From ???@??? Mon Jan 23 11:40:27 1995
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Subject: SUB CHORALIST RICHARD REPP
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From ???@??? Mon Jan 23 23:06:10 1995
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Date: Mon, 23 Jan 1995 13:22:58 -0700
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From: Sean Deboth
To: Multiple recipients of list
Subject: Church Choir Rookie
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Hi Everyone,
I am a freshman music perf/ed. and theatre double major
at Carroll College. I have a problem. I have really
no conducting experience and I have taken on the task
of directing a church choir back home this summer. It will
consist of High School students. My objective is to
rehearse them twice a week, and we may perform at some
services, but at the end of the summer I would like to
give a concert with all of our learned repertoire. So
here's my question(s)? First of all, with no conducting
experience (don't worry I have an accompaniest to help me
somewhat) how many songs should I expect to be able to get
this group of about 20-25 high schoolers to perform by
the end of three months? Secondly, how do I go about selecting
music? I have very few songs picked out right now: "The
Lord Is My Sherpherd (S.A.T.B. - Allen Pote)", "Prayer of
Penintence (S.A.T.B. - Kirby Shaw)", "Go Down Moses (S.A.T.B.)"
and "Kyrie Eleison (S.A.T..B - by A. Lotti)" HELP!!!!!
Sean DeBoth
sdeboth@carroll1.cc.edu
From ???@??? Mon Jan 23 23:07:00 1995
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Date: Mon, 23 Jan 1995 15:32:29 -0700
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From: Kathryn Smith
To: Multiple recipients of list
Subject: looking for basses
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X-Comment: Disc Group for Choral Music
I am currently seeking 2 baritone/basses for a professional group of 6
singers. I have lost my 2 baritones to moves out of town. I am in hopes
that some of you can recommend former students or colleagues who may have
relocated to the St. Louis area. I am looking for highly independent musi-
cians, exceptional sight-readers, and flexible voices as we only have a few
rehearsals for each concert and we do a wide variety of repertoire. Many
thanks for any recommendations, names, addresses, phone numbers, etc.
Kathryn Smith, Dir. of Choral Activities, Webster Univ., St. Louis MO 63119
Founder/Director, St. Louis Voices E-mail: C1904007@umslvma.umsl.edu
or the list co-manager:
David B. Topping
Arizona State University
agdbt@asuvm.inre.asu.edu
From ???@??? Tue Jan 24 22:12:19 1995
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Date: Tue, 24 Jan 1995 12:54:20 -0700
Message-Id: <9501241900.AA05137@godiva.nis.lanl.gov>
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From: bjohnson@godiva.lanl.gov (Bill Johnson)
To: Multiple recipients of list
Subject: Shells (was: Re: stage acoustics)
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Mark Gresham, in response to Scott Tucker's inquiry, writes:
> You will find no other solution at this point than to get an
>acoustical shell, or to build one. (If the theatre has a shop, this is
>more possible than not, you'll save money, and suffer only from increased
>difficulty of handling compared to a commercial shell if the design for
>the shell is poorly planned regarding setup, breakdown, transport, and
>storage.
Speaking for another group that has been wrestling with the same shell
issues, two sets of questions, one for Mark (the answer will probably
interest the list as a whole) and one for the readership at large. First,
the general questions. Has anyone tried following this recommendation and
building a homemade shell? What is it like? Do public-domain (or even
purchasable) plans and building instructions exist that could be obtained by
an interested group? How much did it cost in time/money/frustration? How
happy were you with the results? I think a lot of us would be interested in
hearing about some experiences -- particularly in view of the price tags
we've seen on commercial shells. _Oy, veh_...
Now for Mark. Have you ever devoted an issue of "Chorus!" to props
questions like these, and if not, would you be interested? Seems like this
may be a contribution to the choral state of the art that I don't see
discussed in other publications, and maybe you could collect some
interesting ideas from Choralisters.
--
Bill Johnson | "There is not any musick of
Instruments
Los Alamos National Lab | comparable whatsoever to that which is
Los Alamos, NM USA | made of the voyces of Men, where the
(bjohnson@godiva.lanl.gov) | voyces are good..." (William Byrd)
From ???@??? Wed Jan 25 10:44:28 1995
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Date: Tue, 24 Jan 1995 22:56:10 -0700
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From: Martin Hook
To: Multiple recipients of list
Subject: SSA/TTBB
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X-Comment: Disc Group for Choral Music
Choristers,
First of all, let me thank everyone who responded to my query concerning
the elimination of SSA & TTBB choruses in a school district in Missouri.
I will keep you informed as to any outcomes. The Missouri Music Educators
Conference is this coming weekend, and I hope that we can garner more
support and ideas. MO-ACDA is jumping on the situation as well. I'm
hopeful that together we can turn the tide against this type of
nonsense. Should you think of other ideas, please continue to forward
them to me. I really appreciate you help!
Secondly, I am embarassed that my message was sent out with "who's"
instead of "whose". Please forgive.
I hope to meet many of you in Washington.
Marty Hook
mhook01@bigcat.missouri.edu
"...the choice may have been mistaken, the choosing was not,
you have to move on." -- Stephen Sondheim
From ???@??? Fri Jan 27 09:12:43 1995
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Date: Fri, 27 Jan 1995 07:16:42 -0700
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From: "Scott Tucker,Milton Academy 617 698-7800"
To: Multiple recipients of list
Subject: Re: stage acoustics
X-Listprocessor-Version: 6.0c -- ListProcessor by Anastasios Kotsikonas
X-Comment: Disc Group for Choral Music
Thank you to all who responded to my query about stage acoustics and shells.
Here is a breakdown of some of your comments:
-most think that acoustical shells make a big difference and are well worth it.
-most seem to feel that a home made shell (plywood and several coats of shiny
paint) are just as effective as the commercial kind and a big money saver. Those
that mentioned the home-made kind all use a "Fly in" or hanging model.
- many mentioned that the convenience of storing and setting up Wenger-type
portable shells is worth the extra price you pay.
-I had many suggestions of how to stand:
-don't stand too close together
-don't stand too far apart
-stand in a semicircle
-watch out for hanging curtains, esp. on the proscenium
-rehearse in a dryer room (acoustically speaking, not a
laundromat)
-try three or four rows instead of just two.
We do indeed stand in a semicircular formation, and Dale Warland's workshop a
few years ago convinced me of the need to stand with some space between the
singers. I was interested that a number of people felt that it was more
beneficial to stand very close together. It was the only advice that I really
don't agree with, and I invite anyone's thoughts on the matter.
I have another question for the general populace: does Wenger have any serious
competition? They were the only company named by anyone who mentioned risers or
shells. We own some Wenger risers which are wonderful, but were very expensive.
Are their prices based on a virtual monopoly? Is the free market system failing
us here? Just wondering.
Final question to those of you with home-made shells: Are there any plans out
there that could be borrowed?
Again, thanks for all the supportive and helpful e-mail
Scott Tucker
Milton Academy
Tuckers@A1.mec.mass.edu
From ???@??? Tue Jan 31 11:02:42 1995
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Date: Mon, 30 Jan 1995 13:01:39 -0700
Message-Id: <199501301941.LAA00496@wheel.ucdavis.edu>
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From: jmcrowell@ucdavis.edu (John M. Crowell)
To: Multiple recipients of list
Subject: Music Library Software
X-Listprocessor-Version: 6.0c -- ListProcessor by Anastasios Kotsikonas
X-Comment: Disc Group for Choral Music
There have been many messages lately concerning software for
maintaining Music Libraries, particularly choral libraries.
I'm in the process of developing a Windows-based package (perhaps to
be ported to Macintosh), partly out of personal need (I'm Librarian
for the Sacramento Master Singers), and partly out of greed (I think
I can sell it.).
I'd appreciate your ideas of features you'd like to see in such a program.
Obviously you'd like to be able to find an entry by title, composer,
key word, voicing, subject, accompaniment, maybe even by Liturgical calendar.
And you'd want publisher information for re-ordering, and stuff like that.
Mostly I'd like to know what kind of "touch and feel" you'd like.
Please send your ideas and wish lists to me directly (unless you
have some urgent need to deluge the choralist) at
jmcrowel@wheel.ucdavis.edu
Thanks!
- J
---------------------------------------------------------------------
John M. Crowell Learn from the Past
Davis Community Network Live for Today
jmcrowel@wheel.ucdavis.edu Look to Tomorrow
Take a Nap this Afternoon
---------------------------------------------------------------------
From ???@??? Wed Feb 01 11:23:50 1995
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Date: Tue, 31 Jan 1995 17:39:24 -0700
Message-Id: <950131193327_9453094@aol.com>
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From: Treblemakr@aol.com
To: Multiple recipients of list
Subject: Recruiting
X-Listprocessor-Version: 6.0c -- ListProcessor by Anastasios Kotsikonas
X-Comment: Disc Group for Choral Music
I realize this topic has probably been posted in abundance, but this is an
issue which will never die. Does anyone out there have good strategies for
recruiting new choir members? I have several ideas and have read many
suggestions, but I would like to hear what Choralist has to say. My specific
situation is high school, where I really need lots of altos and guys of any
variety.
Any general or more specific suggestions would be greatly appreciated!
Thanks,
Alexa C. Johnson
treblemakr@aol.com
From ???@??? Wed Feb 01 11:23:59 1995
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Date: Tue, 31 Jan 1995 19:21:23 -0700
Message-Id: <651013D6707@scholar.wabash.edu>
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From: Nina Gilbert
To: Multiple recipients of list
Subject: Re:Recruiting (PLUS Internet Roadmap update)
X-Listprocessor-Version: 6.0c -- ListProcessor by Anastasios Kotsikonas
X-Comment: Disc Group for Choral Music
My hidden reason for posting this to the whole list (as well as to Alexa) is
my non-choral postscript.
If you're interested in the INTERNET ROADMAP course (which I
forwardeda few days ago), please check the second half of this message!
I'm combining two topics so that I don't clutter people's mailboxes with a
non-choral post.
First, the choral half:
Alexa Johnson asks about recruiting high school guys to sing.
The Wabash College Glee Club offered a session on "Attracting Men to
Your Choral Organization" for the Indiana Music Educators Association
five years ago. We distributed a handout of ideas collected from the
guys.
Here is that handout! This list has also appeared in the Indiana state
choral newsletter (now called _The Notation_) and _Quodlibet_ (of the
Intercollegiate Men's Choruses). It is unedited -- it represents all of the
suggestions that the guys had. Thus it includes some self-contradictions.
Incidentally, half of the group responsible for this list had been varsity
athletes in high school, and many were athletes in college.
Note to any state newsletter editors/officers reading this: you are
welcome to reprint this. Please check with me first about an up-to-date
introductory paragraph! Thanks.
Indiana Music Educators Association, January 12, 1990
Attracting men to your choral organization:
Advice from the Wabash College Glee Club
High school choirs, we generally agree, benefit, and attract guys, by
working for the following things:
(1) a socially acceptable, masculine image;
(2) exposure to the students -- the more people see of the group, the
more likely they are to consider it as a possible part of their lives,
(3) personal contact--active recruiting of good prospects,
(4) fun and glamour, and
(5) good scheduling among choir members' other activities.
Here are the guys' individual suggestions in all categories.
I. Image
Get a core of popular student leaders in the choir.
Have the guys in the choir do a guy-type song about things guys do
("Standing on the corner watching all the girls go by").
Be sure guys get masculine parts to sing.
Award varsity letters that are just like sports letters (not with lyres on
them).
Plan a combined concert with a college choir, whether it's mixed or
men's.
If your group is choreographed, let the students participate in the
choreography. Or, hire a good, professional choreographer. Please don't
make guys do silly motions, especially in front of the school (on the other
hand, one of our high school show choirs made a big hit by dressing guys
in cheerleading costumes and girls in football helmets). Find guy-moves.
If your group has a goofy name, change it!
Have a signature tune that people recognize and know they're in for a
good time when they hear it.
II. Exposure
Use things like musicals and pops concerts to get the group heard and
known.
Do things at concerts that people will talk about.
Find ways to perform for the school.
If your show choir performs for the school, be sure to do numbers that
show guys partnering girls -- guys in the audience will see that and want
to be part of it.
Have your choir sing the Star-Spangled Banner at a game.
Schedule a joint concert with the junior high or elementary school, to
give younger kids the idea of trying out for choir when they get to your
grade level.
III. Personal contact
Ask popular girls in the choir to tell you which guys can sing and should
thus be in choir.
Have choir parties. Invite choir prospects, or get choir members to bring
their friends. Have a party after a concert, and get choir prospects to
come to the concert and the party.
Have choir members push choir on their friends, not just mention it.
Go yourself (director) among the students and tell those who have good
voices that you'd like them to try out for choir ("I heard you singing
along with the Star-Spangled Banner at the game..."). Flatter male egos.
Award some sort of premium to anyone who recruits a new choir
member.
Recruit from other performing arts groups -- theater, band.
IV. Fun and glamour
A. Repertoire
Sing fun songs right from the beginning. Suggestions: Barbershop if you
have the right voices. Schumann's _Zigeunerleben_ ("Gypsy Life") -- is
attractive.
Choose songs that are fun to practice.
Avoid boring songs. Avoid dumb, childish things that recall elementary
school.
Kodaly signs get repetitive. "The worst thing was, you'd do it every
single day."
Have lots of solo opportunities for lots of people.
Sing pop stuff.
Have a variety of music in each program, including easy and difficult.
B. Personal
Why did I sing in high school? I liked the kids that were in choir, and I
like to sing.
Mix them up in seating, including scrambling sections so guys and girls
can sit next to each other.
Change seating arrangements frequently.
Glamorize the ensemble and take lots of trips away from school.
Be a lively conductor. Have fun and be human. Develop humor and
rapport.
Weed out people who don't want to be there.
Be fair in assigning solos--hold open tryouts. Choir members quickly
recognize and strongly resent favoritism.
Avoid making choir members sell candy door-to-door to raise money.
Beware social tensions, such as racism -- does your group have a "white"
image, for example, so that perhaps a Black student might be pressured
by his Black friends to stay away? Get respected student leaders from
many factions in the school. Recruit some athletes into the choir.
V. Scheduling
Work out scheduling so that smart kids can be in choir. Work with
guidance counselors.
Be willing to work around sports schedules.
Beware antagonizing other teachers by pulling choir members out of
classes for trips.
Avoid Friday night or Saturday-marathon rehearsals.
Be lucky!
From ???@??? Thu Feb 02 22:04:59 1995
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Date: Thu, 2 Feb 1995 12:23:44 -0700
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From: David Wayne Anderson
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Subject: Re: Recruiting
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To add a bit to the discussion about recruiting...
Being a complex problem that can differ greatly in so many different
settings, local histories, etc. there may be a couple more factors
involved in many instances.
1. Students like to be part of something that is good. This doesn't
always mean something from the current "pop culture". I recall teaching
in a high school where there was an overflow of students desiring to take
Latin. It wasn't that it was "fun" or "easy" but rather that it was known
to be good. It was quality. They wanted to be a part of it. I have found
personally that my choir grows tremendously as it is known for quality,
in literature and accomplishment; at high school or college level. People
like to feel that they are excelling.
2. Students want to belong. A real sense of love and care truly draws
students to organizations. An atmosphere of nurturing and sincere
interest in all students creates a place where they want to be. I know I
respond to this as well, with my peers in professional organizations, as
a member of a faculty, as a member of a church. We cannot forget the
social needs of people that one finds as a member of a performing
organization. People want to have a relationship with their peers and
mentors. I certainly want it for I, too, need the interaction of my humanity.
3. A director must truly love the music and the students and the whole
"thing" of creating art with these mortal instruments. The fervor and
passion for expression of our humanity in our humanity transfers to the
ensemble. The synergy is so dynamic. I've had high school students
"discover" the incredible elements of people like Bruckner and Distler
and Bach and a rack of other great musical thinkers. The aura of the art
transfigures the student and the enthusiasm grows.
4. Building a program is always a process and always hard work. Things
rarely go as planned and one must always monitor and adjust the
strategies used.
These are a few ideas that have impressed me over my few years of
teaching junior high, high school and college. They may not sound very
"practical" and may seem too "philosophical"; but for many of us it is
the basis from which we operate and develop our strategies. It is who we
are and how we live.
David Anderson
Choral Music
Seattle Pacific University