Spring 2019: Volume 38, issue 3

ContentsFrom Your President . . . . . . . . . . . 1

Richard Schnipke

In Memoriam: Joseph Flummerfelt . . . . . . . . . . . . 3

Tim Cloeter

Yes, Your Choir Can Sing Renaissance Music! . . . . . . . . . . . . 5

Brandon L. Moss

Reflections, Past and Future . . . 12Ben Ayling

We teach skills for a lifetime of musical enjoyment . . . . . . . . . 14

Frank Bianchi

Upcoming Events . . . . . . . . . . . . 16

Leadership Roster . . . . . . . . . . . . 17

AdvertisersAyling Open Golf Outing . . . . . 13

Bob Rogers Travel . . . . . . . . . . . . . 6

CMS Publications . . . . . . . . . . . . . 8

Dalcroze Summer Workshop . . 11

JW Pepper . . . . . . . . . . . . . . . . . . . . 9

Musical Resources . . . . . . . . . . . . 2

OCDA Summer Conference . . . 15

Otterbein University . . . . . . . . . . . 4

Stanton’s Sheet Music . . . . . . . . . 10

University of Akron . . . . . . . . . . . 7

From Your President

Summer Is upon Us!A quick look at the schedule for our exciting up-coming Summer Conference will assure everyOCDA member of the conference’s benefits!Held June 17–19 at Otterbein University, thisconference will provide professional growth fordirectors of all choirs, and a wonderful opportu-nity to network and reconnect with colleaguesfrom across the state in this intimate conference environment.

We are thrilled to be welcoming Abbie Betinis and Jerry Blackstone asthis year’s conference headliners. Abbie’s music has been called “inventiveand richly melodic” by the New York Times and “superb, whirling, and soar-ing” by the Tacoma News Tribune. She has written over 60 commissionedpieces and is listed as one of NPR Music’s “100 Composers Under 40.”Abbie will share her music, her personal experiences as a composer, andher work with the Justice Choir Songbook project with our attendees. Shewill also provide important practical information pertaining to copyright,licensing, and self-publishing.

Grammy Award–winning conductor Dr. Jerry Blackstone recently re-tired from his position as Director of Choirs at the University of Michigan,and he is well known for his expertise in conducting and rehearsal peda-gogy as well as for his work with male voices. Dr. Blackstone will presentpractical sessions on these topics, he’ll lead a conducting masterclass, andhe’ll share thoughts about the importance of our work in this profession.

In addition to our fabulous headliners, OCDA member and Kodaly ex-pert Jeanne Wohlgamuth will present a session on teaching musicianshipskills through choral literature, and the conference will also feature severalwonderful performing choirs. Our opening session will begin with a jointconcert by the Logan High School Chamber Singers (John McClain) andthe Bexley High School Vocal Ensemble (Amy Blosser). On Mondayevening, we’ll hear the Grandview Singers (Andrew Grega), followed by ourOCDA Women’s and Men’s Honor Choirs. e Men’s Honor Choir will beconducted by Dr. Robert Ward of Ohio State, and the Women’s HonorChoir will be led by Sarah Baker of Little Miami High School. On Tuesdayafternoon, we will hear from Cincinnati’s Young Professionals Choral Col-lective Chamber Choir (Dr. Megan Boyd). On Wednesday afternoon, we’ll

OCDA President Richard Schnipke

be treated to a performance by theOCDA Children’s Honor Choir, ledby Dr. Barbara Lamont. e Stow-Munroe Falls High SchoolWomen’s Chorus (Nicholas Cam-pagna) will open that Wednesdayafternoon concert.

As is our tradition, reading ses-sions for all types of choirs, se-lected by our OCDA Repertoireand Resources Chairs, will takeplace throughout the conference.Music for high school, junior high/middle school, elementary, church,community, college/university, andsingle gender choirs will be pro-vided to all conference attendeesthrough the generous support ofJ.W. Pepper. Dr. Ron Blackley ofAshland University will also pres-ent a session of “Choral Gems,” fo-

cusing on wonderful, standardchoral repertoire that should bepart of everyone’s choral library. Areading session/clinic will also bepresented this year by OCDA R&RChairs Brody McDonald, Chris Ve-nesile, and Jeff Clark, pertaining tospecial considerations for perform-ing music from the contemporarya cappella, vocal jazz, and showchoir idioms.

Luncheon roundtable discus-sions, organized by R&R area, willbring together conductors of simi-lar choirs to discuss challenges,successes, and future OCDA initia-tives. All registrants are also in-vited to the Conference Luncheonand Business Meeting, wheremembers of your OCDA board andexecutive committee will provide

an overview of workings of the or-ganization. And, a Monday after-noon Ice Cream Social (sponsoredby Beyond the Classroom Tour andTravel), our Monday eveningGemütlichkeit, and the TuesdayAll-Conference Party (sponsoredby Bob Rogers Travel) will give par-ticipants an opportunity to connectand network in more relaxed, in-formal settings.

As you can see, the 2019 OCDASummer Conference is going to bea wonderful event, not to be missed.If you have not already registered, Ihighly encourage you to do so. Allmy best wishes for a wonderfulsummer, full of time to recharge,relax, and plan for an incredible2019–2020 season. I hope to seeyou at Otterbein, June 17–19! d

Spring 2019 table of contents 2

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on FridAy, MAy 3, I participated inan extraordinary event: the memo-rial service for Joseph Flummerfeltat St. Paul’s Episcopal Church inIndianapolis. Dr. Flummerfelt wasan icon of choral music, a teacherand conductor at WestminsterChoir College for 33 years, the di-rector of choral activities at theSpoleto Festival in Charleston for36 years, and the chorus master forthe New York Philharmonic for 44years. He prepared choruses forhundreds of performances withprestigious orchestras and notableconductors including Claudio Ab-bado, Leonard Bernstein, DanielBarenboim, Pierre Boulez, AlanGilbert, Lorin Maazel, Kurt Masur,Zubin Mehta, Riccardo Muti, SeijiOzawa, Wolfgang Sawallisch, andRobert Shaw. Joe was also the prin-cipal teacher in my master’s degree28 years ago, and the most influen-tial teacher in my career.

It was an extraordinary event in

part because it was entirelyplanned by Joe himself; in the fewweeks between the discovery of hisbrain tumor and the unexpectedstroke that ended his life on March1, he chose every piece of music,each organist and conductor, eachBible reading and liturgical word,and even the eulogists: a niece, aformer Westminster colleague, anda former student. Like so much ofhis work, the service designed byJoe was brilliant—remarkablybeautiful and expressive music fororgan and choir and congregation,performed by exceptionally capablemusicians, presented in just theright order. For us alumni whoformed the 100-voice choir, the an-thems, nearly all of which I hadsung under Joe’s direction, wereboth a celebration of his life and agrieving remembrance. (ere wasliterally a case of tissue boxes dis-tributed among the choir, and Imust have used half a box myself.)

I remembermany admirablethings aboutJoe, but two stood out to me evenat the time: first, I found it entirelyuncanny how in conducting class,without even looking at the studentwho was conducting and whilesomewhat boisterously singingalong, Joe could pinpoint almostimmediately and with unerring ac-curacy the root issue that ought tobe addressed with that student tomake the most significant improve-ment. After only a couple ofphrases he’d know that this studentneeded to conduct the piece withher eyes closed to foster greatertrust on her part, or this studentneeded to stand on a piano benchto counteract a latent feeling of un-worthiness to lead, or this studentneeded to prioritize showing lineover showing meter. Second, I ap-preciated how even when he waspreparing the Westminster Sym-phonic Choir for a performancewith a famous conductor, Joe wasalways creating art, not just makingsure the choir knew the pitchesand rhythms. He was truly an equalcollaborator with the conductorwho would stand before us in theperformance, and his dedication toan artful and meaningful perform-ance was part of the reason thoseconductors sought him and hischoirs.

At the memorial service, I wasreminded of three deeply signifi-cant truths about conducting

In Memoriam: Joseph FlummerfeltTim Cloer, OCDA News Editor

Spring 2019 table of contents 3

Spring 2019 table of contents 4

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choral music—truths that are cen-tral to the work I do and to which Ifelt moved by the service to re- dedicate myself. e first concernstrust. One of the eulogists re-minded us that Joe considered therelationship of conductor tosingers to be “circular,” not “over-under,” and that trusting himselfand his singers was crucial formusic-making. is is why he wasopposed to showing subdivision ofthe beat as a conductor (throughsome rhythmic gesture or tic): itwas evidence that the conductordid not trust the inner motors ofhis singers. Joe explained in Don-ald Nally’s book Conversations withJoseph Flummerfelt that “at a cer-tain point, you have to let go andtrust that the technical aspects willhold. You need to just let it singand, in a very real sense, to let theperformance evolve organicallyand spontaneously.” is was beau-tifully demonstrated by one of theconductors at the service, AndrewMegill, a friend of mine and a fel-low Westminster alumnus, when ina soft phrase from the Brahms Re-

quiem he stood before the choircompletely and deeply letting go ofthe music while remaining com-pletely and deeply with us singersin that moment.

e second truth has to do withbreath. Understanding the impor-tant function of breath in choralconducting is unique to Joe’s peda-gogy. ere is so much that is influ-enced by the conductor’s prepara-tory breath: tempo, dynamic, color,vowel shape, character, even vocaltechnique. But perhaps more thaneverything else, a preparatorybreath properly taken establishesand offers a vulnerability that in-vites singers to be honestly andgenuinely expressive. In Joe’s words(again from Nally’s book), it’s the“breath that breaks through thefears that our ego always tries toimpose on us, and allows us tohave the courage to become vul-nerable.” Singing is the most per-sonal and vulnerable kind ofmusic-making because our instru-ment is within us, so it’s especiallyimportant that we all breathe in away that softens our defenses and

sheds our fears. And every time weall breathe simultaneously in thatway, the world is transformed.

Perhaps the most striking truthon display at the service, however,was that choral music truly doesconnect lives. ere we were, thatlarge chorus of generations ofalumni connected to Joe and toeach other by past profound choralexperiences; and even in thosepresent moments of singing, thatmusic and what we believe about itwas at work connecting our voicesand hearts and spirits and lives,and it was at work connecting us tothe congregation and Joe’s family inways that mere words of condo-lence, regardless of how heartfelt,simply could not. is connectionholds across time as well; Andrewremarked that the students of ourstudents’ students will be affectedby what we learned from Joe Flum-merfelt, and that the world will bemore beautiful because of it.

May we all have authentic andartful experiences with our choirsthat connect lives in beautiful andmeaningful ways. d

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e content of this article was origi-nally presented at the 2019 OMEAProfessional Development Conferencein Cleveland.

i hAVe long suspected that the per-formance of Renaissance choralmusic is declining, based solely on

observations of performances Ihave attended over the last fifteenyears. A cursory examination ofmaterial related to this topic con-firms my suspicions. In a 2001 sur-vey published in the Journal of Re-search in Music Education, Rebecca

Reames foundthat Renais-sance music made up 20% or moreof the choral programming at only4.5% of Virginia high schools.1 Anda 2017 Choral Journal article byRobert J. Ward and Leila Heil

Yes, Your Choir Can (and Should) Sing Renaissance Music!Brandon L. Mo, Prident-Ele

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illustrated that the percentage ofRenaissance music performed atnational ACDA conferences hasdecreased by over half in just 30years.2 I also combed through listsof pieces performed by high schoolchoirs at Ohio Music EducationAssociation Large Group adjudi-cated events from 2016–2018,

specifically at the South Central re-gion state-level event. Of 436pieces performed across thosethree years, only 22 dated back tothe Renaissance era (5%).

With data in hand, I wanted tofind out why choral directors wereprogramming less Renaissancemusic, so I created a survey andsent it out to as many directors as Icould. ough I did not receive atremendous response, the answerswere consistent. e chief reasonsthat directors did not programmusic from this era included: theyperceived the music as difficult forboth singers and directors, theyfound that maintaining singer in-terest in this music was challeng-ing, they didn’t know enough at-tainable repertoire of this period,they found that the voicings didnot fit their choirs, and they had is-sues with the texts. Many of thesedirectors, however, also acknowl-edged that Renaissance repertoireoffers an exceptional opportunityto teach fundamental choral skillssuch as rhythm, independent part-singing, phrase shaping, intona-tion, and balance, and that musicfrom this period was important forexposing singers to all genres anderas. So how do we bridge the gap?

ough I have no formal train-ing specific to the performancepractices of Renaissance music, Ihave programmed and researchedenough of it to be able to cull to-gether some tips and resources thatmight alleviate the concerns direc-tors expressed in the survey.

Learning the NotesTeaching a piece from the Renais-sance period often requires that

the conductor decide in whichtonality the singers should learnthe pitches. Many Renaissanceworks were written in modes, withkey signatures that don’t matchhow you and your singers perceivethe piece. I use solfége with thehigh school students I teach, andwe decide together on the tonalitywe hear and feel before identifyingwhich syllables to use. If you areusing an older or more scholarlyedition, you will want to look formusica ficta (accidentals that theeditor believes were observed inperformance but not written onthe score) and make educated deci-sions about which you will use(many published editions just in-corporate the accidentals onto thestaff).

If there is a distinct melodic linein an imitative piece, have allsingers learn it together on onevoice part first. Sometimes I havesingers then go through and onlysing the melodic line when theyhave it (or when it is transposed),and I fill in the rest on the pianountil they are comfortable withthese notes.

Interpretation and StyleEven as singers begin to learn theirnotes, I ask them to think of theirlines horizontally, rather than ver-tically. is gets them thinkingabout phrase shaping right away.As the notes are learned, I alwaysgive singers a concise list of consid-erations that are appropriate to thepiece. Some instructions I oftengive are: bring out entrances,crescendo tied/long notes, bringout duets, and sing into disso-nances. I explain early on that bar

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lines were not present in the origi-nal scores but were added later byeditors, so we shouldn’t reflexivelyuse metric stresses.

Regarding text, I ask singers tounderline the stressed syllable inevery word (even when we are stillusing solfège) and sing toward andaway from those syllables. Addi-tionally, we decide as a group whatthe most important words are ineach phrase and shape accordingly.Look for text painting—there isoften a lot of this in Renaissancemusic.

Unless you are using an editedscore, your music may have no dy-namics marked. You will need toplan them out, perhaps with yoursingers. I like to give singers the

option of suggesting dynamics, try-ing them out, and deciding as agroup what works and what doesnot. is allows them to give input,and it helps to maintain interest.

ConductingWhen I begin teaching a Renais-sance piece, I often do not conductat all. Instead, I use a metronomeand ask students to show their ownshaping with their arms while theysing. Eventually, as I begin con-ducting, I decide what beat to useas a pulse. Most scholars of this erarecognize that the modern halfnote is usually the intended beat(sometimes called “tactus” or“takt”). You will need to practicethis a lot with your singers, as

many (especially younger singers)struggle to subdivide on their own.Keep at it, though, as too short abeat can leave the piece feelingchoppy and undermine its overallshape. As a conductor, your job isto keep the pulse, yes, but also toshow the phrase shaping. If youhave done your job in rehearsal,you can get out of the singers’ wayand let them move through thepiece on their own, only acting astheir guide.

Other ConsiderationsIf possible, encourage singers tomemorize the piece early on, sothey can respond to your shapinggestures, listen to how their partsinteract with others, and sing more

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independently. I have found thatplacing singers into quartets ormixed formation for Renaissancemusic helps with intonation, asdoes asking for less vibrato at ca-dences.

I also strive to make singersaware of the function of the piecein its historical context. Was it partof a church service, sung at a cer-tain time of day or on a particularfeast day? Would it have been sungat court? Was it published as partof a set? For something different, ifthe piece was based on chant, tryto find the chant line and teach itto students. A few years ago, I pro-grammed Palestrina’s “SicutCervus.” I found the chant in theLiber Usualis and taught it to mystudents, and then at the perform-ance I had a soloist intone the

chant in a key that ended on thedominant, allowing us to moveright into Palestrina’s setting. SincePalestrina had based his motet onthe chant itself, this was a greatway for both singers and audienceto learn about how music in thisera was often conceived.

Manipulating RenaissanceMusic to Fit Your ChoirOur training may have inclined usto be snobby about music, and thatis not necessarily a bad thing. Un-derstanding that arranged musicsometimes diminishes an originalcomposition helps us to maintain ahigh standard of quality in choos-ing choral literature. However,what if you direct a women’s cho-rus or an SAB choir and struggle tofind enough repertoire from this

era to fit your choir’s needs? If youtook arrangements off the table,you would be left with very little.ere are some excellent arrange-ments of Renaissance pieces fordifferent voicings; just do yourhomework. Compare the scorewith the original or listen to arecording of both pieces. Does thearrangement take away from theintegrity of the piece? Is it too sim-ple? If so, then don’t use it. But ifthe arrangement works well foryour ensemble and stays true to thesound of the original, then pro-gram the piece.

You may need to change the keyof a piece of music from this era.ere was no common pitch sys-tem during this time, and scholarshave determined that singerswould often start on any pitch that

Spring 2019 table of contents 10

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worked for their ensemble. I takethis as permission to alter keys asneeded for the singers I direct aslong as it does not detract from thepiece.

What if you want to program apiece that has more voice partsthan your ensemble can cover?Find a talented instrumentalist ortwo to take the additional part(s)instead, playing in place of or evendoubling a choral part. is was ac-tually common practice during thisera and in early Baroque music.

e bottom line is: if it comesdown to you not doing the piece ordoing the piece but needing to ma-nipulate it, do whatever it takes tomake music from this era comealive for your singers and your au-diences!

Other Rourc

When I presented this topic atOMEA, I included a packet ofpieces that are attainable for manychoirs. Below is a very short list ofrepertoire that works well forchoirs.

Sacred:Angelus ad pastores ait (Hassler)—

SATBAve verum (Josquin)—3-partAve verum corpus (Byrd)—SATBCall to Remembrance (Farrant)—

SATBCantate Domino (Croce)—SATBCantate Domino (Hassler)—SATBDixit Maria (Hassler)—SATBEgo sum panis vivus (Palestrina)—

SATBGloria ad modum tubae (Dufay)—

2-part canonIf Ye Love Me (Tallis)—SATB

Jesu dulcis memoria (attr. Victoria)—SATB

Jubilate Deo (di Lasso)—SATBNon nobis Domine (attr. Byrd)—

3-part canonO magnum mysterium (Victoria)—

SATBRegina coeli (Palestrina)—SATBSicut cervus (Palestrina)—SATB

Secular:April is in My Mistress’ Face

(Morley)—SATB

Bonzorno madonna (Scandello)—SATB

Fa una canzona (Vecchi)—SATBFair Phyllis I Saw (Farmer)—SATBInnsbruck, ich muss dich lassen

(Isaac)—SATBJe le vous dirai! (Certon)—SATBLautrier priay de danser (Costeley)—

SATBMatona, mia cara (di Lasso)—SATBMon coeur se recommande à vous

(Lassus)—SATB

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Musica est Dei donum optimi (di Lasso)—SATB canon

Music, Most Wondrous Lovely Art(Jeep)—SATB

O occhi, manza mia (di Lasso)—SATB

Weep, O Mine Eyes (Bennet)—SATB

Finally, here is a short list of fur-ther reading on Renaissance re-hearsal and performance tips andtechniques:

Butler, Abby, and Vicki Lind. “Re-naissance Repertoire for MiddleSchool Choirs.” Choral Journal 46,

no. 1 (July 2005): 36-41.Cash, Stefanie L. “Score Preparation

for Sacred Renaissance ChoralMusic.” ChorTeach 10, no. 3(Spring 2018): https://acda.org/files/Choral_Journals/CashCT10-3.pdf

Garretson, R. L. Choral Music: His-tory, Style, and Performance Prac-tice. Upper Saddle River, NJ: Prentice-Hall, Inc., 1993.

Kennedy, Mary. “Yesterday’s Musicfor Today’s Teens: ContextualizingRenaissance Music for High SchoolChoral Classes.” Choral Journal40, no. 9 (April 2000): 23-30.

Shrock, Dennis. Performing Renais-sance Music. Chicago: GIA Publi-cations, Inc., 2018.

Summer, Robert J. RenaissanceMusic for the Choral Conductor.Lanham, MD: e ScarecrowPress, Inc., 2013. d

1 Reames, Rebecca. “High School ChoralDirectors’ Description of AppropriateLiterature for Beginning High SchoolChoirs.” Journal of Research in MusicEducation 49, no. 2 (2001): 122-135.2 Ward, Robert J., and Leila Heil. “Reper-toire at ACDA National Conference1960-2017.” Choral Journal 57, no. 10(May 2017): 36-42.

Spring 2019 table of contents 12

liFe iS So good! After 36 years ofactive music teaching, retirement isfeeling normal, my first grand-daughter is due any day, and we arefinancially comfortable. All thehard work and planning has paidoff. . . . We are “living the dream”!

As I sit here reflecting on myforty-five plus years of OCDA/ACDA membership, I’m humbledby the immense influence OCDA

has had in my life both profession-ally and personally. As an under-graduate, membership was “en-couraged” by the choral depart-ment at my university. Virtually allof us were members. Some contin-ued while others dropped away,new friends were made by those ofus who continued, and the true im-pact of OCDA became apparent:relationships.

As a studentof meagermeans, I en-tered the choral profession witheyes wide open and with little ex-perience. My professors openedthe door to this world throughOCDA. Meeting world class con-ductors, both on stage and at oursocial gatherings, allowed me tolearn of the possibilities that ex-

Reflections, Past and FutureBen Ayling, Rired Direors Chair

tim cloeter, editor • timothycloeter@gmail.com • 262-527-8151

OCDA News, the official publication of the OhioChoral Directors Association, is published threetimes annually and is distributed without charge tomembers of the Association as well as to selectedmembers and officers of the American Choral Direc-tors Association. Distribution is by PDF file that is e-mailed and posted at ohiocda.org. OCDA reservesthe right to determine inclusion of materials submit-ted and to edit all materials proposed for distribution.

Copy and Ad Submission Deadlines: September 15for the Fall Issue, January 15 for the Winter Issue, andApril 15 for the Spring Issue.

Advertising Rates: a full-page ad is $135 per issue, ahalf-page ad is $80 per issue, and a quarter-page ad is$45 per issue. A 15% discount is offered on the pur-chase of three consecutive ads; other discounts areavailable. Please contact the editor for exact ad sizesand other specifications.

winter 2019 table of contents 13

isted in the choral world. Experien-tial learning is a powerful tool thatOCDA provides for the buddingchoral conductor—it is our calling.

Nothing is forever. I believe thisin that all good things need to becultivated in order to survive andflourish. It is important to nurtureprospective choral conductors, andI can think of no better way thanthrough OCDA. Consequently, asthe Retired Directors Chair, I haveproposed a scholarship fund to aidprospective and new choral direc-tors in their participation in OCDAevents. is can include financialhelp to attend conferences spon-sored by OCDA and ACDA at thepleasure of the board. Need andtalent are to be weighed in award-ing these funds to worthy recipi-

ents. ere are many ways that youcan “pay it forward” and help.

All of us can make a donation tothe OCDA Scholarship Fund. Anyamount is helpful and can make adifference for our budding col-leagues. I know, for example, that Icontribute to NPR each year with-out reservation. I’m sure many ofyou do as well. Wouldn’t a regularcontribution to our specific profes-sion also be worthwhile? As I ammaking annual donations to thefund, I invite you to join me. Yourdonation can be sent to:

kent Vandock, ocdA treasurer8192 county road ddelta, oh 43515

Another meaningful way to helpis through end-of-life contributions.

Please consider adding the OCDAScholarship Fund to your will. Anydonation, large or small, will helpto ensure our support of futurechoral directors.

One other way to help is to par-ticipate in or promote the irdAnnual Ayling Open Golf Outing,the fundraiser for the scholarships.is year’s event is on August 2and will once again be at Red HawkRun near Findlay, Ohio. For just$60 you get 18 holes, a cart, lunch,range balls, and a donation toOCDA. Details on the event are inthis edition of the OCDA News.

I look forward to seeing manyof you at this year’s Summer Con-ference and hope you will take amoment to join us in supportingthe future of OCDA! d

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At A 3-dAy choral festival I was con-ducting recently, I was asked byone of the students, “what aresome of your most memorable ormost exciting musical experiencesor memories?” I had to stop andthink for a second. Hmm, I’ve hadsome incredible musical momentsat concerts in some pretty impres-sive concert halls and with someamazingly talented people. How-ever, it didn’t take long for me toreply “my most memorable experi-ences will always have to be whenone student got that look in theireyes. e moment I was able to fi-

nally let go and know that some-one’s life would be forever changedbecause they understood myworld. ey got it. ey were ableto go out into the world and ‘own’their musicianship and have it for alifetime to bring that same look andsmile to their face time and timeagain.”

I don’t believe that any concert,any performance, or any grandstage or audience could ever re-place that look and my knowingthat that student would go on forthe rest of his or her life seekingthose musical moments that would

bring them in-credible joy,comfort, hope, healing, love, andpleasure. Isn’t that really why wedo what we do? I guess I’ve neverhad aspirations of being the “greatmaestro.” I’ve always felt more likea musical geologist roaming thehillsides for that untapped gem andthen mining it until it was a price-less specimen.

After 43 years of doing this, thefact that that thrill still brings megreat joy is the reason I formed theBaldwin Wallace University Men’sChorus. Working with 100 guys

We teach skills for a lifetime of musical enjoyment: a thought and an invitationFrank Bianchi, Northeast Region Chair

Registration materials online beginning in February:

www.ohiocda.org

Graduate Credit Available Reduced Student Registration Rate

Questions? Contact: Christopher Dent, Conference Chair ocdaconference@gmail.com 614.208.6778

winter 2019 table of contents 15

who all share the same work ethic,have passed the same audition re-quirements, have all committed tothe expectations of our membersand whose ages span over sevendecades is one of the greatestthrills of my career. is year ourendowment allows us to imple-ment a new initiative: students whojust graduated from college mayparticipate in the Chorus at no costuntil they turn 30. In addition,we’ve set up a CEU credit (1 se-mester hour per semester availablethrough Baldwin Wallace Univer-sity) for music educators partici-pating in the Chorus.

Sometimes I think it’s easy toget so lost in the hectic scheduleand concert rigor and require-ments that we lose sight of the factthat we are preparing our humansfor the next chapter in their musi-cal lives.

For the past three years, in aneffort to keep guys singing to-gether, I’ve hosted a Summer Singon the first Tuesday of August atBaldwin Wallace. Each year we’vehad over 150 singers come togetherto experience brotherhood throughmusic and music-making, and toexperience the joy of making theworld a better place with our

voices. e event is free and opento all male singers who have hadcollege experience in choir or gleeclub, and who read music well.Musically advanced high schoolsingers are also welcome. Pre-reg-istration is required (use http://tinyurl.com/BWSummerSing).

Please consider joining us andplease share this with your musicalfriends and alumni. ank you forwhat each of you do to make theworld a better place through thegift of music, and thank you for en-couraging your singers to seek op-portunities beyond their schoolyears. d

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Upcoming Events

ocdA Summer conferenceJune 17–19, 2019, Columbus, OH

ohiocda.org

Baldwin wallace Summer glee club SingAugust 6, 2019, Berea, OH

http://tinyurl.com/BWSummerSing

Pridentrichard Schnipkerschnip@bgsu.eduBowling Green State University

Vice (Past) Pridentloren Veigellveig@sssnet.com Witte Travel

Prident EleBrandon Mossbrandonlmoss@gmail.comCentral Crossing High School

SraryZebulon highbenzhighben@muskingum.eduMuskingum University

Treasurerkent w. Vandockkwvandock@gmail.comPerrysburg High School

EC Region ChairFranklin Millerfranklin.miller@legacychristian.schoolLegacy Christian School

NE Region ChairFrank Bianchifbianchi@bw.eduBaldwin Wallace Conservatory

NW Region ChairBeth Vaughnbethvaughn@me.comBowling Green High School

SC Region Chair John Mcclainjmcclain@capital.eduLogan High School

SW Region ChairBrian pottspottsb@wyomingcityschools.orgWyoming City Schools

Conference Chairchristopher r. dentchristopher.r.dent@gmail.comIndianola Presbyterian Church

Exhibits Chairholly lewis pembertonHollyLewisPem@gmail.comWorthington Kilbourne High School

Leadership Roster

Membership ChairMarla Butkembutke@otterbein.eduOtterbein University

IT Coordinatoreric westewest@defcity.orgDefiance High School

Newsler Editortim cloetertimothycloeter@gmail.comMasterworks Chorale of Toledo

Mentorship ChairBrad piersonBradley.Pierson2@utoledo.eduUniversity of Toledo

HistorianAmy gelsoneajgelsone@yahoo.comAnthony Wayne High School

Rired ReprentativeBen Aylingb-ayling@onu.eduOhio Northern University (ret.)

Student Chapter ChairAlyssa SchottSchott.109@osu.edue Ohio State University

Elementary Ftival Chairlei ramoslramos@oldtrail.orgOld Trail School

Children’s Honor Choir ChairJennifer calljennifer.call@cim.eduCleveland Institute of Music

High School Honor Choir Co-ChairsAnn Johnsonsingerann82@gmail.comGrove City High SchoolJessica Myersmyersj@lickingvalley.k12.oh.usLicking Valley Local Schools

Repertoire & ResourcesChairs

Youth AreaArea Coordinator: Doug O’Neal

S C HO OL C HILDR E N

Jeremy davidjeremydavid@foresthills.eduMaddux Elementary School

C OMMUNIT Y C HILDR E N

Jeanne wohlgamuthjeanne@columbuschildrenschoir.orgColumbus Children’s Choir

JR . HIGH/MIDDLE S C HO OL

laurel labbellabbe@roadrunner.comWoodridge Local School District

SE NIOR HIGH S C HO OL

doug o’nealrdohio@gmail.comOlentangy Liberty High School

Lifelong AreaArea Coordinators: Tim & Tracy Carpenter

C OMMUNIT Y

tim and tracy carpenterCarpenter_tim@milfordschools.orgCarpenter_t@milfordschools.orgClermont ChoraleMilford First United MethodistChurch

MUSIC IN WOR SHIP

daniel parsleyparsledt@mail.uc.eduSt. Timothy’s Episcopal Church

Collegiate AreaArea Coordinator: Marie Bucoy-Calavan

C OLLEGE/UNI V E R SIT Y

Marie Bucoy-calavanmbucoycalavan@uakron.eduUniversity of Akron

ST UDE N T AC TI V ITIE S

Bradley naylornaylorb@ohio.eduOhio University

Repertoire-Spific AreaArea Coordinator: Kristina MacMullen

C ON TE MP OR ARY A C APPE LL A

Brody McdonaldBrody.mcdonald@ketteringschools.orgKettering Fairmont High School

ETHNIC: DEV E LOPIN G VOIC E S

Julia Shawshaw.784@osu.edue Ohio State University

ETHNIC: IN TE R ME DI ATE/ADVAN C E D VOIC E S

lynda hasselerlhassele@capital.eduCapital University

ME N’S C HOIR S

Jason Falkofskyjfalkofsky@ignatius.eduSaint Ignatius High School

SHOW C HOIR

Jeff clarkshwchr78@aol.comIndian Hill High School

VO C AL JAZ Z

chris Venesilecvenesil@kent.eduKent State University

WOME N’S C HOIR S

kristina MacMullenmacmullen.1@osu.edue Ohio State University

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