From Our Readers

A Practical Guide for Hosting Guest Artists

September 30, 2020 by From Our Readers Leave a Comment

By Rebecca Lord

Although we are unable to sing together freely during this perilous time, opportunities to collaborate virtually around the world are skyrocketing! The world is literally at our fingertips and there are extraordinary experiences to be had making new connections and building bridges across continents and cultures, as well as finding new treasures in our own backyards.

One exciting new tool for easily building such bridges is The Guest Artist Directory. This living database provides easy access to scores of artists willing to make guest appearances for ensembles, music classes, and other events. Included are conductors, composers, vocalists, instrumentalists, music-technology professionals, and others involved in the performing arts. Artists hail from numerous countries around the world and offer widely varying areas of expertise.

In an effort to facilitate success in new collaborations, artists from the directory have offered practical suggestions, resources, and guidance for those hosting visits. Composer, conductor and concert pianist Mark Hayes gives voice to the mission of goodwill in these efforts. “How can I best make this a valuable experience for the participants? I imagine many singers are depressed because of isolation. If I can encourage unity and kindness and build community, I will feel like I have made a difference.”

TECH FIRST: SET UP FOR SUCCESS

Before booking virtual guest artist visits, make sure you have a tech set-up that will work well. “Please test technology in advance so time isn’t wasted… during the session… [and have] a backup plan!” advises Dr. Jami Lercher, professor of choral music education at Baldwin Wallace University. Also take into account that guest artists will have a range of comfort levels with technology. While some will be experts, others may need clear instructions and basic help.

Set-up Tips for Hosts: As the most crucial connection will be between host and guest artist, the host set-up needs to be high quality and reliable. A microphone will enhance sound quality and an ethernet connection is strongly recommended. If Zoom is being used, settings will need to be modified. Zoom is defaulted to optimize speaking sound, and sustained sounds are cut off or otherwise adversely affected. Follow these instructions to modify settings for singing/music, provided by Carol Jacobe, conductor of The Jazzuits and instructor of voice at Le Moyne College. Ms. Jacobe also recommends these video instructions. Additional tech suggestions can be found on Virtual Choir Rehearsals by Gala Choruses and in “Cyber Solutions for Quarantined Choirs: A Guide to Virtual Rehearsals and Performances” by Rebecca Lord.

THE INITIAL CONTACT

Advance Notice: While some artists are okay with last-minute requests, most prefer advance notice. When possible, reach out well in advance and check each artist’s entry on the directory for specific timelines.

Drafting the Invitation: Use the requested form of contact (e.g., e-mail or website). Several artists mentioned they do no regularly check messages on Facebook or other social-media platforms. Be sure to find and use the artist’s correct title.

Artists were asked, “What information is helpful for you to receive when you are initially contacted to make a guest visit?” Following are key suggestions they offered:

Basic details of the visit: the organization name & location, ensemble/class type, age if relevant, number of participants, date & time, time zone, and whether or not there is flexibility in scheduling (flexibility is best, when possible).
Tech details: options for connecting virtually (e.g., Zoom, cleanfeed.net, JamKazam, etc.) “There are many new ways to connect now, so having an understanding of what’s possible with each person’s technology would greatly help to plan for the best success of the session,” notes David Sabella, two-term president of the New York Singing Teachers Association and faculty member of Fordham University’s Summer Music Theatre Intensive.
An introduction to you and your ensemble/class: Briefly share facts and interesting details that will help the clinician get a feel for your organization. Co-Director of Choral Activities at East Tennessee State University Dr. Alan Stevens suggests including “skill level of ensemble, basic level of musical knowledge for the majority of the group, recent performances, rehearsal schedule (how often), and most importantly… type of music (genre/style) typically perform[ed].” Other suggestions include the history or mission of the group, strengths and weaknesses of the ensemble, curriculum, special concerns or protocols, and any relevant points about you as the conductor/teacher.
Purpose for the visit: Artists want to know why they have been invited and how they can contribute to your ensemble/class. Share your reason(s) for inviting them and relevant goals or ideas for working with your ensemble. For example, if the artist is a composer, has your choir performed one of their works? Or is there a specific technique or area of expertise you are hoping they will share? Dr. Jason Paulk, director of choral activities at Eastern New Mexico University offers, “If you haven’t fleshed out details of what you’d like to present to your ensemble, that’s o.k. too…include the clinician in the discussion. Perhaps they can help you clarify your goals and an approach to accomplishing it most effectively.”
Financial Situation: Artists request up front transparency in this area, particularly in contacting guest artists who have not adopted a policy of free visits during the pandemic. “Available budget for honorarium or fee is important to know because some…. will negotiate based on the financial situation,” Dr. Paulk notes. “Be completely transparent and open with your request. If you have no budget, say so up front. If you have only $100, say so up front.” When travel becomes safe again, artists being invited for in-person visits will need further details. For example, Artistic Director and Principal Conductor of Arizona Cantilena Chorale Dr. David Thye suggests, “does my visit include airfare, mileage reimbursement, hotel stay, meals, etc.?”
Recording Plans: If you hope to record the visit for any reason, this needs to be communicated and details worked out.

Here is a fictitious sample invitation letter, drafted by Dr. Kenneth Lord, dean of the College of Business, Eastern Michigan University.

ADDITIONAL COMMUNICATION TIPS:

“Please respond to emails promptly, within 24 or in some cases 48 hours” (Dr. Joshua Fishbein, adjunct music theory faculty, The Peabody Institute of Johns Hopkins University and Towson University).
“Communicate… clearly and follow through on everything you promise” (Dr. Andrew Megill, director of choral activities, University of Illinois).

Lack of communication is the worst. Respond to emails, texts, etc. If it’s onsite, provide clear communication about schedule, location, breaks, food, and housing if applicable. If it’s online, be clear about schedule, who will be on the meeting, etc.“ (Dr. Alan Stevens).
“If you make an initial contact and I respond, please let me know that you got my response even if you decide you are no longer interested” (Robbin Marcus, ATI certified teacher of the Alexander Technique).
“Email is great for the initial contact, but then it’s important to talk by phone to better understand each unique situation” (Robbin Marcus).
“Try not to be overly specific, allow us to share different perspectives” (Dr. Alan Stevens).
“Do check SPAM as often messages from out of the organization get sidelined (this goes for guest artists, too!)” (Dr. Jami Lercher).
“I’m a busy musician and it’s helpful to me to get a reminder from my host” (Arietha Lockhart, professional soprano soloist and music education specialist). Send a friendly, “looking forward to our visit next Tuesday” type of message.

DETAILS TO WORK OUT WITH THE ARTIST:

Once an artist has agreed to discuss a possible visit, here are next steps:

Determine Format and Content: Setting up the content of the visit may be more art than science, as artists greatly vary in their preferences and areas of expertise. Be sure to thoroughly review the artist’s posted information, and then be ready to dialogue with openness. Some artists will come with ready-made presentations. Others will want to brainstorm with you. Approaches can include: master class, lecture/presentation, colloquium, performance & discussion by the visiting artist, clinic or workshop, individual or group instruction, performance and adjudication, Q&A, casual conversation.
Share Hopes & Goals for your Ensemble/Class: Sharing specific thoughts about your singers can benefit the artist and the participants in maximizing their time together. Composer, arranger and publisher Dr. Earlene Rentz asks, “How I can support the teacher in terms of encouraging students?” Dr. David Thye suggests the following: “I just need to know what the host’s ultimate desire is for my visit? Growth? Inspiration? Refinement? New and/or specific concepts? Mastery? Competition or performance attainment?”
Solidifying Tech Plans: Be sure to discuss all tech plans and how you will approach hosting (e.g., having an assistant monitor questions via chat and choosing individuals to unmute). If the artist has any specific tech requests, address these. If the artist is interested, it can be helpful to have “a walk-through of your online platform” in advance, suggests Amber Nicole Dilger, k-12 music educator and member of the Actor’s Equity Association. “Different schools/classes/teachers might choose different settings, so it’s always helpful to know what to expect at each new engagement.”
Paperwork, Payment & Recording: Check with the artist and your organization to ensure all needed paperwork is taken care of. Common items include: a contract, financial paperwork, permission and waivers for recordings, or an agreement not to record. As this may be new territory for some, Mark Hayes suggests, “I prefer to use a simple contract that details what I am committing to, any fee involved and payment expectations, length and date of event and a general outline of what will happen.” Ms. Dilger notes that “many public school systems have a variety of paperwork/background checks that need to happen before the workshop, even online workshops,” adding that “it is so helpful to have access to this paperwork in advance.”

Prepare/share any materials needed. If the visit will include work or discussion of repertoire, it is helpful to send pdf files of the music in advance, suggests Dr. Galen Darrough, director of choral activities at the University of Northern Colorado. If the format will be discussion and/or Q&A-based, find out if the artist would like access to questions in advance, and have students/singers submit these.
Ask the artist if there are ways you can best prepare your class/ensemble for their visit. Then follow through!

PREPARING FOR THE VISIT

Now that the details of the visit are arranged, you and your ensemble/class can prepare to maximize your time with the guest artist. Here are some tips:

Homework: Review bio and provided links, websites, and other information you can find about the artist. If possible, watch or listen to performance or other material and discuss.
Promote: Help create excitement about the visit and encourage openness. “Prepared students, excitement about learning something new and a positive host set the stage for success by a guest artist!” explains Robbin Marcus. She suggests assigning students to read and write about the topic(s) that will be addressed in advance “to pique their interest.”

Instruct: Provide attendees with instructions on procedures and decorum (e.g., no snacking, wandering around or other distracting behaviors on screen; appropriate attire and backgrounds, no black screens; no recording; how Q&A’s or other participation will work).

Encourage Positivity: Mark Hayes mentions, “A choir is a family in so many ways, so unity and kindness are values that need to be intentionally cultivated,” Mark Hayes explains. “I’m not trying to turn this into a ‘Kumbaya’ moment 🤓 but if I heard singers affirming, complimenting and lifting each other during the time, that would be a positive result.”
Organize: If singers will be performing or otherwise participating in an organized fashion, share a detailed plan with them. Also solidify your tech plan. Moderation of conversation (reading chats, vetting questions, unmuting individuals) and tech needs will need to be taken care of on your end and not left to the guest artist. An assistant (can be a choir member) is highly recommended to help.
Prepare Questions: Spend some time with your ensemble/class generating questions in advance. Artists suggest open-ended questions rather than yes/no questions. “Encourage big questions,” suggests Dr. David Fryling, director of choral activities at Hofstra University and founding conductor and artistic director of eVoco Voice Collective. “Encourage curiosity outside of the confines of music theory, history, or choir techniques.” Explore the artist’s story, his or her background and career start, artistic inspirations, key moments in life that led to this path of artistry, advice, greatest achievements, failures and coping strategies. “Please avoid overtly personal questions,” adds Dr. Tish Oney, performing artist, author and composer. Here are sample questions.

GRACIOUS HOSTING:

A Good Start: Be sure to “arrive” early, make sure everything is running smoothly, and be ready to welcome your guest when s/he arrives. When the event begins, warmly welcome your guest, share introductory comments about her or his accomplishments, and encourage positivity and openness through word and example. Composer and pianist Kyle Pederson adds, “I think it’s awesome when a host … establishes a baseline about why we’re having this conversation… what they hope it will accomplish, and does so with some positive energy.”

Successful Leadership Throughout: Enjoy these suggestions!

“It’s helpful when the host is actively involved. Redirect questions that are obviously not helpful for the artist to address (‘we’ll talk about this in a rehearsal later, but let’s take another question right now.’)… If the artist mentions something that the ensemble has no reference to, jump in and help them to understand the conversation. Do NOT be afraid to be actively involved in guiding the conversation, but also avoid cutting off the artist” (Dr. Alan Stevens).
“Please have students introduce themselves when speaking/asking questions” (Dr. Jami Lercher).
“I love when teachers ask questions, especially if I have said something to their students that is different than what they are accustomed to… it’s good for students to hear adults learning new things as well. I’d prefer that any serious disagreements happen privately“ (Robbin Marcus).
“Be open! Let the guest artist work with your ensemble and try things that you may not agree with initially. You can always ‘go back’ when the guest artist leaves, but let her/him try something new. You never know, you might like it!” (Dr. Alan Stevens).
“Inclusiveness, positivity and openness are always better than competition. I want everyone to feel better for having experienced the event if possible” (Mark Hayes).
“If an event is online, please ensure that the majority of ensemble members are on camera so the artist is not talking to an empty grid. Be willing to let the conversation take a different direction than you had originally anticipated, especially if it’s guided by ensemble member questions” (Dr. Alan Stevens).
“It would be good to know specific skills of some students who might be writing music, performing in elite groups (jazz/Celtic/etc.)” (Dr. Earlene Rentz).
“I prefer that the host take… the lead if difficult issues arise” (Dr. Ronnie Oliver, associate director of choral activities at the Manhattan School of Music and artistic director and conductor of EnsembleNYC).
“If using Zoom, muting participants’ sound while I’m talking would be helpful. In some cases turning off people’s videos are necessary if they are distracting by their behavior. It might depend on the age of the singers” (Mark Hayes).
“I definitely appreciate when the host can keep an eye on the group, especially large groups of younger students. Disabling chatting between students during the presentation is helpful, and having the host manage any direct messages is a big help. It is also a big help if the host can manage the chat-submitted questions and be the one who curates and then verbally asks the questions” (Amber Nicole Dilger).
“Great hosts are open, gracious, and skilled listeners” (Dr. Tish Oney).

Things to Avoid:

“Anything negative, combative, or disrespectful” (Dr. Ronnie Oliver).
“If the discussion got political, religiously polarizing or disrespectful, I would not return“ (Mark Hayes).
“Last minute changes can… be disruptive” (Dr. Joshua Fishbein).
“I would like for my visit to be all positive. No need for negative statements about anyone or anything… It takes all of us being our ‘best selves’… in order to make choral music ‘happen’ artistically so that the ‘dots and sticks’ are lifted from the page and find their way into the hearts” (Dr. Earlene Rentz).

Wrap-up: Be sure bring things to a close in a gracious and timely fashion and leave yourself a couple of minutes to express gratitude to the guest artist on behalf of all attendees. Applause or a group visual thank you or thumbs up from the attendees is a lovely gesture.

FOLLOW UP, GIVE BACK & PAY IT FORWARD!

Follow Up: Dr. Jason Paulk offers this wonderful advice: “If you have agreed on a payment, try to send a check expediently. Also, a note telling the speaker something you appreciated about the presentation. It means more than you’ll ever know!”

Give Back: The ACDA leadership and Guest Artist Directory Manager Rebecca Lord are eager to hear of your experiences! Please take a moment to e-mail with stories or comments about your guest-artist experiences!

Pay it Forward: Consider joining the Guest Artist Directory yourself, or recommending artists you have worked with to your colleagues!

In recent years, Rebecca Lord has served on the choral/vocal faculty of Brigham Young University-Idaho and as Associate Director of Choral Activities at the University of California, Los Angeles, where she earned MM and DMA degrees under the tutelage of Donald Neuen. She also served as Chorus Master for Arizona Musicfest and Assistant Conductor for the Hour of Power choir. She has a background as a professional violinist, soprano, dancer, and actress. Dr. Lord is temporarily teaching part-time, as she is enjoying being a new mother.

REFERENCES

“Artist Interview Questions,” Songstuff.com, accessed September 27, 2020, https://www.songstuff.com/artist-interview-questions/
“Ask People Anything About Their Jobs: Opera Singer,” Jobstr, (July 3, 2020), retrieved from http://jobstr.com/threads/show/1237-opera-singer/All
Darrough, Galen (Director of Choral Activities, University of Northern Colorado), survey response September 2, 2020.
Davison, Dan (Composer and Professional Singer, Male Ensemble Northwest), e-mail to Rebecca Lord September 17, 2020.
Dilger, Amber Nicole (Music Educator, K-12 and Member, Actor’s Equity Association), survey response September 2, 2020.
Fishbein, Joshua (Adjunct Music Theory Faculty, The Peabody Institute of Johns Hopkins University and Towson University), survey response September 2, 2020.
Fryling, David (Director of Choral Activities, Hofstra University, Founding Conductor & Artistic Director, eVoco Voice Collective), survey response September 7, 2020.
GregintheBox, (March 25, 2020), “Zoom Settings for music performance,” YouTube.com, retrieved from https://www.youtube.com/watch?v=mEAb4G063sM
Hayes, Mark (Composer, Conductor, Concert Pianist), survey response September 2, 2020, e-mail to Rebecca Lord September 26, 2020.
Jacobe, Carol (Conductor, The Jazzuits and Voice Instructor, Le Moyne College), e-mails to Rebecca Lord September 1, 2 & 25, 2020 and “Zoom Settings for Teaching Music,” docs.google.com, (September 26, 2020), retrieved from https://docs.google.com/document/d/1tAldeg7QWS9h68CRmdbUpHERtlFe7vlvW9wy5-vUl4I/edit?usp=sharing
Lercher, Jami (Professor of Choral Music Education, Baldwin Wallace University), survey response September 3, 2020.
Letang, Shaun (January 30, 2019), “What Are Some Questions to Ask Musicians During an Interview?,” Music Industry How To, retrieved from https://www.musicindustryhowto.com/what-are-some-questions-to-ask-musicians-during-an-interview/
Lockhart, Arietha (Professional Soprano Soloist, Music Education Specialist), survey response September 16, 2020.
Lord, Kenneth (Dean, College of Business, Eastern Michigan University), e-mail to Rebecca Lord September 26, 2020 and “Sample Guest Artist Invitation,” docs.google.com, (September 26, 2020), retrieved from https://docs.google.com/document/d/1uFMWT3ubOMMWbOvzbMgqLSK6CmN7trcMjpus0mtRwkg/edit?usp=sharing
Lord, Rebecca, “Cyber Solutions for Quarantined Choirs: A Guide to Virtual Rehearsals & Performances,” Choralnet.org (blog), September 2 2020, https://choralnet.org/2020/09/cyber-solutions-for-quarantined-choirs-a-guide-to-virtual-rehearsals-performances/.
Lord, Rebecca, (September, 2020), “Guest Artist Directory for Conductors and Music Teachers,” retrieved from https://docs.google.com/spreadsheets/d/1wU8Zb_0ZHJQ9ueJyZOJ38dr3r7lL3d-qLgSipKl5j10/edit?usp=sharing
Lord, Rebecca, (September 26, 2020), “Sample Questions for Guest Artists,” docs.google.com, retrieved from https://docs.google.com/document/d/1vQNRVyV3vqK-xLcZNXhlfXAilidmlHzdgf3B_0rW5Hc/edit?usp=sharing
Marcus, Robbin (ATI Certified Teacher of the Alexander Technique), survey response September 2, 2020.
McQuerrey, Lisa, (July 25, 2018), “Good Interview Questions for Musicians,” Chron, retrieved from https://work.chron.com/good-interview-questions-musicians-25021.html
Megill, Andrew (Director of Choral Activities, University of Illinois), survey response September 1, 2020.
Oliver, Ronnie Jr. (Associate Director of Choral Activities, Manhattan School of Music and Artistic Director and Conductor, EnsembleNYC), survey response September 2, 2020.
Oney, Tish (Performing Artist, Author, Composer), survey response September 12, 2020.
Paulk, Jason (Director of Choral Activities, Eastern New Mexico University), survey response September 1, 2020.
Pederson, Kyle (Composer, Pianist, Lyricist and Educator), survey response September 1, 2020.
Rentz, Earlene (Composer, Arranger, and Publisher), survey response September 2, 2020.
Sabella, David (Faculty, Fordham University’s Summer Music Theatre Intensive), e-mail to Rebecca Lord September 2, 2020.
Stevens, Alan (Co-Director of Choral Activities, East Tennessee State University), survey response September 2, 2020.
Thye, David (Artistic Director and Principal Conductor of Arizona Cantilena Chorale), survey response September 3, 2020.
“Virtual Choir Rehearsals,” Gala Choruses, accessed September 26, 2020, retrieved from https://galachoruses.org/resource-center/quarantined-choirs/virtual-choir-rehearsal

Beauty from Ashes: Celebrating Choral Victories

September 16, 2020 by From Our Readers Leave a Comment

By Rebecca Lord

As conductors urge each other on during these perilous times, one phrase is repeated time and again: “think outside of the box!” Creative minds are taking on the challenge, and the potential life-and-death consequences of “normal” choral singing have spurred conductors toward innovations that will forever change the face of choral music. Conductors are finding that while penned into the walls of the web, their reach can easily fly past the boundaries of space. Collaborations and friendships are being forged around the world as we are united by this global experience. Technology is being used in ways that will provide long-lasting benefits in teaching and performing. Although people everywhere hope and pray for an end to this tragic time, there is beauty coming from the ashes.

TOUCHING OUR NATION’S YOUTH

Free Summer Music Camp

This summer, the Rhode Island Children’s Chorus (RICC) launched a virtual summer music camp, offering free weekly classes to children ages 7-18. The brainchild of Dr. Christine Noel, RICC’s founding artistic director, it served over 400 students in its inaugural year. Dr. Noel reports, “we’ve been able to reach so many more students… not only in Rhode Island and Massachusetts, but all over the country!” RICC conductor Sarah Prickel-Kane mentioned the benefits to families of having flexibility built into the program and no tuition.

Dr. Noel additionally kept her RICC season going on schedule, transitioning to Zoom rehearsals and supplementing with an array of other enriching activities and resources. Feedback from parents and singers of both the Children’s Chorus and the summer camp has been “unbelievable!… I thought we’d have people dropping out. The parents have said this was the highlight of the child’s week… it provided continuity… live instruction rather than assignments to do on their own.”

Dr. Noel observes that while the pandemic is a true horror, the silver lining is that “we know how much more we can offer that is supplemental to the in-person experience. We’re going to continue to use some of these technologies.”

New National Academy

The National Children’s Chorus, (NCC), which serves singers ages 5-17 with choirs in Los Angeles, New York, Washington, D.C., and San Francisco, also held their first virtual summer camp this year and is launching a virtual national academy for the 2020-2021 season. CEO and Artistic Director Luke McEndarfer reports working as an artistic team through the spring and summer months “to design a new regimen that flows beautifully on a digital platform.” Classes have been adjusted in length, content, and size, enabling students to feel like they may “easily ask a question, express thoughts and feelings, and/or receive direct feedback on their vocal performance.”

Mr. McEndarfer emphasizes the NCC’s vision of providing a “highly specialized, personal experience where students build skills… a strong sense of community… [and] passion and love for music.” Children receive training in vocal technique, musicianship, and recording skills. This season, members of the NCC will have the opportunity to participate in two digital world premieres by Eric Whitacre and Sarah Quartel!

Mr. McEndarfer noted that the feedback regarding their virtual summer program was incredible, signaling to them that the NCC was on the right path with their new program. “Despite the fact that camp was six hours per day for two weeks… we had many students tell us they wished it would continue… What this taught me was that… we can… create a quality online program that is truly effective and engaging… Our team does not look at online learning as a downgrade from live rehearsals and performances, but rather as a unique opportunity for us to connect with our students and enrich their education in new and meaningful ways.”

REACHING AROUND THE WORLD

Ablaze International Youth Festival

Also in the realm of children’s choirs, Nina Revering, founding artistic director of illumine (Austin, TX), is preparing to launch “Ablaze,” an international choral festival for young singers. Ms. Revering’s vision for this festival was born of her experiences conducting and advocating during these troubled times. This summer, she led illumine’s first virtual summer program, which was beautifully received by her young singers. As she has paved new roads, weathering inevitable storms and challenges, she has also sought to bolster her colleagues. “I’ve been on quite a serious soapbox. I tell my colleagues, ‘for the health and brains of the children, we have to do this!’”

Ms. Revering has put those words into beautiful action, creating a rich musical opportunity for individual singers and youth choirs around the world. From October through December, participants will gather virtually on Saturdays to “make connections, build repertoire, extend relationships, [and] grow in technique and expression.” Singers will learn from guest clinicians and conductors of participating choirs. They will socialize online, post videos, and create music and art. The festival will culminate with a professionally edited virtual concert featuring artwork, poetry, music, and comments from singers, vistas from the home countries of participants, and the virtual performance of a commissioned work! This festival is still open to new participants; information can be requested here.

Stay at Home Choir

Another international choral “offspring” of the pandemic is the Stay at Home Choir. Co-founded by Tori Longdon and Jamie Wright, this virtual choir organization was created as a platform to keep home-bound musicians around the world connecting and making music together. Ms. Longdon humorously explains, “we call it Flubber because it created itself and we’ve spent the rest of lockdown chasing after it.”

“Chasing” their new creation has propelled Ms. Longdon and Mr. Wright into unchartered territory as they have sought innovative solutions to musical needs and fears expressed by individuals around the world. Knowing they will never replace physical choirs, their focus has been on creating “something different… that could sit alongside [those choirs] in a useful way.” They have prioritized connecting world-class guest artists with singers, including The King’s Singers, Sir Karl Jenkins, The Swingles, the Royal Philharmonic Orchestra, The Sixteen, and VOCES8 (current project). Singers perform and interact with these guests through online rehearsals, socials, drop-in lounges, and other offerings.

The Stay at Home Choir is impressively managed entirely by a small team of friends and colleagues. “We’re… alumni of the same youth choir,” explains Ms. Longdon. “We’ve… diversified into having different skill sets… they are professional editors, and they’re immensely talented, but they’re also our mates.”

ADVANCES IN TECHNOLOGY

While many of us are learning to use technology that is new to us, others are creating new technology! Here are two exciting examples.

Automatic Syncing!

Co-founder of the Stay at Home Choir, Jamie Wright, says “There are a number of unique challenges in creating projects of this scale, and one way that we’ve tackled the challenge is writing custom programs to help make the task more manageable.” He and the small team of editors at the Stay at Home Choir have created systems to help them manage files remotely more effectively and deal with the very specific challenges that virtual choir projects present. So far they’ve developed mechanisms that can cut certain tasks that used to take days down to minutes! When asked about the possibility of sharing their findings with the world, Ms. Longdon explains that at the moment they are not able to. “It’s not very easy… to transfer the script between computers, so it’s not possible at the moment, but it’s something we’ll think about later on down the line.”

WebEx Developments in Real-Time Video Communications

The Indianapolis Children’s Choir (ICC) is partnering with WebEx to explore possibilities for real-time video communications. Artistic Director Joshua Pedde explains that plans with WebEx will roll out in phases beginning this fall. Initially, WebEx devices and equipment currently installed at Butler University will be used, and eventually individual computers in homes will be incorporated. WebEx engineers have advised Mr. Pedde that strong internet connections (e.g. via ethernet cables), good microphones and headphones will be needed by each singer to make the system work well, but hopes are that, with these in place, WebEx will be able to find solutions enabling singers to see and hear each other in real time without lag.

FOCUS ON EDUCATION

Maximizing learning opportunities has been the focus for Dr. Randall Kempton, director of choral activities at Brigham Young University-Idaho. His Collegiate Singers used their spring semester (April-July) to pilot new approaches for the 2020-2021 academic year. In a journey he described as “flying by the seat of our pants,” he invited his singers to navigate and co-pilot with him.

Highlights include:

Mini virtual choirs: singers were divided into small ensembles (three to six) and tasked with creating their own virtual choir performances. This was an initiation of sorts, helping the singers “[get] their feet wet” with the full experience, from selecting repertoire to rehearsing, recording, and editing. Individuals with experience or talent in editing were easily spotted and able to help with later projects larger in scope.
The choir was divided into research groups focused on finding solutions for the unique needs of the day, including auditions, effective rehearsals, virtual choirs, and low-latency communication options. Findings were shared and experiments conducted, often led by students, all while continuing to rehearse.

Dr. Kempton applauded the energy, dedication, and resourcefulness of his singers as they rode up hills and down into valleys, celebrating the successes and gaining flexibility and resilience from the failures. Dr. Kempton noted that while the journey was a new kind of choral music experience, his singers were “staying in love with music and the creative process.” Comments from the singers during their final Zoom class reflect the richness and diversity of their experiences:

“We get to do research!… Coming together to solve a problem that’s meaningful to all of us really brings us together” (Anna Dayton).
“[As a] kamikaze tech researcher… it was very fun for me to be able to re-explore that side of my abilities!” (Glen Bourgeois)
“I really enjoyed [making] our own little mini virtual choirs… doing a big virtual choir is…fun, but you can sometimes feel really small …” (Louisa Campbell).
“My satisfaction level has come from the learning… One day I’m going to be a music educator, so I’ve enjoyed learning as much as I can…” (Sarah Bradbeer).
“As we have recorded… I have improved in my self-awareness. I am aware of my rhythm, if it’s exact; I am aware of my pitch and my breathing. I have also been better at listening to others. While I have been editing, I’ve realized how important it is to be perfect in our execution when we record” (Daniel Dyer).
“Dr. Kempton keeps us singing! We sing every class period which is super nice, especially when we do not get to sing as often” (Nikki Green).

Dr. Kempton’s focus on education resulted in frequent dialogue with the singers about what was being discovered, both musically and non-musically. During their final Zoom meeting, he reminded them of life lessons they had learned together. “You can’t plan every moment, but you can plan to be prepared for whatever opportunities and challenges life throws in your path.”

Cultivating Creativity and Innovation through Improvisation

Looking toward the fall, Dr. Kempton is considering adding an element of improvisation such as improvised opera, where singers “converse” about a subject accompanied by Mozart recitative chords. He notes that while not everybody has experience with improv or composition, all can benefit. These are times that artists need courage, the willingness to try new things, to not be afraid to fail. Teaching improvisation can cultivate that musically and in other ways.

Craig Hella Johnson, artistic director of Grammy Award-winning Conspirare Company of Voices and an expert in improv, adds, “I would just underscore the value and importance of improvisation in terms of reminding people about their own musical impulses. In classical training we get so far away from it…. [It can help if we realize] that the whole thing we’re doing right now is improvising.”

Specific ideas Johnson offers for online learning: while “we can’t be synchronous… we can absolutely be sequential. Let’s say there are 12 people on a call. Go around the ‘Zoom room,’ sing a riff [or] try a phrase, and encourage and cultivate a sense of safety and freedom… Finish and pass it on.” The next participant incorporates an element, “responding” and adds his or her own ideas. Johnson also suggests utilizing apps for improv practice. An initial singer could be assigned to lay down an improvised rhythmic track, and each subsequent singer in a group would add a layer. He also suggests video improv “discussions” on a platform such as Flipgrid. A singer can post a clip of an improvised riff or phrase, and a teacher or another singer can post a video response. “Here’s what you said. Here’s my response.”

BEYOND THE BOX OF THE CHOIR

While many innovations are taking place within the structure of rehearsing and concertizing, some conductors are exploring ideas beyond this “box.” In his leadership of Conspirare Craig Hella Johnson reports, “we are doing everything we know how to…stay connected.” This outward reach has led to new virtual collaborations with artists around the world and an array of other initiatives, including:

“Songs and Poems and Connection,” an evening of poetry and music “from Craig’s home to yours.”
Big Sing at Home: Johnson and 14 members of Conspirare pre-recorded a virtual sing-along for the community featuring well-known tunes (e.g., patriotic songs, popular classics, and excerpts from Handel’s Messiah). 750-800 people sang along online and community members wrote in, expressing appreciation for the renewed connection.

Songs of Connection: Johnson and Conspirare are collecting new songs from composers around the world. Johnson observes that it “really feels like a song movement. We’re trying to shine a light on the creation of songs… At some point there may be an actual book, but right now it’ll be a database of songs online. We’re asking composers if we can use it freely, like public domain, to make the songs available for all.” Johnson’s vision is to collect 200-300 songs over the next couple of months that will bring people “closer to a vision of real unity… liberating, empowering, comforting, inspiring…”

GIVE YOURSELF THE FREEDOM TO EXPLORE

Beautiful and inspiring, these examples are just a few of many individuals around the world, thinking outside the box and paving new musical trails. Untouched vistas abound, waiting to be explored. How many other new roads will be created, shining a light for others in the darkness?

The invitation is open to all. Dr. Randall Kempton shares his thoughts that this time is “like trying to fly to the moon in the 1960s. It’s like trying to cross the plains with pioneers. This is our pioneer moment. This is our ‘go to the moon’ moment.” Craig Hella Johnson beautifully observes, “In the midst of really difficult times, there are wonderful gifts…” All it takes is a willingness to “try things and to let go of the outcome and to be free to fail.”

In recent years, Rebecca Lord has served on the choral/vocal faculty of Brigham Young University-Idaho and as Associate Director of Choral Activities at the University of California, Los Angeles where she earned MM and DMA degrees under the tutelage of Donald Neuen. She also served as Chorus Master for Arizona Musicfest and Assistant Conductor for the Hour of Power choir. She has a background as a professional violinist, soprano, dancer, and actress. Dr. Lord is temporarily teaching part-time, as she is enjoying being a new mother.

REFERENCES:

Brigham Young University-Idaho Collegiate Singers, Zoom interview with Rebecca Lord, July 8, 2020.
Christine Noel (Founder and Artistic Director, Rhode Island Children’s Chorus), phone interview with Rebecca Lord, July 11, 2020.
Craig Hella Johnson (Founding Artistic Director, Grammy Award-winning Conspirare Company of Voices, Music Director, Cincinnati Vocal Arts Director, Professor of Practice, Texas State University), phone interview with Rebecca Lord, August 28, 2020.
Joshua Pedde (Artistic Director, Indianapolis Children’s Choir), e-mails to Rebecca Lord July 23 & 26, 2020.
Luke McEndarfer (Artistic Director, The National Children’s Chorus), e-mails to Rebecca Lord, September 5 & 8, 2020.
Nina Revering (Founding Artistic Director, Illumine), phone interview with Rebecca Lord, August 27, 2020, e-mail to Rebecca Lord September 2, 2020.
Randall Kempton (Director of Choral Activities, Brigham Young University-Idaho), Zoom interview with Rebecca Lord, July 8, 2020.
Sarah Prickel-Kane (President, American Choral Directors Association Rhode Island Chapter; Conductor, Narragansett High School; Conductor, Rhode Island Children’s Chorus), phone interview with Rebecca Lord, July 13, 2020.
Tori Longdon (Co-Founder, Stay at Home Choir, Conductor and Adjudicator), Zoom interview with Rebecca Lord, August 21, 2020, email to Rebecca Lord, September 16, 2020.

The Overlooked Significant Population – Introverts

September 5, 2020 by From Our Readers Leave a Comment

By Stuart Hunt

Without trying to sound esoteric or highfalutin, in all of my endeavors, everything, I pause to discern the philosophy guiding me in the short and long term. In German the phrase is Woher / wohin? Where are we coming from, where are we going to? Through that lens, I can proceed with purpose and direction. It saves time, and there are fewer mistakes.

Allow me to introduce to you Susan Cain, and to her passion to help us all understand introversion, as well as her detailed and well-written treatise Quiet: The Power of Introverts in a World that Can’t Stop Talking (2012). As those who deal mostly with groups of singers (also in private voice settings), let us consider how we and other singers interact in our learning / rehearsal gatherings, and the philosophy behind that.

First, some simple definitions:

Extrovert– a gregarious, somewhat unreserved personality. Enjoys and recharges by being with others.

Introvert – prefers minimally stimulating environments, and needs time alone to recharge.

Ambivert – displaying characteristics of both introversion and extraversion.

Omnivert– someone who can be either at different times.

As a choral conductor now in my fiftieth year conducting, I am passionate about learning and learning styles as they impact group and collective excellence. Interestingly, according to Barry Smith (Professor emeritus and director of the Laboratories of Human Psychophysiology at the University of Maryland), “Ambiverts make up 68 percent of the population.” But, back to introversion.

In my research, I have found there appear to be four shades of introversion:

social
thinking
anxious
restrained

Many introverts are a mix of all four types.

Cain offers four personality types:

Calm extroverts
Anxious extroverts
Calm introverts
Anxious introverts

You could be a shy extrovert, like Barbra Streisand, who has a larger-than-life personality and paralyzing stage fright; or a non-shy introvert, like Bill Gates, who by all accounts keeps to himself but is unfazed by the opinions of others. A great deal of what Ms. Cain discusses has to do with anxiety and stimulation and overstimulation, which can both energize and paralyze; encourage creativity or shut it down.

Shy versus Introverted

We should delineate the difference between shy and introverted. Cain states, “Shyness is the fear of social disapproval or humiliation, while introversion is a preference for environments that are not overstimulating. Shyness is inherently painful; introversion is not” (p. 12). We have them in our choirs, don’t we?

Learning from the Biz World

In the 1920s, in America, as businesses began to grow, employees and especially sales reps were encouraged to be “charismatic.” Earlier employee “manuals” encouraged such qualities as:

citizenship
duty
work
golden deeds
honor
reputation
manners
integrity

Then newer guides celebrated qualities that were trickier to acquire, and either you embodied these characteristics or you didn’t:

magnetic
fascinating
attractive
glowing
dominant
forceful
energetic (etc.)

This led to the celebration of extroversion as an “ideal” and, if you reflect on the world around us, somewhat continues today. However, for introverts, becoming comfortable with what they know to be true about themselves instead of trying to adopt an extroverted personality is the healthier option.

In another section of Quiet I found myself considering the following: “One highly successful venture capitalist who is regularly pitched by young entrepreneurs told me how frustrated he is by his colleagues’ failure to distinguish between good presentation skills and true leadership ability. He said ‘I worry that there are people who are put in positions of authority because they’re good talkers, but they don’t have good ideas. It’s so easy to confuse schmoozing ability with talent. Someone seems like a good presenter, easy to get along with, and those traits are rewarded. Well, why is that? They’re valuable traits but we put too much of a premium on presenting and not enough on substance and critical thinking’” (p. 52).

In the world of business, unassuming, shy, mild-mannered Darwin Smith, former head of Kimberly-Clark, and other introverts, tend to be described with phrases like: quiet, humble, modest, reserved, gracious, mild-mannered, self-effacing, and understated. Author Jim Collins, in his book Good to Great (2011), states, “We don’t need giant personalities to transform companies. We need leaders who build not their own egos but the institutions they run.” Might this then also apply, as a conductor, to how we perceive and interact with our choristers?

Wharton and University of Michigan management professor Adam Grant studied leaders and wondered what introverted leaders do differently from – and sometimes better than – extroverts. One conclusion was that they were more interested in listening and gathering information than in asserting their own opinion or dominating a conversation. Grant states that introverts are uniquely good at leading initiative-takers . . . because of “their inclination to listen to others and lack of interest in dominating social situations. . . . Introverted leaders create a virtuous circle of proactivity” (quoted in Cain, p. 57). And what do choirs need? Quiet, positive, supportive, behind-the-scenes leadership . . . balancing introverts and extroverts.

Thoughts to Consider

In Quiet, Cain addresses the “dangers” of group conformity. For us, that can be a conundrum: We must have agreement and uniformity of sound and collective thought but, think about the difference between uniformity of purpose and group conformity. We recognize that properly formed, guided, and developed, every group needs positive leadership. It is critical when challenges, large and small, beset choirs we conduct.

Caution advised, but, here are some bullet points from Quiet and Cain’s extensive research:

Introverts are not smarter than extroverts. According to IQ scores, the two types are equally intelligent.
While introverts are a minority group in society, they form the majority of gifted people. Moreover, it appears that introversion increases with intelligence so that more than 75 percent of people with an IQ above 160 are introverted (Sword, 2002).
Introverts seem to think more carefully than extroverts.
Extroverts tend to jump in and “get going” – introverts tend to “think before they act,” digest information, stay on task longer, give up less easily, and work more accurately.
University of Wisconsin psychologist John Newman remarks that introverts “scan for problems. As soon as they get excited they’ll put the brakes on and think about peripheral issues that may be more important. Introverts seem to be specifically wired or trained so when they catch themselves getting excited and focused on a goal, their vigilance increases” (Patterson & Newman, 1993).
John Brebner and Chris Cooper concluded that “extroverts think less and act faster on such tasks; introverts are ‘geared to inspect’ and extroverts ‘geared to respond’” (1978).
Extroverts are more likely to focus on what is happening around them. Introverts “wonder” about things, imagine outcomes, and make plans for the future.
Extroverts may see “what is” while their introverted peers are asking “what if.”
“It’s not that I’m so smart,” said Einstein, who was a consummate introvert. “It’s that I stay with problems longer.”

Here are Susan Cain’s tips for educators (conductors are educators!) that she also elucidates in the Extra Libris section at the end of Quiet:

Don’t think of introversion as something that needs to be cured.
Re-examine classroom “group-work.”
Don’t seat shy or introverted kids in “high-interaction” areas of the classroom.
Balance teaching methods to serve all the kids in your classroom.
Try “pair sharing” techniques.
Wait five seconds after asking questions in class (the reason makes such sense).
Use online teaching methods.
If you’re going to grade on class participation, award separate grades for content knowledge versus just participation.

I strongly commend Susan Cain’s Quiet for your reading and choral consideration. Immerse yourself in a world you know first-hand, but, through her glasses, might find handles to describe what you see and experience. She writes well from a first-hand life . . . as an introvert.

Stuart Hunt is now in his 50^th year conducting public and private choirs. His company, Tools for Conductors, writes and publishes choral sight-reading and online assessments.

References

Brebner, John, & Cooper, Chris. (1978, September). Journal of Research in Personality. 12 (3), 306-311.

Cain, Susan. (2012). Quiet: The Power of Introverts in a World That Can’t Stop Talking. New York: Crown Publishing Group.

Collins, Jim. (2011). Good to Great: Why Some Companies Make the Leap . . . and Others Don’t. New York: Harper Business.

Patterson, C.M., & Newman, Joseph (1993). Reflectivity and learning from aversive events: Toward a psychological mechanism for the syndromes of disinhibition. Psychological Review, 100, 716-736.

Sword, Lesley. (2002). The gifted introvert. In High Ability. Retrieved from http://highability.org/the-gifted-introvert/.

Cyber Solutions for Quarantined Choirs: A Guide to Virtual Rehearsals & Performances

September 2, 2020 by From Our Readers Leave a Comment

By Rebecca Lord

Conducting today can feel like it requires a graduate degree in technology. This article will provide tech solutions, simple to complex. Recommendations and video examples come from music-technology professionals, conductors, and internationally recognized virtual choir leaders.

REHEARSAL SUCCESS IN A LAND OF LATENCY

Before COVID-19, how many of us knew about Zoom or latency/delay issues in online communications? “When we started Zoom rehearsals, we didn’t have any experience with lag and compression,” said Michael Wu, artistic director of the Strathmore Children’s Chorus. ”It makes singing together ridiculous. We…laughed our heads off!”

Why the delay?

While data can theoretically travel at the speed of light, numerous factors in software, hardware, and internet connections can slow it down. The amount of delay “will ultimately bedecided by the slowest component of the entire system,” explains Tyler McNiven, production and media manager for the Brigham Young University-Idaho Department of Music. Two-way communication and multiple participants increase the slow-down points. Latency needs to be lower than ~35 milliseconds (ms) to be imperceptible.

There are currently no widely available video-communication platforms with low enough latency for synchronous rehearsing. There are audio options, but they generally require high-speed wired connections for all users, limited distance (e.g., all participants in the same town), headphones, tech expertise among all participants, and a possible audio interface. Even then, results are mixed.

What are our best options for rehearsing?

Zoom: The majority of conductors are using Zoom and muting singers. Zoom is favored because of its ease of use and helpful features such as chat, break-out rooms, and a call-in option.
Youtube Live: For larger projects that exceed Zoom’s capacity, consider Youtube Live. It also includes a chat feature.
Separate Video & Audio: Some conductors are pairing Zoom with other audio options, aiming for higher sound quality and/or lower latency. Options are detailed on the “WACDA Task Force COVID-19 Report – Tech Resources”. An option not listed there is the ListenTo Plugin (audiomovers.com). Designed for use with a Digital Audio Workstation (DAW), it provides higher-quality sound and lower-latency options. Sound can be streamed one-way (singers access it via a link) or two-way. Glen Bourgeois, BYU-Idaho Collegiate Singer, recommends one-way streaming as the plugin “requires use and knowledge of a DAW” which not all singers have. For further exploration of low-latency options, see Chris Rimple’s “Remote Band Rehearsals.”

How well do low-latency audio options actually work? How difficult are they to use? While the answers to these questions depend on many factors (e.g., equipment, internet connection, tech savvy), here are a few thoughts:

Tori Longdon, co-founder of the Stay at Home Choir mentions that Jamulus is “relatively successful” for some small groups with high-speed wired connections. She does not use it, due to the larger global ensembles and varying tech situations among Stay at Home Choir participants. Zoom, guide tracks, and YouTube are used instead.
Nina Revering, founding artistic director of Illumine, planned to use JamKazam for her recent Virtual Summer Program. She reports, “JamKazam touts itself well but does not deliver.” After multiple tests and delving deeply with hired techies, the results were inconsistent. Latency was still an issue and JamKazam’s response-time was also latent (several weeks). Ms. Revering, who defaulted to Zoom, said, “we really did try with good parameters… and functionality was not there.”
Take-aways from research and interviews: I would personally use Zoom for my choirs, and only consider two-way low-latency audio options for smaller groups of interested individuals with tech experience and/or interest. I might also explore audio options as part of a music-technology class. That being said, musicians who work through the learning curves and find success singing together (notably with Jamulus), seem to find it rewarding.

Practical Tips for Enhancing Online Rehearsals:

A good microphone will greatly enhance sound quality and make your teaching more effective. Jackson McDonald, Hour of Power Choir/Audio Editing, recommends the Blue Yeti (~$130) as a quality USB microphone.
Avoid the sustain pedal on the piano (Dr. Thea Kano, artistic director of Washington DC’s Federal Performing Arts Association) or try a midi keyboard instead (Michael Wu).
Earphones help minimize distractions in the home.
Involve other voices: e.g., unmute a quality singer to demonstrate (Dr. Kano).
Get away from the keyboard at times and conduct to an accompaniment track.
For additional rehearsal tips, see “Top 2020 Choral Solutions During the Pandemic.”

Sibelius/Finale as Teaching Tools: Dianne Berkun Menaker uses Sibelius with her Brooklyn Youth Chorus. Here are some of her tips:

Use the mixer to customize parts and playing levels; e.g., bump up the volume for individual parts.
Share the screen and use the tracking line so students can follow along in the score.
Teach the break-down of rhythms by entering “a percussion line above the melodic line” – e.g., a line of quarter notes so singers “can visualize where things are falling.”
For other tech teaching tools, see “WACDA Task Force COVID-19 Report – Tech Resources”.

CREATING BEAUTIFUL VIRTUAL CHOIRS

“If one of my singers had said… three months ago, ‘you’re going to be doing the virtual choir thing,’ I would’ve said, ‘Hell to the no – no, never!,’” exclaimed Dr. Thea Kano. “So, here we are… by popular demand.” How can we survive and thrive in this world we’ve all been thrown into?

Get help with audio and video editing and design. It is enormously time-consuming (easily 60-100 hours+/three-minute song). If you have budget, consider hiring someone. Dr. Kano uses Arts Laureate. Nina Revering exchanges free tuition for editing services. The Hour of Power divides responsibilities (e.g., guide tracks, syncing audio, mixing, video production). Dr. Marc Riley, musical director/conductor/arrangerfor the orchestra credits a great team of motivated and talented individuals for their weekly virtual performances. He states, “it’s quite fun… working together as a team!”
Be specific in your instructions. “Try and make as many decisions as you possibly can before you put the content out there to be created,” Meg Davies, producer for Eric Whitacre advises. “It’s not uncommon for those starting their first virtual choir projects to enthusiastically say, ‘Right, I’m going to do this! Here’s the music. Send me your videos!’ And then they see what comes back and… they’re like, ‘Oh, but you didn’t do it this way…’ Your content will be better if you give really clear instructions.”
Learn to walk before you run with an easy song first. Meg Davies advocates choosing a song with softer sounds and rhythms and avoiding complicated counterpoint, staccato moments and hard consonants that require precision to the millisecond and are difficult to sync. She notes that legato, oo’s and ah’s are more forgiving when syncing independently recorded voices.

The Process: Compiled from interviews with leaders of Eric Whitacre’s Virtual Choirs, the Hour of Power Choir, and the Stay at Home Choir. Additional information and resources can be found in Kathleen Hansen’s “Virtual Choir Programs, Apps, Tips, and Resources.”

Create a guide track:
- Start with a count-down to a clap to use in syncing tracks.
- Produce a click track (variable for tempo changes).
- Provide instrumental accompaniment.
- Include voices (e.g., section leaders), modeling correct breaths, phrasing, dynamics, diction, and tone color.
- Provide a conducting video, optional.

Prepare the Choir: Combine detailed guide tracks with online rehearsals. Tori Longdon mentions that the guide tracks for the Stay at Home Choir are so carefully detailed that, when live rehearsals start, “it’s almost a dress rehearsal right away.” Rehearsals, used for high-level instruction, are recorded and made available to singers for further practice.
Provide specific recording instructions:
- Audio guidelines: acceptable file types, silence at beginning or end, distance from microphone (one to two feet is usually best), recording environment (padded/dampened), and how to check for gain (mic level or distance from recording device needed to avoid distortion). Singers must listen to their recordings before submitting them. Tori Longdon advises, “the most important thing I would say to singers is, listen to your track…, and if any of it distorts,” re-record.
- Video guidelines: landscape or portrait, preferred background, lighting, how tight a shot (photo examples are helpful; shots that are too tight cannot be expanded), clothing & grooming guidelines, color scheme, and acceptable file types. Singers must check their work before submitting. Mark Warshaw, president of MJW Productions, film team for the Hour of Power, advises: “Make sure it’s in focus. Make sure it looks right. Make sure the color is right. Make sure the whole thing is there. Sometimes [singers will] start too late or the end will drop off. By the time we get to it, it’s too late for them to do another one. It’s all about checking.”
- Consider separate audio and video submissions. Jackson McDonald recommends this, as the best audio environments (e.g., clothing closets) are not always great visually. Additionally, singers are able to focus separately on their voices and looking expressive, and can record video without headphones.
- Submission instructions: where to submit and how to label files.

Collect tracks. Dropbox folders, Google Drive folders, and Flipgrid work well. Orchestrations can be created and submitted following a similar process. Dr. Marc Riley says midi data recordings can automatically be synced with a tempo map, in addition to live-recording tracks. “There is always some ‘tweaking’… which is to be expected given the huge amount of data involved.”
Clean, edit, & mix audio and video separately.
- Audio Tips: After initial syncing, Jackson McDonald suggests tweaking the most noticeable out-of-sync spots (e.g., audio stretching specific consonants). Tori Longdon observes: “An audio mix is a three-dimensional space… You have… more control over your balance and your blend…than you would have in a real choir…You can have people closer or further away, more to the left, more to the right, or… an even spread… you create the acoustic as well…. if you know where to position your singers digitally… you get the best sound out of everybody.”
- Video: Place the videos into your grids/templates of choice and complete any desired video design. If you don’t have good video (or any video), slides or other footage can effectively tell your story.

Sync up sound and video: A clap or an embedded click track can make perfect syncing with the video easier.
Celebrate your success!

Fun Ideas and Examples:

Incorporate nature footage. David Warshaw created the stunning visuals in the Hour of Power’s recent “The Blessing.”
Sign language can reach new audience members and add visual beauty and interest. The Stay at Home Choir incorporates this element in their gorgeous “And So It Goes” with the King’s Singers.
Try a song your choir knows well already to get started in this new art form (e.g., Voctave’s fabulous “Smile”)!
Choreography can brighten up your rehearsals as well as your performance! See the National Children’s Chorus’ “Blue Skies” (starting at 1:36).
Check out the colored backdrops, child instrumentalist, and sweet ending in this darling “What a Wonderful World” with VOENA’s young singers.
Small Projects: Dr. Randall Kempton broke his Collegiate Singers (BYU-Idaho) into groups of three to six singers, each tasked with creating a virtual performance. “They got their feet wet” with virtual choirs, and he discovered those with experience and talent who could help with larger projects.
Collaborate: Take advantage of opportunities to work with remote artists. Craig Hella Johnson, artistic director of Conspirare, has collaborated with conductors, singers, and tech people around the world in recent months. The constraints of the time “happily force us to seek out new collaborators,” he said. “We’re… bringing so many new ideas into our organization… It’s really influencing the way we think about presentation right now.”
Join a virtual choir project! If making a video of your own is not feasible or right for your choir, consider encouraging your singers to participate in performances with the Stay at Home Choir or others!
Alternatively, start your own! Joshua Tamayo, Canadian pianist, reached out to his network of musical friends and colleagues to record and produce this beautiful “Hallelujah” in tribute to front-line workers with whom he performed. Mr. Tamayo did the audio editing and Miles O’Brien used Adobe After Effects to create a beautiful “performance,” placing the choir and pianist on a stage.
New audio, combined with slides, footage from past performances or other video (e.g., Craig Hella Johnson’s “All of Us”).
Zoom “virtual choirs”: Record a muted video of your choir on Zoom, singing to a pre-recorded track (newly mixed, or past performance). Try SoundTrap.com for audio recording and mixing (online collaborative recording studio, user-friendly and inexpensive).

Shopping for editing software? Tyler McNiven advises you’ll need software that can handle multi-track audio and video appropriate to your group size (each participant needs his or her own audio and video track, plus five to ten additional tracks for submixing audio sections). Before buying, make sure your computer has the required hardware specifications (processor speed, RAM, graphics card, etc.). “Smaller groups of under 20 may… use the suite of audio and video programs that come native/free on the MacOS (Garage Band for audio and iMovie for video).” For larger groups, consider software such as:

Audio:
- Pro Tools (Avid)
- Logic Pro (Apple)
- Cubase
- Nuendo
- Adobe Audition (from the Creative Cloud suite)
Video Software
- Final Cut Pro (Apple)
- Adobe Premiere (from the Creative Cloud suite)
- Media Composer (Avid)

For other software options, see Kathleen Hansen’s “Virtual Choir Programs, Apps, Tips, and Resources.”

IS SINGING VIRTUALLY WORTH IT?

Every conductor I have interviewed has given this question a resounding “Yes!” The feedback of singers around the nation has been overwhelmingly positive, grateful for the opportunity to connect and make music together.

Tori Longdon observes, “It is a great gift to take the time to listen to yourself sing and to get to know your own voice rather than constantly being a small cog in a big wheel…so you’re in a better position when you go back into live music making. “

Meg Davies mentioned research done with the University College London during Eric Whitacre’s Virtual Choir 5. Virtual choir participation “improves your self esteem,” Meg reports. “It’s great for improving the quality of your individual performance!” There are also social benefits, connections to be made with others around the world.

This is a time of learning and experimenting. While taking a break is the right choice for some and should be supported, forging ahead with technology can yield new, beautiful benefits that will enrich lives now and in the future.

In recent years, Rebecca Lord has served on the choral/vocal faculty of Brigham Young University-Idaho and as Associate Director of Choral Activities at the University of California, Los Angeles where she earned MM and DMA degrees under the tutelage of Donald Neuen. She also served as Chorus Master for Arizona Musicfest and Assistant Conductor for the Hour of Power choir. She has a background as a professional violinist, soprano, dancer, and actress. Dr. Lord is temporarily teaching part-time, as she is enjoying being a new mother.

REFERENCES

Craig Hella Johnson (Founding Artistic Director, Grammy Award-winning Conspirare Company of Voices, Music Director, Cincinnati Vocal Arts Director, Professor of Practice, Texas State University), phone interview with Rebecca Lord, August 28, 2020.
Dianne Berkun Menaker (Founder and Artistic Director, Grammy Award-winning Brooklyn Youth Chorus), phone interview with Rebecca Lord, July 14, 2020.
Glen Bourgeois (Collegiate Singers Member & Music Technology Student Leader, Brigham Young University-Idaho), e-mail to Rebecca Lord, July 11, 2020.
Hansen, Kathleen, “Virtual Choir Programs, Apps, Tips, and Resources,” docs.google.com, accessed August 30, 2020, https://docs.google.com/document/u/0/d/1QK-PVHsBMGDT5RCx258rMFw1Aww4yGV8YkmHjXPrrsc/mobilebasic.
Jackson McDonald (Audio Editing Team and Choir Member, Hour of Power), phone interview with Rebecca Lord, June 29, 2020.
Lord, Rebecca, “Top 2020 Choral Solutions During the Pandemic: A Fast Track to Success,” Choralnet.org (blog), August 19, 2020, https://choralnet.org/2020/08/top-2020-choral-solutions-during-the-pandemic-a-fast-track-to-success/.
Marc Riley (Musical Director/Orchestra Conductor/Arranger, Hour of Power Orchestra), e-mails to Rebecca Lord, May 28, 2020 & July 28, 2020.
Mark Warshaw (President, MJW Productions; Video Production Team, Hour of Power), phone interview with Rebecca Lord, August 21, 2020.
Meg Davies (Associate Manager & Producer, Eric Whitacre), Zoom interview with Rebecca Lord, July 13, 2020, e-mail to Rebecca Lord, July 27, 2020.
Michael Wu (President, American Choral Directors Association Maryland/DC Chapter, Artistic Director, Strathmore Children’s Chorus, Conductor, Landon School, Bethesda), phone interview with Rebecca Lord, July 7, 2020 and e-mail to Rebecca Lord, July 6, 2020.
Nina Revering (Founding Artistic Director, Illumine), phone interview with Rebecca Lord, August 27, 2020.
Randall Kempton (Director of Choral Activities, Brigham Young University-Idaho), Zoom interview with Rebecca Lord, July 8, 2020.
Rimple, Chris, “Remote Band Rehearsals,” docs.google.com, accessed August 30, 2020, https://docs.google.com/document/d/1smcvsxdaaViPQvGMQHmah_6BQeqowhmGSFMHfnlY2FI/edit?fbclid=IwAR2lmQ9kf-23mFeZ2fXlTWl1sOwNYfbiMnIyOxzUm1bKytZfs6WrbEtrnpI.
Thea Kano (Artistic Director, Federal City Performing Arts Association, Gay Men’s Chorus of Washington, DC), Zoom interview with Rebecca Lord, July 8, 2020.
Tori Longdon (Co-Founder, Stay at Home Choir), Zoom interview with Rebecca Lord, August 21, 2020.
Tyler McNiven (Production & Media Manager, Brigham Young University-Idaho Department of Music), e-mails to Rebecca Lord, July 10, 12, 22 & 25, 2020.
“WACDA Task Force COVID-19 Report – Tech Resources,” Western Division American Choral Director’s Association, WDACDA, accessed August 30, 2020, https://docs.google.com/spreadsheets/d/18Akv7xLPBFtfN4l-YkBbSbuu8hA8q2wn4f89Cv5hudE/edit#gid=0

The Non-auditioned Choir: Dealing with Divas

August 26, 2020 by From Our Readers 2 Comments

By Pat Guth

Every choir has them. The diva, divo, prima donna, egotist…whatever you prefer to call them. Whether you’re waving your arms in front of a choir of professionals or tending to an ensemble of amateurs, you’ve no doubt come across at least a singer or two who views himself/herself as superior to others in the group.

My first memory of one of these puffed-up creatures was some 40 years ago at my very first music ministry job in a tiny church in a Philly suburb. Technically, this person wasn’t even in my choir. Usually, she felt herself only worthy of doing solos, especially O Holy Night on Christmas Eve!. It was below her to sing ordinary anthems on Sunday mornings, especially if there was a chance that she wouldn’t shine through.

I was young and didn’t know how to handle her or was too afraid to make waves, so I let it go. The behavior continued through my tenure there – some 6 years or so – and likely went on through the next several directors, who tended to be young people currently in or just out of college.

But I’ve learned a lot in 40 years!

Is she/he a good diva or a bad diva?

As the director of a non-auditioned choir, I figured the diva issue wouldn’t be a big one for us. And it hasn’t been. However, my women’s chorus – which is very well-known in our region – has seen its share of wannabe stars in its nine years of existence. Sadly, whenever they arrive, they can be some of the most destructive forces in our ensemble.

I’ve observed that there are two types of divas:

The first is the singer who truly is a wonderful vocalist but feels the need to let everyone else know that he/she is superior to others. I had one at the beginning of our choir journey and another fairly recently, both of whom caused alarming problems amongst the general population. We’ll call this diva Type 1.
The second is the singer who really isn’t that talented but thinks he/she is far better than the rest of the choir or section and, as such, believes she/he should strive to be a “vocal leader”. This means singing as loudly as possible and other assorted annoying behaviors. We’ll call this diva Type 2.

Each of these types needs to be handled differently, but they definitely need to be handled as soon as you – the director – recognizes they are stirring the proverbial pot.

Making the call

Let’s just start by saying I hate calling people and confronting them about a problem. Many of us do, but I feel like I have more phone anxiety than most. So, the easy way out these days, of course, would be to send the diva an email outlining the problem and presenting ideas for solutions. But that really isn’t the best road to take. Emails show no emotion, lack vocal inflection, and are easily misconstrued. There’s no better way to elicit hurt feelings than by sending a loaded email.

Let me add, however, that my goal is never to encourage the diva to leave the choir. I pride myself in the fact that I can figure out a way to get along with most people and I’m pretty good at problem solving, too. So, I approach issues with Type 1 and Type 2 as if I’m just trying to figure out a way that they can meld better with the rest of the choir population. I don’t want anyone to leave nor do I want them to feel as if I’m asking them to go.

Anyway, be sure to get that call set up as soon as possible. Find a time when you can speak uninterrupted and unhurried. (Before or after rehearsal is never a good idea because someone else always arrives early, stays late, or simply must talk with you!) Once you’ve chosen a time, stick to it and take some time beforehand to prepare what you’ll say.

Handling Type 1s

For Type 1s, the talented diva, I always begin the phone call with compliments, when possible. Then I ask if they realized our group was non-auditioned when they chose to join. Most have said “yes” but it’s what they say afterwards that will dictate how you proceed.

My first Type 1 was a professional, degreed singer. Her grandmother had been in my very first church choir so I had a special place in my heart for her. I found out about 6 weeks into our first season that she was being verbally abusive to other section members, correcting notes, complaining about their chatting, and – in general – trying to be the unappointed section leader. (We didn’t and still don’t have section leaders.)

Thankfully, one of my members alerted me to the problem and told me that others were planning to quit if I didn’t rein her in. So, I initiated a phone call and after exchanging pleasantries, I let her know directly but kindly that I was aware that her behavior was making many singers uncomfortable. Her reaction? She told me she was just trying to help, slammed down the phone (well, not really because you can’t do that anymore), and returned her music and uniform. That was the last I saw of her.

I thought that was too bad because I believe there’s a place for the confident and skilled singer in a non-auditioned choir. With the right attitude, she could have been a great mentor to others not as experienced in singing but, instead, she chose to be offended and we never saw her again. Many were relieved. I suppose I was too but also a little bit sad because – ever the teacher – I felt as if she had missed a good opportunity.

Since then, I’ve had other similar personalities who I might classify as Type 1 divas. Some met a similar demise but others have turned their superior attitudes to that of being the helpful, more experienced chorister who nurtures others, recognizing that if they wanted to remain part of our group they may want to rethink their position.

Still, another few left when they realized that perhaps we – a non-auditioned chorus – were not the right vehicle for their choral expedition. They went on to find choirs that were a better fit…and that’s fine.

Handling Type 2s

In many ways, the Type 2 diva is more difficult to tame because they tend to have an inflated opinion of themselves that is unwarranted…and they really don’t want to hear otherwise.

I had one of those in my ensemble a few years after we started singing together. She had sung in numerous barbershop-style choirs where competition was everything. As such, she believed that’s what choir was all about so, from the beginning, she strived to prove she was the best and forgot about the joy of singing together.

As we are a large choir, I don’t always notice when someone is out of their seat and sitting someplace else, especially near the beginning of the year. But I found out a few weeks into the season that this eager chorister was moving her fellow second sopranos from seat to seat, declaring that she had to put those who “couldn’t sing” next to those who could.

Imagine how offensive that must have been for those deemed a “bad” singer by this misguided soul! I must admit, I blew my top a little with that one – we’re all human – and she chose to leave when I let her know that her section mates were not at all pleased with her behavior.

She was the same person who often questioned me and my techniques or methods – out loud – during rehearsals.

“Aren’t you going to fix that?” “Are you EVER going to add dynamics?” “I think the (insert other sections) don’t know their part.” “My other choir director did it this way, etc., etc.”

That only added to the bitter feelings others felt towards her so I knew it had to be addressed quickly. And it was.

Protecting your (ordinary) choir members from the divas

I like to think my adult women can take care of themselves, but singing is very personal, and singers – especially the ones that aren’t so confident – are so vulnerable to the criticisms of others. That makes it necessary to address potential diva-related situations before they arise, if possible. (Of course, I don’t refer to them as diva-related situations, simply “ways we help each other.”)

So, each season – or a few times per season, if I feel it necessary – we have “the talk.” During this dialogue, we talk about what singing means to us, how it brings us together, and how singing in a choir should be an option for everyone, regardless of experience or skill level. I allow others to chime in, if they wish.

Then, I talk about what it means to be part of an all-volunteer, non-auditioned choir and what constitutes respect for one another’s talents. It’s okay to offer help, for example, but there’s a right way and wrong way to do it. It’s okay to let me know what someone is struggling, but do it out of earshot from others. It’s fine to get frustrated, but let me try to fix it before you decide it’s not worth your time to stick with us.

The dynamics of a non-auditioned choir are far different from one with trained, impeccable voices that rarely make mistakes and take plenty of time to practice at home. For many of my women, choir is simply a much-needed outlet – one that whisks them away from the problems at work, the frustrations of a bad relationship, or the loneliness of a life without family. And, of course, they love to sing, too.

I’m adamant that each one of my choir members deserves a comfortable, welcoming place to sing. That’s why we strive to be a diva-free zone and why I enlist everyone to be part of the solution and to do what’s necessary to make our rehearsals and performances judgement-free.

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