Contents

Some Thoughts on Arranging Music for the Childrens Choir

December 2009 Vol. 50 no 5

Music Literacy Among Adults In Church Choirs

12

22

Articles

6 Some Thoguhts on Arranging Music for the Childrens Choir

by Clara Levy

Inside
2 4 5 29 41 44 64 72 From the Editor Career Moves

From the Executive Director

From the President

12 Music Literacy Among Adults in Church Choirs

by Paul G. Hill

Application for Choral Performance Call for Interest Sessions Elections and Amendments Advertisers Index

22 Technology for the Twenty-First Century Choir

by Philip Copeland

31 On the Voice edited by Sharon Hanson The Other Side of Sixty: The Choir and the Conductor

Columns

by Sandra M. Willets

The Choral Journal is the ofcial publication of The American Choral Directors Association (ACDA). ACDA is a nonprot professional organization of choral directors from schools, colleges, and universities; community, church, and professional choral ensembles; and industry and institutional organizations. Choral Journal circulation: 19,000. Annual dues (includes subscription to the Choral Journal): Active $85, Industry $135, Institutional $110, Retired $45, and Student $35. One-year membership begins on date of dues acceptance. Library annual subscription rates: U.S. $45; Canada $50; Foreign Surface $53; Foreign Air $85. Single Copy $3; Back Issues $4. Permission is granted to all ACDA members to reproduce articles from the Choral Journal for noncommercial, educational purposes only. Nonmembers wishing to reproduce articles may request permission by writing to ACDA. 545 Couch Drive, Oklahoma City, Oklahoma 73102. Telephone: 405/232-8161. All rights reserved. The Choral Journal (US ISSN 0009-5028) is issued monthly except for July. Printed in the United States of America. Periodicals postage paid at Oklahoma City, Oklahoma, and additional mailing ofce. POSTMASTER: Send address changes to Choral Journal, 545 Couch Drive, Oklahoma City, Oklahoma 73102..

45 acda.for.you edited by Philip Copeland

Conventional Newsletter or Online Newsletter/Web site?
by Howard Meharg

48 Hallelujah! edited by John Dickson

In Memoriam: Wesley Surber Coffman (1927 2009)

49 Technology for the Choral Director edited by Don Oglesby

University Conducting Classes: A New Solution for Capturing Digital Video
by Craig Zamer

53 Student Times edited by Jeffrey Carter

Conferences 101: How to Listen, Absorb, and Process the Conference Experience
by Susan Davenport

59 Recording Reviews edited by Lawrence Schenbeck 65 Choral Reviews edited by Lyn Schenbeck
Cover art by Efrain Guerrero, graphic artist, Austin, Texas. Interior art by Tammy Brummell. Musical examples by Tunesmith Music <www.Tunesmithmusic.com>.

Philip Copeland is director of choral activities at the University of Alabama at Birmingham and Chairman of the Technology Committee for ACDA.

Technology is reshaping every part of our lives. With every new cell phone sold and webpage created, we are becoming more linked and more dependent on electronic devices and Internet connections. When music and technology are usually paired, we often think of notational programs, sequencers, and synthesizers. This article takes a different look at the role of technology in the life of the choral musician. Here, we examine how new tools and new ideas can enable us to reach a new generation of students, do our jobs more efciently, and impact the lives of other choral musicians.

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A Time of Great Change in Our World, Profession, and Organization

Its a time of tremendous change in the world today. A popular YouTube video called Did you know? does an effective job in presenting some disturbing and encouraging trends in our world, including population shifts, changes in education, and the powerful impact of technology and the Internet. After viewing it, one can not help wondering, what does it all mean? but the underlying message at the end of the video is simply shift happens.1 It is a sobering and eye-opening messagea notice to everyone that momentous change is occurring and no one knows what new reality will emerge from the potent forces at work in the world today. Today's students are different.The change is obvious; they bring a very different background of experiences to the classroom. A formal education once revealed the world of knowledge to the uneducated; the student of today grew up already enlightened to the wonders of the world. Unlike previous generations, they grew up in an age of Google, with fast access to everything.There are times when they seem to not have an ability to focus. At other times, they seem to be focused on everything at once. It is not unusual to nd a teenager simultaneously engaged in multiple activities: chatting online, doing homework, texting a

friend, talking on the phone, listening to music, and watching television. One researcher, Mark Bauerlein, has dubbed todays students the dumbest generation and has written an entire book of the same title. 2 Other authors and researchers take a much more positive view of todays students and their potential impact on society. Don Tapscott, author of Grown Up Digital, states
Im convinced a lot of people have got it wrong when it comes to youth today; that there is this cynical and negative view about youth, especially with regard to the use of technology; that theyre net-addicted and that theyre losing their social skills and that it is making them stupid. . . . but my book is full of research which shows that this is just not true. I am on a campaign to get people to look at the real evidence on the character of this generation.3

Mark Prensky, author of several books and chapters on the integration of education and technology, claims that a fundamental discontinuity has taken place; todays students think and process differently from their predecessors.4 Much of the evidence seems to suggests that the brains of todays students are different because of their immersion into the fast-switching world of the internet, cell phones, and other technologies.

ARCHITECTURE THEATER RELIGION MUSIC LANGUAGE ART

Prensky calls todays student a Digital Native; the rest of us, the ones not baptized into the technology river at birth, are referred to as Digital Immigrants.5 Like all immigrants, we can become quite familiar with the native language of todays technology, but we will always be marked with a certain accentone easily detectable by the Digital Native.6 Our profession is changing. There is a new generation of composers who use the Internet to promote themselves and their music. Eric Whitacre, one of the most popular composers in choral music, has a huge online presence through his Web site, his blog Soaring Leap, a Facebook fan page, and appearances on YouTube. He uses the Internet to communicate with his audience, update his compositions, and even engage in creative activities with his fans.7 Todays digital immigrant choral conductor has a variety of responses to all the change. There are many in our profession who are comfortable with the new possibilities while others struggle with it. More than a few fear that they are being left behind by the innovations of today. Some are tempted to opt out of all of the innovations while others are excited by the new possibilities. Don Tapscott warns that we are becoming a world where only the connected will survive . . . harness the new collaboration or perish.8 There are plenty of reasons to be concerned about future directions of our nation and world. At the same time, we must also acknowledge that there are tremendous opportunities that await our profession if we were to take advantage of today's technology and tools. We have become an extremely connected world and this new connectivity has astounding implications for the choral art.

Powerful tools available today: RSS Blogging Google Docs YouTube

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In a sense, there is a fundamental incongruity between choral music and the Choral Journal December 2009

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innovations of today. We nd great satisfaction in unaccompanied singingvoices unaided by instruments or amplication. Ours is a unique art form more at home in a sixteenth-century cathedral than the acoustically dead modern hall. At its essence, our music needs little help save for a good acoustic. The business of choral music is changing, however. Our world is moving faster, our students and choir members are expecting more from us.There are powerful tools that can help us adapt to the world of today. If we open ourselves to new possibilities, we will nd that we can become more current, communicate more effectively, and organize more efciently.

RSS: Real Simple Syndication

A pressing need for the twenty-rst century choral musician is the need to stay current amid the fast pace of change. One of the most effective tools for acquiring information on the Internet is also one of the least used. Really Simple Syndication (RSS), is a notication tool that signals a user when an update has been made to their favorite Web site, blog, or other Internet source. Most users spend their Internet time visiting multiple Web sites. RSS enables users to subscribe to the Web site. It helps users maximize their time online and monitor a large number of information sources in one place. Its an easy way of managing a large amount of content without becoming overwhelmed by the information. One

might think of it as creating a customized newspaper of subjects and Web sites that are dedicated to their individual interests. One subscribes to an RSS feed through any one of a number of RSS readers. The most popular RSS readers are Google Reader and Bloglines. One may also subscribe with their browsers (Firefox or Internet Explorer) or their e-mail reader (Microsoft Outlook).The process of subscribing to RSS feeds varies slightly among each of the feed readers. There are millions of sites that are RSSenabled, including a number of choral music specic Web sites. ChoralNet, ACDA, and CPDL all offer RSS feeds. One can subscribe to an individual forum in ChoralNet or the entire Web site. Google and Technorati

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offer ways to subscribe via RSS to search terms. After you enter the search term, you subscribe to the search; you are then immediately notied when your search term appears on a blog or similar Web site.

It allows you to share your work with the rest of the world. I recommend a blog for every organization that employs you, whether you work for a school, church, or community choir. There are multiple ways you can use a blog to enhance your teaching: Provide feedback to your choir. Robert Shaw wrote letters to his choir; you can blog about your rehearsals. Blogs can communicate praise or correction to your choir concerning events and performances.You can rehash rehearsals and even frame negative events into a new context outside of class. Writing about rehearsals also creates a record for what was covered in class for those absent. Gather opinions from your choir members. The dynamic nature of blogs allows them to be used as an assessment tool; you can use choir member opinions to help shape your plans and decisions.
Communicate the important and the mundane. Most conductors hate wasting rehearsal time with the organizational details of a choir. A choir blog is a perfect place to provide the routine details of uniform ordering and syllabus sharing. They can save money, too: blogs can take the place of all the written communication you usually duplicate for each member of your organization. Point your choir to recordings and partlearning help. Your online portal can be used to link to recordings available online such as iTunes or a CD from Amazon. In addition to commercial recordings, there are many sites that contain midi les for part-learning help for learning major works and other well-known pieces. Pronounce, translate, and discuss the text. The blog is a wonderful tool to deal meaningfully with the text of a work. You can provide translations and pronunciation guides for each

Blogging: Your Portal to the Internet

Choral musicians of today need an online presence and a blog is the fastest way to get online. The word blog is a shortened form of the word weblog, a term that is commonly used to describe an online journal. A blog allows an author to immediately publish ideas and a conversation to develop between author and reader. However, a blog can be much more than a place to share thoughts. Instead, think of it as the easiest online portal to the Internet. It takes very little time to sign up for a free blog. Once online, your journal can be seen by any member of your choir and by anyone in the world. There are three general benets for using a blog for your choir: It saves time: you dont have to talk about it in rehearsal. It saves money: you dont need to duplicate everything for everyone.

text. The dynamic nature of the blog provides your choir members a forum to discuss the text of a work outside of class.You can ask your choir members to interpret what the text means or how the composer enhances it with her composition. This is a type of asynchronous learning; a form of learning that allows students to deal with information at their own pace instead of the formal structure of a classroom. Building a community with past, present and future. Over time, a blog has the potential to enhance the community of the choir between former, current, and future members of the choir. Former members of the choir will use the choir blog as a way of staying in touch with an important part of their time in college. Directors will nd it an ideal way to stay in touch with choir alumni. The blog has an opposite impact on new members or potential recruits; these new or future members can read the history of the choir through a record created over time. Some potential members begin interacting with current members through the comments section of the Web site and it makes their initial transition into the new community easier.

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A resource for the choral community. Imagine a world where choral conductors published every translation and pronunciation guide online for their choir. Once you have published your work online, it becomes searchable for all the other choir directors through powerful search engines.

Google Tools and Documents

There are other online tools to bring the work of choral music into the new century. Although Google is best known as the most popular search engine in the world, this forward-looking company has recently parlayed that success into an online version of Microsoft Ofce known as Google Docs. Known as cloud computing, the new tools allow users to utilize the Internet to create, manipulate, and store information. Choral Journal December 2009

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Like Microsoft Ofce, Google Docs allows users to create documents, spreadsheets, and presentations but with one important difference: anything you create on Google Docs can be accessed from any computer with an Internet connection and also shared with any other Internet user. Three tools in particular, the calendar, spreadsheet, and forms offer the choral conductor an incredible means of organization and coordination.

of all the participants. We create an information form, duplicate the form, distribute it to the choir, and then assimilate the information into a database or spreadsheet.

It is an exercise in time, energy, and money: It takes time to create the form It takes paper and money to duplicate the form It is often difcult to read choir members handwriting, resulting in inaccurate information It takes time to assimilate the information and get it into a usable format Google forms and spreadsheets give you a way to replace this outdated process of information gathering. Instead of using paper, you use the Internet. You create an online form containing all the normal questions (name, address, phone, e-mail, etc.) and have choir members ll it out online, either from

a blog, Web site, or e-mail. Whatever your choir members type into the form is transcribed immediately into the corresponding spreadsheet. Instantly, your spreadsheet is lled with their data; its almost magic. Creating the form is a simple matter and Google gives you the code to insert into an e-mail, Web page, or blog. The information populates the spreadsheet quickly and you have saved an incredible amount of time and effort.

Google Calendar for Choir Coordination

Every choir has its particular rehearsal schedule and performance dates. It is the essence of what we do: rehearse and perform. Nearly every choir that we direct has a unique group of people with a separate schedule of rehearsals and performances. A Google calendar is an ideal online tool for coordinating each group you direct. Once created, choir members are able to subscribe to the calendar and incorporate it into their personal organizational device; choir members can layer their choir calendar over their personal calendar. Whats the benet? Utilizing Googles calendar allows the conductor to control all the information that goes on a calendar: time, place, and special instructions. Adding an additional performance/rehearsal isnt a problem. From the choir members perspective, it is a great time-saving tool: they perform one action and all of the dates of rehearsals and performances instantly appear on their individual calendars. Googles calendar uses open standards, so it is easily integrated into other electronic devices or calendar-making systems.

Coordination of Multiple People With One Document

Google spreadsheets allow multiple people to edit one document, a process that is benecial to any group, especially the church musician planning a worship service. Any worship leader knows the tremendous coordination involved in planning a service. The worship document normally reects contributions from a large number of individuals: music director, organist, scripture reader, acolyte, pastor, soloist, etc. Heres how one church makes it work:

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Henry Leck, Founder and Director, Indianapolis Children's Choir

Google Forms for Choir Rosters

One of the innovations from Google Docs is the ability to create an online form. Once the form is lled out, the information that is created populates a spreadsheet. Here is a practical example of how that can benet a choir director:
One of the rst things we do with our choirs is to develop a roster

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 Pastor provides scripture and sermon topics for the month

YouTube

A New Audience
YouTube gives your choir a much broader audience: the world. It is a new concept of an audienceone that is not limited to your local community. Timothy Banks, from Samford University, has made special videos of his choir for the sole purpose of distributing to a YouTube audience. It is a brilliant idea. Banks estimates that about 300 400 people attend his local concerts but over 2500 have viewed his choral performances on YouTube.

YouTube has been around less than ve years, but has had a huge impact on the In Music director receives the scripture and ternet. Its potential as a resource for choral creates a Google spreadsheet musicians, however, is largely unrealized. Music director selects hymns and anthems, puts them into the document Organist selects prelude, offertory, and postlude and types it into the document Soloist looks ahead at scriptures and anthem and selects a solo that matches the theme of the day, types in the title and composer information Lay person schedules readers and acolytes and places their names into the document Church secretary opens the Google document and creates the worship document from the information contained in the document. A number of coordination possibilities are possible with the collaborative aspects of Google documents: recital programs, worksheets, surveys, music libraries, and attendance spreadsheets.

Researching literature
Choral performances are plentiful on YouTube; a search for Palestrina on the site pulls up two thousand choral performances of the Renaissance composer. The popular video viewing site offers the choral profession a tremendous resource for education, especially when it comes to discovering and viewing performances. Performances of wellknown works abound. YouTube becomes an obvious vehicle for teaching the motets of Palestrina,Tallis, and Byrd and a host of other composers. Multiple versions of the most popular works exist and they are a quick search query away. YouTube is also a tool for exploring the lesser-known works of well-known composers. When paired with CPDL (the Choral Public Domain Library), YouTube provides every choral literature class immediate access to the choral score and video performances of the music. Six of the rst ten Palestrina works listed on CPDL are available on YouTube.9

Copyright Concerns on YouTube

Inevitably, the question of copyright surfaces regarding YouTube. At the current time, there is no standard procedure for a choral director to purchase rights to perform a copyrighted piece of music on YouTube. For the purposes of this article, I contacted 25 different music publishers and the Music Publishing Association in an effort to determine music publishings policy toward YouTube performances of copyrighted works. It was a fascinating exercise, conducted through both e-mail and telephone conversations. In many cases, I could tell that the music publishing company representatives were interested in discovering what I was learning, and they asked me as many questions as I asked them. At other times, I had the distinct impression that the companies were formulating their YouTube policy during my conversation. Asking the question seemed to force the issue. The eventual responses from the music publishers can be classied into three groups: No permission or fee required. There is a generous response from some music publishing companies and they dont have any permission requirements or fees from choir directors. These policies, however, may not be permanent. One publisher stated that their current position was to not prosecute the activity while the courts, the Music Publishers Association, and ISPs are all working on a fair settlement. Permission required. Some companies

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require permission for their works to be displayed on YouTube. They are likely to allow you to present the work online without payment, but they want a used by permission line on their Web site and acknowledge the publisher in some way. Fee required. Some publishers attempt to apply the same mechanical and synchronization rights that are associated with DVDs and CDs in their YouTube policy. One company, Beckenhorst Press, has created an Internet Performance Form that a choir can purchase for $10 that allows the user to put on their Internet Web site or YouTube. From this brief inquiry, I recommend the following policy when dealing with copyright questions relative to YouTube. There is no copyright issue for any work already in the public domain. If the work is composed and published before 1923, dont worry.

If the work is composed after 1923, you should e-mail or call the publisher with your request. Be ready to tell them: a. You are a non-prot organization and you want to post an amateur performance on YouTube. b. Your performance is not downloadable. This is of special interest to the music publishers because a downloadable performance would invoke fees associated with DVDs. c. Most want to know the specic work and catalogue number, length of performance, and the length of time you want to display the work on YouTube. d. Be ready to acknowledge the music publishing company in your video with a used by permission label on some part of the video and in the description of the video on YouTube.

Teaching Pronunciation
Online video has tremendous potential for the future in the area of foreign language pronunciation. There are a few YouTube examples of choirs using video for this purpose, but not many. At least three diction videos are available for purchase, but the choral community could easily displace commercial efforts with a grass-roots effort. Its likely that some opportunistic student, teacher, or conductor will soon produce compilation videos of popular texts in prevalent languages. For instance, a pronunciation video of the German text of the Brahms Requiem would be a huge hit on YouTube. Choir directors from all over the world would make the video a choir assignment. Choral directors could study the video to perfect their understanding of the text and then teach it to their ensembles. Imagine how helpful it would be to have a video recording of a Middle English expert working through the pronunciation intricacies of Brittens Ceremony of Carols! For that matter, wouldnt it be nice if someone produced a video that demonstrated all

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the texts contained in each of the Jeffers translatations, Translations and Annotations of Choral Repertoire. If the idea were broadened to a worldwide audience, choral music associations could produce standardized videos of popular texts from their own countries in an effort to promote the music of their native composers.

A Call for Collaboration

Although we are masters of collaboration in the rehearsal hall, we are novices when it comes to working together as a profession on the common issues of text, pronunciations, and other issues. In a sense, we are islands of productivity, and we are re-creating each others' work every day. The Internet allows us to share our work and benet from the efforts of other choral musicians. If one person has performed an IPA transcription of the Brahms Requiem, they should share it online through a blog or Web site. If we all begin to share our recordings, translations, transcriptions, insights and recommendations, the Internet would become a compendium of all of our work. In a sense, the Internet allows us to create a choral brain, a collection of all our knowledge. Everything we do in our profession needs to contribute to this brain. Every screen we use will have access to the resources we create. In order to help build this brain, you need to nd a way to publish the work you do every day with your choir. You have a variety of potential places to store your work online through blogs, Web sites, or YouTube. Remember that every time you create a resource to help your choir learn something, you have an opportunity to help the world learn the same thing faster.

and other technologies for the benet of our membership.10 It is exciting to see our organization begin to use modern tools to better manage the organization and promote the choral art. Many of these recent innovations are obvious to the membership while some of them are below the surface. Many of them were recently detailed in the Choral Journal.11 One vision of our future has the worldwide community building a new encyclopedic resource for choral music called ChoralPedia. It will operate like Wikipedia, and it is based on the same software. ACDA has purchased the domain name ChoralPedia. It is in its infancy right now and does not contain a single article at the time of this writing. Early efforts on this project will center around the recent digitization of fty years of the ACDA Choral Journal. Every article that has ever appeared in the Choral Journal will receive a summary and a link that will point to an actual PDF version of the article. Eventually, ChoralPedia will become an invaluable resource of knowledge for the worldwide choral profession, especially in areas of choral pedagogy and literature. Anyone will be able to add to the Web site, and the online encyclopedia will grow into a valuable resource for everyone.

Conclusion
Harold Wilson, a prominent British politician in the later half of the twentieth century, once said: He who rejects change is the architect of decay. The only human institution which rejects progress is the cemetery.12 Choral music and ACDA cannot avoid the change that technology brings to our profession, but we can rise to the challenge. NOTES
1

Looking Toward the Future: ACDA and ChoralPedia

ACDA is seeking to fully embrace the change technology has brought the world of choral music. Executive Director Tim Sharp placed technology as the rst of four initiatives for the new century. His dream is for a twenty-rst century ACDA that utilizes the full extent of technological communication

The originators of the YouTube video Did You Know? have created a wiki that discusses the history of the video and provides a discussion forum for the ideas presented in the video: http://shifthappens.wikispaces.com/ 2 Mark Bauerlein, The Dumbest Generation: How the Digital Age Stupies Young Americans and Jeopardizes our Future (Or, Dont Trust Anyone

Under 30). London: Penguin Books, 2008. Carol Lewis, (November 5, 2008). Don Tapscott: homage to the new generation of whiz-kids. Times Online. Retrieved September 24, 2009 from http://business.timesonline.co.uk/tol/ business/management/article5083685.ece 4 Mark Prensky, Digital Natives, Digital Immigrants from On the Horizon (NBC University Press, Vol 9 No. 5, October 2001) 5 Ibid. 6 More from Mark Prensky in Digital Natives, Digital Immigrants: There are hundreds of examples of the digital immigrant accent. They include printing out your e-mail (or having your secretary print it out for youan even thicker accent); needing to print out a document written on the computer in order to edit it (rather than just editing on the screen); and bringing people physically into your ofce to see an interesting Web site (rather than just sending them the URL) without much effort. My own favorite example is the Did you get my e-mail? phone call. 7 Eric Whitacre revised his version of i thank you God on his Web site and recently created a YouTube performance of Sleep that pieced together performances of people from all over the world into an online choir. 8 Don Tapscott and Anthony D. Williams, Wikinomics: How Mass Collaboration Changes Everything (London: Penguin Books, 2006) 9 This was a cursory search to give the reader a look at the potential of using CPDL and YouTube together. Using the YouTube search engine, I was able to nd videos of these six Palestrina works from the rst ten listed on CPDL: Ad Dominum cum tribularer, Ad te levavi oculos meos, Adoramus te, Christe, Alma Redemptoris Mater, Anima mea turbata, and the Ascendit Deus of Viri Galilaei. 10 Tim Sharp, ACDA for the Twenty-First Century: My Vision Choral Journal 48, no. 10 (April 2008): 2. 11 Philip Copeland, acda.for.you Choral Journal 50, no. 2 (September 2009): 5758. 12 Harold Wilson, in a speech to the Consultative Assembly of the Council of Europe, Strasbourg, France, January 23, 1967. Text available, The New York Times, January 24, 1967, 12.
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