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One from the Folder: Weekly Repertoire Thoughts for Women’s/Treble Choirs

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Week 9: Friday, May 18, 2018

“I Started Out Singing” by Jocelyn Hagen
Text by Naomi Shihab Nye
3pt Treble, piano (or piano & string orchestra)

This selection by Jocelyn Hagen, with text by Naomi Shihab Nye, is an excellent choice for your beginner and intermediate treble/women’s ensembles. It can also be a great option for district pyramid concerts as a way to involve your elementary and upper voice feeder choirs, or as a collaboration with your string-orchestra counterparts. With my college students, it was part of a themed concert titled “Stories, Songs, and Dreams,” and was a tutti selection that successfully combined my beginner, intermediate, and advanced ensembles.

Naomi Shihab Nye’s text begins simply, then evolves into a deeper look at the growth we experience, and the journeys we take. Given the title and subject matter, it is perfect for Music In Our Schools Month MIOSM, or any concert sequence/theme where you want to pointedly share the joy and beauty of song with your audience, while still giving your students something with depth to discuss in rehearsal.

Jocelyn Hagen’s musical setting is lean, yet powerful. There is movement and energy in the accompaniment, which underscores the initial unison vocal line with life and joy. The opening unison later blossoms into two parts, with the lower divisi being an echo of the melody line. It then continues expanding into three parts for the end of the selection. The closing line emphatically restates the first line, in each voice – “oh yes, oh yes, I Started Out Singing,” bringing everything full circle. The text setting is clear and clean, with plenty of chances for good diction and concise phrasing, even with a large festival ensemble or massed group of different ages. Ample opportunities exist for evocative changes in tempo and dynamics, continuing to support the character of the text.

Voicing is listed as “3pt treble,” but don’t let that scare you off for a beginner group – the song is primarily unison or 2pt/echo, with one limited section of 3pt at the end. If you are involving younger or less experienced choirs (i.e. for a pyramid concert), they can sing the melody line of the 2pt, while your older singers take the echo. For a more experienced group, this could be a quick read in terms of pitches and rhythms – primarily quarters and eighths, some syncopation, all diatonic and perfect for solfege (except for one fi). There are a few 7/8 measures, but everything else is 4/4 with the occasional 2/4 or 3/4. Ranges are the same for all, save for two F5s at the end for those splitting to the highest of the 3pt split. Tessitura stays within the staff for all voices.

In terms of accompaniment, this song has two versions – choir + piano (in Db Major), or choir + piano & string orchestra (C Major). Choristers use the same scores for either version and sing down a half-step if with orchestra.

This selection can fill many needs in a program – a “more than unison, but less than full 3pt” option for your younger group, an energetic opener or closer for your pyramid concert, a celebratory “song about singing” piece for your MIOSM program, or a collaborative experience with the string students at your school. It’s also a work by both a living woman composer and living woman author, with a distinct yet relatable text that could certainly be an opportunity for cross-pollination with creative writing, and a “let’s talk about what these words mean as a poem” opportunity in the rehearsal room.

Title:I Started Out Singing
Composer:Jocelyn Hagen
https://www.jocelynhagen.com
Date of Composition:2008 (piano), 2013 (orchestration)
Text Source/Author:Naomi Shihab Nye
https://www.poetryfoundation.org/poets/naomi-shihab-nye
Subject(s):singing, song, music, journeys, growth
Language:English
Listed Voicing:3pt treble
Voicing Details:Primarily unison and 2pt, with limited measures of 3pt at the end
Ranges:C4-Eb5 (F5)
Ranges are the same for all parts, except for some F5s in the top divisi at the end.
Accompaniment:Piano, or piano & string orchestra
Duration:~3:40
Tempo:MM=116 (Exuberant), 80 (Freely), 144 (Faster)
Commissioning Ensemble:In honor of Teresa Benjamin, for the Robbinsdale All-District Elementary Choir, Patti Arntz, conductor, 2008;
Orchestrated for the Robbinsdale Armstrong and Cooper High School Women’s Choirs & Orchestras, 2013
Publisher:Graphite Press GP H011
Further descriptions and details, including notes, audio, perusal score, and purchasing:
https://www.graphitepublishing.com/product/started-singing/

Until next week!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email: Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

One from the Folder: Weekly Repertoire Thoughts for Women’s/Treble Choirs

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Week 8: Friday, May 11, 2018

“Shenandoah,” arr. Howard Helvey
Traditional American folk song
SSAA divisi, a cappella

If you are looking for close harmonies, flowing phrases, and a wide range of dynamics, this arrangement of the traditional folk song “Shenandoah,” will not disappoint. My “small-but-mighty” auditioned ensemble (12-14 singers) performed this selection last fall, and fell in love with it. That group really enjoys the challenge of tight vertical harmonies and one- or two-people per part, so this arrangement has become a favorite of theirs. Stacked/vertical harmonies abound in this arrangement, giving the ensemble a chance at 4-, 6-, and 8-part divisi, without numerous independent melodic lines to manage.

The first verse (“O Shenandoah…”) begins in E Major, unison, and then expands into two-, then four-part vertical harmony. All the pitches in this verse are diatonic, so solfege is a great tool to use here. All rhythms are half, quarter, or eighth notes. This verse could be sight-read by an advanced-reading-level ensemble, or be perfect for “at-level” transfer of music literacy skills for an intermediate-reading-level group.

The second verse (“I long to see…”) moves to C Major, still primarily diatonic with one added fi.  The S2s have a lovely moment on the melody, with counter melody/harmony from the S1/A1/A2s. The first divisi beyond four-parts happens on “we’re bound away” – where additional vertical harmony notes are added for a 6-part chord. Outside of melody vs. harmony, there is still minimal independence of lines.

For the third verse (“Tis sev’n long years…”), the melody moves around from part to part, phrase by phrase. This is an excellent teaching opportunity for helping singers recognize when they do and don’t have the melody, what role they play in the harmony at a given point, and how that all affects the balance of voices in an ensemble. Harmony expands on this verse beyond strictly diatonic to include more altered pitches, which makes solfege trickier, but the tight dissonances are well worth the work. The “we’re bound away” on this verse layers and builds to a beautiful, rich, 8-part fermata. Especially if you are in a resonant performance space, that phrase can give you chills.

After another lovely motivic series of ebb-and-flow building to 8-part vertical harmony, the song closes softly and calmly with a clean, clear, C major chord. All in all, a beautiful-yet-accessible setting of the familiar tune, with a style that really brings out the best in your treble voices.  

Title:Shenandoah
Source:Traditional American folk song
Arranger:arr. Howard Helvey (http://howardhelvey.com)
Date of Arrangement:2015
Subject(s):Folk song, Americana
Language:English
Listed Voicing:SSAA divisi
Voicing Details:SSAA div to 8 vertical harmony
Ranges:S1: B3-A5
S2: B3-E5
A1: G3-C#5
A2: F3-C#5
Accompaniment:a cappella
Duration:~3:15
Tempo:~56, 60, 63. Expressively.
Publisher:Heritage Music Press 15/3239-H3
Further descriptions and details, including notes, audio, perusal score, and purchasing:

https://www.lorenz.com/choral/school/shenandoah-8    

Until next week!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.

Email:
Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

One from the Folder: Weekly Repertoire Thoughts for Women’s/Treble Choirs

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By Guest Contributor: Dr. Meredith Bowen

Week 7: Friday, May 4, 2018

“Alma Redemptoris Mater” by Chiara Margarita Cozzolani, ed. Meredith Y. Bowen

Text: Marian Antiphon

SA and continuo

17th-Century Italian convents were hotbeds of musical activity, housing internationally renowned composers, singers, and choruses. One of the thirteen known composers of early modern music, Chiara Margarita Cozzolani (1602 – ca.1678), was a choir nun and composer who resided in the Convent of Santa Radegonda in Milan, Italy. Like many young women from wealthy families, she professed her vows at age 18 ­and lived her entire life behind the stone walls and iron grates of the convent. She composed and published four volumes of music between 1640 and 1650 of which two exist. The volumes that survive contain forty pieces including psalm settings, antiphons, motets, two Magnificats, a Mass, and eight dialogues with various voicings; twenty-five of which have voicings for tenors and/or basses.

“Alma Redemptoris Mater” is a Marian antiphon from Cozzolani’s 1642 volume of music. It was probably sung at the office of Compline, a service of prayers at the end of the day. The performance would have taken place in the chapel with the nuns singing and playing behind a wall or iron grate to obscure their faces from the public.

Marian antiphons are hymns focused on the Virgin Mary, used both in devotional and liturgical settings in the Catholic, Eastern Orthodox, Anglican, and Lutheran churches. The text and translation of “Alma Redemptoris Mater” is as follows:

Alma Redemptoris Mater,
quae pervia caeli Porta manes,
et stella maris, succurre cadenti,
Surgere qui curat, populo:
tu quae genuisti natura mirante,
tuum sanctum Genitorem
Virgo prius ac posterius,
Gabrielis ab ore sumens illud Ave,
peccatorum miserere

Loving Mother of the Redeemer,
Who remains the accessible
Gateway of Heaven and star of the Sea,
Give aid to a falling people
That strives to rise;
O Thou who begot thy holy Creator,
While all Nature marveled,
Virgin before and after
Receiving that “Ave” from the mouth of Gabriel,
Have mercy on sinners.

The music is organized and highly influenced by the text. Each line of the text has a different musical character often delineated by meter or tempo. A hallmark of early modern music, the meters are contrasted between common time and triple time. Cozzolani develops each section with sequences and imitative duet textures. The harmonic language is simple until the final section, which becomes highly chromatic on the text “Have mercy on sinners.”

Originally scored for soprano, bass, and organ, this edition seeks to restore the music from the original published copy for an authentic performance. The edition retains the key and time signatures but transposes the bass up an octave, and in some cases, two octaves. The figured bass has been realized. For the most authentic sound, an organ or harpsichord should be used as well as a cello and/or double bass to complete the continuo consort. If you do not have an organ or harpsichord, a piano will do. The nuns used whatever instruments they had available to them.

This piece lends itself to groups of all ages and sizes. It’s been sung by children’s, high school treble, collegiate treble and mixed, and community treble-clef choruses and is on the program for the 2019 All-Eastern NAfME honor choir. The most challenging aspects of this piece are the tempo and meter changes. I’ve found success in having the singers step to the pulse while learning each section so that they internalize duple verses triple. The challenge lies in conducting the changes.

Cozzolani’s “Alma Redemptoris Mater” is just one of about 350 pieces written by nuns in the 17th-century. Their music was hidden away in libraries until the 1990s when musicologists began looking for historical women composers. Most of the pieces have been collated, modernized, and reside in volumes available in academic libraries across the world. Those editions are simply a transcription of the original printings. Candace Smith from Bologna, Italy, has created 48 restorations for her women’s ensemble, Artemisia. She and Bruce Dickey sell editions of the original printings and restorations. You can find them here. Additionally, Boosey & Hawkes and Hal Leonard have a number of other editions in Doreen Rao’s Choral Music Experience “In High Voice” series edited by Sandra Snow. Raffaella Aleotti’s “Miserere Mei Deus” and Cozzolani’s “Ave Regina Caelorum” edited by Kristina MacMullen are available. Sulpitia Cesis’s “Stabat Mater” will be available this summer.

 

Title:Alma Redemptoris Mater
Composer:Chiara Margarita Cozzolani, ed. Meredith Y. Bowen
Date of Composition:1642, ed. 2015
Text Source/Author:Marian antiphon
Date of Text:11th Century
Subject(s):Hymn to Mary
Listed Voicing:SA and continuo
Voicing Details:SA in counterpoint and parallel motion
Ranges:S: D4 – F5
A: G3 – Eb5 (opt. F3 and G5) the bass line doubles the Altos at the octave for extra support on the low notes
Accompaniment:Keyboard instrument and bass clef instrument – preferably organ and cello
Duration:~4m
Tempo:Vacillates between 76 and 160
Series:Doreen Rao’s Choral Music Experience, In High Voice series
Publisher:http://www.halleonard.com
Further descriptions and details, including composer’s notes, audio, perusal score, and purchasing: Recordings are available here and here. For more information about the background or process of restoration, check out the February 2018 (Volume 58, number 7) Choral Journal article.

 

Dr. Meredith Y. Bowen is the Director of Choral Activities and assistant professor of Music Education at Radford University in Radford Virginia.

Email:

Bio: meredith-y-bowen.com

 

For a listing of all current and past blog entries in this series, click here.

For a spreadsheet of all blog posts and their repertoire, click here.

 

One from the Folder: Weekly Repertoire Thoughts for Women’s/Treble Choirs

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Week 6: Friday, April 27, 2018

“Riu Riu Chiu” arr. Erica Phare-Bergh
Traditional Spanish Christmas Carol, 16th century villancico
SA, recorder, hand drum

I know it is only April, but I’m jumping ahead to Christmas/holiday music for a week. This arrangement by Erica Phare-Bergh is a wonderful, accessible two-part addition to your holiday catalog. It is the perfect choice for a developing group starting to branch out into two-part repertoire. Or it makes a quick read for an advanced ensemble when you need that one more uptempo selection to top off the program.

I anticipate programming this selection for my intermediate group, for next fall’s closing holiday event. I know they will enjoy a fun, lively selection within the comfort zone of their current reading skills – which then also allows me to push the literacy envelope on a different selection for the same choir.

A traditional Spanish Christmas carol from the mid-1500s, Riu Riu Chiu is an energetic and dance-like selection, with text that outlines the prophesy and fruition of the nativity story.

Ranges are limited to right around an octave for both voice parts – sopranos are entirely in the staff (E to F#), while altos are in the staff and just below (B to B) – nothing too low or too high for either voice.

Both soprano and alto have the chance to function as melody and as harmony, which is especially helpful if using this as an early-two-part teaching opportunity.

The structure of the song is strophic, with four verses and four choruses. The first two verses are in unison, while the third verse is a solo opportunity, and the fourth verse is alto-melody with soprano descant. The chorus material is the same each time, with a short interlude after each chorus for hand drum and recorder (parts available from the publisher). Dynamics are clearly marked, and terraced by phrase.

Rhythms are primarily eighth notes and quarter notes, with the occasional half note or sixteenth. There are some ties, but they usually come up in the same place in each phrase (primarily over the bar line). This could be a successful opportunity for putting early-level rhythmic literacy into practice in the score. Since the selection has no piano accompaniment, there is very little on the page besides pitch, rhythm, and lyrics – which can be a boon when transitioning from rote rhythms, flash cards, and rhythm worksheets to the printed music itself. There is limited “visual clutter” for the students to sort through.

If your students are working on minor-solfege, this is also a good opportunity to incorporate that aspect of literacy. Or, since the melodic material is very repetitive, it can easily be learned by rote.

The challenge of this piece will lie in performing the Spanish text cleanly and clearly with Vivace tempo, energy, and dance-like crispness.

Title:Riu Riu Chiu
Source:traditional Spanish Christmas carol, 16th century villancico
Arranger:arr. Erica Phare-Bergh (http://cypresschoral.com/Composers/Phare.html)
Date of Arrangement:2016
Subject(s):Christmas, winter holiday
Language:Spanish
Listed Voicing:SA
Voicing Details:SA, no divisi
Ranges:S: E4-F#5
A: B3-B4
Accompaniment:Recorder, hand drum
Duration:~2:30
Tempo:140, Vivace
Publisher:Cypress Choral Music CP 1481
Further descriptions and details, including notes, audio, perusal score, and purchasing:

http://larrynickel.com/CypressAudio/Riu.html
http://cypresschoral.com/PDF/SampleCP1481.pdf

Until next week!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email: Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

 

One from the Folder: Weekly Repertoire Thoughts for Women’s/Treble Choirs

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Week 5: Friday, April 20, 2018

“Stepping Westward” by Libby Larsen
Text by Denise Levertov
SAA w div, oboe, handbells, marimba

“Stepping Westward,” composed in 1995, using text by author Denise Levertov from Poems 1960-1967, focuses on pioneer and frontierswomen from the Old West, sharing their tales of sacrifice, hardship, loss, joy, and independence. Larsen’s fascination with women’s views of the West continues from earlier works, such as “Settling Years,” “Songs from Letters,” and “Ghost of an Old Ceremony.” Each of these works studied various aspects of the physical and emotional conditions of women during the westward movement across the American frontier. Larsen once again brings women to the forefront of her composing, dedicating conscious time and effort into the creating of works honoring the women that paved the way in the new frontier of the West. The voices, along with marimba, oboe, and handbells, tell the story of strong West-bound women through their own perspectives, emphasizing the individuality and humanness of the women.

In this work, the opening text is set in the soprano voice, fairly subdued as well as limited in range, with the alto voices, marimba, and handbells providing an almost hypnotic, harmonic support. This changes at m26, when the ostinato ends and all three voices share the text “If woman is inconstant, good.” Larsen goes on to repeat the word “good” a second time and sets both as homophonic accented notes, as if to say Good…Great! The second “good” is also the first time we hear the sopranos move beyond their previously limited range. These compositional adjustments to range, texture, and dynamics positively support the notion of woman as a changing creature, able to adapt to her surroundings as she pleases, instead of keeping within the confines of a pre-established stereotype.

Larsen next supplants the perception of women through compositional changes in tonality. The work is generally in an A major space, though the diatonic triad in that key is rarely sung as a unit. Larsen’s first departure from the amorphous tonality is heard in m116-119, when F major makes a distinct, root position appearance. In this short section, Larsen emphasizes the difference between “glad to be…what?…woman” and “glad to be…who?…myself.” The former asks the question “what (am I)?,” putting the answer of woman on the same footing as an object, a thing. This answer is given as a hushed, subito piano. The latter question, the more personal of the two, “who (am I)?” is answered as myself, set as forte, complete with accents on both syllables in all voices. These changes in tonality and texture underscore the emphasis on women as a ‘who,’ as a person, rather than a ‘what,’ a possession or an object.

In terms of instrumental accompaniment, there is no piano line, though in rehearsal the accompanist could read handbells & marimba in the left hand, and oboe in the right. The oboe line is virtuosic – a strong player is needed. The handbell part works well with five ringers, and could be done by well-practiced students.

The vocal ranges for all parts are fairly concise. There are a brief few notes of soprano solo, and some divisi within the soprano melody line, but not much.

Rhythmically, there are two-against-three rhythms, but these are repetitive and easily grasped. No meter changes, but many tempo changes, based on the text. There are frequent close harmonies, but the motivic repetition of these harmonies eases learning. Some segments are imitative, which can be used in rehearsal to strengthen part independence among singers, without having an entire song which is imitative.

Title:Stepping Westward
Composer:Libby Larsen (www.libbylarsen.com)
Date of Composition:1995
Text Source/Author:Denise Levertov (1923-1997)
Date of Text:1960-1967
Subject(s):Women’s history, courage, perseverance, strength
Listed Voicing:SAA
Voicing Details:SAA, with occasional divisi in S
Ranges:S: D4-F#5
A1: A3-C#5
A2: A3-A4
Accompaniment:Oboe, handbells, marimba
Duration:~6:30
Tempo:120, with flexibility
Publisher:E.C. Schirmer
Further descriptions and details, including composer’s notes, audio, perusal score, and purchasing:

https://ecspublishing.com/choral/stepping-westward.html
https://libbylarsen.com/index.php?contentID=240&resourceID=1125 

Until next week!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.

Email: Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

Some source material for this week’s blog post was taken from my doctoral dissertation, “By Women, For Women: Choral Works for Women’s Voices Composed and Texted by Women.”  https://tinyurl.com/ydeyuyk8

One from the Folder: Weekly Repertoire Thoughts for Women’s/Treble Choirs

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Week 4: Friday, April 13, 2018

“She Who Makes Her Meaning Clear (Gamba Adisa)” by Joan Szymko
Text by Audre Lorde
SSAA div, hand percussion

Commissioned for the 25th anniversary of MUSE: Cincinnati’s Women’s Choir, this song celebrates the amazing power that is present when we recognize our fears, and dare to overcome them. [Over the years, MUSE has commissioned a multitude of exceptional new works for women’s/treble voices, often with a focus on social justice and activism. I encourage you to peruse their repertoire and commission list. This work is also part of a series by composer Joan Szymko called “Dare to Be Powerful: Bold Repertoire for Women’s Voices.”]

The primary text is from Audre Lorde, a self-described “black feminist lesbian mother poet.” Lorde wrote this excerpt in her Cancer Journals while undergoing treatment for breast cancer:

“When I dare to be powerful—to use my strength in the service of my vision, then it becomes less and less important whether I am afraid.”

Additional text is the repetition of the name “Gamba Adisa,” which translates to “Warrior, She Who Makes Her Meaning Clear.” This was the name that Lorde took for herself near the end of her life, in an African naming ceremony.

The work itself is divided into two main sections:

  • a powerful, emotive opening and middle, with multiple vertical/harmonic divisi, and minimal rhythmic independence of voice parts; and
  • a faster, energetic, closing section, with ostinato layers (A2, A3), upper 3pt grouping (S1, S2, A1), and hand percussion.

This piece lends itself to groups of all sizes. The selection was a hit with my small-but-mighty advanced ensemble (12-14 voices, ~one-quarter music majors), and could be as few as one person per part. It has also been done with large honor choirs, including 2013 National Women’s Honor Choir, led by Sigrid Johnson. [However, because of the shifting divisi, programming it for a festival or combined choir that the conductor doesn’t see during the part-assignment phase will take clear pre-planning and communication.]

With minimal chromaticism, the piece is strongly tonal and consonant. The primary learning challenge lies in the initial “who sings which note” aspect of the divisi, and in the changing of meter from 4/4 to 5/4 to 3/2 to 3/4. The metric variations though are tied directly to the text, and flow easily when you look beyond counting the individual beats to seeing the larger phrases. Opportunities abound for a strong ensemble connection to shifting dynamics and tempo/rubato.

The closing section starts quietly, with A3 on an ostinato phrase. A2 joins next, along with hand percussion. S1/S2/A1 form a trio above the ostinato lines, sometimes entering together and sometimes in imitation. This ebbs and flows together for the remainder of the work. (When we learned the piece, this last section is where we initially started, with each section learning their layer individually in the first rehearsal, then coming together that same rehearsal to put the layers together.)

Joan has created a work that is both moving and reflective, and also driving and powerful. In the composer’s notes on her website, she writes that this piece is “Part invocation, part call to action, part celebration.” 

Title:She Who Makes Her Meaning Clear (Gamba Adisa)
Composer:Joan Szymko (www.joanszymko.com)
Date of Composition:2008
Text Source/Author:Audre Lorde (1934-1992)
Date of Text:1982
Subject(s):Courage, fear, warrior spirit, inner strength
Listed Voicing:SSAA w/ divisi
Voicing Details:1st section: Vertical harmony with minimal independence of voice lines – SSA, SSAA, SSAA div, SSA div + small group

2nd section: Multiple stacked lines – SSAAA

Ranges:S1: D4-Ab5 (tessitura: F4-F5)

A3: Eb3(opt. D3)-F4 (tessitura: F3-F4)

Need a solid low alto section

Accompaniment:1st section: a cappella

2nd section: hand percussion

Duration:~4m40s
Tempo:1st section: 70-86

2nd section: 100

Commissioning Ensemble:MUSE Cincinnati’s Women’s Choir, Catherine Roma, Artistic Director, to celebrate 25 years of musical excellence and social change
Series:Dare To Be Powerful: Bold Repertoire for Women’s Voices
Publisher:www.joanszymko.com
Further descriptions and details, including composer’s notes, audio, perusal score, and purchasing:

http://joanszymko.com/works/ind/she-who-makes-her-meaning-clear 

Until next week!
-Shelbie Wahl-Fouts

Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email: Bio:     https://www.hollins.edu/directory/shelbie-wahl-fouts/

For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.

 

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