Southern Exposure, Missouri Southern State Univ.
 Coaching via Skype
Date: February 10, 2012
The delay between sound and picture was less of an issue while they were singing (strangely) than when we were talking. This was one of the pleasant surprises. But it made me realise how closely I usually watch people’s eyes while I coach, to track how they’re responding to what I say: do I see comprehension, enlightenment, bafflement, disagreement? Gesture, speed and content of my sentences all gets adjusted in real time. So, what with the delay, the slight graininess of picture quality and the small size of four people on the screen, I was losing a lot of information about how things were going.
Still, she thought it worked pretty well.
 Composers getting proactive
Date: February 9, 2012
 We designed ChoralNet Communities flexibly in order to permit ChoralNet users to create their own ways of communicating. The community Composers of Choral Music has been very active, perhaps because there isn't any other established forum for such composers to get together.
Their latest project is a Composition Showcase. When you go into a music store and rifle through stacks of octavos, you get to look at a lot of pieces in one place. But looking at composer websites is a much more tedious business, because they're all different. The Showcase is intended to be an opportunity to look at a lot of pieces in one place. All the pieces have sample pages in PDF format.
You'll still have to go to each composer's page individually (or send them an email or something) if you want to buy their pieces, so it doesn't have the one-stop-shopping convenience of a music store (yet), but it's a good first step.
I make it a point to include a lot of 21st-century music in my
We designed ChoralNet Communities flexibly in order to permit ChoralNet users to create their own ways of communicating. The community Composers of Choral Music has been very active, perhaps because there isn't any other established forum for such composers to get together.
Their latest project is a Composition Showcase. When you go into a music store and rifle through stacks of octavos, you get to look at a lot of pieces in one place. But looking at composer websites is a much more tedious business, because they're all different. The Showcase is intended to be an opportunity to look at a lot of pieces in one place. All the pieces have sample pages in PDF format.
You'll still have to go to each composer's page individually (or send them an email or something) if you want to buy their pieces, so it doesn't have the one-stop-shopping convenience of a music store (yet), but it's a good first step.
I make it a point to include a lot of 21st-century music in my programs, and I hope you will too. Drop by and take a look at the showcase and see if there's anything you might be interested in. But they're only just getting started — there's only about 50 pieces there at the moment — so plan to come back in a month or two and take a second look.
Choral Caffeine: Listening at a Conference
Date: February 8, 2012
 Attending an ACDA Conference is a little like trying to drink from a fire-hose. There’s a whole lot coming at you in a big ol' hurry. The trick is to quench your thirst without getting soaked.
"One of the greatest benefits in attending conferences is hearing new literature. Yet, listeners must hear in a specific way if they are to learn the most from what they are hearing. Choral methods professors have proposed many useful lists of criteria for selecting literature for choirs, and those same criteria are equally valuable when listening at a conference. Since, over the course of the two or three days, one will hear many pieces of music, listening must be systematic. In ‘Choral Music: Methods and Materials’ Barbara Brinson identifies certain factors
Attending an ACDA Conference is a little like trying to drink from a fire-hose. There’s a whole lot coming at you in a big ol' hurry. The trick is to quench your thirst without getting soaked.
"One of the greatest benefits in attending conferences is hearing new literature. Yet, listeners must hear in a specific way if they are to learn the most from what they are hearing. Choral methods professors have proposed many useful lists of criteria for selecting literature for choirs, and those same criteria are equally valuable when listening at a conference. Since, over the course of the two or three days, one will hear many pieces of music, listening must be systematic. In ‘Choral Music: Methods and Materials’ Barbara Brinson identifies certain factors to consider in literature selection that are also significant for more effective convention listening:
<> range and tessitura of each voice part
<> quality text
<> accompaniment
<> size and maturity of choir
<> texture
Awareness and effective application of these factors will greatly enhance “evaluative listening” at conferences."
How's your low range?
Date: February 6, 2012
A record company has begun a worldwide search for the singer who can sing a note so low that it is thought never to have been sung before.
Written by Military Wives composer Paul Mealor, the choral work De Profundis includes a low E, which lies more than two octaves below middle C.
C'mon, you know you can do it! A few shots of vodka, and no problem.
Free seating chart software
Date: February 4, 2012
For people like me who are too stingy to buy software (and particularly suspicious of sites which require a monthly fee for eternity), we're always on the lookout for freebies. One of the needs of choral directors is to make seating charts, and periodically there's a request on the forums for computer-based solutions to address this.
I use a Word clone to make charts, but a UK-based group, the Monday Mondays, decided to make their own, JavaScript-based one. It's free for anybody to use.
It's a little clunky, but hey, it's free.
Pros:
-
Reasonably intuitive to use: click on a name, then click where you want it to go (can't drag). Entering the names in the first place is kind of a pain, but that's true for any system. Fast.
-
Flexible section names (in case you have baritenors or other "transsectionals")
-
Switch two singers' seats easily (something hard to do in Word)
-
Move groups of singers at once (for example to add a singer in the middle)
-
Browser-based; print directly from browser (a mixed blessing)
For people like me who are too stingy to buy software (and particularly suspicious of sites which require a monthly fee for eternity), we're always on the lookout for freebies. One of the needs of choral directors is to make seating charts, and periodically there's a request on the forums for computer-based solutions to address this.
I use a Word clone to make charts, but a UK-based group, the Monday Mondays, decided to make their own, JavaScript-based one. It's free for anybody to use.
It's a little clunky, but hey, it's free.
Pros:
-
Reasonably intuitive to use: click on a name, then click where you want it to go (can't drag). Entering the names in the first place is kind of a pain, but that's true for any system. Fast.
-
Flexible section names (in case you have baritenors or other "transsectionals")
-
Switch two singers' seats easily (something hard to do in Word)
-
Move groups of singers at once (for example to add a singer in the middle)
-
Browser-based; print directly from browser (a mixed blessing)
-
Did I mention it's free?
Cons:
-
Can't save to file; you have to do a complicated workaround to save charts from one session to the next
-
Row width is limited to 15 seats (really?)
-
Name length limited to 10 characters
-
Fixed cell width (although you can change it manually)
-
Can't edit singer or section names within cell; have to create a new cell and discard the old one if you change somebody's section designation
Overall: might be helpful for some users, has a lot of potential for improvement. I'll stick with my Word clone (Apple's Pages) for now. I'll write to suggest to them that they might save the user's work in a cookie rather than the multi-step process they're using.
Sent from where?
Date: February 3, 2012
 Bob Eaton, president of ACDA's Eastern Division, gives us this juxtaposition of choral music and technology:
I received an email and in place of the typical "sent from my iPhone, or Android or whatever" statement it said:
"Sent from choir rehearsal."
A student?
A choir member?
No... The choir director!
Super Bowl a cappella
Date: February 2, 2012
This ad, scheduled for this Sunday's Super Bowl, features a cappella singing:
P.S. Happy Candlemas!
ACDA 4 U: Central Division Features Bach St. Matthew Passion
Date: February 9, 2012
 In “A Conductor’s Guide to the Preparation of Bach’s St. Matthew Passion,” the work will be discussed AND performed. This session will identify for the conductor the necessary steps and important considerations in the rehearsal process of Bach’s masterwork. The session will illuminate the conductor’s tasks in initial, separate rehearsals of the chorus, orchestra, and soloists through the conductor’s responsibilities in rehearsals immediately prior to performance. Salient musical issues will be addressed: for the chorus—text, phrasing, and articulation; for the orchestra—Baroque bowing and articulation; and for the soloists—secco and accompanied recitatives and singing with obbligato instruments. The session will isolate sections of diverse textures of the work to show how to unify phrasing and articulation among chorus, orchestra, and soloists.
ACDA 4 U: Eastern Conference Sends Conductors into Space
Date: February 9, 2012
 The ACDA Eastern Division Conference will include the session: Choral Directors are from Mars and Voice Teachers are From Venus. The Choral Journal describes the event in this way: "How can middle and high school and college choral conductors interact with independent and academic voice teachers in their area to develop a successful team? Is the voice teacher/choral conductor confl ict in higher education fantasy or fact? Exploring answers to these questions, we will delve into commonly used mis-instructions and their implications."
ACDA 4 U: North Central Conference Opens TODAY
Date: February 7, 2012
 ACDA members from Iowa, Minnesota, Nebraska, the Dakotas and other frosty states in the north central U.S. are gathering today in Madison, Wisconsin for the ACDA North Central Division Conference. Running today through the 11 th, this is the first of seven divisional conferences being offered by ACDA in 2012.
“Jump in your car and join us!” enthused ACDA North Central Division President, Aimee Beckman Collier.
Members can still join in the fun! ACDA staff members Katie Lewis and Craig Gregory are in Madison at this very moment and are eager to help you register for the North Central Division Conference.
ACDA 4 U: Western Division Includes Movement Session
Date: February 6, 2012
 Among the fabulous interest sessions scheduled for the Western Division Conference is "Movement: The Key to Making your Choir Sound Good." This session – presented by Charlene Archibeque – will cite recent research into how movement helps people learn and retain ideas, concepts, and sounds. The clinician will be demonstrate movement of the singers’ bodies in vocalizes, as they rehearse a piece, and as they perform music, and move the singers into different positions both on and off the risers. Subtle movements—such as turning the head slightly—finger movements, hand and arm movements, modified tai-chi, and other current uses of the body in the act of learning and performing will be explored. Differences in timbre will be demonstrated as singers positions are changed.
ACDA 4 U: Southern Conference Features "Voices of Light"
Date: February 5, 2012
 Voices Of Light – by Richard Einhorn – is a stunning evening of music theatre. The event has been performed at the Brooklyn Academy of Music Next Wave Festival; at Avery Fisher Hall in Lincoln Center; at the Kennedy Center, and Wolf Trap with the National Symphony; and in dozens of major concert halls across the country. It has been featured on CBS Sunday Morning; on NPR's PerformanceToday and All Things Considered; and in numerous national publications, including the New York Times and the Wall Street Journal. Voices Of Light merges the legendary silent film masterpiece The Passion of Joan of Arc with a live performance of a beautiful new work by composer Richard Einhorn. The film is considered by critics to be one of the 10 greatest films ever made. Thought to have been destroyed in warehouse fires, aperfect copy was discovered recently and lovingly restored. With its raw emotional power, its naturalistic acting, and an utterly contemporary visual style, The Passion of Joan of Arc
Voices Of Light – by Richard Einhorn – is a stunning evening of music theatre. The event has been performed at the Brooklyn Academy of Music Next Wave Festival; at Avery Fisher Hall in Lincoln Center; at the Kennedy Center, and Wolf Trap with the National Symphony; and in dozens of major concert halls across the country. It has been featured on CBS Sunday Morning; on NPR's PerformanceToday and All Things Considered; and in numerous national publications, including the New York Times and the Wall Street Journal. Voices Of Light merges the legendary silent film masterpiece The Passion of Joan of Arc with a live performance of a beautiful new work by composer Richard Einhorn. The film is considered by critics to be one of the 10 greatest films ever made. Thought to have been destroyed in warehouse fires, aperfect copy was discovered recently and lovingly restored. With its raw emotional power, its naturalistic acting, and an utterly contemporary visual style, The Passion of Joan of Arc looks like it was made only yesterday. It is a haunting, extraordinary film.
ACDA 4 U: MS/JHS Features Middle School Voices
Date: February 4, 2012
 One of the features of the Middle School/Junior High School Conference for Choral Music will be the opportunity to hear something seldom heard on ACDA conferences: MS/JHS choirs. Includede on this events are ensembles from A. Mario Loiederman MS, Beckendorf JHS, Rice MS, Blalack MS, Parkhill JHS, Briarhill MS, W.E. Greiner Academy, Arbor Creek MS, Hernando MS, and Yound JHS.
ACDA 4 U: Southwestern Conference includes "Angel of the East"
Date: February 3, 2012
 The ACDA Southwestern Division Conference will include a performance of "Angel of the East." The work sets part of John Donne’s poem Good Friday, 1613. Riding Westward, explaining the spiritual context: the poet rides out on business on a Good Friday, neglecting his meditations on Christ’s death. He journeys away from Jerusalem and the crucifi xion, which lies due east, moving in the opposite direction to which his mind automatically turns. Donne argues against his guilt that by travelling westwards he will eventually reach the east. Thus, the earth is a sphere where east and west become one. The work is scored for solo soprano, SSA voices, bass instruments, plucked instruments, organ, virginals, harmonium, two percussionists, violins.
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Montreal native and Old Louisville resident Andrew Wheaton, 26, was chosen by the Thoroughbred’s board of directors Jan. 19 after an extensive search, said Eric Hunstiger, the group’s president.
