Hi Craig,

 

If you'd like to learn new techniques which would allow you to easily, quickly, and completely transform the choral experience for all involved, consider bringing me in as a guest clinician. I'm the author of Choral CHARISMA: Singing with Expression, and have presented at ACDA and other professional conventions across the country. I just got back from presenting at Iowa's ICDA Summer Convention (working with Bob Anderson and his wonderful Linn-Mar High School singers), and am so fired up I can hardly sit still. The experience was so rewarding, and the effect on the singers and the audience so compelling and exciting, that I'm renewed in my determination to share this with as many directors and singers as I can. (After we worked on the first song, Bob shared this with the session attendees: "I've conducted choirs for 35 years and have never experienced anything like that!")

 

Choir member I work with say things like, "I thought we were connected to the song before, but this takes it to a whole new level." Directors often say things like, "Letting go of being responsible for the singers' expression allowed me to relax and just enjoy making music with them!" Such experiences lead to transformative concerts, delighted audiences, and thriving programs.

 

Craig:  I hit the wrong key, and I don't know whether this posted or not, so please forgive any duplication.  To speak to your questions ...

1.  Think about what you would do with your kids if you were suddenly struck with illness and had to go away for treatment.  Then plan for that for your advanced education.

2.  It's great that you don't have to worry about expense, but how much TIME can you afford?

3.  How about a 2nd masters in choral conducting rather than ed, or perhaps getting started on a DMA in choral conducting?  You might find a school with top faculty where you could do it mostly summers.

4.  Give serious consideration to Tom's suggestion.  I haven't seen him work, but he has a wonderful approach to choral performance that's informed not just by musical but also by theatertical background and experience.

 

All the best,

John

Craig,

 

Entering my 30th year of teaching, I am increasingly convinced that the simple quote - find something you love and you'll never work another day in your life - is absolutely spot on!

 

For decisions, I oftenI use what a theory professor I took during my doctorate called "the descending dove".  Descending dove means make the broad choices first, then work to the specific.  So in score identification - that would be choose the period first working through the genre and composer to the  specific piece name last.

 

So first the broad: 

Do you have a passion for a certain area of choral music?  Have you soul searched to figure out which areas or skills you want or need at this particular time? 

 

Score study?  Gesture?  Rehearsal Technique?  Repertoire knowledge?  Artistry? Communication skills?  Building Morale?  Up to date Brain research?

If already at pretty high levels in things like the skills above - what about learning *how* to decide what the next level is and then how to get to that next level (we've all got "next levels") with your choir - whatever those are.

 

So let's say you've decided you are interested in learning about what we know currently about the Brain which can be applied to Choirs and conducting:

 

You'd want to find out effective resources by doing a little digging.  Books like the Owner's manual to the Brain - Pierce Howard, Teaching Music with the Brain in Mind - Eric Jensen,  Brain Rules - by John Medina are 3 very readable and informative books.  So you could write them to ask what workshops, clinics, internships, etc.  they might suggest.  

 

Then, narrow it to specifics.  Maybe Tom Carter's the way you want to go (since he wrote above)  My perception from talking to him and watching him work is that Tom uses many effective and brain research-based concepts in his Choral Charisma clinics (I hope I'm accurate, Tom). 

 

If not his work, maybe a brain and music symposium, or visiting a mentor for a week, or bringing him/her in, etc.

 

I suggest much the same process for score study, Conducting techinque - etc. 

 

John makes a good point about another masters, or doctorate - although (and this is said by a person who has a masters program and TA's, etc.) you have to take what the program offers - so the stuff you really want is mixed with the stuff you have to take.  This grant should allow you to pick what you are passionate about - and I hope it does!!

 

HTH and

Best wishes to you on an exciting prospect!

 

Gary

 

Gary 

Craig,'

 

That is exciting! Gary's comment on doing what you love and love what you do is so true!!

 

What level do you teach? What area of expertise are you wishing you had more of? If the grant is pretty healthy, try a couple of different options. I defintely say bring in Tom Carter. I have heard great things. 

 

Would you like the professional development to include your students or be separate from your students?

 

How about workshops in Conducting, Vocal Jazz, retreats for your students, arranging, etc? 

 

Keep us posted!

 

Laurie Cappello