tag:blogger.com,1999:blog-38629627392214110302024-03-05T08:06:18.807-06:00Musical Mayhem by Paul Carey, composerPaul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.comBlogger277125tag:blogger.com,1999:blog-3862962739221411030.post-63095425061112813772016-05-04T14:09:00.001-05:002016-05-04T14:13:47.161-05:00Exciting new recording to be produced by Susan McMane and Young Women's Choral Projects<div class="MsoNormal">
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I am writing today to tell you about a new recording project by the amazing Susan McMane and her outstanding choral organization, <a href="http://www.ywcp.org/">Young Women’s Choral Projects of San Francisco</a>. About to celebrate their fifth season, the choir will work in studio this summer at the state-of-the-art Skywalker Sound in California with a topnotch recording engineer. The result will be a new recording of many excellent compositions, including by living composers and will be out in the fall. The repertoire is mostly Christmas music, so the October release date is well-chosen.<o:p></o:p></div>
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I first met Susan at an ACDA conference year ago. I was struck by her artistic standards and unfailing energy. Over the years Susan has been awarded three Grammy awards and traveled the world to share her choral excellence and vision with choirs of all ages. After many years leading youth choirs in San Francisco she decided to create this new group, a more elite ensemble of amazing young women—thus the group is not a children’s choir. The idea of <i>projects</i> allows Susan and the ensemble to plan and produce more than just your average concert. In fact, the ensemble has specialized in creating programs about the empowering aspects of music and has done a number of very interesting collaborations with other choirs as well as with well-known singers such as Moira Smiley. If I lived in San Fran I would be at every event they create!<o:p></o:p></div>
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To help produce their first recording there is an Indiegogo page you can visit. <a href="https://www.indiegogo.com/projects/young-women-s-chorus-of-sf-debut-album#/">Click here! </a></div>
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The rewards for donations to the project are pretty awesome. Susan has already chosen most of the repertoire for the recording and it will feature pieces commissioned by the choir from <a href="http://www.franklarocca.com/">Frank La Rocca</a> (a much underappreciated west coast composer- he deserves far more national attention) as well as by <a href="https://ericwilliambarnum.wordpress.com/">Eric Barnum</a> of Minnesota. In addition, there will be pieces by other topnotch living composers such as Eleanor Daley, Alice Parker, David Conte, and others. Acknowledged choral masterpieces by Victoria, Biebl (not Bieber), Benjamin Britten, and others will round out the recording. <o:p></o:p></div>
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Susan has shared recent recordings of some of the pieces which will go through the process of professional recording this summer. I have to say that what I have already heard is spectacular! Please keep an eye on this project by visiting the Indiegogo page and I will update this blog with more news as the recording session happens. For anyone who appreciates finely-sung choral music, and especially, meaningful music for sparkling women’s voices, this project is exciting news.<o:p></o:p></div>
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Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com1tag:blogger.com,1999:blog-3862962739221411030.post-74064887592916058402015-10-14T09:09:00.001-05:002015-10-14T09:15:42.879-05:00Aurora University Choral Festival Post #8 Mashed Potato Love PoemOn October 21st at Aurora University Dr. Lisa Fredenburgh will conduct an excerpt (Mashed Potato Love Poem) from my three movement set Play With Your Food, written about twelve years ago. It's one of my most popular pieces and here are the program notes I usually provide.<br />
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<b>Play with Your Food </b></div>
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This set of three pieces is my most
performed work. It's not too surprising, since I found three great,
truly clever texts to set. May Swenson gives us a cornucopia of
delicious summer treats, with the compound words all split apart and
reconnected backwards; blueberries become “berries of blue”,
Brazil nuts become “nuts of Brazil” and so on. My favorites are
“rooms of mush” and “puppies of hush”! You might hear a bit
of the music from the overture to “Porgy and Bess” toward the
end, by the way. The text for “Mashed Potato Love Poem” is by Sidney Hoddes, a very cool guy who is now an elderly doctor still practicing in Liverpool--but wayback he was a
friend of the Beatles and caroused with them in Liverpool before they
became famous. The final movement, “Vending Machine”, about a
hungry young lad and his happy to play-along Dad, has some lively
musical hints of Bernsteins' overture to Candide popping up. Yes, I
do like to parody or borrow from other composers or write in their
general style now and then!</div>
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If I ever had to choose between you<br />
you and a third helping of mashed potatoes</div>
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(whipped lightly with a fork</div>
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not whisked, <br />
and a little pool of butter <br />
melting in the middle...)<br />
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I think <br />
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the mashed potatoes<br />
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but I'd choose you next</div>
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One of my favorite memories from when I led the choral program at the North Carolina Governor's School was surprising the cafeteria staff with a mini-concert each summer with this song featured. We would make the staff stop working and sing to them. You should have seen all the smiles!</div>
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Here's a nice performance of the piece (with a bonus track of Vending Machine and an interesting touch they added to that tune) by Oran, a wonderful Canadian youth choir which is part of the Kokopelli Choir organization.</div>
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Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-22612077219117356222015-10-13T09:08:00.003-05:002015-10-13T09:11:35.689-05:00Aurora University Choral Festival Blogpost #7 A City Called HeavenThe Metea High School Treble Singers, directed by Nathan Bramstedt, will perform my arrangement of the African-American spiritual A City Called Heaven on October 21st at Aurora University (Aurora, IL). I'm excited that I will get to hear them perform this piece, since Metea has a history of musical excellence, including placing highly in the annual Grammy music awards for high schools across the country.<br />
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<span style="font-family: Times, Times New Roman, serif;">This is one of the most poignantly sad, yet beautiful spirituals I know, and a piece I had been wanting to arrange for quite some time, especially after listening to an old recording by the amazing Marion Anderson. See way down below for more on Marion Anderson and her role in the civil rights movement in America.</span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">The imagery of the title is what has always attracted me, yet it stands in such stark contrast to much of the text, which speaks of spiritual isolation </span><i style="font-family: Times, 'Times New Roman', serif;">(…“my father’s still walkin’ in sin. My brothers and sisters won’t own me</i><span style="font-family: Times, 'Times New Roman', serif;">…”).</span><br />
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<span style="font-family: Times, 'Times New Roman', serif;">This music tells of an unfortunate period of our American history, yet also tells the universal story of the human will to survive. I’m also beginning to think we should call these songs what they really are, and what St. Olaf College esteemed conductor Anton Armstrong calls them, that is, </span><i style="font-family: Times, 'Times New Roman', serif;">slave songs</i><span style="font-family: Times, 'Times New Roman', serif;">. By doing so, we are forced to face the history behind them, and not just sing them mindlessly.</span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">I had decided to create an arrange of this piece, yet a germinal idea for an arrangement just hadn’t quite hit me, so I kept tabling the project repeatedly over three years or so. Finally during a stretch in December 2005 when I was working on some other spirituals for SATB (mixed choir) I sat down with this piece again and began to try a few things at the piano, and the piece finally started to take shape. Up until then, I just hadn't found a way to make my arrangement more than just ordinary, and that's a problem! The challenge in creating an artistic arrangement is to find a way to create something unique--something with a new twist that people may be surprised by. It could be taking a piece in 4/4 (common time) and turning the beat into 7/8 or some other mixed meter, or it might be changing the usual speed of a piece. For me, the unique aspect that finally popped up was creating a really powerful, loud setting of the section where the words are "sometimes I'm tossed and driven..." and adding in a strangely dissonant chord into the piano part. This section is a giant, dramatic contrast to the quiet beginning and end of the piece. </span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /><br />Further note: In general I think our new arrangements of spirituals should be <i>a cappella</i>, as that takes us closest to the origin of the music. Yet, I think there is some room for some accompanied spirituals as well.<br /><br /> </span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">I am a poor pilgrim of sorrow, </span><p:colorscheme colors="#000099,#ffffff,#003366,#ccffff,#3366cc,#00b000,#eedd00,#ffe701"></p:colorscheme><br />
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<span style="font-family: Times, Times New Roman, serif;">No hope have I for tomorrow, </span><br />
<span style="font-family: Times, Times New Roman, serif;">I've started to make Heaven my home.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">Some-times I am toss'd an' driven, Lawd,</span><br />
<span style="font-family: Times, Times New Roman, serif;">some-times I don't know where to go.</span><br />
<span style="font-family: Times, Times New Roman, serif;">I've heard of a city call'd Heaven, </span><br />
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<span style="font-family: Times, Times New Roman, serif;">My mother has reach'd dat pure glory,</span><br />
<span style="font-family: Times, Times New Roman, serif;">my father's still walkin' in sin.</span><br />
<span style="font-family: Times, Times New Roman, serif;">My brothers an' sisters won't own me,</span><br />
<span style="font-family: Times, Times New Roman, serif;">be-cause I'm a-tryin' to get in. <i><br /><br />(repeat chorus)</i></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Nathan Bramstedt, choral director at Metea Valley High School</td></tr>
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<span style="font-family: Times, Times New Roman, serif;"> Mr. Nathan Bramstedt has been a member of the District 204 music faculty for 12 years. At Metea Valley High School, he leads a choral program of 250 singers and teaches Bass Chorus, Concert Choir, Treble Singers, Chamber Singers and Music Theory. After school he directs Off the Record vocal jazz ensemble and Girls Group and sponsors the student-led a cappella groups Apollo and the Muses. Mr. Bramstedt also assists with the marching band. Behind the scenes, he is the Theater Program Director, where he produces the main stage productions and directs the musicals. Prior to opening Metea Valley in 2009, Mr. Bramstedt taught choral music at Crone Middle School. His choirs have shared stages with area orchestras, collegiate choirs and community ensembles. He has been recognized five times by the Indian Prairie Educational Foundation as a "Most Influential Educator." He earned a Master of Music in Choral Conducting degree from the Pennsylvania State University. Before his Fellowship assignment at Penn State, he taught high school choir and band in Warrensburg, IL. He earned a Bachelor of Music Education degree from Illinois Wesleyan University. He has performed with the Cavaliers Drum and Bugle Corps, the Chicago Master Singers and has directed choir tours across the country and Europe.</span></div>
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<span style="background-color: white; line-height: 17px;"><span style="font-family: Times, Times New Roman, serif;">SOME HISTORY: In 1939 Marian Anderson was denied the right to perform at Constitution Hall by the conservative group the Daughters of the American Revolution because of her color. Instead, and at the urging of Eleanor Roosevelt, Harold Ickes, the powerful US secretary of the interior, permitted her to perform at the Lincoln Memorial on April 9, 1939. Notice the ENORMOUS crowd as you watch this excellent six minute video, about her role in the civil rights movement in the US:</span></span><br />
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Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-28694197505259991132015-10-09T10:20:00.001-05:002015-10-09T10:23:18.934-05:00Aurora University Choral Festival Post #6 God's Nature<span style="font-family: Times, Times New Roman, serif; font-size: large;">On October 21st, at the Aurora University Choral Festival featuring my works, the Aurora University Chamber Choir, directed by Dr. Lisa Fredenburgh, will perform the final movement of my piece God's Nature. This piece was actually commissioned a couple years ago by another conductor who will be performing at the Oct. 21st concert, Paul Laprade.</span><br />
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Paul had asked me to write a celebratory work to commemorate the union of two historic churches in Rockford, where he lives. The two churches were the Second Congregational UCC and the First Presbyterian Church--combined now they are often referred to as Second/First Church. </span><br />
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The entire piece, God's Nature, has a title with a dual meaning. It refers to God and his Creation, the earth we live on--it also refers to the nature of God's love for humankind. How do we know of his love, how can we sense God's purpose? </span><br />
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The movements, and some ideas I sketched out as I worked on the pieces and finished them:</span><br />
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<span style="font-family: Times, 'Times New Roman', serif; font-size: 16px;">God Be in My Head: Our perception of God, and how God is within us. A bit of an introductory movement. The voices and strings mostly work together. The piano is a bit in another world, but eventually joins into the ensemble more. The goal was to achieve a slightly surreal setting and some mystery as the piece launches- get people to listen- draw them in.</span><br />
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<span id="yui_3_16_0_1_1444335899033_8364"><span style="font-family: Times, Times New Roman, serif;">For the Beauty of the Earth: Nature's beauty- a lyrical movement in a John Rutter sort of style- and actually a reworking of a setting (never premiered) I did in 2005 which I think I have really improved on by adding the string instruments and added writing quality from eight more years of choral composing/creativity/voice leading and voicing experience, etc. All is pretty and happy.</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;">The texts for the movement being performed on October 21st:</span></div>
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<li class="first" style="color: black; line-height: normal; list-style-type: none; margin-top: 0px;"><span style="font-family: Times, Times New Roman, serif;">Shall we gather at the river,<br />Where bright angel feet have trod,<br />With its crystal tide forever<br />Flowing by the throne of God?</span><ul style="margin: 0px; padding: 0px;">
<li class="refrain" style="list-style-type: none; margin-left: 20px; margin-top: 1em;"><span style="font-family: Times, Times New Roman, serif;"><span class="refrain" style="font-style: italic;">Refrain:</span><br />Yes, we’ll gather at the river,<br />The beautiful, the beautiful river;<br />Gather with the saints at the river<br />That flows by the throne of God.</span></li>
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<li style="color: black; line-height: normal; list-style-type: none; margin-top: 1em;"><span style="font-family: Times, Times New Roman, serif;">On the margin of the river,<br />Washing up its silver spray,<br />We will talk and worship ever,<br />All the happy golden day.</span></li>
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<li style="color: black; line-height: normal; list-style-type: none; margin-top: 1em;"><span style="font-family: Times, Times New Roman, serif;">Jerusalem, my happy home,<br />Name ever dear to me,<br />When shall my labors have an end<br />In joy and peace with Thee?</span></li>
<li style="color: black; line-height: normal; list-style-type: none; margin-top: 1em;"><span style="font-family: Times, Times New Roman, serif;">Quite through the streets with silver sound<br />the flood of life doth flow,<br />Upon whose banks on e'vry side<br />the wood of life doth grow.</span></li>
<li style="color: black; line-height: normal; list-style-type: none; margin-top: 1em;"><span style="font-family: Times, Times New Roman, serif;">O Christ, do Thou my soul prepare<br />for that bright home of love,<br />that I may see thee and adore<br />with all Thy saints above.</span></li>
<li style="color: black; line-height: normal; list-style-type: none; margin-top: 1em;"><span style="font-family: Times, Times New Roman, serif;">Thy vineyards and thy orchards are<br />Most beautiful and fair,<br />Full furnished with trees and fruits,<br />Most wonderful and rare.</span></li>
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<li style="list-style-type: none; margin-top: 1em;"><span style="font-family: Times, Times New Roman, serif;">Jerusalem, my happy home,<br />my soul still pants for thee,<br />Then shall my labors have an end<br />when I thy joys shall see.</span></li>
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<li style="list-style-type: none; margin-top: 1em;"><span style="color: #333333; font-family: 'Gotham SSm A', 'Gotham SSm B'; font-size: 13px; line-height: 16px;">Under the leadership of Lisa Fredenburgh, the Aurora University Chorale and Chamber Choir perform both on campus and away serving the AU community and communities throughout the Midwest. She has held previous conducting posts at University of Central Missouri, Meredith College in Raleigh, NC and with the Opera Company of North Carolina and Capitol Opera Raleigh. She holds a DMA and two MM degrees from the University of Arizona where she studied under Maurice Skones, Thomas Hilbish, Jerry McCoy and Kenneth Jennings. Her BA in music education was earned at Luther College, under Weston Noble. </span></li>
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<tr><td class="tr-caption" style="font-size: 10.4px;"><span style="font-size: x-small;">Dr. Lisa Fredenburgh</span></td></tr>
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<span style="color: #333333; font-family: 'Gotham SSm A', 'Gotham SSm B'; font-size: 13px; line-height: 16px;">Fredenburgh often serves as guest conductor, lecturer and clinician locally, nationally and abroad. She has conducted All-State Choirs in Tennessee, Georgia, New York, Arkansas, and North Carolina. She has conducted and taught master classes in the Dominican Republic, Panama and in Bolivia. She is a frequent presenter at national-, regional- and state-level professional organizations in the fields of Women’s Choral Music, and the Music of Latin America. She currently serves as Central Division Chair for the Women’s Choir Repertoire & Standards Committee for the American Choral Directors Association and was formerly a member of the steering committee for the 50th Anniversary National Convention in 2009. </span><span style="background-attachment: scroll; background-clip: initial; background-color: #e0e0e0; background-image: none; background-origin: initial; background-position: 0px 0px; background-repeat: repeat; background-size: initial; border: 0px none; color: #333333; font-family: 'Gotham SSm A', 'Gotham SSm B'; font-size: 16px; line-height: 16px; margin: 0px; outline: none 0px; padding: 0px; vertical-align: baseline;"><br /></span></div>
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Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-22020702414783680792015-10-07T10:17:00.000-05:002015-10-07T10:23:17.307-05:00Aurora Unversity Choral Festival Blogpost #4 Thou art the Sky<span style="font-family: Times, Times New Roman, serif;">On October 21st at Aurora University The Rock Valley College Chamber Singers, directed by the very talented Paul Laprade, and with Valerie Blair, piano, will perform my piece Thou Art the Sky, with texts by the brilliant Indian poet Rabindranath Tagore. This group actually premiered the piece on <span style="background-color: white;">Feb 1, 2008 at the Illinois 2008 MENC (Music Educators National Council, now called NafMe) convention. </span></span><br />
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<span style="background-color: white;">Published by Roger Dean (division of Lorenz) Catalog # 15/2430R</span></span><br />
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<span style="font-family: Times, Times New Roman, serif;">The text for this song is #67 in <i>Gitanjali</i> (<i>Song Offerings</i>) by the Indian poet Rabindranath Tagore (1861-1941). <i>Gitanjali’s</i> simple yet deeply profound meditations on God and Nature touched a nerve in pre-World War One Western Europe and the <st1:country-region><st1:place>US</st1:place></st1:country-region>. As the volume achieved whirlwind popularity Tagore became a household name in wide circles, and for <span style="font-style: italic;">Gitanjali</span> (originally in Bengali, with an English translation he created himself) Tagore became the first Asian winner of the Nobel Prize in Literature in 1913.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">In my setting I have tried to musically match the simplicity and directness of Tagore’s meditation, and have also created a chant-like inner theme to the piece by returning again and again to the line “O thou beautiful”.<br /> </span></div>
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<span style="font-family: Times, Times New Roman, serif;">I have also set other texts from <i>Gitanjali,</i> including a multi-movement work. Also, Oxford publishes my arrangement of another poem from Gitanjli, <i>When I bring to you Colour’d Toys</i>, composed by John Alden Carpenter and arranged by me for women’s voices and piano.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">W.B. Yeats expressed his thoughts in 1911 on Tagore's <span style="font-style: italic;">Gitanjali</span>, here are excerpts of Yeats comments:<br /><br /><span style="font-style: italic;">"I have carried </span>[Gitanjali]<span style="font-style: italic;">... about with me for days, reading it in railway trains, or on the top of omnibuses and in restaurants, and I have often had to close it lest some stranger would see how much it moved me. These lyrics---which are in the original, my Indian friends tell me, full of subtlety of rhythm, of untranslatable delicacies of colour, of metrical invention---display in their thought a world I have dreamed of all my live long. The work of a supreme culture, they yet appear as much the growth of the common soil as the grass and the rushes. A tradition, where poetry and religion are the same thing, has passed through the centuries, gathering from learned and unlearned metaphor and emotion, and carried back again to the multitude.</span><br style="font-style: italic;" /><br style="font-style: italic;" />[Tagore expresses]<span style="font-style: italic;">...an innocence, a simplicity that one does not find elsewhere in literature makes the birds and the leaves seem as near to him as they are near to children, and the changes of the seasons great events as before our thoughts had arisen between them and us."</span></span></div>
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<span style="color: black; font-family: Times, Times New Roman, serif;"><b>Btw, the Illinois ACDA (American Choral Directors Association) chose Thou Art the Sky as the winner of its 2007 Choral Composition Contest.</b></span><span style="font-family: Times, Times New Roman, serif;"><br /><br /> </span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="background-color: transparent; font-family: Times, 'Times New Roman', serif; text-align: center;">Thou art the sky and thou art the nest </span><span style="background-color: transparent; font-family: Times, 'Times New Roman', serif; text-align: center;">as well.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">O thou beautiful, there in the nest</span><br />
<span style="font-family: Times, Times New Roman, serif;">it is thy love that encloses the soul</span><br />
<span style="font-family: Times, Times New Roman, serif;">with colours and sounds and odours.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">There comes the morning with</span><br />
<span style="font-family: Times, Times New Roman, serif;">the golden basket in her right hand</span><br />
<span style="font-family: Times, Times New Roman, serif;">bearing the wreath of beauty, silently</span><br />
<span style="font-family: Times, Times New Roman, serif;">to crown the earth.</span><br />
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And there comes the evening over</span><br />
<span style="font-family: Times, Times New Roman, serif;">the lonely meadows deserted by</span><br />
<span style="font-family: Times, Times New Roman, serif;">herds, through trackless paths,</span><br />
<span style="font-family: Times, Times New Roman, serif;">carrying cool draughts of peace in her</span><br />
<span style="font-family: Times, Times New Roman, serif;">golden pitcher from the western</span><br />
<span style="font-family: Times, Times New Roman, serif;">ocean of rest.</span></div>
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But there, where spreads the<br />infinite sky for the soul to take her<br />flight in, reigns the stainless white<br />radiance. There is no day nor night,<br />nor form nor colour, and never, never<br />a word.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif; font-size: small;">Tagore and Einstein, 1930, STYLIN'!</span><br />
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The Rock Valley College Chamber Singers</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif; font-size: small;">Dr. Paul Laprade</span></td></tr>
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<span style="font-family: Times, Times New Roman, serif;"><b style="background-color: white; text-align: justify;">Paul Laprade, conductor, </b><span id="yui_3_16_0_1_1444145839525_12544" style="background-color: white; text-align: justify;">is Full Professor of Music and Director of Choral Activities at Rock Valley College where he conducts the Concert Choir, Chamber Singers, Women’s Choir, teaches courses in music theory, choral conducting, vocal (lyric) diction, music education, and voice, and assists in advising the collegiate MENC chapter. Ensembles under his direction have performed throughout North America, and have performed at the White House for Presidents Clinton (1994), Bush (2001), and Obama (2010). </span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; text-align: justify;"> <br clear="none" /> His articles and review appear in several journals, including <i id="yui_3_16_0_1_1444145839525_12543">The Journal of Music Theory, Theoria, and The Choral Journal. </i>Regionally, he has presented papers on choral technique for the IL-ACDA (July 2005), PMEA (2003), IMEA (2006 and 2008), and conducted at ACDA Division and National conventions. Nationally, he has presented papers on the music of Boulez for the Society for Music Theory (Oakland, CA), and on the music of Donald Martino for the national meeting of the American Musicological Association (Baltimore, Maryland).</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; text-align: justify;"> <br clear="none" /> An active adjudicator and clinician throughout the eastern United States, Laprade frequently appears as a guest conductor for county, regional, and symphonic choruses. His pedagogical interests focus heavily on the relationships between music perception, movement, and choral rehearsal processes. His research interests emphasize score analysis and rehearsal technique. Laprade was given the Excellence in Teaching award from the Eastman School of Music. </span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; text-align: justify;"> <br clear="none" /> A graduate of Rhode Island College, Eastman School of Music, and Westminster Choir College, with advanced degrees in Music Education, Music Performance, Music Theory, and Choral Conducting, Laprade studied choral conducting under Joseph Flummerfelt, James Jordan, Allen Crowell, Donald Neuen, and in workshops with Robert Shaw. Laprade resides in Rockford, Illinois with the lights of his life, his sons Nathaniel and Jonathan; his time and activities with them are the proudest part of his life.</span></span><br />
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Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-19472002395848134512015-10-06T09:51:00.004-05:002015-10-08T10:06:56.598-05:00Aurora University Choral Festival Blogpost #5 This Sparkle of the Day<div class="O" style="background-color: white;" v:shape="_x0000_s1026">
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<span style="font-family: Times, Times New Roman, serif;">This Sparkle of the Day will receive its world premiere on October 21st at the Aurora University Festival Concert which holds music written by me over the last fifteen years. Although the piece was written in 2005, it has yet to have a full premiere of all five movements until now. Many thanks to Dr. Peter Dennee of Carthage College (Kenosha, WI) and the newly formed select ensemble Candentibus Women's Chamber Choir which will be performing this work. </span><br />
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<span style="font-family: Times, Times New Roman, serif;">In February 2016 a larger ensemble from Carthage College will perform excerpts from the piece at the American Choral Director's Association North Central Division Conference held in Sioux Falls, South Dakota. Additionally, the choir will sing the piece in its entirety at a church while they are in the Sioux Falls area.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">For this piece I utilized some delightfully refreshing texts by early Catholic saints. I devised short movements that can stand alone or work together in sequence, basically a progression of worship from night into the morning offices. Yet these pieces can be used outside of strictly Catholic services, since the texts simply encompass somewhat general Christian images and ideas.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The general musical model for the piece's structure and overall feel was the Gabriel Faure <i><a href="https://en.wikipedia.org/wiki/Messe_des_p%C3%AAcheurs_de_Villerville">Messe Basse</a></i>, a gentle little ten minute gem which is a basically utilitarian worship piece of understated beauty. Thus the simple, manuals only organ part (pedals may be added ad libitum), and the fairly easy SSA vocal parts. Another model, more so for the melodic shapes and harmonies, comes from the British composer Benjamin Britten.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Movement two has some interesting features--the first section is an originally composed setting of the Latin text O Nata Lux de Lumine, which then proceeds to the English version as set by the Renaissance English composer Thomas Tallis, quoted almost verbatim. This is another example of something which I do now and then, quote (or parody, or "sample") other composers' works or snippets of old melodies. In the Tallis section there is a strange little moment when voices disagree on pitch, some parts are singing in a major key while other parts are in minor. This is an effect Tallis (and a few other composers of his time) was quite known for.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The text of movement four is short yet profund. It speaks of how quickly a human life can come into existence and go. We're only here for an instant--It's up to us to make every moment count in some meaningful way.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">I wait for the Lord, my soul waits,<br />and in his word I hope.<br />My soul waits for the Lord more<br />than watchmen for the morning,<br />more than watchmen for the morning.<i><br /> -Psalm 130</i></span><br />
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It is now the moment for you<br />to wake from sleep.<br />For salvation is nearer to us now<br />than when we became believers;<br />the night is gone, the day is near.<i><br /> -Romans 13</i></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><b>I. </b>The limit of the night is passed,<br />the quiet hour of sleep has fled;<br />far up the lance of dawn is cast;<br />new light upon the heaven is spread.<br /><br />But when this sparkle of the day<br />our eyes discern, then, Lord of Light,<br />to Thee our souls make haste to pray<br />and offer all their wants aright.<br /><br />O Holy Spirit, by the deeds<br />of Thine own light and charity,<br />renew us through our earthly needs<br />and cause us to be like to Thee.<br /><br />Grant this, O Father ever blessed;<br />and Holy Son, our heavenly friend;<br />and Holy Ghost, Thou comfort best!<br />Now and until all time shall end.</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /> <i><span lang="FR"> -Saint Hilary</span></i></span><br />
<span style="font-family: Times, Times New Roman, serif;"><i><span lang="FR"><br /></span></i><b><span lang="FR">II. </span></b><span lang="FR">O nata lux de lumine,<br />Jesu redemptor saeculi,<br />dignare clemens supplicum,<br />laudes precesque sumere,<br />qui carne quondam contegi<br />dignatus es pro perditis,<br />nos membra confer effici</span><br />tui beati corporis.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">O light which from the Light has birth,<br />Jesus, Redeemer of the earth,<br />thy faithful flock vouchsafe to spare,<br />hear our gift of praise and prayer,<br />thou, who for man's salvation sake<br />thyself hast deigned pure flesh to take,<br />o make us members true and sure<br />of that Thy Holy body pure.<b><br /><br />III.</b><br />Remember, God, that we are the plants in your fields,<br />so connected to the earth<br />that you know what would happen<br />if you did not rain upon us.<br /><br />And if your light ceased to lift us from the ground<br />and craft our bodies,<br />how might we near you<br />like the suns?<br /><br />Remember, God, to love us in a way<br />Our souls can taste and rejoice in.</span><br />
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<span style="font-family: Times, Times New Roman, serif;"><b>IV. </b>My life is an instant,<br />a fleeting hour.<br />My life is a moment,<br />which swiftly escapes me.<br />O my God, you know that<br />on earth I have only today<br />to love you.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">Professor Peter Dennee ’86 joined Carthage in 2005. He conducts the Carthage Women’s Ensemble and teaches courses in conducting and music education.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Prior to his appointment at Carthage, Prof. Dennee held positions as assistant professor of music at West Virginia University and Susquehanna University, and visiting assistant professorships at the University of Colorado-Boulder and the University of Michigan. He has taught music at the elementary and secondary levels in Baltimore, Milwaukee, and Tempe, Ariz.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">He earned a Doctor of Musical Arts in choral music from Arizona State University, a Master of Music in music education from the Peabody Conservatory of Music at Johns Hopkins University, and a Bachelor of Arts in music education from Carthage (1986).</span><br />
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<span style="font-family: Times, Times New Roman, serif;">Hey, if you've read all the way down to here-- here's your bonus! My good friend Joan Szymko set a wonderful text by St Therese of Avila titled Nada te Turba. Here is the text (Joan uses a shortened version of the full text) and the song, conducted by another pal of mine, Lynne Gackle.</span><br />
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Nada te turbe<br /> nada te espante<br /> Todo se pasa<br /> Dios nose muda.<br /> La paciencia todo alcanza.<br /> Quien a Dios tiene<br /> nada le falta<br /> Solo Dios basta.</div>
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Let nothing disturb you,<br /> nothing frighten you,<br /> All things are passing.<br /> God never changes.<br /> Patience obtains all things.<br /> Whoever has God lacks nothing.<br /> God is enough.</div>
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Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-68864429491007380262015-10-06T09:26:00.001-05:002015-10-06T09:35:50.537-05:00Aurora University Choral Festival Blogpost #3 Alley Cat Love SongAt the October 21st festival concert at Aurora University in Aurora, IL a number of fine ensembles will be singing selections from my choral output over the last fifteen years. I am currently blogging about each piece that is on the program, giving readers some insight into how and why I produced these pieces. Today's post is about Alley Cat Love Song, a bluesy, jazzy setting for SSA/piano of former US poet laureate Dana Gioia's clever poem.<br />
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<a href="http://sbmp.com/SR2.php?CatalogNumber=737">Alley Cat Love Song--See score and listen</a><br />
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<span style="font-size: x-small;">Come into the garden, Fred,</span><p:colorscheme colors="#000099,#ffffff,#003366,#ccffff,#3366cc,#00b000,#eedd00,#ffe701"></p:colorscheme><br />
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<span style="font-size: x-small;">For the neighborhood tabby is gone.<br />Come into the garden, Fred.<br />I have nothing but my flea collar on,<br />And the scent of catnip has gone to my head .<br />I'll wait by the screen door till dawn.</span></div>
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<span style="font-size: x-small;"><br /></span><span style="font-size: x-small;">The fireflies court in the sweetgum tree.<br />The nightjar calls from the pine,<br />And she seems to say in her rhapsody,<br />"Oh, mustard-brown Fred, be mine!"</span><br />
<span style="font-size: x-small;"><br />The full moon lights my whiskers afire,<br />And the fur goes erect on my spine.</span><br />
<span style="font-size: x-small;">I hear the frogs in the muddy lake<br />Croaking from shore to shore.<br />They've one swift season to soothe their ache.<br />In autumn they sing no more.</span><br />
<span style="font-size: x-small;"><br />So ignore me now, and you'll hear my meow<br />As I scratch all night at the door.</span><br />
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Windsong Chorus channelling their inner kittyness:<br />
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<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, 'Times New Roman', serif;">This piece was commissioned by Jim </span>Yarbrough<span style="font-family: Times, 'Times New Roman', serif;">, the director at that time (now retired, and will be in attendance October 21st) of the fine </span>Naperville<span style="font-family: Times, 'Times New Roman', serif;"> North High School choral program, and one my earliest supporters. Since Jim has a jazz background (and he also was bass section leader under the legendary Margaret </span>Hillis<span style="font-family: Times, 'Times New Roman', serif;"> at the Chicago Symphony Orchestra Chorus!) I decided to write him something jazzy and bluesy. I found this wonderfully sly text by Dana </span>Gioia<span style="font-family: Times, 'Times New Roman', serif;"> and set about having some fun with it.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Musically the piece goes back and forth between a lyrical, “night music” quasi- Debussy stereotypical impressionist feel (hopefully pianists will smile a bit when they notice an actual Debussy piano prelude quote in the piano intro) and the jazz/blues sections. The ending plays around with different ways of saying the boy cat’s name, “Fred”, including purring/rolling the r sound. I even had an excuse to include one of my favorite Ravel chords in this piece (a pretty pungent V chord with a flat 9 and a sharp 11). It’s a chord Ravel uses in pieces like the Piano Concerto and his other jazz influenced music.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Here's Debussy <i>Voiles</i>, which I "borrowed" (sampled? stole? parodied?) at the beginning. When pianists first sit down at the piano with the score to Alley Cat Love Song this is a fun surprise for them. They can't help but grin at the unexpected quote from a piece they all know!</span></div>
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Performing Alley Cat Love Song on October 21st will be the women's ensemble from Aurora University directed by Dr. Lisa Fredenburgh:<br />
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<span style="background-color: white; font-family: 'Gotham SSm A', 'Gotham SSm B'; line-height: 16px;">Under the leadership of Lisa Fredenburgh, the Aurora University Chorale and Chamber Choir perform both on campus and away serving the AU community and communities throughout the Midwest. She has held previous conducting posts at University of Central Missouri, Meredith College in Raleigh, NC and with the Opera Company of North Carolina and Capitol Opera Raleigh. She holds a DMA and two MM degrees from the University of Arizona where she studied under Maurice Skones, Thomas Hilbish, Jerry McCoy and Kenneth Jennings. Her BA in music education was earned at Luther College, under Weston Noble. </span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Dr. Lisa Fredenburgh</span></td></tr>
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<span style="background-color: white; font-family: 'Gotham SSm A', 'Gotham SSm B'; line-height: 16px;">Fredenburgh often serves as guest conductor, lecturer and clinician locally, nationally and abroad. She has conducted All-State Choirs in Tennessee, Georgia, New York, Arkansas, and North Carolina. She has conducted and taught master classes in the Dominican Republic, Panama and in Bolivia. She is a frequent presenter at national-, regional- and state-level professional organizations in the fields of Women’s Choral Music, and the Music of Latin America. She currently serves as Central Division Chair for the Women’s Choir Repertoire & Standards Committee for the American Choral Directors Association and was formerly a member of the steering committee for the 50th Anniversary National Convention in 2009. </span><span style="background-attachment: scroll; background-clip: initial; background-image: none; background-origin: initial; background-position: 0px 0px; background-repeat: repeat; background-size: initial; border: 0px none; font-family: 'Gotham SSm A', 'Gotham SSm B'; font-size: 16px; line-height: 16px; margin: 0px; outline: none 0px; padding: 0px; vertical-align: baseline;"><br /><br />Read more: <a href="http://www.aurora.edu/academics/undergraduate/music/lisa-fredenburgh.html#.VhPZZ_lViko#ixzz3nnWkUsCv" style="border: 0px; margin: 0px; padding: 0px; text-decoration: none; transition: color 0.3s linear 0s;">http://www.aurora.edu/academics/undergraduate/music/lisa-fredenburgh.html#.VhPZZ_lViko#ixzz3nnWkUsCv</a></span><br />
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Hey, if you've read all this way--here's your reward. The epic hit from last century (1961), The Alleycat by Bent Fabric (love that name!).<br />
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Check out the old school image here- an old 45 RPM vinyl record!<br />
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<br />Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-76725279622810342222015-09-30T15:34:00.001-05:002015-10-05T09:31:33.529-05:00Aurora University Choral Festival Blogpost #2 Loosin Yelav<div class="separator" style="clear: both; text-align: center;">
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This is blogpost number two about the upcoming October 21st choral festival at Aurora University showcasing my choral music. Today I'll be discussing Loosin Yelav, the Armenian folk song which the Waubonsee Community College Choir, under Mark Lathan (see more down below) will be singing.<br />
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Loosin Yelav (The Rising Moon)<br />
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SA/solo violin/piano Cat #679 Santa Barbara Music Press<br />
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<a href="http://sbmp.com/SR2.php?CatalogNumber=679">sbmp score and recording</a><br />
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SATB/solo violin/piano Cat. #698 Santa Barbara<br />
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<a href="http://sbmp.com/SR2.php?CatalogNumber=698">sbmp score and recording</a><br />
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I was asked by Mary Alice Stollak, a great conductor (now retired) from Michigan, and recipient of two Grammy awards(!) to arrange this song for her choir at that time, the amazing Michigan State University Children's Choir (the top group is usually high school girls plus some boys with uncharged voices). Mary Alice, early on in her career as a soprano soloist had performed the version of the song by Italian avant-garde 20th century composer Luciano Berio, which is part of his set of folk songs from different countries. Mary Alice felt that this lovely tune would be delightful in choral arrangement. She asked me to do it for her choir and I agreed.<br />
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One of the things I tried to accomplish in my setting was to give the illusion of space--- in a sense, the expanse of space as we raise our eyes off of what is in front of us (texting on a cellphone perhaps?) and behold amazing things way up in the sky--like the Moon! One way I did this was to create a rising introduction in the solo violin part; create a rubato, floating feeling in the voices (in the slower sections); and write a piano part which would utilize the whole keyboard, including stretching all the way up to the top of the keyboard. Of course, in the more dancelike sections of the piece that expansiveness doesn't exist. There we're just having fun dancing!!<br />
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A rough translation of the text:<br />
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<span style="background-color: white; font-family: Arial; line-height: 24px;">The moon has risen over the hill,</span><br />
<span style="background-color: white; font-family: Arial; line-height: 24px;">over its summit,</span><br />
<span style="background-color: white; font-family: Arial; line-height: 24px;">its red, rosy face</span><br />
<span style="background-color: white; font-family: Arial; line-height: 24px;">brilliantly illuminating the earth.</span><br />
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<span style="background-color: white; font-family: Arial; line-height: 24px;">O dear moon, with your dear light</span><br />
<span style="background-color: white; font-family: Arial; line-height: 24px;">and your dear round and rosy face.</span><br />
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<span style="background-color: white; font-family: Arial; line-height: 24px;">Before darkness reigned</span><br />
<span style="background-color: white; font-family: Arial; line-height: 24px;">covering the earth; </span><br />
<span style="background-color: white; font-family: Arial; line-height: 24px;">but now the light of the moon has chased it away</span><br />
<span style="background-color: white; font-family: Arial; line-height: 24px;">into the dark clouds.</span><br />
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<span style="background-color: white; font-family: Arial; line-height: 24px;">O dear moon, with your dear light</span><br />
<span style="background-color: white; font-family: Arial; line-height: 24px;">and your dear round and rosy face.</span><br />
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This piece has proven to be quite popular with singers and audiences. It has been performed on a number of continents, including a wonderful performance directed by the famous conductor Andre Thomas at a festival in England. The piece is easily learned as the Armenian is not difficult. When I visit choirs and work on the piece we mostly have to work together to create two different worlds-- that floating in the sky rubato and then the exhilarating little folk dance that pops up. It's usually pretty easy to get young singers to have fun with this piece.<br />
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Here again is the video I shared a few days ago. This was created by a parent of a young singer performing in a festival choir I was conducting in Pennsylvania. I love the amazing images of Armenia in this little video.<br />
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Here is a perfomance at a recent Georgia All-State conducted by the wonderful Jeffery Ames from Belmont University:<br />
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Here is the Berio version sung beautifully:<br />
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Ready for some more fun? Along with fellow Italian modernists such as Bruno Maderna, Luigi Dallapiccola, and Luigi Nono, Luciano Berio (1925-2003) enjoyed a highly successful career as a composer in the second half of the 20th century. Here is the amazing third movement of his Sinfonia composed in 1969, featuring the Swingle Singers. This is a truly wild segment of the piece-- a bizarre musical collage thrillride through the Symphony #2 Scherzo of Mahler plus quotes from other composers: Ravel, Debussy, Brahms, and many more!<br />
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If this music mystifies you, you can Wikipedia Berio Sinfonia and read a decent explanation of what's going on!<br />
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<tr><td class="tr-caption" style="text-align: center;">The Waubonsee Community College Chorale<br />
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<tr><td class="tr-caption" style="text-align: center;">Dr. Mark Lathan</td></tr>
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<span id="yui_3_16_0_1_1443807580113_26050" style="font-size: 12pt;"><span style="font-family: Times, Times New Roman, serif;">Born and raised in the Chicago area, Dr. Mark Lathan received his Bachelor's degree in performance from Northern Illinois University in 1983, where he studied trumpet with Ron Modell and jazz arranging with Frank Mantooth. Earning his Ph.D. in 2001 from UCLA, Lathan studied composition with Roger Bourland, David Lefkowitz, and Ian Krouse. While at UCLA he received the Henry Mancini Award in Film Composition and studied film scoring with Jerry Goldsmith.</span></span></div>
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<span id="yui_3_16_0_1_1443807580113_26054" style="font-size: 12pt;"><span style="font-family: Times, Times New Roman, serif;">He counts among his compositions numerous compositions and arrangements for jazz and chorus, as well as several film scores and a number of concert pieces including two choral cantatas, <i>Inheritance of Love</i> and <i>Song of Hope</i>. Lathan's various compositions have been published by C. L. Barnhouse, Doug Beach Music, Yelton Rhodes Music, and Art of Sound Publishing. He was a contributing arranger for Louis Bellson's Sacred Concerto which was released on the Percussion Power label in 2005. Two of his arrangements appear on the CD release "Above and Beyond" by the Los Angeles Flute Quartet and his Trumpet Concerto was premiered by Mark Baldin and the Rockford, IL Symphony in 2009 as part of their 75th Anniversary Season Celebration. "Echale Todas Las Ganas" ("Give It All You Got"), a commissioned composition for Wheeling High School?s Jazz Band I, was premiered at the Midwest Band and Orchestra Clinic in December 2013.</span></span></div>
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<span id="yui_3_16_0_1_1443807580113_26062" style="font-size: 12pt;"><span style="font-family: Times, Times New Roman, serif;">Lathan is currently in his thirteenth year as Music Professor at Waubonsee Community College in Sugar Grove, IL where he directs the Waubonsee Chorale and teaches theory, composition, trumpet, and humanities.</span></span></div>
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Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-42255998601231413952015-09-30T10:56:00.003-05:002015-09-30T20:44:02.297-05:00Aurora University Choral Festival- Blogpost #1Coming up on the evening of October 21st my choral music will be celebrated in a concert by multiple high school and college choirs in Crimi Auditorium at Aurora University. For more information on this free, open to the public event visit <a href="http://www.aurora.edu/calendar/main.php?calendarid=default&view=event&eventid=1440000547895">concert details</a> Please come and hear the fine choirs singing that evening!<br />
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I am humbled by this honor-it's the first time anyone has thrown me a party and filled an entire program with just my music! Lisa Fredenburgh, the head of the music department at Aurora U, developed the idea for this event over last spring and summer and Lisa and I enjoyed getting together to discuss how to make it happen. She sent out invitations to various area choral ensembles and we were fortunate to have some great directors respond with interest (some others couldn't commit to the October date, but I hope that in the future they can do some work with Lisa in some way--she's a great musician and so enthusiastic when working with singers). The directors who will be conducting that evening are very talented, classy folks. I'm thrilled with who chose to participate!<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Dr. Lisa Fredenburgh, Aurora University</span></td></tr>
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The schools singing (and the repertoire they have chosen) at the concert will be:<br />
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Waubonsee Community College, directed by Mark Lathan<br />
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Loosin Yelav (an Armenian folk song)<br />
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Mettea Valley High School, directed by Nathan Bramstedt<br />
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A City called Heaven (an African-American spiritual)<br />
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Carthage College Women's Ensemble, directed by Peter Dennee<br />
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This Sparkle of the Day (world premiere, multi-movement sacred piece)<br />
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Rock Valley College Choirs, directed by Paul Laprade<br />
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Thou art the Sky<br />
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Life has Loveliness to Sell<br />
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Aurora University Choirs, directed by Lisa Fredenburgh<br />
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<span style="background-color: white; font-family: 'times new roman', 'new york', times, serif; font-size: large;">Shall we Gather at the River/Jerusalem My Happy Home (the last movement of God's Nature)</span><br />
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<span style="font-size: large;">It has been interesting to me to see what pieces the directors have chosen. I didn't give them much input, as I thought it would be best to let them choose. At this point I am very happy with their choices, and in many ways they have chosen pieces that emphasize the trends in my output. For instance, I have a commitment to contribute to the legacy of the African-American spiritual and the audience that night will hear two very different spiritual arrangements. A City Called Heaven (in a rare setting for women's voices) is a mournful, desperate introspective cry for salvation, while Go Down, Moses is propelled forward by a very active piano accompaniment, eventually culminting in a great wall of choral sound toward the end. Lisa has noted my fondness for witty, droll texts. Mashed Potato Love Poem is a prime exmple, as is the tongue in cheek Alley Cat Love Song. Further humor (darker and more satiric) shows up in the exceprts from my Zombie opera, Blood, Guts, and Arias. Finally, a number of pieces have been chosen which exemplify my search for serious texts which probe the inner spirituality of the human condition. Thou art the Sky and Life has Loveliness to Sell would be prime examples of that type of piece.</span><br />
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<span style="font-size: large;">Over the next week or two I am going to blog about each piece, give some background to how I composed the setting of the text and also why I chose to set it in the first place. I hope this will be of value to the singers of each choir (who, I hope, will visit the blog to read) and anyone else out there wondering what living choral composers are thinking as they compose. Well, actually, sometimes we don't know what we're doing- but we keep slogging on anyway!</span><br />
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<span style="font-size: large;">NEXT POST: All about Loosin Yelav, a sweet and very expressive Armenian folk song about the moon (actually a red moon--cool that, considering we just witnessed the Supermoon!)</span><br />
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<span style="font-size: large;">Here's a little teaser--this is a video put together by a parent of a student singing at a vocal festival I was conducting in Pennsylvania a few years ago. We performed Loosin Yelav and this is what they created-- some wonderful images of Armenia here!</span><br />
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Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-81770720831058754952015-09-16T10:21:00.002-05:002015-09-16T10:38:03.381-05:00Unique Christmas/Winter Holiday Repertoire!<h3 class="post-title entry-title" itemprop="name" style="background-color: #e0e0e0; color: #993333; font-family: 'Lucida Grande', 'Trebuchet MS'; font-size: 16.9px; font-stretch: normal; letter-spacing: -1px; margin-top: 0px;">
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Hi choral directors! Hope your school year/concert season is off to a smashing start.<br />
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Are you still looking for "Holiday" repertoire? I've got a number of ideas for you from my catalog- both traditionally published and also published by myself. While I am especially aiming to gain attention for my book of 18 carols for women's voices, please know that if you scroll down you will find some rep for SATB music as well! Some of those pieces below have rental orchestrations which have been very popular with audiences.<br />
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Last Fall I released "Carols, distinctive arrangements for women's voices", and it was an amazing process to not only research and write the pieces but be my own publisher as well. I had a lot of help from many folks around the country- proofreading, choirs trying out the pieces, etc. It made me really appreciate the talent and the generosity of my musical colleagues. The collection has sold well and was just reviewed very favorably in the August 2014 Choral Journal. <b>Scroll way down to read the review.</b><br />
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Thanks for reading!<br />
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<span style="font-family: Verdana;">18 New Christmas Carol Arrangements<br />Scored variously for SA, SSA, SSAA a cappella; some with simple instrument parts<br />Sacred texts in English, Latin, German, French, and Spanish<br />Durations from 1:30 to 5:00 each carol</span></div>
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<span style="font-family: Verdana;">Price: $15.95 per copy- FREE SHIPPING on all US and Canada orders </span> <span style="color: black; font-size: x-small;"><span style="font-family: Verdana; font-weight: 700;"><a href="http://paulcarey.net/carols%20pdf/CAREY_Carols%20sample%20pages%20pdf.pdf" style="color: #666699;"><span style="color: maroon;"></span></a><span style="color: maroon;"><a href="http://paulcarey.net/carols%20pdf/CAREY_Carols%20sample%20pages%20pdf.pdf" style="color: #666699;" target="_blank"></a></span></span></span><span style="color: black;"><span style="font-family: Verdana;">(please note- this is the current price- the Choral Journal mistakenly lists it at $17.95)</span></span><br />
<span style="color: black;"><span style="font-family: Verdana;"><br />Order through paulcarey.net or email me at paulcarey440@yahoo.com<br />Also through Musical Resources, the exclusive wholesale distributor</span></span><span style="color: black;"><span style="font-family: Verdana;"><br />Paypal or conventional billing available</span></span><br />
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<span style="color: black;"><span style="font-family: Verdana;">For a limited time- you may order one copy and use it as a master to photocopy from! The fee is only $150 for right to copy in perpetuity. You may NOT share the book or any copies with other directors, churches, or schools. Email me for more details paulcarey440@yahoo.com</span></span><br />
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<span style="color: black; font-size: x-small;"><span style="font-family: Verdana;">An exciting new collection of 18 carols in new, creative settings suitable for<br />high school and beyond <nobr><a class="FAtxtL" href="http://paulcarey.net/carols.html#" id="FALINK_6_0_5" style="color: #666699;">women's</a></nobr> voices, plus also suitable for advanced treble children's choirs.</span></span><br />
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<span style="color: black; font-size: x-small;"><span style="font-family: Verdana;">- Carols and processionals for both concert or madrigal dinner use</span></span><br />
<span style="color: black; font-size: x-small;"><span style="font-family: Verdana;">- A mixture of transcriptions, arrangements, and new settings of classic Christmas texts, occaisional solo, duo, and trio passages create variety for strophic carols</span></span><br />
<span style="color: black; font-size: x-small;"><span style="font-family: Verdana;">- Traditional English and Latin texts, plus settings in French, German, and Spanish</span></span><br />
<span style="color: black; font-size: x-small;"><span style="font-family: Verdana;">- A mixture of easy to more challenging carols, as well as a wide variety of moods and tempi</span></span><br />
<span style="color: black; font-size: x-small;"><span style="font-family: Verdana;">- Some carols have instrumental parts for one or two players (for instance harp, two flutes or other melody instruments, cello, percussion). Instrumental parts can be downloaded by clicking on the title below.</span></span><span style="font-size: xx-small;"><br /> </span></div>
<span style="background-color: yellow;">If anyone out there with a women's choir or youth advanced treble choir would like a <b>TOTALLY FREE PERUSAL COPY</b>- send me your US or Canada street address and I will get one to you. I think once you examine it, you will agree that it can be a resource you can go to year after year for December programming. Last year a number of the choirs who bought copies did 2,3,4, carols out of the book at their holiday program!</span><br />
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<b>Here are some other pieces of mine, including SATB, which might really spice up your December programs.</b><br />
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Let me know if you would like any free perusal scores of these pieces. I will just highlight a few- you can view a complete listing with details, score samples, etc. of all of my many Christmas, Hanukkah, and Winter Solstice scores by visiting:<br />
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Selling like the provrebial hotcakes is this new arrangment in Henry Leck's wonderful Creating Artistry-- the Chrismtas spiritual Mary, Had a Baby. Click the link for score and recording <a href="http://www.halleonard.com/product/viewproduct.do?itemid=140701&lid=5&keywords=paul%20carey&subsiteid=1&">Mary Had a Baby</a><br />
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<a href="http://paulcarey.net/works_Christmas_Chorus.htm" style="color: #666699;">http://paulcarey.net/works_Christmas_Chorus.htm</a></div>
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One of my holiday bestsellers is the Hanukkah song "Unending Flame" with a truly nice text (so many Hanukkah texts are awful, I think you will agree). Voicings available are SA or SABar. There is also a rental orchestration for this piece which really makes it pop.</div>
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Another bestselling piece which can be either with piano or rental orchestration is my very dancey SSA version in mixed meters of I Saw three Ships:</div>
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<a href="http://paulcarey.net/Music/I_Saw_3_Ships.htm" style="color: #666699;">http://paulcarey.net/Music/I_Saw_3_Ships.htm</a><br />
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If you are looking for SATB works, Nancy Menk made a very nice recording of my lyrical “Hush my Dear, Lie Still and Slumber" which you can hear: </div>
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<a href="http://paulcarey.net/Music/HUSH%20My%20Dear.htm" style="color: #666699;">http://paulcarey.net/Music/HUSH%20My%20Dear.htm</a></div>
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I also have a piece with a similar feel to it- my arrangement of “Gabriel's Message”, available in manuscript. Contact me at paulcarey440@yahoo.com for a perusal score.</div>
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Also, a very popular item in the Roger Dean catalog, my fun, uptempo arrangement of <a href="http://paulcarey.net/Music/Ding%20Dong%20Merrily%20on%20High.htm">Ding, Dong Merrily on High</a><br />
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Finally, some pieces with brass. First up is “Christmas Bells”, which was commissioned by Edie Copley at N. Arizona University. This is big and festive (yet with a very introspective middle section) for SATB/brass/organ/perc/handbells. This piece is now also fully orchestrated.</div>
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The ending will ensure that your entire audience is awake:</div>
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<a href="http://paulcarey.net/Music/Christmas%20Bells.htm" style="color: #666699;">http://paulcarey.net/Music/Christmas%20Bells.htm</a><br />
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The other brass piece is not as festive since the text by the brilliant Thomas Merton is generally more reflective- it's called “The Winter's Night Carol”. I don't have a good recording yet of the piece due to miking issues at performances, but I can certainly e-mail you a score if you like!</div>
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<b>CAROL BOOK REVIEW FROM THE AUGUST 2014 CHORAL JOURNAL</b></div>
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Paul Carey's work as a choral composer and arranger is well acknowledged and valued. His newest publication, <em>Carols…for Women's Voices</em>, takes a significant step in furthering his reputation as a composer for treble and women's voices. Many of Carey's fine and best-selling arrangements and compositions of carols for mixed, children's, men's and women's voices are available through leading publishers such as Oxford University Press, CF Peters, Lorenz, and Roger Dean. Yet, unlike many compilations of works by modern composers and arrangers, this distinctive collection does not contain works available through other sources or as separate folios. </div>
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Most of the works found in this collection are arrangements of melodies or compositions upon texts from classic manuscripts and various folk sources. Nonetheless, the recastings of these materials in Carey's hand are fresh and distinctive. His "Personant Hodie" (from the <em>Piae Cantiones)</em>, for example, retains the familiar tune of the work for the most part but lightens the texture with gavotte-like ritornelli and an unexpected reworking of the melody in 7/8. Other works, such his SSA unaccompanied version of the classic "We Wish You A Merry Christmas", find a different voice through this composer's compositional wit. As these two examples imply, the collection contains both sacred and secular carols. In addition, these two arrangements also exemplify the suitability of some of Carey's arrangements for younger choirs.</div>
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The title of this collection is somewhat deceiving, for of the eighteen works in this collection, five are entirely new works, penned using familiar texts. The distinctiveness of even these works can be evinced by comparing two texts that both Carey and Benjamin Britten have set: "There is no rose of such virtue" and "Adam Lay ybounden" (perhaps most familiar as the text used for Britten's "Deo Gratias" from <em>A Ceremony of Carols</em> ). The former is richly set with a nearly chantlike solo and responses by duets and a quartet that shimmer with their uses of inversional modal alterations. The latter text is interpreted through completely new musical lenses. The ABAB form of Carey's setting alternates between a haunting, contemplative section and a second, more rhythmically driving section. This compositional choice musically refocuses the text on the apple's theological role, that of emphasizing the praise of the apple's acceptance and its eventual conclusion in the birth of Jesus. These five original works alone make it difficult to overlook this collection, and underscore the fact that these arrangements can also find a home in the repertories of more advanced treble/women's choirs.</div>
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Cristobal de Morales' <em id="yui_3_16_0_1_1404920617591_7753">O Magnum Mysterium</em> is the only work included in this collection where Carey assumes the singular role of editor. As would be expected, Carey's edition is much more lightly edited than the classic (SSAA) Schirmer edition by Goodale, but the choice of transcribing this work a half-step higher mirrors a significant characteristic of this collection as a whole—each of these "distinctive arrangements" are sensitive to the distinct characteristics of women's voices. The Morales is often performed in this key, as it simply resounds better and navigates the <em id="yui_3_16_0_1_1404920617591_7775">passaggi </em>more easily. Furthermore, such sensitivity extends to the variety of texture, styles, tempi, voicings, and languages (french, latin, spanish, german, and english) found herein. Carey's collection is varied enough to lend variety to any program built from its offerings, yet cohesive enough to lend solidity to such a performance. (Note: This reviewer acknowledges having contributed to the translations of French texts and initial readings of some of the works in this volume.) </div>
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The quality of these arrangements and the breadth of stylistic variety reflected in this holiday collection for treble voices is nearly unparalleled; for choral ensembles and programs of all types, and for churches with treble ensembles, this fine publication could reasonably be expected to occupy a similar place in holiday/Christmas libraries as the <em id="yui_3_16_0_1_1404920617591_7763">Oxford Book of Carols</em> and <em>Carols for Choirs</em> currently hold. Well edited by Carey and "tested" by various types of treble/women's choruses, this solid collection possesses enough musical gold to fit the needs of many types of choirs, performances, and even educational functions.</div>
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Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com1tag:blogger.com,1999:blog-3862962739221411030.post-39702968540601236432015-03-12T11:14:00.001-05:002015-03-12T11:14:24.571-05:00The Choral Classroom- The Three I's that include me<br />
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<a href="http://paulcarey440.blogspot.com/2013/02/sharing-one-of-most-popular-items-i.html" style="color: #993333; text-decoration: none;">Sharing one of the most popular items I have posted</a></h3>
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<span class="style37" style="font-size: x-small;">This particular post from a few years ago has received a lot of hits since I started blogging- it really resonates with folks so I like to re-run it once a year- so here you go (and thanks to Sir Rick Bjella, who now teaches at Texas Tech). As I read through this post again, I also like the fact that Larry Doebler was a contributor to this. I met Larry two years ago when he commissioned me for a piece for the yearly Ithaca College Choral Festival- what a brilliant conductor, teacher, and man.</span></div>
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<span class="style37" style="font-size: x-small;">Over the last four years I have combined elements of these suggestions (with Rick's permission) plus my own experiences teaching at the North Carolina Governor's School as the basic material for choral conference interest sessions I have presented in Hong Kong, South Korea, Nebraska ACDA, North Central division ACDA, and Iowa and Tennessee MEA with great success. There is so much rich material here to ponder.</span></div>
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<span class="style37" style="font-size: x-small;">Enjoy the read and the great ideas:</span></div>
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<span class="style37" style="font-size: 16.8999996185303px;">The three I's that don't include me: involvement, investment, (through inside-out rehearsing), independence...leading to integrity</span></div>
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<br /><span class="style36">(compiled by Rick Bjella-- contributing: </span>Randal Swiggum, Nick Page, Larry Doebler, Lucy Thayer, Tim Bruneau, Patty O’Toole)</div>
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<span class="style36">Reprinted by permission of Rick Bjella. </span></div>
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Who or what is at the center of your rehearsals?<br />Whose opinions are valued most?<br />Around whom do your structure your strategies for the daily rehearsal?</div>
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<b>Student involvement:</b></div>
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<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">foster a safe environment ("well, that was creative", “basses I love you dearly...”, “I love the way you truly listen to each other and honor what was said”)</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">share affirmations with the ensemble</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">provide a more accurate, personalized, positive reflection on student efforts in rehearsal. (i.e. "Glenn you are particularly good at dramatic reading of texts, that is a real gift that you have, that is a contribution that you make in a way that is particularly stunning")</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">give the students only the title of the piece ask them “how do you think it will sound?”</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">give short writing moments (in journals, portfolios, 3 x 5 cards, board work, post-it notes</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have student led warm ups prescribed by the teacher</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have an improvisation on one note-(the drone has been a powerful musical force throughout the ages-explore different vowels)</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">ask YOU questions (addressed directly to students relevant to personal experiences meant to evoke personal opinions “Have you ever ______? How did it feel? Did you ____?)</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">develop listening squads: students sit out and listen to rehearsal, offering critical comments</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">giving students many opportunities to evaluate both rehearsals and performances (written comments, group discussions, etc.)</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">allow the individual person to react with free movement that reflects the phrasing-start simply and then work towards more subtlety</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">switching parts so that the student is understanding all of the choral parts</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">sing the instrumental accompaniment for understanding of the entire phrase</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">move to the pulse of the music- developing body memory</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">learn parts through solfege (movable or fixed do depending on the piece) Assists pitch memory and independence</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have singers in positions to be compassionate. (Sing at a nursing home, a soup kitchen, hospital, or funeral, etc.)</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have student compositions based on one phrase or one word</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">listening with intent (give them a puzzle, a problem, or a chance to share their opinion of something technically challenging - i.e. This Little Babe).</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">fellowship game - sit or stand in a community interview circle (this can also be done in smaller groups as well): <b>a.</b> interview a person in the middle - ask three questions student has a right to ‘pass’ on any question. <b>b.</b> model the activity by being in the center as well.</li>
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<b>Student investment and ownership:</b></div>
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<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have students develop their own text interpretations</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">use story telling (composers, personal experiences relating to the text, communing with nature, growing-up, losing loved ones, stories by other artist, authors, poets, visual artist)</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">believe in your story</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have the students read a letter (that you or they create) from the composer about her intentions for the piece.</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have the students teach a spiritual, or folk song by rote to the class before passing out the arrangement</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">invite student opinions on an artistic decision (e.g. where exactly the crescendo should begin, which vowel color suits the mood of a particular word best, etc.)</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have student-led sectionals</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">memorization squads: if the group is having trouble with individuals not memorizing their parts, have a team sit out and check the memorization of individuals in the group</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have students come up with their own warm ups</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have them listen to tapes from their own recording sessions and evaluate the relative quality</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have an anger moment where they allow it to all come out in their singing</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">try student grading of each other and themselves (set up a careful list of criteria - they see much more than you do)</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have a choir council or officers to meet and discuss issues from the students’ perspective, to act as spokes people, and to plan social events and group-bonding activities</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">use dalcroze activities led by students based upon the music that is being rehearsed</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">moving to the pulse of the note values- freeing the eyes from the score</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">sing silently - owning the score without singing it/ showing it completely through the eyes-check the memory at a predetermined spot.</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">find ways to actively involve them in the drama of the music.</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have student invested towards nuts and bolt needs (library maintenance, attendance)</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have touring planned by students- discussing at the ground level objectives and</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">discuss the etymology of words, showing links between one language and another.</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have a student committee set clear goals regarding students able to sing their part alone with musicianship and understanding</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have students write reflections concerning a concert</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">consider having student program notes</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have an open forum -- pose a question on curriculum (i.e. “What makes this a good piece of music?”, “What makes an exciting choir rehearsal?, If you had one wish for this choir it would be..) ask a follow-up question/ journal entries</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">develop abstract expressions - break the choir into six groups, provide them with markers, crayons, finger paints -- ask the them to illustrate a concept you have been working on such as dotted rhythms open vowels, binary form, the heart of the music.</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">run rehearsals of difficult passages in circles (basses, tenors, altos, sopranos) while running the passage have the leader in the middle make suggestions for improvements -- set strict time lines -- change leadership in the middle constantly. (use movement within the circle to solidify different learning styles)</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have a no limits day -- suggest that they can sing in any manner they think is appropriate and the only thing off limits is the ‘can’t’ word.</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">student independence:</li>
</ul>
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(knowledge=Independence (K=I) and complete imagination)</div>
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<ul style="list-style: none; margin-left: 10px; padding: 0px;">
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">shoot for depicting the text in a synergetic manner not as a result of what the conductor might impose</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">show the score through physical movement reflecting dynamic, dramatic, linear and harmonic elements with complete physical understanding</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">sing one part and reflect physically another part.</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">interact with others through discussion with people not in the choir</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">have students understand the integration of all study with the music that is being performed</li>
</ul>
</div>
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<b>Developing Student Integrity </b>[IMPLEMENTATION OF THE DREAM]:</div>
<div align="left" class="style32">
Start small. Just as it is difficult to know what to do with a blank page, it is difficult for some students to know what to do with authority. Don't expect overnight change.</div>
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<ul style="list-style: none; margin-left: 10px; padding: 0px;">
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">model the behavior you wish to emphasize.</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">model them before the rehearsal</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">model them during the rehearsal</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">model them after the rehearsal</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">never stop modeling them</li>
</ul>
</div>
<div align="left" class="style32">
Slowly lead students to independence (i.e. ask students to troubleshoot for a solution to a musical problem instead of volunteering one yourself). This will get them thinking for themselves and eventually, they will think independently all the time and take more responsibility for musical excellence. Know your own musical and emotional interior. If you are not comfortable with the things you are asking students to share, then the students will not respond well.</div>
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Constantly invite student input and then LISTEN CAREFULLY TO WHAT THEY SAY. Students have insights into what is going on in the music (or in the group) that you will never have.</div>
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Consider the difference between student-centered and student-directed. Is it enough to plan activities around student interest and input? For more adventure, try moving toward student directed activities. Students have many things to teach each other (and you).</div>
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Consider these four elements of all rehearsals:</div>
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<ul style="list-style: none; margin-left: 10px; padding: 0px;">
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">time</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">structure of the ensemble, rehearsal room / form of the rehearsal</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">how things are learned and percieved</li>
<li class="style32" style="background: url(http://www.blogblog.com/tictac_blue/tictac_blue.gif) 0% 6px no-repeat; list-style: none; margin-bottom: 3px; padding-left: 14px;">pedagogy: who teaches whom? why?</li>
</ul>
</div>
<div align="left" class="style32">
What can you and your students learn as a result of ‘tinkering’ with one of the above elements?</div>
<div align="left" class="style32">
Moving towards a more student-centered rehearsal (like a new idea) can be messy and not always productive on the short run. HOWEVER, investing in a well thought-out process that encourages students to take charge of their own education will be motivating and exciting for them, and for YOU. </div>
<div align="left" class="style32">
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<div align="left" class="style32">
Special thanks to Randal Swiggum, Nick Page, Larry Doebler, Lucy Thayer, Tim Bruneau, Patty O’Toole for their insights into this document.</div>
</div>
Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-14932705061480134682015-03-05T08:40:00.003-06:002015-03-05T08:48:48.429-06:00Concert Review from ACDA 2015- National Youth Chamber Choir of Great Britain<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkLjZhuZGhyphenhyphenoqUurB9YpJbcBXNp3QaqcaZXKh0r2-aodoUPnmXQ5Js8sJDMN2xMQGkKNqCzoykDhfj5sTfAip8nymcJizE8VisbpZiH53HG2qhMKGxbC660L5-Id8osKlLAMExnrdse27j/s1600/nat.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkLjZhuZGhyphenhyphenoqUurB9YpJbcBXNp3QaqcaZXKh0r2-aodoUPnmXQ5Js8sJDMN2xMQGkKNqCzoykDhfj5sTfAip8nymcJizE8VisbpZiH53HG2qhMKGxbC660L5-Id8osKlLAMExnrdse27j/s1600/nat.png" /></a></div>
On Friday at the 2015 ACDA National conference in Salt Lake City the <a href="https://www.nycgb.org.uk/">National Youth Chamber Choir of Great Britain</a>, led by Ben Parry, preformed a wonderful program of mostly British works at Abravanel Hall.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgaZiH7Ohk-159qjD2VvWRAB4mE7QNmVFKhbQ2clkAkmYIKy7SeqeOZ971GWhtuHIfuThGlLKZFQ98Jz6iElfgNTqZQYC4EJkxrtnd6T9kUGPu0UhaZccE02g_XMScURjmfkHxryIdtHlL/s1600/acda.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgaZiH7Ohk-159qjD2VvWRAB4mE7QNmVFKhbQ2clkAkmYIKy7SeqeOZ971GWhtuHIfuThGlLKZFQ98Jz6iElfgNTqZQYC4EJkxrtnd6T9kUGPu0UhaZccE02g_XMScURjmfkHxryIdtHlL/s1600/acda.jpg" height="160" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The members of the Youth Chamber Choir</td></tr>
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Here is the program they presented:<br />
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Sing Joyfully William Byrd<br />
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The Lady Oriana John Wilbye<br />
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Music, When Soft Voices Die CHH Parry<br />
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Lay a Garland Upon her Hearse Robert Pearsall<br />
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Coeles ascendit hodie CV Stanford<br />
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No Longer Mourn for Me R Vaughn Williams<br />
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A Hymn to the Virgin B Britten<br />
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Let Beauty be Our Memorial JAC Redford (American composer)<br />
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Words Anders Edenroth (founder of the Real Group)<br />
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Flame Ben Parry<br />
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This program was an absolute delight as the young singers, ranging from about 21 to 25, sang with clear tone and lively enthusiasm as they glided through a mini-history tour of British music. Parry's conducting was clear and encouraged an open, sweet and expressive sound from these highly talented young singers. The chamber choir is the top group of the organization, which numbers over 800 singers of various ages.I was especially impressed with their open, healthy posture and naturalness. I would not be surprised to learn that they have had extensive Alexander Technique training or something similar.<br />
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"Words" was a hit with the audience due to its clever text and the beatbox presentation. We heard Real Group sing this on Wednesday night to great effect.<br />
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Parry's own piece "Flame" was a real burner as it concluded with a unrelenting pulsing wall of <i>fff</i> sound. I'd like to hear this piece again in order to more fully grasp what the conductor/composer was striving to achieve. I was not at all familiar with Ben Parry, yet I found a few folks who know him and they spoke very highly of his work. I highly agree, and would love to hear more from this choir and conductor/composer.<br />
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The choir has blogged a little bit from ACDA- you can read their comments on the ACDA experience <a href="https://www.nycgb.org.uk/latest-updates/news/chamber-choir-at-acda-2015-conference">here</a>.<br />
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Fun Factoid-- Over the years, a number of singers from the organization have gone on to become Swingle Singers!Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-16053090247499287662015-03-04T09:37:00.000-06:002015-03-04T09:42:04.837-06:00Concert Review from ACDA 2015- Ansan City Chorale<br />
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<b>From the 2015 ACDA National Conference in Salt Lake City</b><br />
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Review of the Ansan City Choir, directed by Dr. Shin-Hwa Park<br />
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Friday the Ansan City Choir from South Korea, performed in Abravanel Hall in Salt Lake City. Sporting colorful, flowing costumes, the choir entered and sang a delightfully eclectic program to an appreciative audience.<br />
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Sanctus by Frank Martin<br />
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Agnus Dei by Francis Poulenc<br />
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The Fisherman's Song by Ji-Hun Park<br />
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Arirang traditional folk song arr. by Kyu-Yung Chin<br />
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The Martin and Poulenc were sung with high sensitivity by the choir, which numbers around forty singers. It was nice to hear some mid-twentieth century repertoire, as the focus so much lately at ACDA conferences has been so heavily on American works from about 1995 to the present.<br />
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The Fisherman's Song, in seven short movements, paints the passion and, at times, grief and struggle of generations of Korean fishermen and their families. Though the struggle at this difficult life is a big part of the story here, the music often shines brightly as the fishermen sail joyously on the sea and dream of catching epic numbers of fish. This was a highly evocative piece which I thoroughly enjoyed.<br />
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The concert concluded with the ubiquitous Arirang, yet this arrangement developed the old chestnut into a sort of theme and variations, all choreographed with imagination and supple movements by the graceful singers. When I saw Arirang on the program I winced a bit, having heard it a million times. But this was a very fresh new take, spinning out over ten minutes or so, and the audience ate it up like candy.<br />
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<br />Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-4145421085005481142015-03-03T11:07:00.001-06:002015-03-03T11:10:25.423-06:00The 2015 ACDA Conference- Estonian Philharmonic Chamber Choir<br />
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Thursday at the 2015 ACDA National Conference held a spectacular performance by the Estonian Philharmonic Choir along with the Tallin Chamber Orchestra, both founded and directed by Tonu Kaljuste.<br />
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<tr><td class="tr-caption" style="text-align: center;">Tonu Kaljuste</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHLaol7HjZAu7TaggzCsfEVCltzOxt71IFqX9op8CTpNoRIDvP3wQXSivK35yIH6TWHrjk56bGOVienl5JCm8MCGfCuEVDT9Ifi2Iq-CikveYGU9cs7zvaclJ2gA2ALWcMcVtDlZWW2G5w/s1600/eston.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHLaol7HjZAu7TaggzCsfEVCltzOxt71IFqX9op8CTpNoRIDvP3wQXSivK35yIH6TWHrjk56bGOVienl5JCm8MCGfCuEVDT9Ifi2Iq-CikveYGU9cs7zvaclJ2gA2ALWcMcVtDlZWW2G5w/s1600/eston.jpg" height="133" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Estonian Philharmonic Chamber Choir</td></tr>
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The choir consists of about 24 fully professional singers, while the orchestra is made up of about 22 string players. This is one of the absolute premiere choirs in the world, and their performance was intense, full of power yet also with amazing nuances. The pieces performed were:<br />
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Adam's Lament by Arvo Part<br />
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Carlo by Brett Dean<br />
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Concerto per vocci e instrumenti<br />
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(plus a simple encore)<br />
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The centerpiece was "Carlo" by Australian composer/concert violist Brett Dean. This was powerful music, shifting from moments of sublime beauty to gut-wrenching dissonances, all reflecting the life of the Italian madrigalist Carlo Gesualdo. The choir and string orchestra created dynamics from<i> pppp </i>to <i>ffff</i> and the music constantly shifted in direction, yet all the while creating its own logic over the arc of the composition. <u>This performance was one of the highlights of the entire conference. </u><br />
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Check out this interview with Dean (OMG, he's not a hot thirty years old. Why are we in America, <u>including the choral arts lately</u>, suffering from what I call the American Idol Syndrome? Here you better be young and pretty to get any attention as an instrumentalist, composer, etc.- and now I am stepping back down from the soapbox)</div>
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<span style="background-color: white; color: #111111; font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 19.4400005340576px;">Here is Dean talking about the piece:</span><br />
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<span style="background-color: white; color: #111111; font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 19.4400005340576px;">Historians to the present day still seem undecided as to the true merits of Gesualdo the composer, unable to separate the characteristics of his compositions, with their harmonic extremities and surprises and their textural complexities, from the infamy of Gesualdo the murderer. There are, no doubt, numerous contemporaries of his whose music would be just as worthy of the kind of attention now given to Gesualdo, composers such as Marenzio and Luzzaschi who didn’t fan the flame by butchering their spouses. But I believe that with Carlo Gesualdo one shouldn’t try to separate his music from his life and times. They are intrinsically interrelated. The texts of his later madrigals, thought to be written by Gesualdo himself, abound with references to love, death, guilt and self-pity. Combine this with the fact that I’ve always found Gesualdo’s vocal works in any case to be one of music’s great and most fascinating listening experiences and you have the premise of my piece. </span><br />
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The Part was Part- a nice setup to go into the Dean.<br />
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The third piece on the program was a Swingle Singers-ish bit of light fluff. The musicians had a lot of fun with this small plate of tiramisu and the audience dug it.<br />
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At the finish the performers were rewarded with a thunderous standing ovation full of shouts and whistles. They rewarded us with an encore--a sweet, little Estonian lullaby. This simple, minimalist tune was a real ear-worm. The lullaby simply faded away into silence as the lil baby fell asleep, Kaljuste grinning knowingly to the audience.<br />
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Kaljuste is a masterful conductor, and his sly sense of humor appeared again at the end when he had the choir bow, the strings bow, and he himself bowed, of course. Then as the applause kept going forever he even lifted the scores from his podium and had them bow to the audience-- this was greeted with a big chuckle from the audience. I could listen to these folks FOREVER. Whoever within ACDA desired to get this group here and make it happen for ACDA is a genius- congrats!Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-81355669450478766182015-03-03T09:55:00.003-06:002015-03-03T09:55:40.391-06:00More from the ACDA 2015 Conference- MusicSpoke reading session<br />
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<span style="background-color: white; color: #333333; font-size: 13px; line-height: 18.2000007629395px;">MORE FROM THE 2015 ACDA CONFERENCE IN SALT LAKE CITY</span></h3>
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<span style="background-color: white; color: #333333; font-size: 13px; line-height: 18.2000007629395px;">Here is a blog I am sharing written by the fine composer/accompanist Kurt Knecht. He and Jennifer Rosenblatt are the founders of the new choral music distributor, </span><a href="http://musicspoke.com/" style="font-size: 13px; line-height: 18.2000007629395px;">MusicSpoke</a><span style="background-color: white; color: #333333; font-size: 13px; line-height: 18.2000007629395px;">, a very composer-friendly organization with a refreshingly new business model. They held a reading session on Wednesday of the ACDA conference in Salt Lake City which, especially for a Wednesday, was very well attended. Below is Kurt's blog, or you can click</span><a href="http://kurtknecht.blogspot.com/2015/03/musicspokes-kickass-reading-session.html" style="font-size: 13px; line-height: 18.2000007629395px;"> here</a><span style="background-color: white; color: #333333; font-size: 13px; line-height: 18.2000007629395px;"> and go directly to it. Here' Kurt's blog entry:</span></h3>
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<blockquote class="tr_bq" style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">
<span style="background-color: white; color: #333333; font-size: 13px; line-height: 18.2000007629395px;"><br /></span><span style="background-color: white; color: #333333; font-size: 13px; line-height: 18.2000007629395px;">Normally, choir directors tell me that when they attend a reading session, they feel lucky to find one usable piece of music. It's a gold mine when they find two usable pieces from a session.</span><span class="s1"><br /></span><span class="s1">After the <a href="http://musicspoke.com/" style="color: #7d181e; text-decoration: none;"><span class="s2">MusicSpoke</span></a> reading session at the National ACDA convention, two directors came up to me. One said, "I could easily use any piece on this reading session to great success with my group. Every piece is good." Another came to the booth later and said, "That was easily the strongest reading session I've attended."</span></blockquote>
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<span class="s1"><br /></span><span class="s1">I had the same reply for both of them. "Do you want to know why our reading session was so strong? <b>I didn't pick any of the music. We put the power back in the hands of our composers and asked them what pieces they would like on the reading session</b>."</span></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ7IN4dv2_KvpQ7xg_UjH8HF37i6jikm9hRyNNAqZ9kZ95akHjPLQmEkf3eWklbwaIHY3RHxx5xCHbRUkAbyRAzmdqYfsYLfhrYSOUIX0FuNrsuWT-jWjzf1GLaROJ0GxLGgfTr_Z6hVs/s1600/pete_reading.jpg" imageanchor="1" style="color: #7d181e; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ7IN4dv2_KvpQ7xg_UjH8HF37i6jikm9hRyNNAqZ9kZ95akHjPLQmEkf3eWklbwaIHY3RHxx5xCHbRUkAbyRAzmdqYfsYLfhrYSOUIX0FuNrsuWT-jWjzf1GLaROJ0GxLGgfTr_Z6hVs/s1600/pete_reading.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 0px; background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-radius: 0px; border: 1px solid rgb(204, 204, 204); box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 0px; padding: 8px; position: relative;" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pete Eklund leading the session</td></tr>
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<br /><span class="s1"></span><span class="s1"><br /></span><span class="s1"><br /></span><span class="s1">A great deal of the success of the session was also because of the masterful job my friend Pete Eklund did in leading it. He got us through a lot of music very efficiently. He helped the readers through more difficult rhythmic passages. He said something interesting about each piece, and he acknowledged all of the composers. I couldn't have asked for a more professional and outstanding job. Many thanks, Pete!</span></blockquote>
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<span class="s1"><br /></span><span class="s1">My favorite part was just reading through the music of such fine composers together. Dale Trumbore and I even played a little impromptu piano duet on Winged Lullaby, and I haven't been able to get the tune out of my head since.</span></blockquote>
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<span class="s1"><br /></span><span class="s1">Here is a list of the pieces and links to performances on <a href="http://musicspoke./" style="color: #7d181e; text-decoration: none;"><span class="s2">MusicSpoke.</span></a> Please go check out the music and use it for your choirs.</span></blockquote>
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<span class="s1"><a href="http://musicspoke.com/downloads/rise-love-fair-one/" style="color: #7d181e; text-decoration: none;">Rise Up, My Love, My Fair One</a> - Joseph G. Stephens</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/a-cradle-hymn/" style="color: #7d181e; text-decoration: none;">A Cradle Hymn</a> - David von Kampen</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/sky-flier/" style="color: #7d181e; text-decoration: none;">Sky Flier</a> - Josh Rist</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/requiescat/" style="color: #7d181e; text-decoration: none;">Requiescat</a> - Andrea Ramsey</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/lark-clear-air/" style="color: #7d181e; text-decoration: none;">The Lark in the Clear Air</a> - Paul Carey</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/esa-einai/" style="color: #7d181e; text-decoration: none;">Esa Enai</a> - Kurt Knecht</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/winged-lullaby/" style="color: #7d181e; text-decoration: none;">Winged Lullaby</a> - Dale Trumbore</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/lux-aeterna-saunder-choi/" style="color: #7d181e; text-decoration: none;">Lux Aeterna</a> - Saunder Choi</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/o-vos-omnes/" style="color: #7d181e; text-decoration: none;">O Vos Omnes</a> - Connor J. Koppin</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/stars-snow-2/" style="color: #7d181e; text-decoration: none;">Stars Over Snow</a> - Timothy Tharaldson</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/discovery/" style="color: #7d181e; text-decoration: none;">Discovery</a> - Christina Whitten Thomas</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/stay/" style="color: #7d181e; text-decoration: none;">Stay</a> - Garrett Hope</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/shall-return/" style="color: #7d181e; text-decoration: none;">I Shall Return</a> - Andrew Marshall</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/sicut-cervus/" style="color: #7d181e; text-decoration: none;">Sicut Cervus</a> - David V. Montoya</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/thou-vision/" style="color: #7d181e; text-decoration: none;">Be Thou My Vision</a> - Tinsley Silcox</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/holy-mountain/" style="color: #7d181e; text-decoration: none;">Holy Mountain</a> - Kile Smith</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/suffering-servant-ryan-keebaugh/" style="color: #7d181e; text-decoration: none;">The Suffering Servant</a> - Ryan Keebaugh</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/magnificat-nunc-dimittis-matthew-cann/" style="color: #7d181e; text-decoration: none;">Magnificat and Nunc Dimittis</a> - Mathew Cahn</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/kyrie/" style="color: #7d181e; text-decoration: none;">Kyrie</a> - Nick Dahlquist</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/snow-hated/" style="color: #7d181e; text-decoration: none;">The Snow I Hated</a> - Jordan Nelson</span></div>
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<span class="s1"><a href="http://musicspoke.com/downloads/holly-ivy-jason-horner/" style="color: #7d181e; text-decoration: none;">The Holly and the Ivy</a> - Jason Horner</span></div>
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Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-33865184181957647492015-03-02T13:39:00.001-06:002015-03-02T13:39:24.461-06:00The 2015 ACDA National Conference- Composers<br />
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Hi again,<br />
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I'm back in cold Chicago. The ACDA conference was epic, and I've already shared a bunch of things with you. Today, I am going to spotlight the new wave of composers who attended the conference and have opened up shop as independent publishers/distributors of their own music.<br />
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You can go visit my series of posts about this sort of thing by going<a href="http://paulcarey440.blogspot.com/search/label/Sibelius"> here </a>for the start of a seven-part series I did recently.<br />
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Here are composers, co-ops, and alternative distribution folks who had their own booths at ACDA 2015 in Salt Lake City. I hope you will click on the inks and learn more about these folks.<br />
<br />
<a href="http://www.imp.coop/">IMP</a>- the collective that includes Jocelyn Hagen, Abbie Betinis, J David Moore, et al<br />
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<a href="http://www.graphitepublishing.com/">Graphite</a> (Tim Takach and many more represented)<br />
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<a href="http://www.joanszymko.com/">Joan Szymko</a> (Joan was really busy during the conference)<br />
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<a href="http://www.choralcomposerscollective.com/">The Choral Composers Collective</a> (Tim Banks, Ken Berg, John Michael Trotta)<br />
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<a href="http://www.barlowbradford.com/">Barlow Bradford</a><br />
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<a href="http://www.catherinedalton.net/">Catherine Dalton</a><br />
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<a href="http://wertsch.com/">Nancy Wertsch</a><br />
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<a href="http://shawnkirchner.com/">Shawn Kirchner</a><br />
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<a href="http://seeadot.com/">See-a-Dot</a><br />
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<a href="http://musicspoke.com/">MusicSpoke</a><br />
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<br />
I am now working with MusicSpoke, a brand new, composer-friendly distributor. We had a very successful reading session at the conference, led by Pete Eklund. Co-founder Kurt Knecht has up-and-coming young composers Dale Trumbore and Connor Koppin, and other talented composers onboard. You'll be seeing some other "name" established composers joining soon as well. Here are <a href="http://musicspoke.com/?s=carey&post_type=download">the pieces</a> I currently have at MusicSpoke.<br />
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Also <a href="http://nwchoral.com/">Northwest Choral Composers </a>(Karen P. Thomas, Reg Unterseher, and John Muehleisen) were also present and handing out info, though they did not run a booth.<br />
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This is the wave of the future- a lot of composers who have decided that they can be their own best advocate for the music they write, especially if the piece in mind is not a three-minute EZ octavo. I predict we will see more and more high-end quality-music boutique composer booths in the coming years, especially by the time ACDA 2017 rolls around (to be held in Minneapolis).<br />
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<br />Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com1tag:blogger.com,1999:blog-3862962739221411030.post-45777760950101753232015-03-01T16:22:00.002-06:002015-03-01T16:36:26.309-06:00The 2015 ACDA National Conference- South Dakota Chorale<br />
<br />
My review of the South Dakota Chorale performance at the 2015 ACDA National Conference in Salt Lake City:<br />
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One of the new ideas at ACDA 2015 (there were many, both large and small--bravo to Tim Sharp and Mary Hopper) was NOT segregating the honors choirs from the rest of the performing ensembles. For instance, the HS honors choir (about 300 GREAT singers, led by the epic Andre Thomas in a very creative program, bravo, Andre) sang Saturday (in the Abravanel space) just before the great professional choir, the South Dakota Chorale, directed by Brian Schmidt. This means there was a giant crowd of family and a few siblings present to hear the HS singers (and not any talking or noise-thanks to you parents for that) but also many of the parents stayed and heard the South Dakota Chorale sing a very challenging program and seemed to really dig it. For many of those parental units this may have seemed to be very strange music, but I loved how so many of them stayed fully engaged in the music and the <u>absolutely riveting</u> performance by the Chorale. This was one of the highlight reel performances of ACDA's four days. In fact, I don't think I heard a more amazingly flawless program from any other choir in the four days at SLC.<br />
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The programming and pacing was perfect on many levels, the singing was incredibly rich and highly professional without ever sounding like a group of pros phoning in a performance, and Schmidt's conducting was what you hope for; wherein a conductor allows a piece and a choir to create magic in real time--the conductor functioning as a superbly talented facilitator in service to the performers, music, and audience--without ever succumbing to the messed-up ego of the uber-conductor. Hey, Lennie Bernstein, are you listenin'?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgoeomuZUsBgzEjN8OkLM-bcQeWkvNL_LOBRblPdbra8ckZ9P4LqjoD6DIpjr8LvZxvWVACHBDFQUdPqpePunVnHQYMZbcFNL-15Ktfnwg9xO5hiFkSYbrHf7mdTkB_IcpVFLtY7TEEeuK/s1600/lennie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgoeomuZUsBgzEjN8OkLM-bcQeWkvNL_LOBRblPdbra8ckZ9P4LqjoD6DIpjr8LvZxvWVACHBDFQUdPqpePunVnHQYMZbcFNL-15Ktfnwg9xO5hiFkSYbrHf7mdTkB_IcpVFLtY7TEEeuK/s1600/lennie.jpg" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxDqrOjgY87t4uSA-spNSBp2gz9T9Jwvj32f62b0Yy1RhN70Wv1F6SOFrZkRwDs9BYa47_ncSMFrhiy1Y38eXjgP-fxO3H8sMlJxXV9K0XuqHZlekYFTWpGEbykCA64kzdESvFzDTmIUjR/s1600/south+dakota.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxDqrOjgY87t4uSA-spNSBp2gz9T9Jwvj32f62b0Yy1RhN70Wv1F6SOFrZkRwDs9BYa47_ncSMFrhiy1Y38eXjgP-fxO3H8sMlJxXV9K0XuqHZlekYFTWpGEbykCA64kzdESvFzDTmIUjR/s1600/south+dakota.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">South Dakota Chorale</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkiBP5t3hNuzT6AxIffZzWJtC2UYDE2GWptmecr3qzd8NHlRKtbcOaEHAo-KMCtJv5hh7YdQFiK7Ul1PqnuWJhktpG98hrgKGwlp13iSeQa846PB2McJZDKCS__ESBBUBYpdG-AW2si6pV/s1600/brian.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkiBP5t3hNuzT6AxIffZzWJtC2UYDE2GWptmecr3qzd8NHlRKtbcOaEHAo-KMCtJv5hh7YdQFiK7Ul1PqnuWJhktpG98hrgKGwlp13iSeQa846PB2McJZDKCS__ESBBUBYpdG-AW2si6pV/s1600/brian.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Brian A. Schmidt</td></tr>
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Here is the program they presented, entitled <i><b>Sacred Songs of Life and Love</b></i>:<br />
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<b>Prayers of Kierkegaard</b> (excerpts)<br />
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by Knut Nystedt (1915-2104)<br />
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<b>Four Songs of Love</b><br />
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by Sven-David Sandstrom (b. 1942)<br />
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<b>O Salutaris Hostia</b><br />
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by Eriks Esenwalds (b. 1977)<br />
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<b>Nunc Dimittis</b><br />
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by Arvo Part<br />
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<b>Bogoroditse Dyevo</b><br />
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by Arvo Part<br />
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(hey, I'm still on the road, please excuse lack of diacritic marks on the above titles and names!!!)<br />
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<b>Things I loved about this performance/presentation/ interpretation</b>:<br />
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1) the repertoire was kick-ass, and while much of the rep was somewhat gnarly, the Esenvalds sweetened things up--it's placement in the Fibonacci 8/13 zone of the program was perfect. This tune was the audience favorite, of course, and that's just fine. Sopranos Natalie Campbell and Julianna Emanski were simply to die for. This was like a flourless dark chocolate cake paired with a bad-boy Cab Sav.<br />
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Here is the chorale singing the <strike>The Lakme Flower Duet</strike>- oops, I mean the Esenvalds:<br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/ST67T386rcs/0.jpg" frameborder="0" height="266" src="http://www.youtube.com/embed/ST67T386rcs?feature=player_embedded" width="320"></iframe><br />
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<br />
2) The choir sang with an entirely different tone for the two Part pieces at the end. Especially in the Bogo Dyevo there was a far deeper, building from-the-bass-up Slavonic tone. This is something I really dig in great choirs- don't just give me one lush, awesome tonal world for an entire concert- create new tonal worlds for each piece, for each composer's placement in history, in national heritage, in their intentions, etc.<br />
<br />
3) The Sandstrom was the most challenging to the ear and mind. To stay engaged with his sound-world and formal structure required great effort. I wondered if the audience could stay with the chorale and Sandstrom during this process- and they did!<br />
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Here is the group's brand new recording- go buy it, fools:<br />
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<a href="http://www.southdakotachorale.com/sacred-songs/">http://www.southdakotachorale.com/sacred-songs/</a><br />
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The duet artists on the Esenvalds--absolutely exquisite voices!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj18GPhfdXggD-kccTwrDlm4n9IG_IeW12L-AIoYTSHO8M8bOLsdWSoDQ864Nn3M4Msw5d8VV9U4PjBrmRygm3UY7M_PLnRckrvzG8biTZZzjlMc-wyXOLP4YB2FnLempEYycO4-AcuRv1U/s1600/natalie.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj18GPhfdXggD-kccTwrDlm4n9IG_IeW12L-AIoYTSHO8M8bOLsdWSoDQ864Nn3M4Msw5d8VV9U4PjBrmRygm3UY7M_PLnRckrvzG8biTZZzjlMc-wyXOLP4YB2FnLempEYycO4-AcuRv1U/s1600/natalie.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Natalie Campbell</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLRvzxhtLSveNWvJlajKvMuOncJM1pYMSrBtszKs_LFs3jbqnbMjqcvkbNTZNqaQ2SI_6E04cxQy90tvWftNM19WE4VyAAo9TA4nJpSdoB4DmsyjuKxWwf3Zd-KgkkH2cH3oaQ9ZpplhTI/s1600/julia.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLRvzxhtLSveNWvJlajKvMuOncJM1pYMSrBtszKs_LFs3jbqnbMjqcvkbNTZNqaQ2SI_6E04cxQy90tvWftNM19WE4VyAAo9TA4nJpSdoB4DmsyjuKxWwf3Zd-KgkkH2cH3oaQ9ZpplhTI/s1600/julia.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Julianna Emanski</td></tr>
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<br />Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-37560542920378835542015-03-01T12:39:00.001-06:002015-03-01T12:40:08.015-06:00Male Choir Reading Session Rep from ACDA 2015 in Salt Lake City<br />
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Hi friends- if you weren't in Salt Lake City here is the reading session rep for male choirs:<br />
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Aya Ngena (Alfred)<br />
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arr. by Ruth Morris Gray<br />
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The Vagabond (BriLee)<br />
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by Mark Patterson<br />
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Goodbye, Then (TimothyCTakach.com)<br />
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by Timothy Takach<br />
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Yonder Come Day (Birnamwood)<br />
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by Craig Carnahan<br />
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Beati Quorum Via (Alfred)<br />
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by Charles Stanford, arr. Russell Robinson<br />
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Wedding Qawwali (earthsongs)<br />
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by A.R. Rahmann, arr. Ethan Sperry<br />
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I Want Jesus to Walk with Me (Hinshaw)<br />
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Bryan Greer<br />
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The Wild Rover (Boosey and Hawkes)<br />
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arr. Mark Sirrett<br />
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When Music Sounds (Arete Music Imprints)<br />
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by Joseph Gregorio<br />
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Gao Shan Qing (SBMP)<br />
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arr. Reed Riddle<br />
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Draw on, Sweet Night (Caseyrule.com)<br />
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Casey Rule<br />
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Dulaman (Hal Leonard)<br />
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arr. Desmond Earley<br />
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In the Bleak Mindwinter (Colla Voce)<br />
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by Michael Joh Trotta<br />
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Go, Lovely Rose (JEHMS)<br />
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Z. Randall Stroope<br />
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I'm Gonna Sing 'til the Spirit Moves in My Heart (Hal Leonard)<br />
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Moses Hogan, arr. Peter Eklund<br />
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<br />Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-43988846008457636222015-03-01T12:31:00.001-06:002015-03-01T12:31:22.174-06:00University Reading Session Rep from the 2015 ACDA Conference<br />
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Hi friends- if you weren't in Salt Lake City here is the reading session rep for college/university choirs:<br />
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<b>Alleluia </b> (Jakerunestad.com)<br />
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by Jake Runestad<br />
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<b>Burst Forth, My Tears </b> (Boosey and Hawkes)<br />
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by Michael Gilbertson<br />
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<b>Batter my Heart, Three-Personed God</b> (Colla Voce)<br />
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by Richard Nance<br />
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<b>Voices of Broken Hearts</b> (EC Schirmer)<br />
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by Steven Sametz<br />
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<b>Juravit Dominus</b> (JEHMS)<br />
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by Michael Haydn, arr. Martin banner<br />
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<b>Elegy for Matthew</b> (EC Schirmer)<br />
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by David Conte<br />
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<b>Four Songs of Love</b>, #1 and #3 (GE)<br />
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Sven David Sandstrom<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC4K2qGYulQU54FyeW_ImxMvhYReCGZNRArgq9mv_OHERT06qOEpnYc3HqPE9FDMtvLmfmDVoTB3LzlaR6toeKcMTxcObQ_WZhFmCV_jDwVEhNE_-KfWaoYLzqAXqEOF-OJO2NoQXbC36_/s1600/sven.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC4K2qGYulQU54FyeW_ImxMvhYReCGZNRArgq9mv_OHERT06qOEpnYc3HqPE9FDMtvLmfmDVoTB3LzlaR6toeKcMTxcObQ_WZhFmCV_jDwVEhNE_-KfWaoYLzqAXqEOF-OJO2NoQXbC36_/s1600/sven.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sven David Sandstrom</td></tr>
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<b>Ego Sum </b> (Walton)<br />
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by Sydney Guillaume<br />
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<b>I Am </b> (G Schirmer)<br />
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by Dominick DiOrio<br />
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<b>Psalm of Life</b> (G Schirmer)<br />
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by Craig Hella Johnson<br />
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<b>Again</b> (Red Poppy/G Schirmer)<br />
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by David Lang<br />
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<b>Fly Away I </b>(Caroline Shaw Editions)<br />
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by Caroline Shaw<br />
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<b>The Troparion of Kassiani </b>(Vanderbeek and Imrie)<br />
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by Ivan Moody<br />
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<b>Beati Quoru Remissae </b> (JEHMS)<br />
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by Zachary Wadsworth<br />
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<b>O Love Divine </b> (Thorpe)<br />
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by Georgie-Porgie Handel<br />
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<b>Oh, Jerusalem in the Morning</b> (Hinshaw)<br />
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arr. Joseph Jennings<br />
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Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-78276519199888852772015-03-01T11:42:00.001-06:002015-03-01T12:40:55.673-06:00High School Reading Session repertoire at 2015 ACDA National Conference<br />
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Hi folks-- for those of you not attending the national conference in Salt Lake City here is the rep list from the High School Reading session here:<br />
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<b>Moonlight and Rain </b>(published by Pavane)<br />
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by Kevin Memley<br />
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<b>Cantate Canticum Novum </b> (Hinshaw)<br />
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by Dan Forrest<br />
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<b>O Vos Omnes </b> (Walton)<br />
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by David Dickau<br />
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<b>The Human Heart </b> (Walton)<br />
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by Eric Barnum<br />
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<b>Brainstorm </b> (Boosey and Hawkes)<br />
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by David Brunner<br />
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<b>Kde Su Kravy Moje </b> (Associated/Hal Leonard)<br />
(Where are my Cows?)<br />
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I am disappointed that this Slovak folk song never answers the question--where are my darned cows? This reminds me of being with my first son and driving up a winding road to the summit of the tallest mountain in the state of Arkansas (all of about 3,000 feet) and coming across a lone cow hiking up the mountain as well. This was a very strange sight. I suppose perhaps the cow's owner may have been singing this song that day, but maybe in English and accompanied by a banjo?<br />
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by H.A. Schimmerling<br />
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<b>Peace </b> (Highgate)<br />
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by Stephen Chatman<br />
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<b>Esta Tierra Pas </b> (Walton)<br />
(This Land/Passage)<br />
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by Javier Busto<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi81ehObrfwQDNTrLbfWpsnAX7rjDPnWjq4VpPl2kT6sVMRuGJe1NoUn4iZ50hCnqiUzdqoR2rV52n-TN5BuurUDId7nnWYXM8h1lsDpm9B05yVx7cDUaXVIpI1PL5rePLz9L2URmaCe2UE/s1600/busto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi81ehObrfwQDNTrLbfWpsnAX7rjDPnWjq4VpPl2kT6sVMRuGJe1NoUn4iZ50hCnqiUzdqoR2rV52n-TN5BuurUDId7nnWYXM8h1lsDpm9B05yVx7cDUaXVIpI1PL5rePLz9L2URmaCe2UE/s1600/busto.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Javier Busto- I love this guys music- so lyrical</td></tr>
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<b>One May Morning </b> (Hal Leonard)<br />
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arr. Charlene Archibeque<br />
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<b>You are the Fearless Rose </b>(Colla Voce)<br />
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by Z. Randall Stroope<br />
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<b>You Better Mind </b> (Gentry)<br />
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ar. by Stacey Gibbs<br />
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<b>I Sing Because I'm Happy </b> (Hal Leonard)<br />
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by Rolllo Doworth<br />
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<b>Of Crows and Clusters </b> (Marks/Hal Leonard)<br />
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by Norman Dello Joio<br />
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<b>Sing Joyfully Unto God </b>(Novello)<br />
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by William Byrd<br />
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<b>Summertime </b>(Alfred)<br />
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arr. by Mark Hayes<br />
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<br />Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-78483251791896433952015-02-27T15:23:00.003-06:002015-02-27T15:23:47.450-06:00ACDA 2015 Music In Worship Reading Session<br />
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Hey friends! Here is the Music In Worship reading session material we sang though this morning. It was a great session. Bravo to Terre Johnson. national R and S for Music in Worship.<br />
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Composers present who conducted their own piece: Terre Johnson, Philp Stopford, Mark Hayes, Howard Helvey, and Eric Nelson. Also Dan Forrest played the piano on his piece.<br />
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Noteworthy composers who blew us off because they were maybe eating crepes Suzette or drinking German beer: Johannes Brahms, Nathaniel Dett, Heinrich Schutz.<br />
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<b>EVEN HERE</b> (pub. Hinshaw)<br />
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by Mark Miller, lyrics by Laurie Zelman<br />
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<b>MAGDALENA </b>(G Schirmer, Robt Shaw Series)<br />
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by Johnny Brahms<br />
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<b>CREATE IN ME</b> (MorningStar)<br />
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by Terre Johnson<br />
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<b>HALLELUJAH, MUNGU WA ISRAELI</b> (MorningStar)<br />
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by Ekaie Reitan and Michael Burkhardt<br />
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<b>LATE HAVE I LOVED YOU</b> (MusicSpoke) <a href="http://musicspoke.com/downloads/late-loved/">http://musicspoke.com/downloads/late-loved/</a><br />
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by Paul Carey<br />
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<b>LISTEN TO THE LAMBS </b>(G Schirmer)<br />
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by Nathaniel Dett (nice job of conducting by Tony Leach!)<br />
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<b>WHAT SWEETER MUSIC</b> (Hal Leoanrd)<br />
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by Philip Stopford<br />
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<b>PILGRIM SONG</b> (Oxford)<br />
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by Ryan Murphy<br />
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<b>LORD MAKE ME AN INSTRUMENT</b> (GIA)<br />
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by M. Roger Holland II<br />
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<b>CLEFT FOR ME</b> (Soundforth/Lorenz)<br />
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by Mark Hayes<br />
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<b>CANTATE DOMINO</b> (Concordia)<br />
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by Hank Schutz<br />
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<b>REJOICE ALL SPIRITS!</b> (EC Schirmer)<br />
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by Howard Helvey<br />
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<b>ARISE, MY SOUL, ARISE</b> (Beckenhorst)<br />
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by Dan Forrest<br />
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<b>LEANING ON THE EVERLASTING ARMS</b> (Morningstar)<br />
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by Eric Nelson<br />
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Eric's piece was my favotire of the session, but really, everything was pretty great stuff!<br />
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So, now dear blog readers- would you consider taking a look at my music as a tiny payback for all the blogging I bring to you? If so, please visit paulcarey.net And I am now working with the new kids on the block MusicSpoke, a really cool new company! Visit them <a href="http://musicspoke.com/"> here</a><br />
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<br />Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-31796953377153105622015-02-27T14:03:00.001-06:002015-02-28T10:54:09.325-06:00From ACDA 2015- Creating Safe Space: LGBTQ Singers in the Choral Classroom<br />
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<b> Creating Safe Space: LGBTQ Singers in the Choral Classroom</b><br />
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An interest session at the 2105 ACDA National Conference<br />
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This was a Wednesday interest session by Paul Caldwell and Josh Palkki. It was heavily attended even though there were two concerts going on at the same time! In addition to presenting their research, Josh and Paul commented succinctly on various aspects of this subject and took some very thoughtful audience comments and questions at the end. This is ground-breaking for ACDA- to my knowledge no one has ever done an interest session on this important topic. Bravo to ACDA decision-makers on choosing to include this session at the conference.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZMK5m9Q-QTEqmkHmrcI9FC31yRj27lZwvsC7DVE9QONMokxqzfeADlOpnHbE9x-NO9pw16dtKieLxL_Q6N2U0nUw5fqqrg-DZgdQM0x6wrI2NFHHR4qXjcUMyc8vzqMXAdocy4UHgu7Zf/s1600/paul.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZMK5m9Q-QTEqmkHmrcI9FC31yRj27lZwvsC7DVE9QONMokxqzfeADlOpnHbE9x-NO9pw16dtKieLxL_Q6N2U0nUw5fqqrg-DZgdQM0x6wrI2NFHHR4qXjcUMyc8vzqMXAdocy4UHgu7Zf/s1600/paul.jpg" height="200" width="151" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paul Caldwell</td></tr>
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At the end of the session Josh and Paul handed out 1,000 Safe Space stickers for teachers to place on their choir room and/or office doors. Bravo!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-FaI8Try-T_6XNoJpEb0-c6C4rq7RjcjbzgGQslzBqTZsEuHmfA2WgoTaodfLIzm9j4vO4lLH5gJTqe_OBNJwhvpwgvPRP7TU1wnYODk3hhsFCEjDYlpf34oewhlU_zaldsEedsZoDRsg/s1600/josh.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-FaI8Try-T_6XNoJpEb0-c6C4rq7RjcjbzgGQslzBqTZsEuHmfA2WgoTaodfLIzm9j4vO4lLH5gJTqe_OBNJwhvpwgvPRP7TU1wnYODk3hhsFCEjDYlpf34oewhlU_zaldsEedsZoDRsg/s1600/josh.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Josh Palkki</td></tr>
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Also, Josh and Paul never professed to know how to address/solve every nuance of this issue. But just getting it out there and talked about (and research very well by them) is an important first step.<br />
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Here is a link to their very fine handout:<br />
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<a href="https://www.dropbox.com/s/l9bo1zrjuloun2x/Handout%20-%20Creating%20Safe%20Space%20%281%29.pdf?dl=0">https://www.dropbox.com/s/l9bo1zrjuloun2x/Handout%20-%20Creating%20Safe%20Space%20%281%29.pdf?dl=0</a><br />
<br />Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-71739863007285710142015-02-27T13:25:00.002-06:002015-02-27T13:25:51.159-06:00Tim Sharp's State of ACDA speech at the 2015 national conference<br />
Hey blog followers! Here is the address to Wednesday night's Kings Singers/Real Group audiences at ACDA in Salt Lake by ACDA executive director Tim Sharp. I am so honored to call him a good friend, and we ALL owe him a big debt of gratitude for what he has done to truly bring ACDA into the 21st century and grow our membership, especially among our younger people. I sometimes wonder if this man sleeps- he is so busy accomplishing so much!<br />
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Tim has allowed me to share this with you now- it will also appear in the April Choral Journal.<br />
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State of the American Choral Directors Association<br />
Delivered to the 2015 ACDA National Conference, Salt Lake City, UT<br />
Tim Sharp, Executive Director<br />
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It is my pleasure to welcome you to the 2015 National Conference of the American Choral Directors Association. Like prophets and pilgrims of former times, we have come to the mountains to renew our commitment to our collective mission of inspiring excellence in choral music education, performance, composition, and advocacy. Our team of outstanding conference leaders have scaled this biennial mountain, and are architects of a magnificent conference design we will experience together. Here in Salt Lake City this includes 5,000 of us that are here as choral directors and members of the choral profession, 5,000 additional singers and supporters, and on Saturday evening, 21,000 of us will participate in the largest singing celebration in ACDA’s history.<br />
Our ACDA Executive Leadership offers me this opportunity to give a brief survey of the state of our association. As a result of the success of our “Sing UP!” membership campaign and the hard work of our ACDA state chapters, ACDA currently has the largest membership in its 55 year history at over 21,000. If your state experienced the growth that contributed to our current robust health, we have our state leaders to particularly thank for their dedication to our mission. More members in ACDA simply translates to more choral leaders inspiring excellence in our artistic field.<br />
This past November, ACDA launched a program that is the first of its kind for an association such as ours, which is the ACDA National Mentoring Program. This was the number-one outcome from our strategic planning work over the last four years, and I am pleased to say that as of today we have 125 mentors registered in the program, and 100 plus mentees registered, with 35 mentor/protégé matches. This National Mentoring program will grow in size and importance as more of you discover this resource, and as you register for the benefits of this program. 10 percent of those attending our National Conference are retired choral directors. This program was built for you, so that you can contribute your expertise to a mentee who wants to learn from your experience. 25 percent of those attending our National Conference are registered as students in the choral profession. This program was also built for you, so that you don’t have to go it alone as you begin your work in this incredibly rewarding field. For the rest of us, including those in the first years of teaching or choral professional work, we too are both mentors and protégés in our work. This is the ongoing reason we attend this conference, the ongoing reason we read ACDA’s publications, and the reason we remain active in our beloved association; it is also why the ACDA National Mentoring program was built--for you.<br />
The analysis of our needs as an association brings new energy to the specific work by which we engage in the choral profession. This conference is iconic in demonstrating ACDA’s attention to excellence in education, performance, composition, and advocacy. Our attention to choral composition has created not only great buzz at this Conference, but it has resulted in ongoing attention to the choral composer and to choral composition. Coupled with our dedication to choral research, ACDA will host three additional national events this year, speaking specifically to the topics of composition in the USA and composition in Latin America. <br />
As you see in evidence throughout the 2015 Salt Lake City National Conference, our international outreach for ACDA is at an historic high level, with ACDA members from over forty countries here with us. We welcome over 200 registrants and many ensembles and singers from outside the US with a particular welcome to our International Conductor Exchange program conductors from Sweden that are here with us, along with former exchange conductors from China and Cuba, and future hosts that are with us from South Korea and South America.<br />
While I am pleased and inspired by all of this progress, I am also restless as I think of the work that still needs to be done and the areas of need we have identified through our strategic planning process. We are committed to moving forward as we address the following challenges in an innovative manner. Innovation will be in evidence this year as ACDA reaps the hard work of innovative leaders and members who will address additional areas of our strategic plan.<br />
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In the coming year, we will look to innovation to address the following tasks:<br />
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*ACDA will redefine the organizational structure to better accomplish our mission. <br />
To this end, after three years of study and membership interaction, we have had richly productive leadership retreats that will now lead to concrete recommendations to our Board at this summer’s ACDA National Board Meeting. You can expect to hear about these structural recommendations early this fall.<br />
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*ACDA will encourage and expand grassroots events, inspiring excellence.<br />
This deliverable will come from a restructuring of how we view, and how we do, our choral work at the grassroots level. It will come as we encourage ACDA members to be micro entrepreneurs and innovators in their choral leadership in our state, student, division, and international ACDA chapters.<br />
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*ACDA will develop a successful urban outreach initiative.<br />
In order to do this, we need resources, and ACDA is in the process of gathering those resources through our newly established “Fund for Tomorrow”. By the end of this year, we will have over $100,000 in this fund that is designated for new choral work and new initiatives aimed at growing new choral singers and developing new choral directors. This fund is already at work with scholarships provided to students to attend this Conference, and here in Salt Lake City as we work with the United Way and local school district.<br />
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*ACDA will balance its efforts between choral education process and choral performance.<br />
You are seeing those efforts working out before your eyes in our National and Regional conferences. You have seen the structure for this established as we expand our publications to include the International Journal for Research in Choral Singing, ChorTeach, ChoralNet, Choral Journal, and a soon to be announced publication for those working in faith communities.<br />
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*ACDA will embrace cultural diversity in membership, and will be welcoming and relevant to all races and ethnicities.<br />
As we advance our relationship with our choral colleagues in Canada, Central, and South America, and with other colleagues in the United States, you will see this diversity continue to take place in our membership. New collaborations, proactive attention to this strategic imperative, and the growing presence of African-American, Latin American, and Asian American choral leaders within ACDA will help us make this a reality. As we look forward to hosting America Cantat VIII in 2016 with our partners in the Bahamas, Canada, and Central and South America, we also look forward to the possibility of our first ACDA chapter outside of the United States.<br />
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Along with ACDA’s leadership and all of you, I look forward to leading our efforts at accomplishing, through innovation, these strategic goals that are in front of us. I would like to call on all ACDA members to become micro entrepreneurs in each of these areas as we establish ways to address these strategic imperatives. Our membership efforts are never ceasing, and I call on all of you to identify and encourage ACDA membership in your area, as we becoming increasingly relevant to everyone working with singers. We have asked the right questions, discerned the right direction for our future efforts, and now it is time to go to work as we seek to make choral music making the uncommon core for our society.Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-12697766241400216062015-02-27T12:51:00.005-06:002015-02-27T12:51:59.630-06:00The 2015 ACDA Conference--Wednesday<br />
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Hello, kiddies. It's Wednesday- the very first day of ACDA in Salt Lick City. The weather is gorgeous- about 50 degrees and that strong sun you get at elevations like this. We Midwesterners and Easterners who have been hit hard by snow and/or epic frigidness are already enjoying being here.<br />
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Caveat- I'm blogging while crazy busy here- if my grammar and syntax isn't perfect, please forgive! Also, as attendees, including myself, become more and more sleep-deprived we sometimes say idiotic things- so you might see this here as well.<br />
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So let me say this right out- the Salt Lake Convention Center is HUGE. You have no idea! And thankfully the whole city is on a total grid- so it's hard to get lost.<br />
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I started the day off visiting the booths here. Plenty of 'em, also giving away lots of swag. Everybody seems super-energized but-hey, it's Wednesday! And honestly, I have NEVER seen this many people already on site for an ACDA on Wednesday. Tim Sharp, our fearless leader, says that pre-registration is at a record-setting level. I believe him. I'm also seeing a TON of attendees between 20-30 years old. Yay!<br />
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After just milling around and seeing plenty of friends in the booth area I went to the MusicSpoke reading session at noon. <a href="http://musicspoke.com/">MusicSpoke</a> is a new venture by Kurt Knecht and Jennifer Rosenblatt. Pete Eklund from U of Nebraska led the reading session which held works by Andrea Ramsey, Kurt Knecht, myself, and some young up-and-coming composers like Josh Rist and Connor Koppin. The session went very well--and honestly, it was some of the best sightreading I have ever been around at a conference!<br />
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After that, I attended the first blue track concert. Here are the groups that sang and their repertoire:<br />
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<b>Univ. of South Cali Thornton School of Music Chamber Singers, directed by my friend Mike Scheibe,</b><br />
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Batter my Heart, Three-Personed God, by Richard Nance<br />
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The Heart's Reflection, by Daniel Elder<br />
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De Circuito Aeterno, by Petr Eben (1929-2007)<br />
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Trois Chansons Bettones, by Henk Badings (1907-1987)<br />
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Alleluia, by Jake Runestad<br />
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Micro-review (the opinions expressed on this blog are mine only, and if you want to disagree, do so, but don't hassle me about my right to express my opinions--thank you very much)<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5l5lonDsh01YtnQ5JK2tACB2C5OX6Ck6yLSJHrXqJViU4qrQNocm3o6lvLNnLa5bbvhHlKFYB1d4nAxpxbV69upkkPyoaB0QevZfjbWzuSaxruGsaQjPmFsVrpMxGW1xZJVW2W5DDl6yJ/s1600/miranda.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5l5lonDsh01YtnQ5JK2tACB2C5OX6Ck6yLSJHrXqJViU4qrQNocm3o6lvLNnLa5bbvhHlKFYB1d4nAxpxbV69upkkPyoaB0QevZfjbWzuSaxruGsaQjPmFsVrpMxGW1xZJVW2W5DDl6yJ/s1600/miranda.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8000001907349px;">MIRANDA sez "no haters"</td></tr>
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A beautiful, deep, rich sound from the USC Chamber Choir, especially on the first two selections. A warm, velvety sound you just want to collapse into, like sinking into a brand-new five thousand dollar leather sofa which has been lubed up with cocoa butter. Bravo, USC.<br />
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I was really thrilled to hear the Eben and the Badings (I actually know Badings' music fairly well). We just don't hear this kind of mid-twentieth century repertoire at ACDA conferences, which is unfortunate. So bravo, Mike, for sharing these very rich, full-dimensional pieces with us, and they were pieces which really showed off this choir's strong points. I can't overstate how happy I was to hear some music that has been sort of forgotten about featured in front of a large audience.<br />
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<b>BYU Womens Chorus, directed by Jean Applonie</b><br />
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Psalm 100, Rene Clausen<br />
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Wie Lieblich sind deine Wohnungen, Joey Flat-Nose Rheinberger<br />
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Reflections from Yad Vashem, Daniel Hall<br />
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Amazing Grace, arr. Michael Hanawalt<br />
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Adon Olam, by Eliezer Gerovitsch, arr. David Zabriskie<br />
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Micro-review: Jean pulled an amazing variety of dynamics from a choir which, I am guessing, numbered 120 or maybe way more. A gorgeous sound all around- bravo. The harpist on the Rheinberger, Anamae Anderson, was fantastic. This is a very notey harp part, which can be a real challenge (I used to play harp, btw), but Miss Anderson was spot-on throughout. And let me add, Rheinberger has had a resurgence in performances lately, which is a good thing. I love his harmonies and the fact that they exist within a (modest) contrapuntal framework- best of both worlds.<br />
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<b>The Metropolitan Chorus of Tokyo, directed by Ko Matsushita</b><br />
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Sacred music in Latin composed by Ko Matshutshita<br />
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Japanese folk songs arrgned by Ko Matsushita<br />
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Micro-review:<br />
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You either loved or hated this performance.<br />
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Pluses-- the music by Matsushito isn't shy-- it's bold and full of tons of divisi. There was no safety net. Dynamics were extreme, especially on the high end. Kind of like a double IPA or beyond, if ya know your beer talk. Or a big Cab at 14.5%.<br />
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Minuses (where I pretty much weigh in- though some people totally disagreed with me and I punched them in the larynx)-- I felt they never tuned any of this often quite dissonant music due to their method of sound production -- all way back in the throat. The murky, turgid hyper-divisi issues just made it even harder to hear intonation and also scope the arc of the pieces. The lack of tuning, to me and a few other friends I polled, was extremely distracting. I also felt that the Latin on the first few pieces was simply bizarre to the ear. It could have been Yiddish and I wouldn't have been able to tell the difference.<br />
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What was very good is that this choir and its composer/conductor challenged us and provoked a bit of discussion. You have to ask- do we want pretty all the time and nothing to argue about? Or something else at times? And do we really always have to agree?<br />
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<b>The Evening Program</b><br />
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Kings' Singers and the Real Group<br />
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Heavily attended, especially by the young folk, those precious and endearing cute and cuddly millenials (sorry, I'm being very silly)! ACDA is no longer so heavily populated by old folks. We needed this youth movement and in the last 3-4 years it has really happened!<br />
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Fearless ACDA leader Tim Sharp gave a state of the organization speech. It was pretty great and I hope to share it with you soon, thanks to Tim. You will like what he had to say abut where we are and where we are going!<br />
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Micro-reviews: Hmmm, do I want to diss "institutions"? Nah, not right now. But I do wish Kings' Singers would add something new to their gig. Something, anything?! I feel Swingle Singers has evolved over the years, so it proves evolution is possible, ja?<br />
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Real Group- I am a HUGE fan, especially of the true vocal jazz they become famous for back aways. This night was more about new tunes with a rock beat, I guess you could call it. Many of these songs had great, social issues lyrics which were not cheesy. So I dug that as did most of the audience. I just wish that they would have done more of the stuff that absolutely kills me- fer instance something like this:<br />
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And this was amusing- they launched into Chili con Carne and every 15 to 30 year old went crazy- and then they only sang 8 bars and morphed into a different one of their hits over the years. It was pretty funny to see them fake out the audience! All in all they were great fun and their love of music and performing shone through.<br />
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NEXT: Thursday at ACDA, including an absolutely stunning performance by the Estonian Philharmonic Chamber Choir!<br />
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<br />Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0tag:blogger.com,1999:blog-3862962739221411030.post-88908215952654126692015-02-24T11:48:00.001-06:002015-02-24T11:48:43.427-06:00The 2015 ACDA National Conference Post Four<br />
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Hi all,<br />
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I'm sitting in the Phoenix Airport waiting for my connecting flight to Salt Lake City. When I left Chicago at #%*#* 4:45 A.M. it was about 5 degrees out- here it's 70 and I see palm trees outside!<br />
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I thought I would share a few of my blogs again from the 2013 conference in Dallas. I hope you may want to read them. I will also try to blog during and/or after the conference in Salt Lick City. I do expect this conference to be amazing. However, it won't be able to rival Miami 2007 in a few areas:<br />
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1) mojitos and Cuban food<br />
2) clothing optional beaches<br />
3) almost naked guy parading around South Beach with his thirty-foot long albino boa constrictor wrapped around his body<br />
4) spring break kids really drunk, then passed out all over our hotel lobby (amateurs!)<br />
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Oh, and I made a miscalculation on my FB post just before leaving Chicago this morning. I posted that I was sitting there in my seat on Frontier Airlines (Frontier, the other F-word) and a slender man took the seat next to me, thinking that was a plus. It turned out he was as wiggly as a three-year-old. Oh well, better a wiggly, slender, man than this guy:<br />
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Anyway, here are some of the posts from 2103 in Dallas, an awesome conference in so many ways. Of course one of the highlights was the<a href="http://paulcarey440.blogspot.com/search/label/Cynthia%20Nott"> Britten War Requiem.</a><br />
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Here are some<a href="http://paulcarey440.blogspot.com/search/label/Mikkel%20Iverson"> performance reviews</a>, especially choirs from the Pacific Northwest:<br />
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And<a href="http://paulcarey440.blogspot.com/search/label/Donald%20Fraser"> here is info </a>from my interest session on new trends in e-publishing by swaggy composers. Lot of resources in here, if you are interested.<br />
<br />Paul Careyhttp://www.blogger.com/profile/06476673324774610488noreply@blogger.com0