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Mount Marty College Choir (Yankton, SD)
Mount Marty College Choir (Yankton, SD) (Jamie Ridgway, College Relations)
 

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Locating Greatness

Malcolm Gladwell says "Our instinct as humans...is to assume that most things are not interesting." in What the Dog Saw, he challenges that assumption with stories of great interest that come from ordinary individuals. We've seen the redeeming aspect of reality television, in my generous opinion, in the discovery that mundane things ARE interesting. Part of finding a mentor is to be interested in what otherwise may be uninteresting to others, or even to the mentor.

Gladwell distinguishes between the "powerful" and the "knowledgeable." Starting at the top with the "well known" or the "powerful" may prove finding a mentor difficult. However, people in the middle may be willing to share. Gladwell observes "People at the top are self-conscious about what they say (and rightfully so) because they have position and privilege to protect---and self-consciousness is the enemy of 'interestingness'." This is less likely the case for those in the middle.

For the protégé, it is important to be able to verbalize what it is that is being sought from a mentor. Are the keys to the successful mentor in their grasp of technical knowledge? Is the essence of the desired mentor their ability to communicate? Is the ability to inspire at the heart of an effective mentor? Whatever the attributes or character, the protégé should be able to effectively name the trait or traits sought.

What has a potential mentor accomplished that deserves modeling? Admiration for another person is normal, particularly if ongoing encounters have been very positive. A charismatic individual that draws people to them is a gifted person, but the would-be protégé should ask a fundamental question: "What is it that I am looking to develop in my understanding of a discipline and set of skills?" Further, "What is the strength, the quality, I am attracted to?" To be safe, also ask "What am I not particularly interested in?" from a particular mentor.

Such a pursuit can and should result in a list of desired abilities, systems, or styles. More often than not, the traits that are sought in a mentor will be found in the nuances of practice, not in theories. Theories can be objectified, while success accomplishing theories in the work context is often found in a mentor's actions and performance.

Other observations for the protégé include whether or not others are interested in this person, and if so, why? The reasons may range from specific knowledge, to persuasive powers, to rugged doggedness, to the knack for being at the right place at the right time (how does one learn that?).

Is the person consistent, or was it a fluke? This is not meant to discount anyone's significance, but we have learned that opportunities come to some individuals at just the right time of need. Being at the right place at the right time does not discount the need for the right skills at those times and places, but it does need to be taken into account. Another way to look at this question is, "Is the quality desired reproducible?" Be real about your expectations for the relationship.

Stop Now-If there is little to your list, rethink this before you go any further toward a mentor. Ask the following questions:

  • Have other protégés come from this mentor?
  • What have they said?
  • Will I indeed get time with the person?
  • What steps do I think I need to take to reproduce that greatness?

If you think you are on the right track, then move forward and DON'T WAiT TO BE ASKED. If the mentor agrees to work with you, then I suggest creating the following environment-building efforts:

  • Build Trust-Trust is built one deed, one encounter, one day at a time;
  • If you make mistakes, own them, and fix them. This is part of trust building and being "teachable";
  • Be transparent-don't keep your life in a closet. The mentor is never sure what they are getting in a protégé, but if they are going to give honest glimpses of themselves, they must be able to trust you with what they share.

According to Elizabeth Collins, "Formal mentoring programs are, at best, a mixed success." She continues, "And even informal mentoring relationships often suffer shipwreck, with one or both parties disillusioned and frustrated." With this warning in mind, steps should be taken to construct a mentoring program that results in a successful experience for both mentor and protégé.

Eric Whitacre and Driving Ferraris
It's been awhile since we've featured an Eric Whitacre post, believe it or not!
 
Here, Decca has created a mini-documentary of Eric's new professional group, featured below.
 
He says that conducting them is like driving a Ferrari, but he's used that phrase before.  Buy hey . . . I'm sure Eric has probably driven several fine automobiles!
 
What to do before the first rehearsal
Some notes for your singers by noted conductors on the Singer Network:
 
Randi Von Ellefson says:
 
The new season is always a great time to consider what chorus members should be doing to prepare for the new season and for the commencement of regular rehearsals. The Canterbury Choral Society continues to send out timely announcements during the summer months that help to keep all the singers informed and ready for rehearsals.
 
First, I’d like all my singers to sit down with the entire chorus calendar and compare it to their own personal schedules so they can avoid as many conflicts as possible. That would be number one on my list—I am often surprised that many singers have NOT done this.
 
Secondly, I’d like all singers come to our season-opening retreat with their folders, pencils, and music ready to go. We often pass out scores ahead of the first rehearsal and alert singers to the edition we're using—in case they already own a copy. These simple things can go a long way to prepare their minds to the tasks that lie ahead in the new season.
 
Look here to find out other advice from Martin Benvenuto, Matthew Oltman, and Pearl Shangkuan (and others).
Visual Thesaurus hires singers for pronunciation work
Singers seem to be good for many things: Visual Thesaurus just created a database that includes pronunciations:
 
We're extremely proud to announce that the Visual Thesaurus now offers accurate, high-quality audio pronunciations for every single word in our database — all 150,000 of them! This was a mammoth undertaking, and the results are unequaled by any online resource, both in terms of quality and quantity.
 
The Language Log provides additional details:
 
Visual Thesaurus enlisted the help of some vocally talented freelancers to make recordings for the 150,000 words and phrases in VT's lexical database (in turn drawn from WordNet). To my knowledge, no phonetic recording project of this scope has ever been attempted for an English-language online reference. As I mention in the announcement, we're talking about 55 hours of recorded speech, all done in tiny chunks averaging about 1.3 seconds. It turned out that the ideal candidates for this sort of freelance project were performers with a background in opera — for their vocal stamina, attention to the details of enunciation, and most of all, knowledge of IPA. As it happens, just about every opera singer and coach needs to be familiarized with IPA in order to sing in non-native languages, using phonetically rendered libretti.
Who needs a choir?
Who needs a choir anymore?  RequiemLight sounds just like one:
Requiem Light is based on a variety of new recording- and sampling techniques some which have never before been integrated in choral sample libraries. The library can literally sound like a real choir and includes both full choir (SATB), divisi groups (males/females) and two solo singers (soprano and tenor) - all recorded in 24 bit / 44.1khz with 1 microphone position (pre-mixed from Requiem Pro (5.1) mics. The library contains true (polyphonic) legato intervals from piano to forte, sustains from piano to forte, staccato with repetitions, ultra forte marcato, BPM (host-synced) legato based latin chants recorded at different speeds across entire interval of choir, tons of choral effects including whispers, shouts, clusters, demonic chants, sweeps, consonants without tone, claps, snaps and over +50 different types of effects.
Climbing the Greasy Pole
Liz Garnett blogs about Bertalot's greasy pole metaphor:
John Bertalot produces a wonderful description of the rehearsal process in his book How to be a Successful Choir Director. He says:
 
The leading of practices is like pushing a man up a greasy pole. He goes up with a bit of effort, but slides down naturally when you leave him alone.  I like this metaphor not just because it is vivid and surprising – and therefore expressive and memorable – but because it is rich enough to tell us things beyond the immediate message it is presented to convey.
 
The primary point is to cast the rehearsal process as a constant battle against entropy. Musical achievements are not stable things that you can put down somewhere and expect to find them just as you left them without further attention. This may be obvious, but it’s useful to keep the obvious in mind at times. When you turn up to rehearsal and the things you nailed last week are sounding wobbly again, for instance, is a good time to recall this image. Instead of getting frustrated that the gains have slipped back, it helps you think, ‘Oh yes, human beings, they forget things – we need to go over this again.’
Advice for Those Seeking a Place in Leadership

As you seek to find your way as a new teacher, a young choral conductor entering the field, or an emerging leader in your school/organization/profession, let me offer some tips. I encourage ChoralNet readers to add the "secrets of your success" by replying below with your own advice to young teachers and conductors that would like to be you some day.

1. To Lead is to Learn-Grab opportunities to make a training presentation for any new or ongoing initiative, EVEN IF YOU DON'T CURRENTLY HAVE THE EXPERTISE. The point is, GET A PIECE OF IT, and offer to make a presentation on what you know (or will learn).

2. Offer to be recording secretary-No one likes taking minutes, so grab the opportunity to "be at the table." Take the best minutes ever taken, edit them carefully, and distribute them quickly. Further, in all your work, always use spell check, proof read TWICE, and introduce 3 and 4 syllable words into your writing and conversations.

3. Do not be the idea killer-But rather, embrace ideas and seek to improve them with any needed practicality. Treat other idea killers as a positive, and be the one to do more homework to show why the idea could work.

4. Talk in terms of the other person's interests-Hard to do in our profession, but give up on being your only cheerleader. Be their cheerleader. People do not want the arrogant ones at the top-everyone knows they will just use it for their own entitlements.

5. Collect and learn from your mistakes-Mistakes can be one of your silent mentors, IF, you take away the lesson and emerge on the positive side of the lesson learned.

6. Do not go over budget-While your intentions may be noble, going over budget negates all of your good ideas and intentions, and you are viewed as a loose canon.

7. Look sharp and be sharp (sorry for the pun)-Put on your game face, game clothes, and be ready to represent the best the organization has to offer.

8. Stay out of office politics, unless it is the official political structure-Emphasize the "why" of everything, not the human source, positive or negative.

9. Learn the difference between what can be changed, and what cannot-This includes decisions of the past, as well as decisions about future direction.

10. Make this your ongoing vocabulary-"Please", "Thank you", "Good job", "I appreciate you", "I hear great things about your work", "I am glad to be working with you", "I need your help", "You deserve this", "Congrats."

 
 
Operation Telstar
ChoralNet member Steve Szalaj shares this with the choral community:
 
Recently, the New York Times ran an article about the Mormon Tabernacle Choir being a part of the first live international satellite broadcast called Operation Telstar on July 23, 1962. The article relates personal stories and the significant cultural/political/social importance of this event against the backdrop of the Cold War, the Cuban Missile Crisis, the space race and the societal changes soon to begin.
 
With the article, there is a video of a portion of this performance, as well as two other performances and an audio file. It also touches on how technology has always been a significant part of MTC's history.  
 
It was an effort intended to shout to the world "America Can Do It!" and song - choral music - was its heart and voice. With the article are video and audio links of performances by the MTC, including a clip of this first satellite broadcast. As one who lived during this time, this brought back a flood of memories and emotions that probably have a stronger impact on my life today than I am aware of (or perhaps willing to admit...).
 
Advice For Those Seeking a Place in Leadership
This post-dated message was mistakenly included in the August 30 ChoralNet Daily. It will be visible tomorrow. Sorry for the confusion.

More ChoralBlog...

Choral News

Upcoming movie about Froncysyllte Male Voice Choir

A DIRECTOR working on the film version of a Welsh choir’s meteoric rise to stardom says shooting could begin on the movie this year.

Writer and director Debbie Isitt said the film, telling the story of the Froncysyllte Male Voice Choir’s overnight success, remains a major priority for production company Lion’s Gate.

The group, with an average age of 66, went from obscurity to making the fastest-selling classical album of all time – Voices of the Valley.

 
What It Takes: A career inspired by the beauty of great music
Norman Scribner was not yet 30 when he founded the Choral Arts Society of Washington in 1965. Since that time, the organization has grown from a community choir to a world-renowned chorus with a staff of 12 and an annual budget in excess of $2 million. It has worked with some of the most respected conductors and orchestras in the world.

Scribner, a graduate of the Peabody Conservatory, has held a number of music-related posts, including director of music at St. Alban's Episcopal Church for 47 years, chorus master of the Washington Opera and staff keyboardist for the National Symphony Orchestra

 
Magen Solomon new director of Stockton Chorale
Magen Solomon doesn't think it's all that tricky.
 
"I really feel everybody can sing," said Solomon, who's already making harmonious sounds with the Stockton Chorale. "A choral group is a perfect example of how the whole is greater than the sum of its parts. You can take someone who's not very experienced and do something quite magical."
 
Solomon formally begins pursuing her all-inclusive musical mission as the chorale's new conductor and artistic director tonight when community members join in a sing-along version of Wolfgang Amadeus Mozart's "Requiem."
 
Choral Society has new artistic director
The San Clemente Choral Society has appointed composer and conductor Stephen Sturk as its new artistic director.
 
Sturk also is the director of music at St. Thomas of Canterbury Episcopal Church in Temecula and composer in residence at St. Paul's Episcopal Cathedral in San Diego. He also is co-founder and director of Cappella Gloriana, San Diego's professional chamber choir. In 2008, Sturk's alma mater, North Central College in Illinois, awarded him its Fine Arts Medal. He also holds master's degrees from San Diego State and North Dakota State universities.
 
Norman Scribner Announces Retirement as Choral Arts' Artistic Director
After 45 years, Choral Arts’ Founder and Artistic Director, Norman Scribner, has announced his retirement which will take effect on August 31, 2012. The organization will now embark on the search for a new artistic director who will take the helm of one of the nations preeminent symphonic choruses for the 2012-2013 Season.
 

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