%Oct:%nd 20OctGMT+0000
The fall issue of ChorTeach (ACDA's online magazine for choral directors at all levels) is online.  This latest installment includes:
     "Having a Vision - A Question of Sanity?" (Meharg)
     "Recruiting, Training, and Mentoring Choral Music Educators to Make a Difference"  (Aamot)
     "Starting a Youth Choir in Your Church" (Zemek)
     "CPDL (Choral Public Domain Library) - A Gold Mine for Choral Directors" (Sickel)
     "Sabbath Rest for Choral Directors" "Benson"
Choral Conductor Salary Survey Scott Dorsey, %03 %b %2014 %17:%Oct:%rd 17OctGMT+0000
In an effort to better understand the current financial condition of those in the choral music profession, we are in the process of soliciting information from choral conductors in the United States and Canada though the Choral Conductor Salary Survey.
This study, produced with the support of the American Choral Directors Association, is designed to examine full-time and part-time conductor compensation from geographical, demographic, and professional perspectives.
The survey is completely anonymous and confidential.  The results of the study will be submitted for publication consideration to the Choral Journal and will be made publically available to those in the choral profession.
TAKE the Choral Conductor Salary Survey.
Improving Skills 2 Richard Sparks, %14 %b %2014 %02:%Oct:%th 2OctGMT+0000 Coyle's The Little Book of Talent: 52 Tips for Improving Your Skills Tip #3 is, "Steal without apology." This is something I've long believed—it's one of the best ways to acquire new skills. When you see a fine conductor do something—gesture, rehearsal technique, etc.—that works, follow the advice given in the first post, quoting Coyle, "Many hotbeds use an approach I call the engraving method. Basically, they watch the skill being performed, closely and with great intensity, over and over, until they build a high-intensity mental blueprint." Then . . . add it to your repertoire. As Picasso says, "Good artists borrow. Great artists steal."
An interesting example is given:
Linda Septien, founder of the Linda Septien School of Contemporary Music, a hotbed near Dallas that has produced millions of dollars in pop music talent (including Demi Lovato, Ryan Cabrera, and Jessica Simpson), tells her students, "Sweetheart, you gotta steal like crazy. Look at every single performer better than you and see what they've got that you can use. Then make it your own. Septien follows her own advice, having accumulated fourteen three-ring notebooks worth of ideas stolen from top performers. In plastic sleeves inside the binders, in some cases scribbled on cocktail napkins, reside tips on everything from how to hit a high note to how to deal with a rowdy crowd (a joke works best).
I know I can trace some specific gestures or rehearsal techniques I use to particular teachers, mentors, or conductors I've observed. But you have to find a way to make these skills yours. That comes with practice. You have to absorb it so thoroughly that it now belongs to you. And, of course, to quote Ecclesiastes, "There is nothing new under the sun." Those you "steal" from have no doubt "stolen" it from someone else.
You can also absorb certain things unconsciously . . . and that can be good or bad. I know some things I learned as a singer in Rod Eichenberger's University of Washington Chorale as an undergraduate—notably a sense of rhythm and phrasing—gradually became a part of me and my approach to music, and for that I'll be eternally grateful.
But at the same time sometimes we copy things that aren't an essential part of a conductor's success. If you copy Robert Shaw's rehearsing with a towel around his neck instead of his amazing score study habits, it's unlikely your conducting will improve.
So, steal freely. But make sure you practice until the new skill belongs to you . . . and then someone else can steal it from you.
Sessions in Salt Lake: "Musical Theatre Gems" Scott Dorsey, %07 %b %2014 %20:%Oct:%th 20OctGMT+0000
The 2015 ACDA National Conference in Salt Lake City, Utah will feature the interest session:
There is a treasure chest of choral gems in the musical theatre canon that remain fairly unknown. This session will highlight some off-the-beaten-path musical scores by musical greats such as Gershwin, Previn, and Kern that are appropriate for student singers. We will also present a rubric that can be used as a tool for you to look deeper into your program to assess quantitatively and qualitatively which musical score may be your optimum fit. The repertoire covered is viable for fully staged, semi-staged, or concert formats and is appropriate for junior high, high school, college, and university programs.
LEARN MORE about the 2015 ACDA National Conference and REGISTER today.
Singing in Salt Lake: Miller Middle School Advanced Choir Scott Dorsey, %07 %b %2014 %19:%Oct:%th 19OctGMT+0000