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J W Pepper
At choir practice
At choir practice (Flickr photo by jemasmith)
 

ChoralBlog

Bernstein on Conducting
Gosh, I love YouTube:
 
ACDA Is the Membership, Not the Leadership
Great leadership quotes abound on the internet.  Here are a few from famous leaders:
  • A leader is a dealer in hope. -- Napoleon Bonaparte 
  • Leadership is the art of getting someone else to do something you want done because he wants to do it.  -- Dwight Eisenhower 
  • Don't tell people how to do things, tell them what to do and let them surprise you with their results.  -- George S. Patton
At the recent ACDA Leadership gathering in Chicago, some of the board members brainstormed messages they wanted to send to their state membership.
 
This one spoke to me the most:  ACDA is the Membership, Not the Leadership.
 
I love the power of that statement, but I wonder if it is true.
 
Sometimes it seems like ACDA is the organization where the leadership is expected to do most everything - what is it like in your state?
 
Is your state organization a place where the members lead, or do the leaders provide all of the initiative, energy, and follow-through?
 
Use the comments section to talk about your perspective on leadership in your area.
Mentoring Choral Leaders-Definitions as we Think About the Future
The second strategic imperative I recently suggested to the membership of the American Choral Directors Association toward reshaping our work in the 21st century is the imperative of generativity, or mentoring in the choral profession. We must transmit not only the "how" of what we do, but most importantly, the "why". Scholarship over the last twenty years has sought to define the process of mentoring. A distillation of the words making up these definitions outlines the intentions and desirable outcomes of mentor and protégé:
 
"The term ‘mentor’ refers to a more senior person who takes an interest in sponsorship of the career of a more junior person."
(Smith, Howard, & Harrington, 2005)
 
"Mentoring relationships facilitate junior colleagues’ (protégés) professional development and career progress."
(Tepper, 1995)
 
These definitions offer the two primary characters involved in the mentoring relationship.
 
"Mentoring:  a process for the informal transmission of knowledge, social capital, and psychosocial support perceived by the recipient as relevant to work,  career, or professional development; mentoring entails informal communication, usually face-to-face and during a sustained period of time, between a person who is perceived to have greater relevant knowledge, wisdom, or experience (the mentor) and a person who is perceived to have less (the protégé)".  (Bozeman and Feeney, 2007)
 
This definition is the most comprehensive of those found in serious scholarship on the subject. It inserts the key descriptors as well as outcomes desired in the mentoring process. This definition identifies and describes the mentor and protégé, and offers the environment of their relationship.
 
"Mentoring is defined as a developmental relationship that involves organizational members of unequal status or, less frequently, peers".
(Bozionelos, 2004)
 
"Mentoring is a developmental relationship typically occurring between senior and junior individuals in organizations." (McManus & Russell, 1997)
 
These two short definitions add the keyword "developmental", which offers a clue to the organic nature of the organizational members involved in the mentoring relationship.
 
"Mentoring is an intense long-term relationship between a senior, more experienced individual (the mentor) and a more junior, less experienced individual (the protégé)."  (Eby & Allen, 2002)
 
In this definition, "long-term" is added as a description further defining the earlier term of a "sustained period of time."
 
"Mentors provide young adults with career-enhancing functions, such as sponsorship, coaching, facilitating exposure and visibility, and offering challenging work or protection, all of which help the younger person to establish a role in the organization, learn the ropes, and prepare for advancement." (Kram & Isabella, 1985)
 
This pragmatic definition focuses on the deliverables for the protégé, particularly those of career enhancement and advancement within an organization.
 
"The mentor is usually a senior, experienced employee who serves as a role model, provides support, direction, and feedback to the younger employee regarding career plans and inter-personal development, and increases the visibility of the protégé to decision-makers in the organization who may influence career opportunities."  (Noe, 1988, p. 458)
 
"A mentor is a person who oversees the career and development of another person, usually junior, through teaching, counseling, providing psychological support, protecting, and at times promoting or sponsoring. The mentor may perform any or all of the above functions during the mentor relationship."
(Zey, 1984)
 
Introduced in these definitions is the concept of the mentor as "role model" and the role model's contribution to the protégé's "inter-personal development" and "psychological support".
 
"Traditionally, mentors are defined as individuals with advanced experience and knowledge who are committed to providing upward mobility and support to protégés careers." (Ragins, 1997)
 
"We define mentors as ‘individuals with advanced experience and knowledge who are committed to providing upward support and mobility to their protégés’ careers'."  (Singh, Bains, & Vinnicombe, 2002)
 
The verb giving power and an added definition to one characteristic of the mentor is the term "committed". This implies that becoming a mentor is something of a calling to individuals who take on this task.
 
"A mentor is generally defined as a higher-ranking, influential individual in your work environment who has advanced experience and knowledge and is committed to providing upward mobility and support to your career. Your mentor may or may not be in your organization and s/he may or may not be your immediate supervisor."  (Ragins, Cotton, & Miller, 2000)
 
This definition expands the boundaries of mentoring beyond the same organization, and beyond the parameter of one's supervisor.
 
"We conceptualized supervisory mentoring as a transformational activity involving a mutual commitment by mentor and protégé to the latter’s long-term development, as a personal, extra organizational investment in the protégé by the mentor, and as the changing of the protégé by the mentor, accomplished by the sharing of values, knowledge, experience, and so forth."  (Scandura & Schriesheim, 1994)
 
The important addition in this definition is the word "transformational", along with the addition of the skill and knowledge set transferred from mentor to protégé to include the "sharing of values."
 
"This study focuses on a more formal type of relationship between a senior member of an organization and a novice, in part, to address the growing emphasis organizations are placing on formal types of mentoring in the socialization and career development of many professionals."
(Young & Perrewe, 2000)

In this definition, "formal" arenas are added to the possibilities of mentorship. The point of this definition is to state that organizations have officially recognized the importance of mentoring, and now value it enough to bring the process into a formal relationship.

The academic study of the psychosocial arena of mentoring is in relative early stages for a phenomenon that has taken place, in one form or another, since the first cave dweller passed lessons on to succeeding generations of cave dwellers. In addition to the strategic imperative of collaboration, I believe we must renew our efforts at mentoring a new generation of choral leaders in order to amplify the important work of choral music education and performance in the 21st century.
Monteverdi to make you smile
Here I continue my quest for great Monteverdi music - this one is superb!
 
Flash Opera!
Thanks to Tom Carter who pointed me to this:
 
Pandora One and Remember
I recently purchased the Pandora One Desktop client for my computer at school - it is quite nice!  (there is a free version you can try) I only have two radio stations:
  1. Tony Bennett Radio (great standards)
  2. Faire Is the Heaven (choral music)
I don't think Pandora is adjusting well to my "Faire is the Heaven" radio station - it keeps repeating albums/songs.  However, one of the great pieces it gave me was Stephen Chatman's "Remember."
 
It is a stunning piece that I share with you here:
 
 
 
 
REMEMBER me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go, yet turning stay.
Remember me when no more day by day
You tell me of our future that you plann’d: 
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.
Bruffy in Rehearsal
More choir directors seem to be blogging these days!
 
In this blog post, Chuck King discusses some of the things he took away from the IL-ACDA Summer Retreat.  Charles Bruffy was the guest conductor and this is what impressed Mr. King:
 
This year's guest conductor was Charles Bruffy. Mr. Bruffy is the artistic director of the Phoenix Chorale, the Kansas City Chorale and the Kansas City Symphony Chorus. Oh, and he has a church gig. In the first 30 seconds of our first rehearsal, I knew I was going to enjoy this! Over the course of two days, we had seven rehearsals with Mr. Bruffy, ranging in length from 60 minutes (the standard was 50) to 20 minutes (just before 'curtain'). The second evening of Re-Treat we performed a program of 8 pieces. None of them were perfect, but most of them were sung well and meaningfully. The others were .. fun, at least.
 
The big take-away for me, for my work, was Bruffy's intense concentration on the clear articulation of individual words. The texts really jumped off the page. I am eager to get going in our own rehearsals and implement especially the diction lessons. As a choir in worship, what we are privileged to sing is so important - I really want us to improve in the way that comes across each time we sing. I have a feeling it will be a tough go at first. We will sing things we already know, and slip into our comfortable habits with them. When we learn new pieces, working diction will feel like learning slower. But I hope that we can establish the concepts quickly, and learn to apply them consistently to music familiar and new. It will take some time! And patience on both sides of the podium. And consistency on my side of the podium.
 
A few quick quotes that my choir will no doubt hear early in the next season. As Charles said right up front, "plagiarize ... and interpret ideas as if they are your own." So, who knows where some of the following originated. But here are a few from this summer's Directors Chorus:
  • "Get a return on your investment." In other words, if you worked so hard to get this thing right, here, why squander that time and energy by not applying it everywhere?
  • "Make it a game, to get things right the first time." Why are singers apparently so content to muddle through in sight-reading?
  • "Listen louder than you sing." This I've heard any number of times, and I always can use it.
  • "Vibrato is a beautiful thing, until it draws attention to itself. And/or causes intonation problems. D - all of the above." Enough said.
Thanks for the blog post, Chuck!  If you want to read the whole thing, look here.
Essentials for Choral Collaboration
As I continue to think about the strategic imperative of the work of the American Choral Directors Association as we reach out and respond collaboratively, there are two critical underlying factors I am mindful of if we want to achieve creative collaboration:

1. Sharing   Each partner in the collaboration is responsible for 100 percent of the benefits, debt, and risk of the venture.

2. Trust        Each collaborative partner respects the other's perspective, particularly the differences, and moves forward with an expectation of good will and confidence in the other's ability to contribute to the common purpose. Trust will moderate the conflict. Without trust, tension becomes an impassable chasm so that true collaboration cannot emerge.

The following are five guiding thoughts as we move to creative collaboration:

1. We start with the elements we have in common, investing in "we", and carefully watching the "I". In creative collaboration, claim overlapping elements and use them;

2. We work with those who are interested in working with us. In other words, we play with those willing to play;

3. As we work together, we empower each other to change the culture;

4. We watch the behavior of our emerging collaboration, take notes as collaborativity develops, and we are mindful of forward steps as we build on emerging themes;

5. As new ideas emerge, we develop large and visible icons and artifacts that are easily visible that result from the collaboration. We make collaborative ideas big and available to others.
 
Today is July 20. Many of us still have time to make contacts to others that work in our field and related fields to shape a new collaboration in the coming season. I challenge all of us to make one such contact.

More ChoralBlog...

Choral News

World Choir Games 2010
World Choir Games 2010
13th-century chant newly discovered
An important article has been published, announcing the discovery of the famousStabat Mater used as a sequence in the Gradual produced by a convent of Dominican nuns in Bologna in the later thirteenth century. This is by far the earliest known example of this hymn used as a sequence rather than as a devotional hymn.
 
Donald Nally to resign from Lyric Opera of Chicago
By now, nobody in Philadelphia should be surprised that conductor Donald Nally is making a hard-to-explain departure: Lyric Opera of Chicago is expected to announce this week that chorus master Nally is leaving at the end of the 2010-11 season to spend more time with his Philadelphia choir, The Crossing.

What wasn't said: He's leaving one of the top positions of its kind (Chicago's previous chorus master is now at the Metropolitan Opera) - with uncertain financial prospects.

 
Wavelyn Hine hired as Artistic Director of Berkshire
PITTSFIELD, Mass. — The Berkshire Concert Choir has appointed Wavelyn Hine as artistic director for the 2010-2011 season, following the retirement of John E. Cheney, who has served in the post for 14 years.
 
Hine has been a soloist with choir and other local choral groups as well as a regular vocalist at St. Stephen's Episcopal Church in Pittsfield. She teaches voice and piano in her home and taught voice at the former Pittsfield Community Music School.
 
Cloistered nuns sign Gregorian chant recording contract

A group of Benedictine nuns who live in complete seclusion in the South of France are set to become divas of pop after signing a deal with Universal Music, the leading record company behind Lady Gaga and Amy Winehouse.

After a worldwide search for the finest exponents of the art of the Gregorian chant, the Nuns of the Abbaye de Notre-Dame de L'Annonciation have signed a deal with Universal's Decca Records label. The enclosed order still communicates with outsiders through a grille to avoid intrusion into a life of religious devotion. As a result, the nuns in the abbey will have to photograph their own album cover, as well as provide the footage for their television advertisements.

 

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