• Sign In
  • ACDA.org
  • Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar
  • Skip to footer
ChoralNet

ChoralNet

The professional networking site for the global online choral community.

  • Home
  • Blog
  • ACDA News
  • Events
  • Community
    • Announcements
    • Classifieds

Walter Bitner

Off The Podium: SphinxConnect 2020

February 11, 2020 by Walter Bitner Leave a Comment

This past weekend I attended the annual Sphinx conference in Detroit, Michigan: SphinxConnect 2020. This was my fifth year in a row attending “the epicenter for artists and leaders in diversity” and in the years since I first attended in 2016 I have seen it grow from a single continuous series of presentations for about 300 people, to nearly a thousand people (900 in 2019 and the crowd this year seems comparable) picking and choosing sessions from multiple tracks. 

SphinxConnect grew out of the Sphinx Competition, a national competition for Black and Latinx classical string players founded by Aaron Dworkin in 1996. As the Sphinx Organization grew and developed programming beyond the competition, the mission to improve diversity or DEI (diversity, equity & inclusion as I have often heard it labelled) in classical music has grown immensely in every field in the arts and in the world.

There are many reasons that this is my favorite conference to attend, including the focus on a mission that I am passionate about and the many friends I have made who work in similar capacities for institutions from around the country and beyond that I can count on seeing there. But I think SphinxConnect’s greatest strength is in truth its diversity. The great beauty of this conference is that it truly is for everyone who works in the arts, and people from all capacities attend: instrumental musicians certainly: the conference focuses around the competition and there is a full orchestra of Black and Latinx players to perform the Honors concert for the Junior Division Honors Concert on Friday and the thrilling Senior Division Honors Concert that closes the conference on Saturday night.

But also hundreds of others attend: administrators; conductors; composers; funders; artist representatives; graduate, undergraduate, and high school students, parents, friends. Many institutions are represented: major music conservatories, music schools, universities and colleges; community music schools; dozens of symphony orchestras from across the country, large and small; many professional soloists and chamber groups. No other gathering of any kind, none of the others of the many conferences I have attended for professionals in performing arts and music education have anything near approaching the diversity of this conference.

with Eugene Rogers at SphinxConnect 2020

Choral music has been a featured part of programming at at SphinxConnect for several years. Probably the strongest memory I have of choral music at Sphinx was the stunning performance of Joel Thompson’s The Seven Last Words of the Unarmed in 2017, at the closing Finals concert with the Sphinx Symphony Orchestra and University of Michigan Men’s Glee Club, conducted by Eugene Rogers, Director of Choral Activities for the University of Michigan. (He also currently serves on the board of Chorus America and as the national chair of Diversity Initiatives for ACDA.) The Seven Last Words of the Unarmed is a moving choral work originally scored for male chorus, string quintet and piano, then later scored for full orchestra for the premiere at SphinxConnect 2017. Seven movements represent the last words from seven lost lives – the lives of black men killed by police: Kenneth Chamberlain, Trayvon Martin, Amadou Diallo, Michael Brown, Oscar Grant, John Crawford, and Eric Garner. Using the text structure of the Joseph Haydn’s Seven Last Words of Christ, each victim’s last words are set in a different musical style and Thompson incorporates the L’homme armé (The armed man) renaissance French secular tune throughout. The Seven Last Words of the Unarmed has been performed around the country now, and if you are involved in choral music and diversity in any way, you need to learn about and hear this piece.

This weekend I caught up with Eugene after a session, and he shared some thoughts about the conference, and about EXIGENCE vocal ensemble, which he conducts:

SphinxConnect is one of the best gatherings of Black and Latinx artists and leaders in the country. EXIGENCE, a Sphinx vocal ensemble, was founded in 2018 and gathers annually at the SphinxConnect conference. During the conference the ensemble rehearses and performs several concerts in the Detroit-metro area. This year we performed a concert at the Cathedral of the Blessed Sacrament in Detroit (the Archdiocese of Michigan) and at the famed Kirk in Hills Church in West Bloomfield. Our “Vision Unfolding” concerts included an eclectic program of both classical and folk music with the SATB premiere of Joel Thompson’s powerful “Seven Last Words of the Unarmed”.

~ Eugene Rogers

After a stirring closing speech by Philadelphia Orchestra bassist Joseph Conyers, EXIGENCE took the stage for the traditional celebratory performance that ends the last session before the finals concert at SphinxConnect on Saturday night. And by the end of their rousing two song set the audience were all on their feet, clapping and singing along, unity in diversity.

EXIGENCE Vocal Ensemble, Eugene Rogers, conductor performs at SphinxConnect 2020, February 9, 2020, Detroit, Michigan

©2020 Walter Bitner

Walter Bitner is a multi-instrumentalist, singer, conductor, and teacher, and serves as Director of Education & Community Engagement for the Richmond Symphony in Richmond, Virginia. His column Off The Podium is featured in Choral Director magazine, and he writes about music and education on his website Off The Podium at walterbitner.com.

Filed Under: Off The Podium Tagged With: Eugene Rogers, EXIGENCE, Joel Thompson, Off The Podium, SphinxConnect, The Seven Last Words of the Unarmed, Walter Bitner

Off The Podium: How Great is the Pleasure

February 4, 2020 by Walter Bitner Leave a Comment

This lovely eighteenth century canon was a staple of my school choirs’ repertoires throughout my entire teaching career. I came across it in a songbook when I first started teaching at Blue Rock School in the early 1990s, and I believe I taught this to every choir I directed until I left teaching in 2014. I taught it to every age group: elementary, middle school, high school. Over the years, How Great is the Pleasure became a kind of unofficial choir theme song for my vocal ensembles, and although it was not something we often sang in performances (especially with older groups of children), we sang it on a regular basis, often as part of our warm up or to close a rehearsal. I never met a child who did not love to sing this song.

In the songbook that I first encountered How Great is the Pleasure, the song was attributed to Henry Purcell (1659-1695) –  I have seen it so attributed in several sources over the years, both in print and on the internet. Purcell did write many canons – catch singing was a popular pastime in late seventeenth century, and Henry was an enthusiastic participant. He is credited with composing 53 catches, including this rambunctious one which was very popular with my students. But he did not write How Great is the Pleasure  – it was composed about eighty years later by an English doctor who was also an enthusiastic amateur composer.

Dr. Henry Harington (1727-1816), engraving by Charles Turner (click images to enlarge)

Born in Somerset in 1727, Henry Harington studied medicine at Queen’s College, Oxford and became a physician, practiced first at Wells, then eventually settling in Bath in 1771. While he was at Oxford he sang and played he flute, and was a member of William Hayes’ “Club of Gentlemen Musicians”. Clearly Dr. Harington’s enthusiasm for music-making continued even as he developed his medical practice and his social standing within the community (he eventually became mayor of Bath) because beginning around 1780, he published several collections of popular songs. In all he is credited with composing at least 76 glees, catches, trios, songs, and duets. How Great is the Pleasure is to be found in the first volume, A Favorite Collection of Songs, Glees, Elegies and Canons.

 

 

title page of A Favorite Collection of Songs, Glees, Elegies and Canons, c 1780

How great is the pleasure,
how sweet the delight,
when soft Love and Music
together unite.

How great is the pleasure,
how sweet the delight,
when Love, soft Love,
and music unite.

Sweet, sweet,
how sweet the delight,
when Harmony, sweet Harmony,
and Love do unite.

 

The canon I learned as How Great is the Pleasure was actually titled Love and Music, A Favorite Catch for 3 Voices in Dr. Harington’s original. It was printed in two versions on the same page: one for voices in the Key of A, and one “For Three German Flutes of Guitars” in C:

Love and Music from A Favorite Collection of Songs, Glees, Elegies and Canons by Dr. Harington, c 1780

I first encountered this song in the key of A (the original), but pitch standards were lower in the eighteenth century. When I first began to teach this to children, my school choir began at third grade. At modern pitch I found this key (which drove the melody up to an F# on the top line of the treble clef staff) to be a bit too high for some students, so I put it down a step to G, and that was the key we sang it in thereafter. The text we learned was identical to the original with one exception: in the version we learned, the word kind was used instead of the word soft.

Nashville School of the Arts choir students relax in rehearsal, 2013

When I first sang this song with students at Blue Rock School, I did not have access to a piano for my music classes, so I accompanied the students on guitar, if at all. (It’s a simple enough chart in G – just three chords to learn!) Over the years we sang and played it in many versions, with piano or guitar accompaniment or just a cappella. In some classes, when I had student instrumentalists too, we would work up impromptu arrangements for string instruments or recorders – usually these students just playing the canon along with the singers.

My usual – and favorite – way to sing it was to have the entire group sing the canon once through in unison, then, divided into three parts, each section entering until everyone was singing. Often I accompanied this canon on piano, and would stop playing for the penultimate strain – the choir singing the three parts in harmony a cappella – then return to the piano accompaniment for the final strain, ending the canon with a full-voiced fermata on the final half note with all three parts together.

How Great is the Pleasure in G

How Great is the Pleasure PDF (free to download and print)

At Nashville School of the Arts, this song was the first I taught to each new class in the choir program. I began each year with an in-depth review of solfège for every choir, and How Great is the Pleasure was the first piece that students learned to mark and sing on solfège syllables, as illustrated here .

My most touching memory of singing this song was with the combined choirs of NSA, before our performance of seven choruses from Mozart’s Requiem with Music City Youth Orchestra on May 1, 2012. Over a hundred high school choristers in formal dress gathered shortly before we went onstage in a cavernous space backstage at the Tennessee Performing Arts Center. It was a large enough room that we could stand in a circle, and after an initial warm up and a pep talk I divided the group into three parts silently with gestures, and we sang our choir theme song. Truly, how great is the pleasure. I saw looks of wonder on the faces of the parent chaperones who were in the room with us as we sang, and my eyes stung. Beautiful sweet clear voices rose in simple pure harmonies that filled the room and the excitement and immersion of the choir in our experience of being together in that moment was, for me, unforgettable.

It’s a common practice for choir directors to program songs in praise of music itself – it’s a time-honored aspect of “choir culture”. There is something special about the emotion we feel when singing these pieces, songs that acknowledge directly how precious this experience is, texts that allow the choir and those listening to reflect on music-making while we are doing it. How Great is the Pleasure was not the only piece like this that I programmed with my ensembles – notable paeans to music we sang included Händel’s beautiful aria Art Thou Troubled? and O Music, Sweet Music, (also a canon) by Lowell Mason, who is sometimes referred to as the father of American music education. Both of these pieces are fine examples and were beloved by my choirs, but neither had the broad appeal and flexibility that allowed me to bring How Great is the Pleasure to all of my choirs, regardless of age or ability level.

©2018 Walter Bitner

 

Walter Bitner is a multi-instrumentalist, singer, conductor, and teacher, and serves as Director of Education & Community Engagement for the Richmond Symphony in Richmond, Virginia. His column Off The Podium is featured in Choral Director magazine, and he writes about music and education on his website Off The Podium at walterbitner.com.

Filed Under: Off The Podium Tagged With: canon, Henry Harington, How Great is the Pleasure, Off The Podium, Walter Bitner

Off the Podium: Four Practices

January 28, 2020 by Walter Bitner Leave a Comment

FOURPRACTICESWhen I read education articles or discussions of education practices on the internet, a theme that I constantly encounter is classroom management and discipline. Current trends in behavior modification theories and practices have promoted a widespread use of reward systems for social (as opposed to anti-social) behavior that is at odds with my own beliefs about education.

In 1998, our four-year old son was enrolled in a preschool program, and we learned from him one afternoon that at his (church sponsored) preschool they were paying the children for good behavior in play money and on Fridays, allowing the children who had accumulated some “cash” to spend it on toys or candy from the “store”.

My wife and I were shocked at what I still regard as a deeply cynical approach to the education of young children, and withdrew our son from that program immediately.

MUTUALRESPECTOver the years, I have observed methods like this being used with increasing frequency for “classroom management” with little or no regard for what programs like this actually teach children – only for the temporary results they bring for an orderly classroom environment.

These reward programs – no matter what they award: material items, food, stickers, badges in an app, etc. – are extrinsic motivation programs, and are based on the premise that children need to be bribed to behave well because they are neither able nor inclined to cooperate in the classroom activity for its own sake, or in the belief that creating a classroom environment that encourages intrinsic motivation is too difficult or time-consuming.

ATTENTIVELISTENINGNow, I was a music teacher. My early experiences as a performing arts teacher in elementary schools instilled in me a belief that children naturally (with very few exceptions) love to sing and dance and make music, and that if I had trouble engaging my students in class, it was my fault, due to a poor preparation (lesson plan if you must), poor choice of content, an activity that was inappropriate, a poor “read” of the particular situation in class that day – in short, children instinctively wish to engage in musical activity and if they are inhibited in doing so in music class due to their own behavior or that of their peers, it is because the teacher is not being effective.

We all have days when we are not effective, of course – music teachers are human too! But generally speaking…

The Four Agreements

on the set of my Carrollwood Day School production of The Hobbit, March 18, 2003, at the Tampa Bay Performing Arts Center ~ one of the most fulfilling experiences of my teaching career!
on the set of my Carrollwood Day School production of The Hobbit, March 18, 2003, at the Tampa Bay Performing Arts Center ~ one of the most fulfilling experiences of my teaching career

From 1999 -2003 I was the performing arts director at Carrollwood Day School (CDS), a private school near Tampa, Florida. At the time, CDS was a K-8 school with a preschool on a separate campus (it now includes a high school as well) and while I taught there, CDS won a national award for its Character Education program.

There were many aspects to this excellent program (still a vital part of the CDS education and philosophy) but one component that had a profound impact on my own classroom and teaching after I left CDS and found myself teaching in other environments was what were called the “Four Agreements”. These have nothing to do with the personal growth/self-improvement book published in 1997 by Don Miguel Ruiz, as far as I know. The Four Agreements were part of a proprietary methodology called Tribes Learning Communities that CDS teachers and administration had studied before I began teaching there and from whom they had assimilated some of their approach to character education.  These Four Agreements are:

  • Attentive Listening
  • Mutual Respect
  • Appreciation (no put downs)
  • Right to Pass (only used for non-academic discussions)

I will always be grateful to my peers and mentors at CDS for insisting that teaching Ethics was an imperative for all teachers – even in Elementary and Middle School. The current educational climate treats teachers as merely purveyors of content with a shallow appreciation of the long-lasting impact teachers can have on students, and ultimately society.

How I derived the Four Practices

KINDNESSAfter I moved to Nashville in 2003, I worked for nearly four years at a small private school that was struggling to establish itself. Most of the teachers were inexperienced, and reluctant to insist on behavioral guidelines for the students – it was an idealistic young school, and there was a strong idea among the faculty that imposing “rules” on the students would inhibit their “organic” or “natural” development.

However, it was clear to me after some months and many incidents of conflict and unruly behavior at this school that some kind of attempt to introduce the idea of social behavior be attempted, and I took the Four Agreements I had learned at Carrollwood Day School and adapted them to my new environment. Mutual Respect and Attentive Listening were perfectly realized principles, in my opinion, and so was Appreciations/No Put-Downs which I renamed, simply, Kindness. However, the Right to Pass I had always felt to be a speed bump when I taught these principles to students, and found that they chose to apply this principle most often in inappropriate situations. So I struck this from the list and replaced it with Best Effort, a fundamental value for any program attempting to teach excellence as a virtue worth pursuing, and the Four Practices were born.

BESTEFFORTI taught them to my classes and posted them on the wall, and some of my colleagues followed suit. For the last ten years of my teaching career – in the private school where I initiated them and in the public school I taught at afterwards – the Four Practices were an integral part of my students’ experience – they were included in my syllabus every year, posted on the wall of my classroom, and after I had learned the names of all my new students at the beginning of the school year, the Four Practices were the first thing I spoke about to every class, every year.

I would wager, that if one could survey all of the students that I taught in Nashville, and ask them to name Bitner’s Four Practices, the majority of them would give you a 100% accurate response. I referred to them in class, nearly every day, and they were posted on my classroom wall where everyone could see them, every day.

In the public high school environment especially, there is a big emphasis on classroom rules and disciplinary policy. I was required to submit my plan for these to school administration every year. However, I found it much more practical and human to teach these Four Practices and not teach a list of rules to my students.

Teaching students virtues rather than rules can have a life-changing effect on students and your program. I encourage you to try it, despite whatever difficulties you may face in your particular school and student population. You will be arming your students with ideals they can negotiate their lives with, rather than dictating a set of rules with which to get through their classes with you.

I try to live these practices myself. They are not just an arbitrary set of things I think other people ought to do. I truly believe that if everybody practiced these, it would make for a better world.

Here follows the Four Practices, as laid out in my syllabi from the last several years I taught at Nashville School of the Arts:

Four Practices

These are behavioral guidelines that help all of us in our interactions with others. This includes teachers and students alike. Students are expected to strive to practice these in their interactions with the teacher and with each other.

Mutual Respect         

I will treat others with respect at all times and can expect to be treated with respect by others, at all times. ‘Mutual Respect’ is sometimes described as the ‘Ethic of Reciprocity’ or ‘Golden Rule’.

Attentive Listening             

When another is speaking, I listen. Listening means: not talking, not interrupting, not ignoring, and looking at as well as listening to the other. We listen with our whole selves, not just our ears.

Kindness                                                 

Kindness is how we treat ourselves, others, and our environment, every day, and goes even beyond Mutual Respect. The practical rule of application for this practice is “Appreciations and No Put-downs”. Appreciations are what we do; put-downs are what we do not do. Appreciations are things we say to or do for others that make them feel good; put-downs are things that, if said to or done to others, would not. Actions or words that are unkind are unacceptable. An interesting observation about the concept of kindness is that the idea relates etymologically to that recognition that others and I are alike or “of the same kind”.

Best Effort

In all activities and at each moment I will do my best. This applies to my work in class, my preparation for class outside of school, and my interactions with others. By doing my best at all times I can live without regret and feel that my contribution to the community is brought forth from the parts of myself that strive for the highest ideals.

©2016 Walter Bitner

 

Walter Bitner is a multi-instrumentalist, singer, conductor, and teacher, and serves as Director of Education & Community Engagement for the Richmond Symphony in Richmond, Virginia. His column Off The Podium is featured in Choral Director magazine, and he writes about music and education on his website Off The Podium at walterbitner.com.

Filed Under: Off The Podium Tagged With: classroom management, Four Practices, Off The Podium, Walter Bitner

  • « Go to Previous Page
  • Go to page 1
  • Interim pages omitted …
  • Go to page 3
  • Go to page 4
  • Go to page 5
  • ACDA.org
  • The ChoralNet Daily Newsletter

Advertise on ChoralNet

On This Day
May 26

U. S. composer and conductor Ernst Bacon was born in Chicago on this day in 1898.

Would you like to submit a blog post for consideration?

Are you interested in becoming a regular ChoralNet blogger? Please contact ACDA Director of Membership & Communications Sundra Flansburg at .

RSS JW Pepper

  • Community Choir Spotlight: Virginia Beach Chorale
  • Community Choir Spotlight: The Wilmington Children’s Chorus
  • Community Choir Spotlight: The Sycamore Community Singers
  • Community Choir Spotlight: Allegro Choirs of Kansas City
  • Community Choir Spotlight: Turtle Creek Chorale
  • Community Choir Spotlight: The Central Dakota Children’s Choir
  • Community Choir Spotlight: The Women’s Chorus of Dallas
  • Vocal Health Tips: How Choral Directors Can Help Students
  • Community Choir Spotlight: The Mankato Children’s Chorus
  • Pepper Spotlight: The David Johnson Chorus

RSS NAfME

  • Lessons Learned Teaching during a Pandemic
  • NAfME Endorses the Advancing Equity Through the Arts and Humanities Act
  • Using Technology to Enhance Your School Concert
  • Retirement Prep Top Ten Treasures
  • Legislative Priorities for Fiscal Year 2023
  • “My Students Make Almost All of the Musical Choices for the Ensemble” 
  • Six Renowned Conductors to Lead the 2022 NAfME All-National Honor Ensembles
  • Getting the Most Out of Your Band or Orchestra Method
  • NAfME Members Named CMA Foundation Music Teachers of Excellence
  • Three Tips for Teaching Music Online, from Teachers College, Columbia University

Footer

Connect with us!

  • Home
  • About
  • Help
  • Contact Us
  • ACDA.org

Recent Blogs

  • Choral Potpourri/Choral Ethics: The Hills Are Alive With the Sounds of……..Mahler
  • Songs of reImagining: Your Turn
  • Rejuvenating France’s Choir School Tradition: An Interview with Mark Opstad
  • Memorial Day Performance? Keep It Simple!!
  • Finding My Voice with Brittney E. Boykin

American Choral Directors Association

PO Box 1705
Oklahoma City, Oklahoma
73101-1705

© 2022 American Choral Directors Association. All rights reserved.
Terms of Use | Privacy Policy