choral director january 2013

JANUARY 2013$5.00

Survey: Summer Camps & Workshops

The Impact

5%9%

Most

Some

None

Few

20%

66%

Helpful, but not substantial

42%

We see major benefits

18%Not much

impact at all

40%

Yes

19%

81%No

Yes

82%

18%No

MostSome 20%Few 66%None 9%

18% 42% 40%

Exposure to new repertoire

Camaraderie of being around other people who share my interests

Rejuvenation!

New teaching techniques

New vocal techniques

New conducting/directing techniques

Other

20%

18%

18%

17%

13%

11%

3%

24 Choral Director • January 2013

Ah, the brisk and invigorating chill of winter – what better time to turn our

thoughts to what summer has to offer? This recent Choral Director survey asked

readers to weigh in on the latest trends in summer camps and workshops for

both students and educators.

What proportion of your students attends summer vocal music camps and workshops?

of Camps and Workshops

Unfortunately, 75 percent of responding readers indicate that “few” or “none” of their students attend vocal music camps and workshops. Meanwhile, 82 percent of educators in this poll attend camps and workshops for their own profes-sional and musical development, where they gain exposure to new repertoire, camaraderie among like-minded people, and are able to learn new teaching techniques, among other po-tential benefits.

Even though only 18 percent of readers see major impact from camps and workshops translated into their school pro-grams, few would deny the potential for growth and inspira-tion that many of these offerings provide. And yet, economic factors appear to be taking a toll, with a number of respon-dents pointing noting that a lack of funding is one of the pri-mary reasons more students don’t attend.

Read on for the latest trends in these potentially stimulat-ing, rejuvenating, eye-opening – and fun – summertime learn-ing opportunities.

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Changing the Cultureof Professional ChoirsRepertoire Forum:

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Choral Directorsof Note

The 2013Report:

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Choral Director® Volume 10, Number 1, is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781)453-9310, publisher of School Band and Orches-tra, Musical Merchandise Review, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: $20 one year; $30 two years. Rates outside U.S.A. available upon request. Singles issues $5 each. Resource Guide $15 Standard Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/SUBSCRIBERS: Send address change to Choral Director, 21 Highland Circle, Suite 1, Needham MA 02494. The publish-ers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher.Copyright © 2013 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

ContentsFeatures

Columns

6 Guest Editorial: Personality TypesDo you have the ideal personality type for a music educator, and is there even such a thing? Dr. David Snyder looks at the types of people who choose this unique profession, examining results from a recent six-year study on the topic.

10 UpClose: Dale WarlandRecent inductee to the Classical Music Hall of Fame Dale Warland speaks with Choral Director about his prolific career, including the genesis and evolution of the professional chorus in America.

16 Report: Choral Directors of NoteThe eighth annual “Choral Directors of Note” report catches up with exemplary vocal music educators from around the country.

24 Survey: Camps & WorkshopsThis recent reader survey explores the impact of summer music camps and vocal workshops for both students and educators alike.

27 Repertoire Forum: Show Starters and Stoppers John C. Hughes recommends a variety of pieces that work particularly well opening or closing a concert.

3 Opening Notes

4 Headlines

30 Vocal Tip

31 Classifieds

32 Ad Index

Choral Director • January 2013 76 Choral Director • January 2013

These are some of the questions that guided a recent study involving future music teachers. Six different classes of music education majors enrolled in a large Midwestern university were asked to take an online personality survey and then were tracked through graduation. Personality types, as determined by the My-ers-Briggs Personality Type test, were then examined for how they related to choice of major and attrition within the music educa-tion degree program. The hope was to combine these findings with other research done on personality and get a snap shot of what personality types are drawn to teaching choir and further what types persist through graduation.

What is the Myers-Briggs Test?Before sharing the results, it may be helpful to understand a

little about the test used to determine personality type in this and other studies. The Myers-Briggs Personality Type test, based on psychologist Carl Jung’s theory of psychological types, is a common tool used to determine personality type. Subjects com-pleting this test are assigned a four-letter descriptor representing four different dichotomies: Introversion/Extroversion, Sensing/iNtuition, Thinking/Feeling and Judging/Perceiving. The result-ing four-letter descriptor (16 different combinations are possible) describes the subject’s preferred mode of operation when inter-acting with other people. For example, with E types (for extro-verted) the energy flow is outward, and the preferred focus is on other people and things, whereas with I types (for introverted) the energy flow is inward, and the preferred focus is on one’s own thoughts and ideas.

It is not uncommon to hear experienced di-

rectors talk about other music teachers or

student teachers and say things like, “she’s a

natural” or “he has a wonderful teacher person-

ality.” These statements, and others like them,

usually refer to particular personality character-

istics that some people possess in regard to how

they work with young people, their ability to be

in front of others, or how well they can get oth-

ers (particularly children) to follow them. But

what underlying personality traits draw music

students to become music teachers? Is there

a way to define and identify these personality

traits so we can encourage more students with

these traits to join the profession? Are there

other personality types that avoid the music

education field or tend to drop out of music

education programs?

By Dr. David Snyder

Here are four questions taken from the Myers-Briggs Foundation website that you can ask yourself to help determine which of the de-scriptors within the four distinctive dichotomies used in the Myers-Briggs Type test apply to you. • Do you prefer to focus on the

outer world (Extroversion) or on your own inner world (Introver-sion)?

• Doyouprefertofocusontheba-sic information you take in (Sens-ing) or do you prefer to interpret and add meaning (iNtuition)?

• Whenmaking decisions, do youprefer to first look at logic and consistency (Thinking) or first look at the people and special cir-cumstances (Feeling)?

• Indealingwiththeoutsideworld,do you prefer to get things decid-ed (Judging) or do you prefer to stay open to new information and options (Perceiving)? It is important to note here that

the judging type has nothing to do with being “judgmental” nor does the perceiving type refer to being “perceptive” as most understand it. They are simply personality descrip-tors relating to preferences on how decisions are to be made. If you are wondering where you fall within the 16 types presented in the Myers-Briggs matrix, there is a free on-line survey available that can help iden-tify your personality type preferenc-es at: www.humanmetrics.com/cgi-win/jtypes2.asp. The survey takes about 20 minutes to complete. After completing the survey, you can click on a detailed description of your four-letter type and also see career preferences for your type.

Which personality types are most common?

Table 1 is a summary of all the personality types and their frequen-cy identified during this six-year longitudinal study. The table also contains the percentage that each type represented in the sample and the percentage that dropped from the music education program.

The most common personality type identified in this sample of music edu-cation majors was ENFJ (Extravert-iN-tuitive-Feeling-Judging) at just over 30 percent. This percentage was also con-sistent from year to year.What is in-teresting about this 30 percent figure is that only between two and four percent of the U.S. population on the whole is made up of ENFJs. Conversely, the ISFJ (Introvert-Sensing-Feeling-Judging) and ISTJ (Introvert-Sensing-Thinking-Judging) type, which are the two most common types within the U.S. popu-lation (comprising roughly 14 per-cent and 12 percent respectively), are hardly present in this sample of music education students. Whythen thisextraordinarilyhigh

concentration of ENFJs in the music education program? According to the Myers-Briggs’ Foundation website, an ENFJ is a natural born leader who is very in-tune to the needs of others. They are warm, empathetic, responsive, and responsible. They are able to take decisive action when necessary but are highly attuned to the emotions, needs, and motivations of others. They want to help others fulfill their potential. It

is easy to see how these traits would match well with someone intending to direct school-aged students in band or orchestra. Based on the above descrip-tion, one might also expect research to identify a preference for the teaching profession by ENFJs and this study and several others certainly do. Teaching is consistently listed as an optimal career choice for ENFJs.

There are several other studies that, in addition to ENFJ, found ENFP (Ex-travert-iNtuitive-Feeling-Perceiving) types to be very common in music education populations and in public school performing ensembles. Ac-cording to the Myers-Briggs founda-tion, ENFPs are warmly enthusiastic and imaginative and see life as full of possibilities; they are also spontane-ous and flexible, often relying on their ability to improvise and their verbal fluency. Consequently, they do not like performing routine tasks or be-ing under the control of other people. The perceiving personality type also prefers to keep all possibilities open when coming to a decision, some-times waiting until the last possible minute to decide.

Guest Editorial: Personality Types

Do You Have the Personalityfor Teaching Music?

Table 1Personality Types of Music Education Majors from 2006-2011Personality Total Percent of Total that Percent oftype enrolled total dropped those who dropped by type

ENFJ 87 31 20 23ESFJ 46 16 12 26INFJ 42 15 13 31ENTJ 25 9 8 32INTJ 14 5 5 36ISFJ 14 5 4 29ISTJ 13 4.5 3 23INFP 8 3 6 75ESFP 8 3 3 38ENFP 8 3 3 38ESTJ 6 2 2 33ISFP 4 1 1 25ENTP 2 . 5 0 0ESTP 1 .3 0 0ISTP 1 .3 0 0INTP 1 .3 0 0Unkown 5 1 5 100

Total 285 100 85 29.5

Choral Director • January 2013 1716 Choral Director • January 2013

Report: Choral Directors of Note


The 2013

CaliforniaTravis RogersNapa High SchoolNapaYears at current school: 33Total years teaching: 34Number of students in vocal music program: 385

What is your proudest moment as a music educator?

The proudest moments are watching students come from no prior formal choral experience into a knowledge of the skills it takes to sing at a high level of excellence and watching the magic happen when individual singers learn to work together to create, produce, and perform a beautiful sound!

How do you hope to make a difference in students’ lives? I aim to make a difference by instilling the life-

long skills and character traits of respect, hard work, team building, great vocal technique, and, ultimately, beauty through the excellent singing of great choral music. Individual singers have their second “family” in choir as we all grow and learn together and create skills, character traits, friends, and memories that last a lifetime.

What advice would you give to new teachers entering the field of vocal music education?

Go to as many festivals of choral music as you pos-sibly can, observe great choral teachers/directors, and get mentors you can go to for advice and assistance. Never, ever think you know or have all of the answers – there is so much to learn and do to keep a success-ful vocal music education program maintained and growing!

Choral Director’s eighth annual “Cho-

ral Directors of Note” features 13

exemplary directors who were se-

lected by CD staff from nominations

and recommendations submitted by readers,

music educators, choral directors, administra-

tors and staff, industry colleagues, and music

students over the past year. This report serves

to recognize these outstanding vocal music ed-

ucators, who represent a slice of some of the

vibrant, impactful, and thriving people and

programs in vocal music education today.

This edition of the “Choral Directors of

Note” report focuses on these directors’ proud-

est moments, the impact they hope to have on

their students’ lives, and advice for educators

just entering the field of vocal music education.

Hopefully the wealth of information shared

herein will prove inspirational, informative,

or even educational. As Travis Rogers of Napa

High School in California reminds us, “Never,

ever think you know or have all of the answers

– there is so much to learn and do to keep a

successful vocal music education program

maintained and growing!”

MassachusettsMichael DriscollBrookline High SchoolBrooklineYears at current school: 10Total years teaching: 10Number of students in vocal music program: 110

What is your proudest moment as a music educator?I’ve had many proud moments, but here is my most recent

one: One of my high school choirs was scheduled to perform some holiday selections for a community event at a venue where we had never sung before. I had another event I had to attend that was scheduled to end in plenty of time for me to get to our performance. Unfortunately, the first event ended 90 min-utes late and by the time I was able to leave, the call time for my performance had already passed! Knowing that most of my students check Facebook far more often than email, I dashed off a quick Facebook message to the group’s Facebook page tell-ing them to hold on and that I’d be there soon. By this time I was now stuck in rush hour traffic and was delayed further. I finally arrived at the performance venue one minute late for the performance. I ran in the door – to the sound of singing! They had positioned themselves on an unfamiliar stage, warmed up as a group and started the performance without me! As someone who emphasizes teamwork and musical independence, I was tremendously proud of them!

How do you hope to make a difference in students’ lives?I hope that the supportive community environment we es-

tablish in my classes allows my students to feel comfortable pushing their comfort zones and that this will help build their confidence in other areas of their lives. Also, many of my stu-dents are in choir all four years of their high school careers and have noted that choir becomes their “home away from home.” The choir room becomes a familiar place where they can “chill” with like-minded peers – something I think is much needed in the high-stakes pressures of high school life today. Finally, I hope to give my students the tools and experiences that will feed and grow their passion for music, and enable them to become independent, lifelong musicians and enthusiastic supporters of the arts.


Always ask yourself “why?” I’ve found that many young (and old!) teachers tend to teach the way they were taught without asking themselves why they are teaching that way. Why did you choose that set of warm-up exercises? Why did you do them in that order? Why did you choose those particular vowels? Why did you choose that piece? If your only answer is “because I like it” or “because that’s how my teacher did it,” then you need to consider what you are doing more carefully. Be able to give a clear pedagogical justification for everything you do. And finally, continually strive to improve your own musicianship.

MichiganPamela PiersonWest Ottawa High SchoolHollandYears at current school: 11Total years teaching: 37Number of students in vocal music program: 180


I believe the most important things that happen in the choral classroom are the connections that are made be-tween the music, the people you sing it with, and the audi-ence. My proudest moment as a music educator is a collec-tion of moments that occur when the singers take complete ownership of themselves as musicians and react to music making with a sense of inner awareness of themselves, the other singers, and the music they are singing. To experience their investment in the process creates powerful moments of overwhelming emotion and gives great meaning to my musical life.

How do you hope to make a difference in students’ lives?I hope to make a difference in students’ lives by helping

them to understand what they are capable of achieving as they are becoming adults. I hope to allow them to practice being self-assured, purposeful, and intentional in their be-havior. I hope to allow them to find the meaningfulness and joy of giving and how important it is. I hope to give them a space and place where they can be themselves and discover who they are. Through the practice of being a musician, I hope to enhance their spiritual connection to life and help them in their journey to find meaning in life.


Always be mindful that your education is a lifelong en-deavor and that teaching is a humbling experience. Don’t ever expect it to become routine or predictable – the best moments sometimes come when you least expect it and always involve experiencing emotion on a deep level. There is nothing so profound to me as when singers learn to live in the moment and feel/experience the connection between themselves, the music, each other, and their community.

I try to remember that the kids come first. I always try to remember that I am there for kids; the kids are not there for me.

Sometimes, the most important things that happen in your classroom have nothing directly to do with singing, but singing is the vehicle through which they happen. Look for those things and embrace them.

Life is a journey – make sure that you enjoy your time with the kids. “Work” for me is when the kids are gone and I have to do all the other tasks that support what goes on in the classroom.

Spend the large amount of time it takes to find high quality literature that meets the kids’ needs and that you both can engage with on a deep level. It needs to be mean-ingful to the kids to be high quality, engaging, and con-necting.

6

24

January 2013

Cover photo by Gregg Helgeson, Minneapolis, Minn.

10 Dale Warland

“I simply wanted to develop a professional choir that could sing anything and sing it at an incredibly high artistic level.

”

TOC.indd 2 1/15/13 9:18 AM

Choral Director • January 2013 3

January 2013 • Volume 10, Number 1

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Opening Notes

21st-Century Tools of Assistance

If one thing is for sure as we welcome in the year 2013 it is that we can expect to be tempted even more by the latest and greatest innovations that are becoming so commonplace in nearly every facet of American life. From smart phones and SMART boards to new methods of interacting and communicating, technology is changing the way we live, work, and play in some fundamental ways. This can be problematic for many people, especially those who may have found a comfort-

able routine that meets the majority of needs, both person-ally and professionally – the old, “If it ain’t broke, don’t fix it” adage.

On the other hand, while some new technological devices were designed to assist or simplify previous methods of doing things – for example, web management software that makes it easier to create websites, send out notifications, and share photos and video content, or even YouTube, that incredible resource that enables access to so many outstanding perfor-mances and virtually unlimited repertoire – other devices, like, say, portable recorders and iPads and tablets, open up brand new opportunities for instruction, rehearsal, and per-formance.

As iPads and tablet computers become increasingly com-mon in schools as instructional devices, an array of new and exciting applications for music educators have surfaced. Al-though it is still a nascent field of development, apps for music educators are exploding onto the scene, covering everything from serious self-study to instructional games, notation, re-cording, music theory, attendance and record keeping, metro-nomes and tuners, and more.

Still, while those tools may serve to enhance instruction and enable possibilities, it is often noted that there is no sub-stitute for experience. Even as apps and sophisticated new tools may simplify particular tasks and challenges, the role of

mentors, wisdom, and guidance from those who have found success working in the choral settings for years – if not decades – still figures prominently in the “how to make my job easier” category. Perhaps that’s one reason that over 80 percent of the choral directors featured in this issue’s reader survey (page 24) devote a portion of their summers to intensive choral workshops and professional advancement – learning – opportunities.

Also in this issue, and along those same lines, the 2013 Choral Directors of Note report (begin-ning on page 16) features 13 exemplary vocal music educators who share advice and survival tips for those entering the field or looking for encouragement. “The way to thrive in the profession is by enjoying each day with your students,” notes Dan LeJeune of the Blake School in Hopkins, Min-nesota. “Celebrate the little things and don’t allow yourself to lose sight of the wonderful privilege it is to make music with children every day.”

Michael Driscoll, the choral director at Brookline (Mass.) High School, recommends abiding by a well-planned and systematic approach. “Always ask yourself ‘why?’ he counsels. “I’ve found that many young (and old!) teachers tend to teach the way they were taught without asking themselves why they are teaching that way. Be able to give a clear pedagogical justification for everything you do.”

If you have additional survival tips to those mentioned in this issue, share them with your col-leagues through this publication’s official Facebook page: www.facebook.com/choraldirectormaga-zine. Also, it’s never too early to begin nominating the Choral Directors of Note for 2014…

“While those tools may serve to enhance

instruction and enable possibilities, it is

often noted that there is no substitute for

experience.”

®

Eliahu SussmanEditor • [email protected]

Perspective.indd 3 1/15/13 9:10 AM


Headlines

Long recognized as one of Canada’s leading musicians, founder and conductor of many of Canada’s greatest singing institutions Diane Loomer died in December. The recipient of the Order of Canada, Loomer served as director and founder of Chor Leoni Men’s Choir, co-founder and conductor emerita of Elektra Wom-en’s Choir, and founder and conductor of EnChor Chamber Choir. Her compositions for voice have been both published and recorded internationally, and she was often on CBC national radio as spokes-person for the classical arts.

Loomer taught on the Music Faculty of the University of British Columbia and was the first woman to conduct the Na-tional Youth Choir of Canada. In 1990, Ms. Loomer received the Healey Willan Award, given for service to choral music in British Columbia. in 1994, she was named YWCA Vancou-ver’s Woman of Distinction for Arts and Culture; and in 1997 and 2004 received Distinguished Alumni Awards honoring her achievements. In 2002, she was awarded the Queen’s Golden Ju-bilee Medal for her significant contribution to Canada’s culture. Ms. Loomer was appointed by the University of Victoria to the University Women’s Scholar Lecture Series later. In 2005, she was appointed conductor emerita at Dalhousie University. In 2008 she

was named a Paul Harris Fellow to the International Rotary Foun-dation for “tangible and significant assistance for furthering better understanding among peoples of the world,” and in 2010 the Asso-ciation of Canadian Choral Communities presented her with their Distinguished Service Award in recognition of her work promoting choral music in Canada. In 2011 Diane was the recipient of an honorary Doctorate of Letters degree from the University of British Columbia. She is a recipient of the Queen Elizabeth II Diamond Ju-bilee Medal and received an honorary Doctorate of Fine Arts from Gustavus Adolphus College in May 2012.

Remembering Diane Loomer

Brooklyn Music School Hits 100 YearsIn a testament to a neighborhood dedication and genera-

tions’ of hard work, the Brooklyn Music School celebrated its 100th anniversary this past December. The school’s mission throughout: to grant access to the performing arts to anyone.

The Brooklyn Music School has maintained a policy of open enrollment, meaning anyone can reg-ister at any time during class sessions. The school says that more than 200 students every year enroll at the school for music

and dance classes. It was founded in 1912 with the explicit goal of helping “the poor, the blind . . . the handicapped.” By 2009, the school faced mounting difficulties with debt, which it responded to by expanding after-school classes and developing a summer institute that included morning classes and afternoon educational trips. The school’s execu-tive director, Frank Alvarado, also instituted a new program called “Arts Reaching Youth,” designed to instruct children in singing and dance at low tuitions. He says the program has helped the school’s enrollment grow from 100 students per year to over 250 per year, as he’s seen over the last three years.

The music school also rents its 1924 playhouse to theater schools like the Brooklyn Children’s Theater in efforts to raise funds for a projected building restoration.www.brooklynmusicschool.org � �

Berklee Releases ‘Music Careers in Dollars and Cents’

Berklee College of Music has updated its comprehensive di-rectory of salary ranges for U.S. music positions including per-formance, business, audio technology, education, and music therapy. First released in 2010, Music Careers in Dollars and Cents has been revised to keep up with a constantly changing industry. New features include updated salary and job information; and more detailed salary ranges for many positions, such as TV and Film Score Composer, Music Supervisor, and Songwriter/Lyricist. Job titles like Video Game Composer, Film Score Conductor, and Concert Hall Manager that were not included in the previous edi-tion have been added. A flowchart on negotiating a job offer and a resources section that includes professional music organizations and associations are also new, along with artist revenue trends with information from the Future of Music Coalition’s recent survey. The study shows salaries trending upwards for certain positions (Or-chestral Musician, Assistant Professor, Public Relations Specialist), while others are seeing a decline (Commercial Jingle Composer, A&R Representative, Music Education Administrator).

Music Careers in Dollars and Cents also includes an expanded Emerging Career Paths section highlighting current positions that are expected to experience continued growth in the coming years. These titles include Mobile Music App Developer, Social Media Man-ager, Integrated Marketing, Content Acquisition, Audio Advertising Producer, Online Video Music Teacher, and Creative Arts Therapist. In addition to emerging careers, the study covers a broad range of more traditional music-related fields, including orchestral, Broadway, and studio musician – with information on union rates and scales.www.berklee.edu/studentlife/cdc.html

Headlines.indd 4 1/15/13 9:11 AM

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Over 30 years and thousands of trips,Bob Rogers Travel has learned that where you travel with your students isn’t as important as what they’ll bring back – eye-opening experiences and life-changing memories. We’ll welcome you into our family and personalize every detail to ensure that your students return with much more than they packed, whether they travel across the state or around the world.

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These are some of the questions that guided a recent study involving future music teachers. Six different classes of music education majors enrolled in a large Midwestern university were asked to take an online personality survey and then were tracked through graduation. Personality types, as determined by the My-ers-Briggs Personality Type test, were then examined for how they related to choice of major and attrition within the music educa-tion degree program. The hope was to combine these findings with other research done on personality and get a snap shot of what personality types are drawn to teaching choir and further what types persist through graduation.

What is the Myers-Briggs Test?Before sharing the results, it may be helpful to understand a

little about the test used to determine personality type in this and other studies. The Myers-Briggs Personality Type test, based on psychologist Carl Jung’s theory of psychological types, is a common tool used to determine personality type. Subjects com-pleting this test are assigned a four-letter descriptor representing four different dichotomies: Introversion/Extroversion, Sensing/iNtuition, Thinking/Feeling and Judging/Perceiving. The result-ing four-letter descriptor (16 different combinations are possible) describes the subject’s preferred mode of operation when inter-acting with other people. For example, with E types (for extro-verted) the energy flow is outward, and the preferred focus is on other people and things, whereas with I types (for introverted) the energy flow is inward, and the preferred focus is on one’s own thoughts and ideas.

It is not uncommon to hear experienced di-

rectors talk about other music teachers or

student teachers and say things like, “she’s a

natural” or “he has a wonderful teacher person-

ality.” These statements, and others like them,

usually refer to particular personality character-

istics that some people possess in regard to how

they work with young people, their ability to be

in front of others, or how well they can get oth-

ers (particularly children) to follow them. But

what underlying personality traits draw music

students to become music teachers? Is there

a way to define and identify these personality

traits so we can encourage more students with

these traits to join the profession? Are there

other personality types that avoid the music

education field or tend to drop out of music

education programs?

By Dr. David Snyder

Guest Editorial: Personality Types

Do You Have the Personalityfor Teaching Music?

Guest Edit.indd 6 1/15/13 9:12 AM


Here are four questions taken from the Myers-Briggs Foundation website that you can ask yourself to help determine which of the de-scriptors within the four distinctive dichotomies used in the Myers-Briggs Type test apply to you. • Do you prefer to focus on the

outer world (Extroversion) or on your own inner world (Introver-sion)?

• Doyouprefertofocusontheba-sic information you take in (Sens-ing) or do you prefer to interpret and add meaning (iNtuition)?

• Whenmaking decisions, do youprefer to first look at logic and consistency (Thinking) or first look at the people and special cir-cumstances (Feeling)?

• Indealingwiththeoutsideworld,do you prefer to get things decid-ed (Judging) or do you prefer to stay open to new information and options (Perceiving)? It is important to note here that

the judging type has nothing to do with being “judgmental” nor does the perceiving type refer to being “perceptive” as most understand it. They are simply personality descrip-tors relating to preferences on how decisions are to be made. If you are wondering where you fall within the 16 types presented in the Myers-Briggsmatrix,thereisafreeon-linesurvey available that can help iden-tify your personality type preferenc-es at: www.humanmetrics.com/cgi-win/jtypes2.asp. The survey takes about 20 minutes to complete. After completingthesurvey,youcanclickon a detailed description of your four-letter type and also see career preferences for your type.

Which personality types are most common?

Table 1 is a summary of all the personality types and their frequen-cy identified during this six-year longitudinal study. The table also contains the percentage that each type represented in the sample and the percentage that dropped from the music education program.

The most common personality type identified in this sample of music edu-cation majors was ENFJ (Extravert-iN-tuitive-Feeling-Judging) at just over 30 percent. This percentage was also con-sistent from year to year.What is in-teresting about this 30 percent figure is that only between two and four percent of the U.S. population on the whole is madeupofENFJs.Conversely,theISFJ(Introvert-Sensing-Feeling-Judging) and ISTJ (Introvert-Sensing-Thinking-Judging)type,whicharethetwomostcommon types within the U.S. popu-lation (comprising roughly 14 per-cent and12percent respectively), arehardly present in this sample of music education students. Whythen thisextraordinarilyhigh

concentration of ENFJs in the music education program? According to the Myers-Briggs’ Foundation website, anENFJ is a natural born leader who is very in-tune to the needs of others. Theyarewarm,empathetic,responsive,and responsible. They are able to take decisive action when necessary but are highlyattunedtotheemotions,needs,and motivations of others. They want to help others fulfill their potential. It

is easy to see how these traits would match well with someone intending to direct school-aged students in band or orchestra. Based on the above descrip-tion,onemightalsoexpectresearchtoidentify a preference for the teaching profession by ENFJs and this study and several others certainly do. Teaching is consistently listed as an optimal career choice for ENFJs. Thereareseveralotherstudiesthat,

inadditiontoENFJ,foundENFP(Ex-travert-iNtuitive-Feeling-Perceiving) types to be very common in music education populations and in public school performing ensembles. Ac-cording to the Myers-Briggs founda-tion, ENFPs are warmly enthusiasticand imaginative and see life as full of possibilities; they are also spontane-ousandflexible,oftenrelyingontheirability to improvise and their verbal fluency. Consequently, they do notlike performing routine tasks or be-ing under the control of other people. The perceiving personality type also prefers to keep all possibilities open when coming to a decision, some-times waiting until the last possible minute to decide.

Table 1Personality Types of Music Education Majors from 2006-2011Personality Total Percent of Total that Percent oftype enrolled total dropped those who dropped by type

ENFJ 87 31 20 23ESFJ 46 16 12 26INFJ 42 15 13 31ENTJ 25 9 8 32INTJ 14 5 5 36ISFJ 14 5 4 29ISTJ 13 4.5 3 23INFP 8 3 6 75ESFP 8 3 3 38ENFP 8 3 3 38ESTJ 6 2 2 33ISFP 4 1 1 25ENTP 2 . 5 0 0ESTP 1 .3 0 0ISTP 1 .3 0 0INTP 1 .3 0 0Unkown 5 1 5 100

Total 285 100 85 29.5



The Perceiving type in general likes to understand and adapt to the world rather than organize it. The Judging type, on the other hand, prefers a planned or orderly way of life, and likes to have things settled and organized. Both a “J” and a “P” can be organized, but “J”s more often demon-strate this trait outwardly. This factor alone might lead a “J” type to choose a career in the classroom where structure and orga-nization are essential for success. And in fact, of the 285 music education majors in this study, an overwhelming majority (87 percent) was classified as Js.

When looking at the Introversion (I)/Extroversion (E) dichotomy, a similar dis-parity in enrollment rates is revealed. The longitudinal study done for this article found almost twice as many “E”s enrolled as “I”s (183 to 97). The reader may again find this fact rather predictable. Most ex-perienced educators and even the casual observer would tend to describe most teachers of school-aged children as “out-going,” but let us revisit the definition of “extrovert” and “introvert” as given by the Myers-Briggs Foundation:

“Extraversion and Introversion as terms used by C. G. Jung explain different attitudes people use to direct their energy. These words have a meaning in psychology that is different from the way they are used in everyday lan-guage. Everyone spends some time extrovert-

ing and some time introverting. Don’t confuse Introversion with shyness or reclusiveness. They are not related.”

Extroverts like getting their energy from active involvement in events and having a lot of different activities. They are excited when they are around people. Ex-troverts like moving into action and mak-ing things happen. Extroverts often want to talk out loud with others about a prob-lem they are dealing with. Introverts, on the other hand, receive their energy from dealing with the ideas, pictures, memo-ries, and reactions that are inside their own head. They prefer doing things alone or with someone they feel comfortable with. Introverts always take time to reflect so that they have a clear idea of what they will do when they decide to act. When considering these descriptions of extro-version and introversion, the reader can easily see how either set of qualities might be beneficial to a future teacher.

Which personality types drop out?

The overall attrition rate for all stu-dents enrolled in the music education degree program for the four classes that graduated was just under 30 percent. Ev-ery personality trait was represented in this figure but not in equal proportions.

Introversion positively correlated with higher rates of attrition from the music education degree. Over 55 percent of the introverts (24 of the 43 enrolled) dropped out or switched degrees while only 31 percent of the extroverts (33 out of 106) dropped or switched over the same time period. Why did fewer introverts make it through the music education program and go on to be teachers? It is not clear, but a possible reason for this could be that introverts prefer working by themselves and sometimes forget to check their ideas with the outside world. This could poten-tially hinder an introvert’s desire to work collaboratively. Working collaboratively is a key component in most teacher training programs today and a desirable trait for potential school employers.

Students identified with the perceiving trait also had higher attrition rates than those with the judging trait. The find-ings from this research showed that “P”s dropped out of or switched from the mu-sic education major at a 39 percent rate while “J”s averaged 27 percent. One can only speculate at this point on the various factors that may have influenced these students to drop out or switch from the music education program, but the traits associated with the perceiver type person-ality may be relevant here.

When combining the perceiving (P) and the introvert (I) type qualities, for example an INFP or an ISTP, the attrition rate was also high. Fifty percent of the par-ticipants in this study who were both “I” and “P” dropped out or switched majors from music education. Introverts tend to be reflective, reserved and private. In-troverts recharge their batteries by being alone with their thoughts. Perceivers pre-fer an environment that is unstructured, and like to keep their options open when making decisions. Consequently, the in-trovert/perceiver may be drained by being in front of a large classroom of children all day and dislike the imposed structure of their school teaching situation. There are obviously other variables besides per-sonality type that enter into a decision to switch major. But a degree program that puts majors in front of classroom students for practice teaching sessions and requires majors to conform to the cooperating teacher’s classroom structure may adverse-ly affect the introvert/perceiver’s desire to continue in the program.


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Which personalities are drawn to teaching?

Obviously, there is a wide range of personalities represented within music teaching and within the teaching pro-fession as a whole. There are many suc-cessful teachers representing each of the 16 Myers-Briggs personality types, but some types do seem to be attracted to teaching more than others. This and other research shows that certain per-sonality types are drawn to particular majors. The ENFJ (Extrovert-iNtuitive-Feeling-Judging), ESFJ (Extrovert-Sensing-Feeling-Judging) and INFJ (Introvert-iNtuitive-Feeling-Judging) types were the three most common personalities identified in this sample comprising 62 percent of the music ed-ucation majors studied. Each of these personality types has “teaching” listed as one possible career preferences ac-cording to Paul Tieger’s book, Do What You Are: Discover the Perfect Career for You Through the Secrets of Personality Type. This classic text on personality and career choice has been used for many years by career counselors. The beneficial traits for teaching of the ENFJ type such as leadership, empathy to others, decisiveness, and so on, were described earlier in this article, but how do the ESFJ and the INFJ types compare?

The ESFJ is warm-hearted, popu-lar, and conscientious. They tend to put the needs of others over their own needs. An ESFJ feels a strong sense of responsibility and duty and values traditions and security. They are inter-ested in serving others, but need posi-tive reinforcement to feel good about themselves. The INFJ type is extremely intuitive about people. They are natu-ral nurturers; patient, devoted and pro-tective. They make loving parents and usually have high expectations of their children, and push them to be the best that they can be. In the workplace, the INFJ usually shows up in areas where they can be creative and somewhat in-dependent. They have a natural affinity for the arts. INFJs can also be found in service-oriented professions.

A key trait shared by all three of these types (ENFJ, ESFJ, and INFJ) is a desire to serve others or a natural inclination for nurturing. This serving/nurturing

component is obviously a desirable trait for an educator. It is also impor-tant to note that all three types have the “judging” trait which means they desire closure in the decision making process. It simply may be that coming to a de-cision quickly is part and parcel with the teaching profession in general and choir directing in particular. Music stu-dents identified as ENFJ, INFJ, or ESFJ who show interest in teaching probably should be encouraged to pursue this. High school directors with students who fall into these categories may even want to give these students opportuni-ties to try short teaching episodes with peers or younger musicians within the program to see if teaching is a good fit for them.

Regardless of what personality type a potential music director may be, knowing their preferences for inter-acting with the outside world as de-termined by a personality assessment can provide keen insight into who they are as a potential teacher. This can be an effective tool for both future music teachers and educators working with students who are in the process of de-ciding on what major to pick or what career to go into after college. Choir directors often have a strong influence on life decisions made by their choir members including what major to se-lect in college. The study of personality traits through the Myers-Briggs Person-ality Type test can provide important

information and insight for a potential music education major. Hopefully, the information shared in this article can aid in helping all of us understand our preferences for interacting with each other and the world around us.

Resources and Links• The Myers-Briggs Founda-tion, MBPTI Basics, www.myers-briggs.org/my-mbti-personality-type/mbti-basics/• P e r s o n a l i t y P a g e . c om ,“Common Careers for Personal-ity Types,” www.personalitypage.com/careers.html• PaulD. Tieger and BarbaraBaron, Do What You Are: Discover the Perfect Career for You Through the Secrets of Personality Type (New York: Little, Brown and Co., 2007)

David W. Snyder is cur-rently professor of Music Educa-tion at Illinois State University, where he teaches the instrumen-tal methods courses and heads the graduate music education program. He also has been a member of the Peoria Symphony horn section since 1995. Dr. Snyder taught band in the Texas public school system for seven years before completing his Master of Music in horn performance at Southern Methodist University and a Doctor of Music Education from the College-Conservatory of Music at the University of Cincinnati. Dr. Snyder has been published in many major music education journals and has presented at both state and national music education conferences.

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10 Choral Director • November 2012

the CultureChanging

of Professional ChoirsDale Warland turned a love for disciplined, adventurous singing into a leading voice in contemporary music with his Dale Warland Singers. He continues to inspire students and pros alike to this day.

By Matt Parish

UpClose.indd 10 1/15/13 9:15 AM


The first time Dale Warland commissioned a new piece of choral music, he contacted world-famous Jean Berger to write for Warland’s student choir at St. Olaf College in Min-nesota. The well-known composer dedicated the piece to Warland, who was then still an undergraduate who hadn’t a clue that commissions are typically paid. Berger didn’t mind – he was happy to send the promising young conductor a brand new work.

The commission certainly wouldn’t be his last. Dale War-land went on to have one of the most renowned careers in choral music, establishing new arteries of support for profes-sional chorus work with over 270 new pieces of music from composers of all types. His beloved singing group, the Dale Warland Singers, spanned over 30 years in action (1972 to 2004) and 300 members, making unforgettable marks on the classical music landscape. They recorded 23 albums (includ-ing the Grammy-nominated Walden Pond) and appeared worldwide in concert and in annual radio broadcasts of the group’s classic Echoes of Christmas.

Though he ended his career with the Singers nine years, Warland has remained busy with a long list of guest conduct-ing jobs, residencies, masterclasses, positions with profes-sional choirs in Minnesota, and even composing work. Last fall, he was inducted into the Classical Music Hall of Fame alongside composer Steve Reich and the Beaux Arts Trio, among others. It seemed the perfect time to survey Warland’s career and his monumental efforts at establishing a new level of excellence in professional choral singing.

Warland grew up in a very small town in Iowa. His father, a farmer, was a self-taught trombone player, marching band enthusiast, and dedicated choir singer, and his grandfather had been a lifelong member of the local church choir. Warland followed his church’s conductor’s lead and enrolled at St. Olaf College, a lynchpin in the Midwest’s ages-old choral tradition that can be traced back to Scandinavian Lutheran churches. Warland’s leadership and conducting skills quickly earned him his own choir there, which he soon used to commission the Berget piece.

Warland went on to join the Air Force, stationed in Bel-leville, Illinois at Scott Air Force Base. There, he formed a choir that quickly grew in reputation, once performing for then-Vice President Richard Nixon. He earned his master’s degree at the University of Minnesota and his doctorate at the University of Southern California, going on to teach at Hum-boldt State College in Arcata, California and at New York’s Keuka College. He settled in as director of choral activities at Macalester College in St. Paul, Minnesota.

The Dale Warland Singers began at a time when profes-sional choirs were not a common part of the arts world. Eventually, the idea caught on, thanks in no small part to the excellent sound of his developing choir. The Singers were described in the most glowing terms possible. BBC Music Magazine wrote their December Stillness album was “splen-did, melting stuff.” The Oregonian called the group “peerless.” The group’s sound, which was fine-tuned year-after-year to a nuanced, rich, and beautiful wholeness, became almost in-

stantly recognizable.It paid off in accolades – on top of the Hall of Fame honor,

Warland and the singers enjoyed the Michael Korn Founder’s Award, three separate ASCAP honors for adventurous pro-gramming, the ACDA’s Weston Noble Award for Lifetime Achievement in Choral Music and Robert Shaw Award in Choral Music, Yale University’s Cultural Leadership Citation Award, the American Composer Forum’s Champion of New Music Award, and many more. It also earned the respect of the choral community at large. The Singers performed works by composers like Stephen Paulus, Robert Shaw, Kryzsz-tof Penderecki, Libby Larsen, Carol Barnett, and Dominick Argento. They’ve also worked with conductors like Edo de Waart, Leonard Slatkin, Hugh Wolff, Bobby McFerrin, and David Zinman, among many others.

Throughout, Warland has remained humble, maintaining strong ties to the Minnesota arts groups that nourished him early on. Choral Director took time to talk with him from his home outside of St. Paul this winter about the careful road he’s followed on this one-of-a-kind musical career.

Choral Director: Growing up in Iowa, you must have had a pretty limited exposure to large choral performances.

Once you believe in something and you can do it well, you’ll eventually gain support by people who are sensitive to those kinds of things.“ ”



Dale Warland: I grew up on a farm in Iowa, approximately six miles from Fort Dodge and about three miles from Badger. Badger was a little village of some one hundred people. It was our community and most of our social life centered in and around the Lutheran church there. I went to a one-room country school house through eighth grade and, for most of that time, I was the only one in my class. We sang every day and that was something that became part of my life.

CD: You’ve mentioned being inspired by the St. Olaf Choir, which your church’s choir director had attended. How did getting involved with their program affect your career?

DW: My life dream was to become a member of the St. Olaf Choir, but I never made the final cut. In my junior year, I was appointed assistant direc-tor of the Viking Male Chorus on campus and that really launched my conducting career. My senior year, I was the only conductor and did all the programming and rehearsing and touring. It was a great experience. I had my own college choir when I was 21 years old.

CD: Did your interest in both Early Music and 20th-Century Music be-gin to develop at that time?

DW: I was pretty interested in New Music very early. In fact, when I led the Viking Male Chorus as a student, I heard a work by Jean Berger, who was very famous in his day. I wrote him a letter, never having met him, and asked if he would write a piece for my Viking Chorus. He did. I never knew that you paid a composer, so he did this com-mission for nothing. It turned out that it was his first commission in the United States! He was a refugee, hav-ing fled the Nazis and coming to the United States by way of South Amer-ica. It was his first commission in the United States, but without pay! That’s how naïve I was. I just asked him and he wrote the piece. That’s what you do when you’re naïve and don’t know any better.

CD: A major theme in your career was your desire to develop a culture of professional choruses. What was it like when you started out?

DW: My dream in life, after gradu-ating from school, was to be a college choral conductor. But I soon realized that I lost many singers every year when they graduated. I also wanted to do music that would be much bet-ter performed if we had mature voices than those of undergraduate singers.

CD: Did that sort of situation just not seem to be happening for anyone at that point?

DW: There were a lot of commu-nity choirs, but as far as I know, no one was paying singers in choir. That was unheard of. Maybe soloists in churches were paid, but no choirs had any kind of an ongoing fee. When I started, what we could afford was very small. But as soon as we could, we did start paying a small amount for each service. That meant so much for re-hearsals and so much for performanc-es. However, it took a number of years before we even were able to do that.

”Dave Brubeck and Dale Warland.

The DWS at Chautauqua Park during the 1987 Colorado Music Festival.

Warland (L) at a recording session with composer Norman Luboff (R) in 1976.



CD: Did you have a certain strategy for raising funds ahead of time or for play-ing certain types of concerts to target your financial goals at the time?

DW: Just singing. [laughs] Corporations and foundations were very helpful but, compared to the instrumental and opera world, our grants were small. The general public just wasn’t used to the idea of paying singers. That’s a whole education in itself, even paying for concerts, for that mat-ter. On top of that, my main interest was New Music. People would stay away from performances when they heard you were performing New Music until they realized how wonderful it could be and learned to trust you and believe that the New Music you did might exciting and beautiful.

CD: So you had a whole separate chal-lenge of convincing that New Music could be palatable.

DW: Right. I essentially simply gave it time. The choir, first of all, had to learn to enjoy it and do it well. It’s a challenge be-cause not all New Music is quality music. If anyone heard the term “12-tone,” they would stay away. In not too long a time, we became well-known for our commitment to commissioning and our performances and recording of New Music. That really helped us make a name for ourselves – the 270 commissions we did. It’s amazing that if you believe in something and you can do it well, you’ll eventually gain support of people who are sensitive to those kinds of challenges.

CD: Did you have a concept for a group “sound” early on?

DW: Any concept of sound that I had at that time was totally embedded in my subconscious. I certainly had “a sound” in my head, but was not really aware of that being unusual. I realized that the big challenge was to take the raw mate-rial I had and, with effective conducting gestures and the right choice of words, somehow develop “a sound” that would be aesthetically appealing, beautiful to the ear, and also appropriate for most all repertoire.

CD: Was there a certain type of impact you were hoping to have on the choral music world with this group?

DW: I simply wanted to develop a pro-fessional choir that could sing anything and sing it at an incredibly high artistic level. I knew that, with half a chance, I could make that happen, even with little funding or a public that really didn’t think there was a difference between college or volunteer adult choirs and a professional choir. One of our missions was to inform the community that singers who have pursued advanced degrees in music and who had extensive performance experi-ence should be paid for their work, just as a violinist or timpani player in a profes-sional orchestra.

CD: What was your approach to the composers from whom you commis-sioned works?

DW: I laid out no specific criteria for the composers that we commissioned over the years except general practical matters of the event or concert: where and when it was to be premiered, a suggest-ed approximate duration, instrumental forces to include, if any, and made it clear that they must keep in mind the amount (exact hours and minutes) we would be able to devote to its preparation. I encour-aged each composer to be as creative and unconventional as they wished. Further, I looked for composers who had written mostly or exclusively for instruments, and wanted to encourage them to write for voices. I also felt it was important to seek out writers who would bring a fresh touch to the choral repertoire. Eric Whitacre is a good example of that. He was still an undergraduate and had written very little when we commissioned “Water Night.”

CD: You’ve pointed at local relation-ships as being extremely important in sustaining the group.

DW: We were one of the first perform-ing ensembles to be part of the St. Paul Sunday radio program. We produced some 12 programs for them over the years. That alone helped a great amount with our ex-posure on the national scene. At about the same time, Minnesota Public Radio (which is in St. Paul) began broadcasting our regu-lar concerts and, annually, our Echoes of Christmas programs. Public radio did an awful lot to put us on the map.

In our group, there was always a fine line between how much singing time the

Warland with Stephen Paulus in 2001 at Paulus’ home studio.

The DWS performing at St. Jacob’s church in Stockholm, Sweden, in 1977.



individual singer could commit to, and what the individual’s life style could bear. The Twin Cities offered great opportuni-ties to expand both income and repertoire opportunities with Minnesota Orches-tra and the St Paul Chamber Orchestra, both world class ensembles with world class conductors and guest conductors. Other collaborations further expanded the repertoire and breadth of our musical experiences, included the Schubert Club, Minnesota Opera, American Composers Forum, as well as Minnesota Public Radio.

CD: As time went on, did you seem to find more kindred spirits in this push to make singers professional?

DW: When Robert Shaw came to town, he insisted on having the Dale War-land Singers when he was engaged to do the “Messiah” with the Minnesota Orches-tra. That was a turning point as well, be-cause the Minnesota Orchestra had never paid a chorus before and I had turned it down every time they offered it up to that point in time. One has to establish a cer-tain performance level before one can re-ally sell oneself as professional.

CD: Do you feel the perception of pay-ing choirs changed relatively quickly throughout the country from that point forward?

DW: I don’t know if it was relatively quickly, but it certainly has changed. Now we have an organization that supports professional choirs – Chorus America (originally the Association of Professional Vocal Ensembles). But it’s not uncommon now to have all-professional or at least a paid professional nucleus for choirs all

around the country. That’s great to see. Choirs are still not paid enough, but at least it’s happening and eventually we will get there.

CD: With the DWS, what was the typi-cal lifespan of a singer?

DW: I don’t think there was one that we would call “typical.” Some of them were with the group 20 years. As the years went on, there was more turnover because people just began moving more. When we first started, people would rarely move out of town. Everyone was required to au-dition every year, and those expectations were made clear. If you were slipping in terms of musicianship, vocal skills, or dis-cipline, you knew your position was on the line. But everyone was always excited to be a part of it. As we were all paid more, that made it even better.

CD: Was everyone typically working day jobs throughout the span of the DWS?

DW: Probably a quarter of the singers were freelancers and a good many of them were music teachers. The largest share of the memberships did have full-time jobs. Most of them had jobs, however, that they could be excused from so that when we did do run-outs or tours, they could be able to take a few days off. They all knew the tour schedules well in advance, so we couldn’t take them into the choir unless we knew they could meet that schedule. When we did extensive touring, we had a smaller group (26 voices) that I would engage. Later, we began booking our own concerts with all 40 voices. That was great because I could perform the repertoire that we wished and we could command the appropriate fees.

CD: Do you approach the student choirs that you visit now any different-ly than your professional choirs?

DW: No, my approach to both is fun-damentally the same.

CD: What do you find to be the big-gest concerns in choral education these days?

DW: In general, my biggest concert with the education of singers is a lack in the development of strong, overall musi-

cianship along with a flexibility in per-forming effectively in all singing styles, including vibrato control to meet those stylistic demands. In the education of choral conductors, I see a general lack of extensive or even adequate knowledge of choral rep, along with what one would term a truly effective conducting tech-nique.

CD: When you’re guest-conducting, what’s something you especially try to impart as an educator and choral advo-cate?

DW: I hope I am able to assist in get-ting the choirs that I encounter excited about doing good repertoire and doing it well. I’m still amazed that many don’t fully realize the importance of repertoire. That is critical. I try to instill that. I talk about three things – building the instrument (the choir), building the repertoire and programming, and building the musical leadership (the conductor). What really makes the choir what it becomes or what it doesn’t become is the repertoire. The same thing with the conductor – he or she will grow only according to the demands of the repertoire. If it’s quality repertoire, chances are that conductor is going to be-come quality, as well.

CD: What gets your attention when building a choir’s voice?

DW: I’m a great attention-to-detail person – where you breathe, balance, ev-erything that goes into making really fine music. Until all the essential details are in place, you cannot really begin mak-ing music. You don’t want to waste time telling everyone where to breathe or how to pronounce any given word. All the markings should be done first, then insist that the singers follow them when you do rehearse and perform. I always send markings ahead of time. When I say “markings,” I don’t just mean only where you breathe but also exact pronunciation, dynamics changes, all the phrasing, the divisi assignments, et cetera. All of those go out before I arrive on the scene. I try to instill what I would term basic or fun-damental expectations. These are essential to start with before you can even think of making great music.





The 2013

CaliforniaTravis RogersNapa High SchoolNapaYears at current school: 33Total years teaching: 34Number of students in vocal music program: 385


The proudest moments are watching students come from no prior formal choral experience into a knowledge of the skills it takes to sing at a high level of excellence and watching the magic happen when individual singers learn to work together to create, produce, and perform a beautiful sound!

How do you hope to make a difference in students’ lives? I aim to make a difference by instilling the life-

long skills and character traits of respect, hard work, team building, great vocal technique, and, ultimately, beauty through the excellent singing of great choral music. Individual singers have their second “family” in choir as we all grow and learn together and create skills, character traits, friends, and memories that last a lifetime.


Go to as many festivals of choral music as you pos-sibly can, observe great choral teachers/directors, and get mentors you can go to for advice and assistance. Never, ever think you know or have all of the answers – there is so much to learn and do to keep a success-ful vocal music education program maintained and growing!

Choral Director’s eighth annual “Cho-

ral Directors of Note” features 13

exemplary directors who were se-

lected by CD staff from nominations

and recommendations submitted by readers,

music educators, choral directors, administra-

tors and staff, industry colleagues, and music

students over the past year. This report serves

to recognize these outstanding vocal music ed-

ucators, who represent a slice of some of the

vibrant, impactful, and thriving people and

programs in vocal music education today.

This edition of the “Choral Directors of Note”

focuses on these directors’ proudest moments,

the impact they hope to have on their students’

lives, and advice for educators just entering the

field of vocal music education. Hopefully the

wealth of information shared herein will prove

inspirational, informative, or even educational.

As Travis Rogers of Napa High School in Cali-

fornia reminds us, “Never, ever think you know

or have all of the answers – there is so much to

learn and do to keep a successful vocal music

education program maintained and growing!”

Directors of Note.indd 16 1/15/13 9:32 AM


MassachusettsMichael DriscollBrookline High SchoolBrooklineYears at current school: 10Total years teaching: 10Number of students in vocal music program: 110

What is your proudest moment as a music educator?I’ve had many proud moments, but here is my most recent

one: One of my high school choirs was scheduled to perform some holiday selections for a community event at a venue where we had never sung before. I had another event I had to attend that was scheduled to end in plenty of time for me to get to our performance. Unfortunately, the first event ended 90 min-utes late and by the time I was able to leave, the call time for my performance had already passed! Knowing that most of my students check Facebook far more often than email, I dashed off a quick Facebook message to the group’s Facebook page tell-ing them to hold on and that I’d be there soon. By this time I was now stuck in rush hour traffic and was delayed further. I finally arrived at the performance venue one minute late for the performance. I ran in the door – to the sound of singing! They had positioned themselves on an unfamiliar stage, warmed up as a group and started the performance without me! As someone who emphasizes teamwork and musical independence, I was tremendously proud of them!

How do you hope to make a difference in students’ lives?I hope that the supportive community environment we es-

tablish in my classes allows my students to feel comfortable pushing their comfort zones and that this will help build their confidence in other areas of their lives. Also, many of my stu-dents are in choir all four years of their high school careers and have noted that choir becomes their “home away from home.” The choir room becomes a familiar place where they can “chill” with like-minded peers – something I think is much needed in the high-stakes pressures of high school life today. Finally, I hope to give my students the tools and experiences that will feed and grow their passion for music, and enable them to become independent, lifelong musicians and enthusiastic supporters of the arts.


Always ask yourself “why?” I’ve found that many young (and old!) teachers tend to teach the way they were taught without asking themselves why they are teaching that way. Why did you choose that set of warm-up exercises? Why did you do them in that order? Why did you choose those particular vowels? Why did you choose that piece? If your only answer is “because I like it” or “because that’s how my teacher did it,” then you need to consider what you are doing more carefully. Be able to give a clear pedagogical justification for everything you do. And finally, continually strive to improve your own musicianship.

MichiganPamela PiersonWest Ottawa High SchoolHollandYears at current school: 11Total years teaching: 37Number of students in vocal music program: 180


I believe the most important things that happen in the choral classroom are the connections that are made be-tween the music, the people you sing it with, and the audi-ence. My proudest moment as a music educator is a collec-tion of moments that occur when the singers take complete ownership of themselves as musicians and react to music making with a sense of inner awareness of themselves, the other singers, and the music they are singing. To experience their investment in the process creates powerful moments of overwhelming emotion and gives great meaning to my musical life.

How do you hope to make a difference in students’ lives?I hope to make a difference in students’ lives by helping

them to understand what they are capable of achieving as they are becoming adults. I hope to allow them to practice being self-assured, purposeful, and intentional in their be-havior. I hope to allow them to find the meaningfulness and joy of giving and how important it is. I hope to give them a space and place where they can be themselves and discover who they are. Through the practice of being a musician, I hope to enhance their spiritual connection to life and help them in their journey to find meaning in life.


Always be mindful that your education is a lifelong en-deavor and that teaching is a humbling experience. Don’t ever expect it to become routine or predictable – the best moments sometimes come when you least expect it and always involve experiencing emotion on a deep level. There is nothing so profound to me as when singers learn to live in the moment and feel/experience the connection between themselves, the music, each other, and their community.

I try to remember that the kids come first. I always try to remember that I am there for kids; the kids are not there for me.

Sometimes, the most important things that happen in your classroom have nothing directly to do with singing, but singing is the vehicle through which they happen. Look for those things and embrace them.

Life is a journey – make sure that you enjoy your time with the kids. “Work” for me is when the kids are gone and I have to do all the other tasks that support what goes on in the classroom.

Spend the large amount of time it takes to find high quality literature that meets the kids’ needs and that you both can engage with on a deep level. It needs to be mean-ingful to the kids to be high quality, engaging, and con-necting.




MinnesotaDan LeJeuneThe Blake SchoolHopkinsYears at current school: 14 Total years teaching: 27 Number of students in vocal music program: 185

MissouriPaula MartinOakville Senior High SchoolSt. LouisYears at current school: 20Total years teaching: 30Number of students in vocal music program: 300

What is your proudest moment as a music educator?I have brought my school choirs to perform for ten pro-

fessional conferences since 1995 and I am proud of each of these special concerts. Each time it has been a thrill to see the students’ growth in preparation for those events. As a guest conductor, directing the 2009 OAKE National Honor Choir at Constitution Hall in Washington, D.C. remains a highlight for me.

How do you hope to make a difference in students’ lives?My goal is to unlock the voice in every student so that

he or she can experience the beauty of the human voice no matter what the inherent skill level is within the individual. I work to create experiences that connect singers to each other

and to the people of the world by exploring the rich tapestry of music sung by cultures in all regions of the Earth. Long af-ter they leave my room, I hope my students will value singing so that they feel empowered to use their voices for a lifetime.


I would advise new teachers that the way to thrive in the profession is by enjoying each day with your students. Celebrate the little things and don’t allow yourself to lose sight of the wonderful privilege it is to make music with chil-dren every day. Stay current with technology and always be searching for new materials and resources to enhance your curriculum.

What is your proudest moment as a music educator? The times I am most proud of my students are those times

when they are all working together in rehearsal and I can see in their eyes that they “get it”! I can see that they are under-standing, perhaps for the very first time, that excellent choral singing is more than singing for pleasure. Singing with excel-lence as a member of a fine choral ensemble is synergy at its best. It’s one of life’s most exquisite experiences. Those mo-ments come and go in rehearsal and in performance, but it’s those moments that inspire me as a teacher to come back and teach another day. There is nothing better this side of heaven.

How do you hope to make a difference in students’ lives? I hope that the lives of my students are changed for the

better because of the experiences that they had in one or

more of the choirs at Oakville High School. I hope that their experiences in daily rehearsal, as well as their experiences on stage, help to mold them to become the very best person that they are capable of becoming.


Just keep swimming! The hours go by slowly at times, the day may seem four days long, a week may seem like a month, but almost every time May roles around, I think, “Where did the time go?” As a director of high school choirs for almost 30 years, I can say with certainty, there is no better tool to reach young people than choral music. Just keep swimming!



New MexicoMarilyn BarnesSanta Fe High School Santa FeYears at current school: 6Total years teaching: 30 Number of students in vocal music program: 145


I know that I kept one boy in school and because he loved to sing, he stayed and earned his high school diploma. Many of my college students are having music careers. Now, in this sixth year at Santa Fe High School I am starting to see several high school students head off to college to study music ed or vocal performance. It is very exciting. I hope that all of my singers are learning to love sing-ing and will take that with them through out their lives.

How do you hope to make a difference in stu-dents’ lives?

Through music, many students’ lives can be touched. Many of my singers are filling the local community college choir and almost all are still singing. Singing is a life-long skill, and you can enhance your life always through music. My little sister didn’t want the precari-ousness of a music career, so she became a chemical engineer but still plays and sings at church and accompanies many local groups on the piano. She was my first piano student when I was 18 and she was eight. Wow! That brings me back. One thing I wish we could get going is a young people’s group of sing-ers in every local town. Many of my singers aren’t very interested in joining a choir where the mean age is well over 60. How could we make that happen?


The first year is the hardest. Don’t give up and know that you are helping children. When I am stretching and making the singers imitate goofy sounds and bouncing around the choir room, I think, “Who could have a better job?” This is much better than sitting in front of a computer all day.

New YorkAlan ShapiroEdward R. Murrow High SchoolBrooklynYears at current school: 8Total years teaching: 26Number of students in vocal music program: 275

What is your proudest moment as a music educator?I feel proud whenever, through the choral classes I teach, students

come to love a musical work in a style they may have seen as very differ-ent from what they had known before. It’s always personally gratifying when, for instance, I hear them in the hallway after class singing a great work by Palestrina or Mozart, or a jazz standard, or a Broadway classic. The educator and poet Eli Siegel, who came to the philosophic principles upon which the Aesthetic Realism Teaching Method is based, explained that, “The purpose of education is to like the world through knowing it.” My proudest moments as a music educator are when I’ve been able to encourage my students, through music, to see the whole world more coherently, as friendlier and more interesting than they had seen before.

How do you hope to make a difference in students’ lives?I hope my students come to see that respecting and trying to be fair

to notes, chords, words, the meaning of a song, their fellow choristers, and the people they will perform for – all things that stand for the world they’re hoping to like – takes care of them, and is the most truly selfish thing they can do!

I also hope that my students realize that they have more in common with other people than they had ever realized before. To reach these goals, I try to show my students through everything we study – includ-ing vocal and choral technique, repertoire, musicianship – that their own everyday questions are related to the music we’re singing and to the structure of music as such.


Be proud of the job you’re trying to do and the knowledge and ex-perience you already have, but we should all have the honest humil-ity to know there is always more for us to learn. Of course, new and experienced teachers alike should continue studying vocal pedagogy, developing their own vocal skills and musicianship, and learning about the wealth of music around the world and throughout music history. But the most important thing is to try to bring to the classroom a vivid, exciting sense of how music and life comment on and explain each other. And the most powerful means to do that is through studying the Aesthetic Realism Teaching Method (www.AestheticRealism.org).

As an undergraduate and graduate music student, I was pursuing a ca-reer as a jazz pianist, composer and arranger, and hadn’t planned on going into music education. It was because of what I learned about the relation of art and life through Aesthetic Realism that I saw I could use the subject I love most to have a good effect on other people. This is why I decided to become a teacher. Now, more than 25 years later, I’m so grateful I did! I would tell all those entering the profession: you’re going to have days where things don’t go so well, rehearsals where something you planned carefully just doesn’t seem to work. You’re going to make mistakes—and not only in your first year! Remember that we have the job of trying to understand the people we teach, and people have rich, complex lives; our students are affected by much more than just our classes, and more than we have any idea of.




OhioBeth VaughnArcadia Local SchoolsArcadiaYears at current school: 8Total years teaching: 11Number of students in vocal music program: 35

What is your proudest moment as a music educator? In my first year as choral director at Arcadia, the high school choir re-

ceived a Superior (I) rating at district and state adjudicated events. I also enjoy seeing my students “get it” and making music.

How do you hope to make a difference in students’ lives? I hope that I can help them become better people – more self-confident,

cooperative, responsible, creative, open-minded, self-expressive, and posi-tive. I also hope that they leave high school with a life-long appreciation of music.


Your most important job as an educator is showing your students not how much you know, but how much you care. There will be some rough patches, but you need to enjoy what you are doing.

OregonMark SteighnerHood River Valley High SchoolHood RiverYears at current school: 27Total years teaching: 34Number of students in vocal music program: 140


Over the years, I’ve taken over 400 students to the U.K., premiered many new works, and I’m proud that perhaps I persuaded students not to accept a limited view of their potential. I’ve tried to tailor our program around the needs and strengths of the students and offered as many creative opportuni-ties as possible.

How do you hope to make a difference in students’ lives? I hope to demonstrate the lifelong values of commitment, passion, and

creativity; to give them an inkling of the vast and incredibly deep world of choral music; to give them the tools to recognize quality in art and in life.


Three things: First, commit to excellence from the start, and keep learn-ing: bring in the experts, masters, and the successful educators and ruth-lessly steal their secrets! Next, accept that building or maintaining a program demands dedication and absurd amounts of time, and it will never be a 9-5 job. Finally, try not to entirely define yourself “as your job” and continue to cultivate interests and relationships that are not bound to the role of choral music educator.

PennsylvaniaDebra A. Kline-SmithWarwick High SchoolLititzYears at current school: 26Total years teaching: 31 Number of students in vocal music program: 150+


There have been so many proud mo-ments that I find it hard to narrow it down to just one. Most recently, after our Holiday Pro-gram, a young stu-dent from the 6th grade came up to me filled with joy and enthusiasm. She exclaimed that she had only three more years until she could be here with me at the high school. She has been attending our concerts and musicals for years. Obviously quite an impression has formed in her mind as to what she has to look forward to in her high school years. For me, this is what is all about! Through music, her life has already been touched. She will grow both musically and through the life experiences she will encounter on the Warwick stage.

How do you hope to make a difference in students’ lives?

My goal as an educator is to teach the total person. When they leave Warwick, I hope that they will put the same effort into their future careers that they see me put into our music program. My favor-ite quote, which I live by, states, “Qual-ity – countless, unseen details are often the only difference between mediocre and magnificent.”


Give yourself four years to settle into your school. Find yourself first and feel comfortable in your own skin. Until you have those first experiences, the focus will be on you. After your initiation pe-riod, only then will you be able to focus on your students. Be patient as you are molding your program and your stu-dents’ musical lives!



South DakotaRebecca R. FischerPiedmont Valley ElementaryPiedmontYears at current school: 6 Total years teaching: 35Number of students in vocal music program: 500

What is your proudest moment as a music educator? There are so many. Here’s the most recent: I asked my sec-

ond grade students what it would feel like to be an “Olympic singer.” One little boy responded, “I would stand tall and proud and clear my mind of everything but the music!” He was so passionate and profound that I knew that I had cho-sen the right career!

How do you hope to make a difference in students’ lives?I hope to give them the lifelong joy of singing, playing,

creating, and consuming great music.


Take your work seriously, but not yourself. Remember that the students are there to be filled with the joy of mu-sic. They are not necessarily there to become an extension of your life. Do the best you can with the tools that make you comfortable. Plan, plan, plan, and have fun!

VirginiaDr. Don KrudopThe Visual & Performing Arts Academy at Salem High SchoolVirginia BeachYears at current school: 24 Total years teaching: 37 Number of students in vocal music program: 125

What is your proudest moment as a music educator?I’ve had so many that I’m not sure I could narrow them

down to just one. Among those would be: having my en-sembles perform at Carnegie Hall and Lincoln Center, at the White House and National Cathedral, at Westminster Abbey (London) and Yorkminster (York), and at state and division music education conferences; being named Virginia’s “Out-standing Music Educator” and Salem High School’s “Teacher of the Year”; watching former students become outstanding musicians and music educators; providing my ensembles with challenging repertoire and seeing them rise to the occa-sion with successful mastery of the works; and perhaps the best “moment” of all is having earned the nickname of “Papa K.” Knowing that I’ve had a positive impact on students’ lives is a significant part of why I love teaching!

How do you hope to make a difference in students’ lives?I hope I’ve made a difference in my students’ lives by giv-

ing them the ability to “see beyond the page.” I think it’s vital that music educators encourage their students to understand that the re-creation of the “spots on the page” is not the end product of learning, but just the beginning. It’s only when an ensemble has accurately mastered the notes, rhythms, and words that the joy of creating actual music can begin. The process of building a complete performance must include investigation and discussion of the “message” of the lyrics and the interplay between the music and lyrics imbued by

the composer/arranger; in other words, how do those ele-ments work together to create a complete artistic entity? We must also consider the theatrical and visual elements of per-formance, the use of body language (not necessarily chore-ography), and facial expression in expressing the message of the song to the audience.

I hope that I’ve also instilled in my students a love and a passion for music, an understanding of both the theory and history of music, and the drive to create excellence in per-formance; I hope that they have grown to become not only lovers and lifelong practitioners of the art, but passionate, informed, and literate consumers as well.


Set the bar high for your students and ensembles. I’ve found that students at every level are capable of achieving amazing heights as long as we, as music educators, are ca-pable of leading them there. I have yet to find one song that students aren’t capable of learning as long as I am capable of teaching it. If 14-year-olds can win gold medals at the Olym-pics, they can be successful with challenging, high quality repertoire.

Stay active in your art, for both your professional and personal satisfaction. Outside of school, the time I spend each week conducting the Virginia Beach Chorale (www.virginiabeachchorale.org) and the Heritage United Method-



Report: Choral Directors of Noteist Church Chancel Choir are the times when my musical heart soars.

Keep your passion burning for both music and teaching. The love for your art and your calling has to be evident in your classroom as well as on stage. Success without passion is a difficult, if not impossible, task to accomplish.

Stay away from the photocopier. Composers and arrangers make their living by creating new songs & ar-

rangements for us... every single pho-tocopy of copyrighted music removes a tiny bit of salary from their pocket.

Make friends with the head secre-tary, head custodian, and the choral director(s) in your feeder school(s).

Keep your administration and guid-ance counselor(s), involved and “in the loop.” We are our own best friends in advocating for support of our program.

Remember that those people listed

above are very possibly not “arts peo-ple,” thus they may not understand the challenges and intricacies that are involved in what we do. Invite them into your classroom, especially when you’ve planned a rehearsal that ad-dresses intricacies of technique, for example, something that goes beyond “just singing.” And, of course, always invite them to your concerts and rec-ognize their presence!

West VirginiaJoyce Good-PitchfordRavenswood High SchoolRavenswoodYears at current school: 39Total years teaching: 39Number of students in vocal music program: 82


I could easily say whenever hotel management tells me at the end of an overnight stay for a competition that my choral kids were the best high school students that they had ever had stay with them – that is better than a first place trophy in a choral competition. There are so many proud moments, but if I have to decide on one, it would prob-ably be whenever I see the faces of my singers when they know at the end of a song during a rehearsal that they have just done something musical with their voices. It is always a moment when no

one breathes or moves in fear that they will break the spell of the moment.

How do you hope to make a difference in students’ lives?

Of course, I have a goal to open up to each of my students to the wonderful world of music. I want them to go beyond the small boundaries of Ravenswood, W.V., and experience the wealth of choral music, choirs, musicals, performers, and so on that we have available to enjoy and appreciate. If one of them decides to then pursue music as a career, then that is ic-ing on the cake. However, that is not my main goal as a music educator. I sincerely

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mean the following: my main goal is to equip our young people with the tools they need to succeed in 21st-century America. I want them each to be able to communicate, to be involved with com-munity activities, to make a difference in someone else’s life, to be a team player, a motivator, and a caretaker of other stu-dents. I want students to be able to man-age their time, to set short and long-term goals, and to contribute to society for al-lowing them to receive a good education. Every one of these goals can be the result of being in a choral program that cares, and I hope that is what I have been able to develop at this school.


First of all, you must be very willing to go beyond the eight-hour work day. I do not care how organized and driven you are – it cannot be accomplished without meeting with students beyond a 50-min-ute class period. Next, I would adamant-ly suggest that they receive every ounce of keyboard experience as possible. I know of vocal teachers in surround-ing school that are relying on their MP3 players, recorders, YouTube, or hiring ac-companists to help teach choral music because of their limited keyboard experi-ence. That is not fair to the students they teach. Finally, you cannot look at being a vocal teacher as a job. I have had a “love affair” with my “occupation” for the past 39-plus years. If my body could stand it, I would still be here 39 years from now. We teach music because we love music and our kids, not because we love the money.


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The Impact

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Ah, the brisk and invigorating chill of winter – what better time to turn our

thoughts to what summer has to offer? This recent Choral Director survey asked

readers to weigh in on the latest trends in summer camps and workshops for




Unfortunately, 75 percent of responding readers indicate that “few” or “none” of their students attend vocal music camps and workshops. Meanwhile, 82 percent of educators in this poll attend camps and workshops for their own profes-sional and musical development, where they gain exposure to new repertoire, camaraderie among like-minded people, and are able to learn new teaching techniques, among other po-tential benefits.

Even though only 18 percent of readers see major impact from camps and workshops translated into their school pro-grams, few would deny the potential for growth and inspira-tion that many of these offerings provide. And yet, economic factors appear to be taking a toll, with a number of respon-dents pointing noting that a lack of funding is one of the pri-mary reasons more students don’t attend.

Read on for the latest trends in these potentially stimulat-ing, rejuvenating, eye-opening – and fun – summertime learn-ing opportunities.

Survey.indd 24 1/15/13 9:23 AM


“All members of both mixed and women’s varsity choir are required to attend camp.”

Megan SenterSunnyvale High School

Sunnyvale, Texas

“[Camps and workshops] are pro-hibitive for most of my students be-cause of cost. In our district, we do have an organization that provides scholarships to students who wish to attend a summer camp – there just isn’t enough money to go around.”

Susan F. DurhamDurant High School

Plant City, Fla.

“My students are so involved in other activities like church and sports that those tend to eat up their summer time.”

Megan RudolphVestavia Hills High School

Vestavia, Ala.

Does your music program have an affiliation with a particular summer vocal music program?

What impact do summer choral music camps have on your school vocal ensembles?

“My students who attend the col-lege music camp really sharpen their skills and therefore gain confidence and often become great leaders in our school choirs. The students who attend our own camp also gain skills and con-fidence, and they, too, become leaders. Both camps are definitely improving the quality of our school choirs and their numbers.”

Nancy M KennedyWarwick Veterans Memorial

High SchoolWarwick, R.I.

“Camps are useful for students who come from school districts without a strong program, but they do not usu-ally provide what the most accelerated student needs.”

Michael K. LisiLearwood Middle School

Avon Lake, Ohio

“The students who attend camps bring back an enthusiasm (not to men-tion improved skills and knowledge) that is infectious. This alone makes others want to attend the next year.”

Kate MurrayPaideia SchoolJonesboro, Ga.

Have you noticed any develop-ing trends in summer vocal music camps over the past few years?

“There are fewer camps available, and we have to work harder to get stu-dents to come to a camp.”

Bob ChiltonMount Airy Middle School

Mount Airy, N.C.

“They are getting shorter and more expensive. However, a lot of school districts in our area are hosting camps for their own kids, which takes down the population of the camps at univer-sities.”

Ben LuginbuhlNormal Community High School

Normal, Ill.

“They seem to be going more to-ward show or jazz choir camps.”

Stan ScottCentral High School

Grand Junction, Colo.

“I have seen the typical movement toward pop culture and the idea that anyone can have a successful vocal music career without the requisite work and innate talent.”

Raoul Bellis-SquiresArts and Communication Magnet

AcademyBeaverton, Ore.

Do you typically attend vocal music workshops for your own profes-sional development?

“As many as I can!”Cyndi Chadwick

Campbellsville High SchoolCampbellsville, Ky.

“Because they have some of the top choral clinicians, there is so much to learn from them.”

Marshall Butler, Jr.Jesse O. Sanderson High School

Raleigh, N.C.

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For the latest news and content,

follow Choral Director on Facebook:

www.facebook.com/

choraldirectormagazine



What areas are benefitted most by these workshops?

“All of the above!”Kelley DePasqua

Silver Lake Regional High SchoolPlymouth, Mass.

“Incorporating applications of technology into the choral program.”

Thomas HassigPrior Lake High School

Savage, Minn.

“I thoroughly enjoy participating in vocal music camps. I become a student again and it helps me relate to what my students feel in the classroom. It stretches me as vocalist and allows me to engage in musical performance. I experience the challenge of learning choreography and the thrill of live performance.”

Kenneth MorrisEastern Wayne Middle School

Goldsboro, N.C.

Have you noticed any developing trends in summer workshops for educators?

“There are more reading sessions than just workshops for teachers to learn. They seem to be driven more and more by music publishers.”

Connie ColemanBixby High School

Bixby, Okla.

“Bring in big name conductors to model techniques and rep. Sometimes this is helpful and inspirational, depending on their experiences.”

Susan WilkesManchester High School West

Manchester, N.H.

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www.worldchoirgames.com


UNISON“O frondens virga”Hildegard of Bingen, ed. William T. FlynnTreble Clef Music PressMedium

Introduce any ensemble to chant with “O frondens virga,” one of the 45 surviving antiphons composed by Hildegard of Bingen. This wonderful edition by William T. Flynn also in-cludes the Magnificat, part of the Ves-pers office, which Hildegard would have intended to be sung. Flynn’s edition is very accessible with mod-ern clefs and includes significant in-formation about history, performance

Finding literature to start or end concerts can be daunting, es-

pecially given the important roles those pieces play. For the

first piece, I always try to choose a composition with which the

choir feels comfortable, gives the ensemble a sense of the acoustic, and

sets the tone for the entire concert. For the final piece, I look for music

that cleanses the audience’s palate and sends them home with uplifted

spirits. I’ve intentionally avoided including spirituals. While they make

wonderful finales, there are many other repertoire options for these

slots on the program. However, for anyone considering spirituals for

these roles, please review the previous installment of this column.

By John C. Hughes

Repertoire Forum: Show Starters & Stoppers

Distinctive Piecesto Begin and Conclude Concerts

Rep Forum.indd 27 1/15/13 9:36 AM


practice, translation, and pronuncia-tion. A version of the antiphon with an added organal voice is also includ-ed in the edition. Singing chant will expand choir members’ understand-ing of music history, reinforce phras-ing and syntax, and teach listening and ensemble. Consider using this piece as a quiet, serene opening to a concert.

www.trebleclefpress.com/catalogue.html#TC-144

TWO-PART“All His Mercies Shall Endure”George Frederick Handel, arr. Walter EhretGIA Publications, Inc.Easy

Taken from Handel’s Occasional Oratorio, “All His Mercies Shall En-dure” has long been a favorite in the choral repertoire. Ehret has made a wonderful arrangement for two voices rather than the original four. The voices, both with ranges suit-able for many singers, are equal. The piano accompaniment is very straightforward. Enjoy introducing your students to the effervesce of Handel’s “All His Mercies Shall En-dure,” which functions nicely as a finale. A score preview is available at the link below.

www.giamusic.com/search_details.cfm?title_id=9273

SA“Ton Thé”Jeanne and Robert Gilmore, arr. Susan BrumfieldColla VoceMedium-Easy

“Ton Thé” is a whimsical French tongue-twister; the text is nonsensi-cal and very repeti-tive. Written for two pianists, the a c c o m p a n i m e n t sets the silly mood. The accompani-ment is also avail-able for xylophone and percussion (sold separately).

If desired, the SA and SATB arrange-ments can be combined for a joint performance by children’s choir and mature voices. The French is not to be feared, as it is very short. I’ve used this piece to end a concert, and both the choir and audience loved it! A score preview and audio recording are available at the link above.

www.collavoce.com/catalog/item/ton-the-20-96350

TBThree ChanteysArr. Marshall BartholomewG. SchirmerMedium-Easy

Arrangements of sea chanteys have long served as finales for men’s choirs. Although more recent ar-rangements exist, Marshall Bar-tholomew’s arrangements should not be overlooked. Also available for TTBB choirs, these chanteys are eas-ily to learn and allow the singers to sing (and even act!) jauntily, which they are sure to enjoy. The three piec-es – “Eight Bells,” “Away to Rio,” and “Old Man Noah” – can be performed as a set, or excerpt one as a stand-alone piece.

goo.gl/cdtU9

TTBBSongs for Men’s ChorusFelix Bartholdy MendelssohnPeters EditionMedium

Mendelssohn wrote many of these partsongs to be sung by guests at parties after large con-certs. His SATB partsongs are more well known (especially “Die Nachti-gall”); however, his TTBB partsongs are less widely explored. This col-lection contains 17 pieces, each two to three pages long. Individual pieces are easily excerpted and very accessible. Although not often per-formed, these pieces are valuable for men’s choirs and should be in more choral libraries.

goo.gl/KNE6a

SSAA“Jubilate Deo”László Halmos, arr. Barbara HarlowSanta BarbaraMedium

Many choral musicians know Halmos’s “Jubi-late Deo,” which is scored for SATB (Santa Barbara). At the request of Bethel University’s Nancy Parker, Bar-bara Harlow ar-ranged Halmos’s work for treble voices. As Harlow notes, the an-tiphonal writing can be enhanced by physically separating the parts. The stressed syllables of the text are set in bold, which will help singers per-form more artistically. The piece is unaccompanied and has some four-part divisi; however, its melodious-ness makes it fun to learn. With a joyful text, this would make a great piece with which to begin a concert. A score preview and audio recording are available at the link below.

www.sbmp.com/SR2.php?Catalog Number=915

SAB“Lobet den Herrn, alle Heiden”Georg Philipp TelemannCarus-VerlagMedium

Because the lowest voice part is doubled in the accompaniment, this piece can be performed either by an SAB choir or an SA choir. The text is fairly straightforward, but the vocal lines are contrapuntally-conceived and have several melismas, which may require some extra rehearsal. However, the piece is accessible for developing voices. The festive nature of this piece and short duration (two minutes) make it a wonderful way to start a concert. The accompaniment is very flexible; use piano or organ and cello.

goo.gl/aXjiq



SATB“O sing joyfully”Adrian Batten, ed. Maurice BevanOxfordMedium Easy

Certainly not a new piece, “O sing joyfully” by Adri-an Batten (1591–1637) is still wor-thy of performance today. Its uplifting and buoyant quali-ties make it a great opener for any concert. It is a won-derful introduction to the polyphonic style, especially given its English text and mostly syllabic text setting. For unaccompanied choir, this piece will develop independent singing, sense of line, and sensitivity to text.

goo.gl/Vmb6L

“Cuncti simus”Arr. Eric A. JohnsonSanta BarbaraMedium-Advanced

Eric A. Johnson has taken a mel-ody from a 14th-century manuscript and arranged it for the modern cho-ral ensemble. The rhythmic drive and dancelike qualities of the piece permeate the entire work, making it a great way to begin or end a con-cert. Using call and response, canon, augmentation, and inversion, John-son manipulates the melody in inno-vative and unique ways that produce an infectious energy. There are some tricky rhythms, especially at the fast tempo; however, these contribute the piece’s exuberance. A score pre-view and audio recording are avail-able at the link below.

www.sbmp.com/SR2.php?Catalog Number=857

“Cantate Domino”Vytautas MiškinisCarus-VerlagMedium-Advanced

The modern Lithuanian compos-er Vytautas Miškinis has created a wonderfully joyful piece in “Cantate Domino.” This version is for SAATBB,

but Miškinis also produced SSSAAA and TTTBBB voicings of the piece. The work is fairly straightforward with a tranquil middle section book-ended by a rhythmic beginning and ending. There is some divisi through-out; however, the voice ranges are comfortable and accessible to many ensembles. It works very well as the first piece of a concert. A score pre-view is available at the link below.

goo.gl/JIKzZ

SSATBB“Bíonn Siúlach Scéalach”Matthew ErpeldingEarthsongsMedium-Advanced

“Travelers have tales to tell. Cheers! Good health to you!” This setting of a Gaelic text is a wonderful way to raise an audience to its feet at the end of a concert. The drumlike rhythms on per-cussive syllables, repetitive melodies, and sudden dynamic changes evoke the energy of a large party. The addi-tion of foot stomps and hand claps make Bíonn Siúlach Scéalach far from ordinary. Just published in 2012 by the emerging composer Matthew Erpeld-ing, Bíonn Siúlach Scéalach will no doubt be on many festival and All-State lists soon. An audio recording is avail-able at the link below.

goo.gl/g0KoG

John C. Hughes is a versatile choral musician and pedagogue, drawing from experience as a K-12 teacher, collegiate conductor, and church musician. Presently, Hughes is pursuing the D.M.A. in Choral Conducting and Pedagogy at The University of Iowa, as well as serving as music direc-tor at The Congregational United Church of Christ in Iowa City. Please contact him directly at his website: www.johnchughes.com.

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Ah, the brisk and invigorating chill of winter – what better time to turn our thoughts to what summer has to offer? This recent Choral Director survey asked readers to weigh in on the latest trends in summer camps and workshops for




Unfortunately, 75 percent of responding readers indicate that “few” or “none” of their students attend vocal music camps and workshops. Meanwhile, 82 percent of educators in this poll attend camps and workshops for their own profes-sional and musical development, where they gain exposure to new repertoire, camaraderie among like-minded people, and are able to learn new teaching techniques, among other po-tential benefits. Even though only 18 percent of readers see major impact from camps and workshops translated into their school pro-grams, few would deny the potential for growth and inspira-tion that many of these offerings provide. And yet, economic factors appear to be taking a toll, with a number of respon-dents pointing noting that a lack of funding is one of the pri-mary reasons more students don’t attend. Read on for the latest trends in these potentially stimulat-ing, rejuvenating, eye-opening – and fun – summertime learn-ing opportunities.

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