NATIONAL ACDA

2017 HONOR CHOIRS Dear Children’s Honor Choir singers and families,

Congratulations on your selection to the 2017 National ACDA Honor Choirs! Over 4,200 singers auditioned this year and we are proud and happy you have been chosen as one of the finest singers! If you are not able to accept this invitation, please do let us know immediately (no later than December 1st) so we can find another singer to replace you.

In this packet, you will find information about the next steps toward your journey to sing in Minneapolis, MN. Please read carefully and make sure you complete the necessary steps by the deadline. It is your responsibility to take care of these items in a timely manner. Use this checklist to make sure that you have completed each item! The last six pages will need to be printed, completed, and mailed to the Honor Choir Coordinator. The other pages are informational only. Be sure to also print the music selections and add these to the music packets you receive in the mail. Bring them with you to Minneapolis.

Once we have received your registration fee and forms, music will be mailed to you. You will also have

access to part recording materials online (http://choraltracks.com/acda) so you can begin learning your music. Sincerely, Jessica Napoles, Coordinator

ALL FORMS MUST BE POSTMARKED BY DECEMBER 10th, 2016!

_________ Registration fee of $120 (nonrefundable) paid with a credit card or check mailed to Coordinator by December 10th.

Email the Coordinator if any contact information (email or mailing address) has changed.

_________ Complete last 6 pages from this packet and send to the Honor Choir Coordinator by December 10th

_________ Begin learning your music, using part recordings on http://choraltracks.com

_________ Make hotel reservations at your chorus’ host hotel ASAP– request the National ACDA Honor Choir rate.

_________ Make travel arrangements to Minneapolis. Registration begins on Wed. March 8th at 10 am!

Please note that all singers are expected to stay in their host hotel.

Mail all required forms to:

ACDA Honor Choir Coordinator Jessica Nápoles

University of Utah School of Music

1375 E Presidents Circle 204 David Gardner Hall

Salt Lake City, UT 84112

Questions: ACDAHonorChoirs2017@gmail.com

HOTEL CONTACT INFORMATION

Children’s Honor Choir

Rehearse in Marriott City Center

Grand Portage Ballroom

Housing Website:

https://resweb.passkey.com/go/HonorChoir2017ACDA

Plan to arrive in Minneapolis on Tuesday evening, March 7th, or by 10 am Wednesday morning, March 8th.

REHEARSAL SCHEDULE Wednesday, March 8th, 2017:

All rehearsals in Marriott City Center Grand Portage Ballroom

10 am-12 pm Registration

1-2 pm Required Orientation for Singers, Parents, and Chaperones (Concert tickets distributed)

2-5 pm Rehearsal #1 (Part Check)

5-7 pm Dinner Break

7-9 pm Rehearsal #2

Thursday, March 9th, 2017:

All rehearsals in Marriott City Center Grand Portage Ballroom

9 am-12 pm Rehearsal #3

12-2 pm Lunch Break

2-5 pm Rehearsal #4

5-7 pm Dinner Break

7-9 pm Rehearsal #5

Friday, March 10th, 2017:

9 am-12 pm Rehearsal #6

12 -1:30 pm Lunch Break

1:30 pm Bus pickup at Marriott City Center to Orchestra Hall

2:45-3:30 pm Dress Rehearsal in Orchestra Hall

3:30 pm Bus transportation from Orchestra Hall to Marriott City Center

4-5:45 pm Dinner Break

5:45 pm Bus pickup at Marriott City Center to CC Main Auditorium

6:30 pm Attend Contemporary Showcase concert

Bus transportation from CC Main Auditorium to Marriott City Center

Saturday, March 11th, 2017

6:50 am Bus pickup from Marriott City Center to Hilton Minneapolis

7:20-7:50 am Warmup/Rehearsal in Hilton Minneapolis Ballrooms EFG

7:50-8:10 am Use skyway to walk to Orchestra Hall

8:15 am Coat check in Orchestra Hall

8:30-9 am Concert #1 in Orchestra Hall

9:15 am Bus transportation from Orchestra Hall to Marriott City Center

12:15 pm Bus transportation from Marriott City Center to Central Lutheran

1:15-1:45 pm Dress Rehearsal in Central Lutheran

2:30-3 pm Concert #2 in Central Lutheran

Music Screening/Part Check: There will be a music screening/part check event at the beginning of the first rehearsal on Wednesday. This screening will consist of a walk through by ACDA personnel while the choir sings each piece to assure that each singer is prepared on the repertoire for their choir. If in question we will give you an opportunity to privately demonstrate that you do know the music. If you cannot demonstrate proficiency, you will not be sent home, nor will we provide tutorials on site. You will become an Auditor. If you are significantly late to a rehearsal, miss an entire rehearsal or commit some other major infraction of rules, decided upon by the Honor Choir managers, you will become an Auditor. Any singer who becomes an auditor will be allowed to attend all rehearsals, seated in the back of the rehearsal hall and learn as the other singers do; however, you will not be allowed to sing in the concert. Thus you will continue to learn and be allowed to attend guest performances and social activities but will lose the privilege of singing in the concert. Concert Attire: Singers (females and males) will wear the Honor Choir t-shirt (provided on site) with black dress pants that reach to the floor (with a black belt, if applicable), and black flat shoes (no sandals, no open toed or open back shoes). Boys should wear black socks. Girls can wear black socks or knee highs. When you registered/auditioned online (www.opusevent.com), you should have been asked to provide your t-shirt size. Notify the coordinator of any changes. Chaperones/Badges: Each singer will receive two free chaperone badges (distributed at the parent/chaperone orientation meeting). Chaperone badges serve several purposes. They allow free admission into exhibit halls. Chaperones who have badges can also attend conference interest sessions and non-Honor Choir performances, ONLY after all regularly registered conference attendees have been accommodated. If you would like to be guaranteed admission to interest sessions, non-Honor Choir performances, and any other conference activities, you should register formally as a non-ACDA member through their website, www.acda.org. Concert Tickets for Parents: Each singer will be given 2 concert tickets per Honor Choir concert. Chaperone badges alone will not allow you into Honor Choir concerts. These tickets will be distributed at the parent/chaperone meeting on Wednesday at 1 pm. If you do not need tickets for one of the days, the Honor Choir managers will reassign these at the meeting. Additional tickets beyond the 2 are not guaranteed but may become available on a space available basis at the concert venue, after other attendees have been seated.

PERFORMANCE SCHEDULE: Saturday, March 11th 8:30 am Orchestra Hall

Sat., March 11th 2:30 pm Central Lutheran

Repertoire: Music will be mailed to you when registration fee and paperwork have been received. Check http://choraltracks.com for part learning materials/recordings. Cantate Domino. Rupert Lang Szello Zug. Lajos Bardos Duet and Choral. J. S. Bach Kalinka. arr. Joan Gregoryk Snow Angel. Sarah Quartel (movement 3 God Will Give Orders and movement 4 Sweet Child) The Gift to Sing. Andrea Ramsey Boogie Woogie Bugle Boy. Raye and Prince. DIVISIS: When singing 3 part music, Soprano 1 high (REDS) and Soprano 1 low (ORANGES) sing the top line (S1). Soprano 2 high (GREENS) and Soprano 2 low (BLUES) sing the middle line (S2), and all Altos (high and low—YELLOWS AND GOLDS) sing the bottom line. When singing 2 part music, REDS, ORANGES, and GREENS sing the top line. BLUES, YELLOWS, and GOLDS sing the bottom line. When singing 4 part music (God will give orders/Sweet Child), ORANGES with last names A-L and all REDS sing S1. Oranges with last names M-Z and all GREENS sing S2. YELLOWS with last names A-L and all BLUES sing A1. YELLOWS with last names M-Z and all GOLDS sing A2. On The Gift to Sing REDS with last names beginning with A-F learn the descant. On Cantate Domino, page 10, there are 3 notes: F, A, and B. All REDS AND ORANGES sing the B, GREENS AND BLUES sing the A, and YELLOWS AND GOLDS sing the F. On Kalinka, note that it begins in 3 parts, changes to 2 parts at page 5, then returns to 3 parts at measure 27. At measures 34 and 36, YELLOWS AND GOLDS leave out the G (S2s sing it), and have YELLOWS sing the E#, GOLDS sing the C#.

Transportation within Minneapolis: Getting to downtown Minneapolis from Minneapolis-St. Paul (MSP) airport is quick and easy. Minneapolis-St. Paul Airport is only 11 miles from downtown Minneapolis. Metro Transit's Blue Line is the cheapest way, and very convenient. Taxis are plentiful, with fares around $40. I took an Uber this summer for about $25. Metro Transit's Blue Line light rail trains run directly to downtown Minneapolis. There is a station at both Terminal 1 (Lindberg) and Terminal 2 (Humphrey), for trains to downtown Minneapolis. Follow the signs in the airport. Use addresses above for planning and the website www.metrotransit.org for all public transportation options. There are five light rail stops in downtown Minneapolis - the Metrodome/Downtown East, Government Plaza, Nicollet Mall, Warehouse District, and Target Field. Your light rail ticket is also valid for use on Metro Transit buses with no extra charge (Your ticket is valid for 2.30 hours). The one-way fare is $1.75 during off-peak times, $2.25 during rush hour times. There are ticket machines that take cash and credit cards at each station. Trains run approximately every 10 minutes from the early morning until late at night. Trains begin at about 4.30 am, and the last train is at about 2 am. The journey time from Minneapolis-St. Paul airport to downtown Minneapolis is just under 30 minutes. If you are not familiar with the Minneapolis skyways, I strongly suggest you download the app “Minneapolis Skyway” and take a look at the Figure below. It is a convenient option for staying indoors when it is cold or snowing outside. The entire downtown area can be navigated through the use of these skyways. The Conference Center is located at 1301 2nd Avenue South and is a 5 minute drive from the Marriott, 1 minute drive from the Hilton.

Your conductor is Joan Gregoryk.

Founder and Artistic Director of the Children’s Chorus of Washington (CCW), is internationally recognized as a leader in the field of children’s vocal music. She developed a children's chorus at Chevy Chase Elementary School (Maryland) which for many years performed with the National Symphony Orchestra. In 1995 she founded CCW with the goal of providing outstanding choral music education for children from throughout metropolitan Washington, DC. She has prepared choruses for performances with leading conductors such as Mstislav Rostropovich, Helmuth Rilling, Leonard Slatkin, Valery Gergiev, and Christoph Eschenbach. Ms. Gregoryk is in demand as a workshop leader and guest conductor throughout the United States, Canada, and Europe. She has conducted numerous district and state children’s honors choruses and the American Choral Directors Association Children’s Honors Chorus in the Southern, Southwestern, and Eastern Divisions. Ms. Gregoryk has received many honors including Outstanding Arts Educator in the United States from the Rockefeller Brothers

Funds Awards in Arts Education, the Maryland Outstanding Elementary Music Educator Award, the Conservatory Medal of Excellence from Shenandoah University, and the 2015 DC Area Choral Excellence “Ovation” Award for her outstanding contributions to choral music.

Here is a letter from Ms. Gregoryk to help you with preparing your music:

Dear Colleagues and Choristers,

Congratulations to all the singers who have been selected for the 2017 ACDA National Honors Children’s Choir, and thank you to all the conductors who prepared the audition tapes, and will be working with the choristers to help them learn their music. I am so looking forward to meeting all of you on March 8 when we begin our rehearsals for our exciting performances on Saturday, March 11.

All music must be memorized before the first rehearsal. Members of the audition committee will be checking choristers in groups at the first rehearsal to make certain they know their music. Choristers, even though you will have memorized the music, you should bring the scores with you in a music binder, as well as two sharpened pencils, to all rehearsals. The following notes should help you in your preparation of the scores. Please mark your own scores right away so that you are rehearsing everything correctly, and we can use our rehearsals together to make the music come alive through phrasing, work on intonation, style, time with the composers and coming together as a chorus. I know it looks like a lot of little details, and it is, but hang in there and do the markings, and you will find you will understand the music so much better.

I have had practice tapes prepared for the songs in foreign languages, which will be on the website with your vocal parts. Because you have four songs in a foreign language, I would advise you to start immediately listening to the practice tape, so that by March you will have had 4 months to learn and memorize the songs. Included with this letter is t the IPA (International Phonetic Alphabet) for each of the foreign languages, plus the English translation. In addition, the performance recordings of each of the songs should help in your learning and memorization. I have also included at l least one Youtube performance of each piece, which will also be of help to you. Conductors, please feel free to email o

or call me if you have any questions about the preparation of the music. I love each of these pieces, and I hope you come to really enjoy them, as well. Together, I believe we can prepare for a truly memorable concert!

1. Cantate Domino Rupert Lang

- Please read the notes in the inside cover written by the composer. It is an interesting story, and he gives directions as to how he would like specific sections to be performed.

- I will select a soprano and alto solo for this piece after the first rehearsal on Wednesday, March 8.

- The expressive markings are crucial to an artistic performance of this piece, as in the accents in the word Can-Ta-te Do-mi-no. Mark these with your pencils.

m. 20 I will indicate when each section should start speaking the “Laus eius in ecclesia,” in the following order: Sop II, Alto II, Sop. I, Alto I.

m. 55-59 The vocal parts tape includes only 4 parts in this section, while the score calls for 9 parts. At our first rehearsal, I will assign the additional pitches in each section.

The following is a Youtube link to a wonderful performance of “Cantate Domino.”

https://www.youtube.com/watch?v=X9mbGkCMjTE

2. Szello Zug Lajos Bardos

- The first step in learning this beautiful song is to sing the parts on a neutral syllable such as “pah.”

- Then spend enough time listening and practicing with the Hungarian language tapes, so that when you do start singing your parts, the Hungarian words won’t interfere with your singing the legato lines.

- The phrases are all two-bars, except in mm. 20-23 in the soprano part where there is a 4 bar phrase.

- As you sing the humming in the first 4-bar phrase, put the tip of your tongue behind your bottom teeth, close your lips, and think a tall “Ah” in the back of your mouth. This will produce a lovely resonant humming sound.

- When you sing the “Bimm-bamm’s,” immediately after singing the “B” your mouth should be in the exact same position as for the humming. Sustain the pitch on the “mm”s.

- Notice that most of the two-bar phrases have a crescendo/de-crescendo marking above them, which is very important in the expression of the text. Use your pencils to go over these expressive markings

The following is a Youtube link to a wonderful performance of “Szello Zug.”

https://www.youtube.com/watch?v=Un4rzWmy61o

. Duet and Choral from Cantata # 93 Johann Sebastian Bach

-Dr. Doreen Rao, the editor and translator of this Bach Duet and Choral has included a very useful teaching guide on the inside cover page, and talks about this being an example of a chorale cantata where the same melody may be heard in every movement.

- To begin studying this work, sing the choral melody on the last two pages of the score on a neutral syllable such as “pah,” and then look for the melody in the duet, which is played by unison strings.

- Then sing the A theme on a neutral syllable, starting in the soprano section in m.1, and look for, and sing this theme whenever it occurs in both voice parts and in every key change. Put an x beside the A theme whenever it occurs- not only in the voice part, but also the keyboard part.

- The B theme begins in m. 33 in the alto part. Look for the B theme in both voice parts and in the keyboard part, and put a check by it every time it occurs.

- As with “Szello Zug,” it will be easiest for you to learn the music on a neutral syllable before singing the German text.

- As you can see from reading the English translation, the text expresses joy, and the almost dance-like rhythms of the themes communicate that joy.

The following is a Youtube link to a wonderful performance of “Duet and Choral from Cantata #93.

https://www.youtube.com/watch?v=mEK57-JXhNk

The strings are playing the arrangement of the choral, with the melody played by the first violin. When we perform, we will begin immediately with the duet, as heard on the performance recording.

Kalinka…………………………………………………………….arr. Joan Gregoryk - Kalinka is considered one of the most famous Russian folk and folk-style songs in Russia. - As you have done with the other songs in foreign languages, learn the music on a neutral syllable until you have

mastered the Russian language. - This song is played at many hockey games when a Russian hockey player scores a goal. - As you are reading the score, be certain to observe the breath marks. It is important to sing mm. 27- 30 on one breath. - The following is a Youtube clip of a Russian chorus singing “Kalinka.” You will sing only the first two verses as

printed in the score: https://www.youtube.com/watch?v=_XxK2JJisEc

5. Snow Angel Sarah Quartel Movement 3 God Will Give Orders

Movement 4 Sweet Child

- Sarah Quartel who wrote the words and music to Snow Angel said that it is “a five-movement work that explores themes of love, rebirth, and beauty through the eyes of children and the heavenly army of angels that watch over them, yearning to make a difference to their lives.” We will perform the third and fourth movements, which are contrasts in style and tempo. I am so pleased that Sarah Quartel will be able to come to one of our rehearsals so that you can meet her, and she will be in the audience for the performance!! God Will Give Orders

- The text for “God Will Give Orders” is sung in 4-bar phrases up to m. 27. Do not take a breath before the ‘ah’s’ at m. 29 . Take a breath before m. 33, and then stagger the breathing through m. 48. Take a breath before m. 53, and then stagger the breath until m. 64. Take a breath before m. 73, and sing the next 7 measures with staggered breathing.

- Every time you sing “about you,” make certain to sing a soft “t” and sing “you” and not “chew.” - When singing the word “father,” do not sing the “r” at the end of the word, but make it a schwa sound, more like “fa-

thuh,” as sung in the performance - When singing the word “children,” ‘think’ the letter “l” so it sounds more like “chidren,” as sung in the performance. - When singing the word “angel,” sing “an-jell,” as sung in the performance.

Sweet Child

I will use an ensemble of the more mature voices to sing the solo line starting at m. 90. In the near future, I will send an update about how these singers will be chosen.

- When singing “sweet,” sing a soft and quick “t” before going to “child,” as sung in the performance. - The four part chorus is sung in 2-bar phrases, except for the last 4 measures of the song (m.123-126), which is a 4-bar

phrase. - The small group section beginning at m. 97 is sung straight through until m.104, using staggered breathing, and this

applies as well to m. 109-116 - Here is an audio recording of these two movements:

http://www.sarahquartel.com/snow-angel.php

6. The Gift to Sing Andrea Ramsey

- I am pleased to introduce you to this song, composed by American composer, Dr. Andrea Ramsey, and I am happy that she will also be able to attend a rehearsal and the performance.

-The text for the song is this poem written by James Weldon Johnson, an author, educator, lawyer, diplomat, songwriter, and civil rights activist:

Sometimes the mist overhangs my path,

And blackening clouds about me cling;

But, oh, I have a magic way

To turn the gloom to cheerful day—

I softly sing.

And if the way grows darker still,

Shadowed by Sorrow’s somber wing,

With glad defiance in my throat,

I pierce the darkness with a note,

And sing, and sing.

I brood not over the broken past,

Nor dread whatever time may bring;

No nights are dark, no days are long,

While in my heart there swells a song,

And I can sing.

- Dr. Ramsey set the text in a gospel waltz style, which puts emphasis on the first word of each measure. She has indicated this stress through the use of accent marks in the score on many of these first words. In the printed poem above, I have underlined the first word or syllable in each measure, to help you get a feel for the rhythmic structure. You will also hear this rhythmic emphasis in the performance recording.

- The message of the text is a wonderful “shout out” to the power of music to “turn gloom to a cheerful day,” so our choral diction needs to be very clear. In Gospel style, the consonants are the ends of phrases need not be so “clipped,” so you will notice softer ending “t’s” in the recording.

- Pay very close attention to the expressive markings in the score which contribute greatly to conveying the message of the text.

- The word “cloud,” contains a diphthong (two vowels on a single syllable, cl ah-ood) be certain to sing on the open vowel “ah,” and don’t close to the “oo” sound until the very end.

- There isn’t a Youtube video of this song available.

Boogie Woogie Bugle Boy Raye and Prince - Boogie Woogie Bugle Boy was a major hit tune during World War II, and was made famous by The Andrew Sisters

who were from Minneapolis. The Andrew Sisters are considered one of the most important musical acts to come out of Minnesota.

- The following is the Wikipedia post about the origin of the song:

According to the lyrics of the song, a renowned Chicago, Illinois, street musician is drafted into the U.S. Army (presumably during the peacetime draft imposed by the Roosevelt administration). In addition to being famous, the bugler was the "top man at his craft," but the army reduced his musical contributions to blowing the wake up call (Reveille) in the morning. His not being able to play his usual chops depressed him: "It really brought him down, because he couldn't jam." The Cap (An army captain — the company commander) was sympathetic and assembled a

band to keep the bugler company. Back in the saddle again, he infuses his style into reveille: "He blows it eight to the bar...in boogie rhythm." His company is enthusiastic about his style too: "And now the company jumps when he plays reveille." But, apparently the bugler can't get it done without his band, "He can't blow a note if the bass and guitar/Isn't with him."

- The style of the song is jump blues, an up tempo style of blues popular in the 1940’s, which evolved from the music of big bands.

- In the very near future I will be sending you a video of some simple movements that we can perform as we sing the song. With 350 singers on stage, there won’t be much room for big motions!

- The following is a Youtube clip of The Andrew Singers performing “Boogie Woogie Bugle Boy.” This is not the arrangement you are learning.

- https://www.youtube.com/watch?v=8of3uhG1tCI

International Phonetic Alphabet (IPA) Vowels (Applied to Latin Repertoire) IPA Vowel English Word IPA of Symbol Example Word a bop [bap] ɛ bell [bɛl] i beet [bit] ɔ awe [ɔ] u boot [but] Vowels can be described as open or closed. Closed vowels are brighter and more focused, while open vowels are slightly more relaxed. Closed Open i bee, deed ɪ bit, it e bail, hail1 ɛ bell, well u boot, food ʊ book, hook o note, probe2 ɔ bawl, awe Notes for Latin pronunciation: 1) The open “e” vowel ɛ is very high and close to the closed “e” sound. To avoid a diphthong, put an “h” after it, or write the open symbol [ɛ]. 2) With noted exceptions,3 each vowel has one distinct sound (no diphthong). Ex: “eo,” “suo,” “eum,” “filiae,” “laus”: each vowel has a distinct sound and is not an amorphous compilation of “e” and “o”. Be aware of the tendency to insert a third vowel sound (“y”) between these two vowels, producing “ay-o” or a “w” between “u” and “o” in “suo.” 3) The “a” vowel is bright, like an Italian “a.” 4) [dʒ] is the English sound in “judge.” 5) [ʃ] is the “sh” sound. 6) “R” is flipped between two vowels and rolled at the beginning of words and if next to a consonant (ex: flipped for “sanctorum” and leatatur” and rolled for “rege” and “Israel”). 7) “C” before “i” or [ɛ] is “ch”(ex: “fecit”). 8) “QU” = “kw” (ex: “qui”). 9) “D” and “T” are dry and not aspirated (think Spanish or Italian). 10) “L” is formed with the tip of the tongue, high and in the front of the mouth. 1 In English the closed e [e] is always sung as part of the diphthong [eɪ] as in the word “bail” [beɪ l]. That makes it

challenging for native English speakers to authentically sing foreign language words with the [e] sound. The key is to keep the jaw from “chewing” the vowel. 2 In English when appearing in a stressed syllable, the closed “o” [o] is always sung as part of the diphthong [oʊ ] as in the word “boat” [boʊt]. It does stand alone when appearing in an unstressed syllable, as in the word “obey” [obeɪ ]. As with the [e] vowel above, in order to refrain from creating a diphthong when singing in a foreign language, care must be taken not to allow the jaw to move. Sometimes writing an “h” after the “o” helps remind the singer to maintain the vowel integrity.

3 Note that “ae” and “oe” each comprise a single vowel in Latin, pronounced as the open “e” [ɛ].

Prepared for Joan Gregoryk ACDA ©Amy Ayre 2016

IPA for Cantate Domino by Rupert Lang

Latin Text Cantate Domino! Cantate Domino canticum novum. Laus eius in ecclesia, in ecclesia sanctorum. Laetatur Israel in eo, Qui fecit eum: et filiae Sion exultent in rege suo.

IPA Transliteration kantatɛ dɔminɔ kantatɛ dɔminɔ kantikum nɔvum laus ɛius in ɛklɛzia in ɛklɛzia sanktɔrum lɛtatur izraɛl in ɛɔ kwi fɛtʃit ɛum ɛt filiɛ ziɔn ɛksultɛnt in rɛdʒɛ suɔ

English Translation*** Sing to the Lord! Sing to the Lord a new song. Praise Him in the sanctuary, In the sanctuary of holiness. Let Israel rejoice in it, That which He has made: and the children of Zion exult in their Ruler. ***http://emmanuelmusic.org/notes_translations/translations_motets/t_swv081_schutz.htm

Prepared for Joan Gregoryk ACDA ©AmyAyre 2016

International Phonetic Alphabet (IPA) Vowels (Applied to German Repertoire)

IPA Vowel English Word IPA of Symbol Example Word

a ball [bal] e bait1 [beɪt] ɛ bet [bɛt] i beet [bit] ɪ bit [bɪt] o boat2 [boʊt] ɔ awe [ɔ] u boot [but] ʊ book [bʊk]

Vowels can be described as open or closed. Closed vowels are brighter and more focused, while open vowels are slightly more relaxed.

Closed Open i bee, deed ɪ bit, it e gate, late ɛ bet, get3 u boot, food ʊ book, hook o note, probe ɔ bawl, awe German Vowels not found in English: Y lips form [ʊ], say [ɪ] œ lips form [ɔ], say [ɛ] ä [ɛ] as in “bet” or “get” German Consonants not found in English: ç “H” sound in “huge” or “Hugo” Notes for German pronunciation:

1) Consonants are important in German. Say them with conviction and clarity – no sliding through them.

2) German closed vowels are VERY closed and their open vowels are closer to English closed vowels, that is, high and not “dropped” as they are in English.

3) “R” is rolled. 4) [ɳ] is the “ng” sound in “ring” or “sing.”

1 In English the closed e [e] is always sung as part of the diphthong [eɪ] as in the word “bait” [beɪt]. That makes it challenging for native English speakers to authentically sing foreign language words with the [e] sound. The key is to keep the jaw from “chewing” the vowel. 2 In English when appearing in a stressed syllable, the closed “o” [o] is always sung as part of the diphthong [oʊ] as in the word “boat” [boʊt]. It does stand alone when appearing in an unstressed syllable, as in the word “obey” [obeɪ]. As with the [e] vowel above, in order to refrain from creating a diphthong when singing in a foreign language, care must be taken not to allow the jaw to move. Sometimes writing an “h” after the “o” helps remind the singer to maintain the vowel integrity. 3 The German open “e” sound is in a higher place than the American open “e”, which is “dropped” in placement. The German [ɛ] is closer to the American closed “e” sound.

Prepared for Joan Gregoryk ACDA ©Amy Ayre 2016

IPA for Duet and Choral (arr. Doreen Rao) from Bach’s Cantata No. 93

German Text Er kennt die rechten Freudenstunden, Er weiß wohl, wenn es nützlich sei; Wenn er uns nur hat treu erfunden Und merket keine Heuchelei, So kömmt Gott, eh wir uns versehn, Und lässet uns viel Guts geschehn. Sing, bet und geh auf Gottes Wegen, Verricht das Deine nur getreu Und trau des Himmels reichem Segen, So wird er bei dir werden neu; Denn welcher seine Zuversicht Auf Gott setzt, den verlässt er nicht.

IPA Transliteration er kɛnt di rɛçtɛn frɔɪdɛnʃtʊndɛn er vaɪs vol vɛn ɛs nYtslɪç zaɪ vɛn er ʊns nur hat trɔɪ erfʊndɛn ʊnt mɛrkɛt kaɪnɛ hɔɪçɛlaɪ zo kɶmt gɔt e vir ʊns fɛrzen ʊnt lɛsɛt ʊns fil guts gɛsçen zɪɳ bɛt ʊnt ge auf gɔtɛs vegɛn fɛrɪçt das daɪnɛ nur gɛtrɔɪ ʊnt trau dɛs hɪmɛlz raɪçɛm zegɛn zo virt er baɪ dir verdɛn nɔɪ dɛn vɛlçɛr zaɪnɛ tsufɛrzɪçt auf gɔt zetst den vɛrlɛst er nɪçt

English Translation** He knows the right time of joy, He knows well, when it is necessary; If only He has found us faithful and detects no hypocrisy, then God comes, before we are aware of Him, and allows much good to befall us. Sing, pray and walk in God's ways, just carry out your ways faithfully and trust in heaven's rich blessing, then it will be renewed in you; for whoever places his confidence in God, God will never abandon. **http://emmanuelmusic.org/notes_translations/translations_cantata/t_bwv093.htm

Hungarian Pronunciation Guide As applied to Szellő Zúg

(General note: in all Hungarian words the first syllable receives the stress, regardless of diacritical marks over a given vowel)

Hungarian Letter a1 á e é i o ó ő u ú, ű g j r2 s (not with c or z)3 z (not with t or s) h Digraphs: ly sz cs gy kd zt

1 Distinguishing between the two Hungarian “a’s” is important and will distinguish great choirs from average ensembles. 2 At the beginning of words it is rolled; at the ends or in the middle it is flipped. 3 Exception: visszhang. See footnote 17.

IPA symbol [ɔ] [ɑ] [ɛ] [e]4 [i] contextual [o]5 [ɶ] [u] [y] [g]6 [j] [ʃ] [z] [h] [ʎ] [s] [tʃ] [dʒ] [kt] at end of word [st] at end of word (azt)

4 Not super closed as it would be in French or German; closer to English without the English diphthong. 5 See footnote 4. 6 Always a hard g, even after “n”.

English equivalent ought, awe bop, hop bet, get bait, gate7 bee, see note, probe8 9 boot, food 10 get, frog yes, yellow she, shy zebra, zip hot, hide 11 see, set church, chime judge, nudge12 act, fact lost, cost

7 But without the English diphthong [I] elided at the end. 8 But without the English diphthong [u] elided at the end. 9 No English equivalent. French schwa; fleur, le, de, etc. 10 No English equivalent. French une. 11 No English equivalent. It’s a quick, one syllable glide. Italian gli:foglia 12 But it is very “dry” with only a small shadow [ʒ] and not much excess air.

Hungarian example alskiz, bamm távol, tábor meg, megint mélyén megint, kis, bimm távol, langol13, tabor14 jó, jól szellő látunk, falucskának zúg, tűz, tűzet lángol, hangja, harang15 jó, jól, hangja tabor, tárad,16 rá17 pajtásom, kis, -gásnak züg, tüzet hangja, hallga ilyet szellő, alszik,visszhong18 csak, falucskának rakd azt

13 In these cases (“ol”), the “o” is a schwa [ə]. 14 Here the “o” is like [ɔ]. The “o” here is equal to “o” in the English word “or”. 15 The “g” is not as in the English word “sing” but each consonant – “n” and “g” – are sounded. 16 Flipped. 17 Rolled. 18 The word visszhang is pronounced [vis hɔng]. Here the “sz” supersedes the single “s”.

IPA for Szellő Zúg

Hungarian Text Szellő zúg távol, alszik a tábor. Alszik a tábor, csak a tűz lángol Rakd meg, rakd meg jó pajtás azt a tűzet, Isten tudja, mikor látunk megint ilyet. Szellőzúgásnak fárad a hangja, Kis falucskának szól a harangja. Halkan, halkan, szól a harang, bimm-bamm, bimm-bomm, Lelkűnk mélyén kel rá visszhang, bim-bam, bim-bom, etc.

IPA Transliteration~ sɛllɶ zyg tavəl ɔlsik ɔ tabɔr ɔlsik ɔ tabɔr tʃɔk ɔ tuz langəl rakt mɛg rakt mɛg jo pɔjtas ɔst ɔ tyzɛt istɛn tudjɔ mikɔr latunk mɛgint iʎɛt sɛllɶzygaʃnak farɔd ɔ hɔngjɔ kiʃ fɔlutʃkanɔk sol ɔ hɔrɔngjɔ hɔlkɔn, hɔlkɔn, sol ɔ hɔrɔng bim bɔm bim bom lɛlkynk meljen kɛl ra vishɔng bim bɔm bim bom, etc. ~[ʎ] is the IPA symbol for a quick glide of the [lj] sound. The [l] and ]j] sounds should not be separated but should be treated as a single sound.

English Translation* A breeze is blustering afar, the camp is asleep. The camp is asleep, only the fire is burning Good friend, Good friend, keep that fire going, God knows when we'll see one another. The sound of the blustering breeze is getting lower The bell, the bell of the small village is chiming softly The bell chimes "bim-bam bim-bam" The depth of our souls echoes "bim-bam bim-bam." *https://www.youtube.com/watch?v=liGi1B15N_Y

Prepared for Joan Gregoryk ACDA ©AmyAyre 2016

International Phonetic Alphabet (IPA) Vowels (Applied to Russian Repertoire)

IPA Vowel English Word IPA of Symbol Example Word

ɑ ball [bɑl] e bait [beɪt] ɛ bet [bɛt] i beet [bit] ɪ bit [bɪt] o boat [boʊt] ɔ awe [ɔ] u boot [but] ʊ book [bʊk]

Vowels can be described as open or closed. Closed vowels are brighter and more focused, while open vowels are slightly more relaxed.

Closed Open i bee, deed ɪ bit, it e gate, late ɛ bet, get u boot, food ʊ book, hook o note, probe ɔ bawl, awe Russian Consonants not found in English: ʎ Quick glide of the [lj] sounds. The [l] and ]j] sounds should not be separated but should

be treated as a single sound. Notes for Russian pronunciation:

1) Consonants are important in this piece. Say them with conviction and clarity – no sliding through them.

2) Russian vowels are very dark. 3) [ʒ] is the sound in “azure” or “genre.” 4) [ʃ] is the “sh” sound. 5) [j] is the “y” sound in “yes.” 6) [ɳ] is the “ng” sound in “ring” or “sing.”

Prepared for Joan Gregoryk ACDA ©Amy Ayre 2016

IPA for Kalinka (arr. Joan Gregoryk)

Russian Text Kalinka, kalinka, kalinka maya! Ah! Fsadu yagoda malinka, malinka maya! Ah! Pod sosnoyu, Pod zelyenoyu, Spatj pola zhitiye vi menya, Ah! Ailiuli liuli. Sosyonushka, ti zelyenaya, Nye schumizhe nada mnoi. Ah!

IPA Transliteration~ kɑʎiɳkɑ kɑʎiɳkɑ kɑʎiɳkɑ mɑjɑ ɑ fsɑdu yɑgɔdɑ mɑʎiɳkɑ mɑʎliɳkɑ mɑyɑ ɑ pɔd sɔsnɔju pɔd zɛljɛnɔju spɑtj pɔlɑ ʒitijɛ vi mɛnjɑ, ɑ ɑiliuli liuli sɔsjɔnuʃkɑ ti zɛljɛnɑjɑ njɛ ʃumiʒə nɑdɑ mnɔi ɑ ~[ʎ] is the IPA symbol for a quick glide of the [lj] sound. The [l] and ]j] sounds should not be separated but should be treated as a single sound.

English Translation**** Little snowberry^, little snowberry, little snowberry of mine! In the garden (there is a) little raspberry, my little raspberry! Ah! Under the pine, The green one, Lay me down to sleep, Ah! Ah lully lully. Little pine, little green one, Don't rustle above me. Ah! ****http://www.moscow-russia-insiders-guide.com/kalinka-malinka.html ^According to the above website, “kalina” is a viburnum bush and “ka” means “little,” so literally “kalinka” is “little virburnum bush.”

2017 NATIONAL ACDA HONOR CHOIRS DOWNTOWN MINNEAPOLIS SITE MAP

CHILDREN’S HONOR CHOIR

WITHIN 2 BLOCKS

Brit’s Pub

1110 Nicollet Mall | 612.332.3908British $$

French Corner Bistro & Bakery

1200 Nicollet Mall | 612.345.7770French $ - $$

Ichiban Japanese Steak House

www.lakeviewhotels.com/restaurants/ichiban-

minneapolis/

1333 Nicollet Mall | 612.339.0540Japanese $$$

Lot 57 - DOUBLETREE

1101 LaSalle Ave | 612.332.3908American $$

Market Bar-B-Que

1414 Nicollet Ave S | 612.872.1111Barbeque $$

North 45 Restaurant and Lounge

1313 Nicollet Mall – MillenniumAmerican $$ | 612.332.6000

Ping’s Szechuan

1401 Nicollet Ave S | 612.874.9404Asian $$

Prairie Kitchen & Bar - HYATT REGENCY

www.prairiekitchenandbar.com

1300 Nicollet Mall | 612.596.4640Minnesota Flair $$$

Salsa a la Salsa

1420 Nicollet Ave | 612.813.1970Mexican $$

WITHIN 4 BLOCKS

Buca di Beppo

www.bucadibeppo.com

1204 Harmon Place | 612.341.9178Italian $$

Dakota Jazz

1010 Nicollet Mall | 612.332.1010American $$

4 BLOCKS CONTINUED

Hell’s Kitchen

80 South 9th St | 612.332.4700American $$

Ling and Louie’s

http://www.lingandlouies.com/

921 Nicollet Mall | 612.351.1234Asian $$

The Local

931 Nicollet Mall | 612.904.1000Irish $$

Loring Kitchen & Bar

1359 Willow St | 612.843.0400American $-$$

Marin - LEMERIDIEN CHAMBERS

901 Hennepin Ave | 612.767.6960American $ - $$$

McCormick & Schmick’s

800 Nicollet Mall | 612.338.3300Seafood $$

Monello

1115 2nd Ave S. | 612.353.6207Italian $$-$$$

The News Room

990 Nicollet Mall | 612.343.0073American $$

Skywater Cuisine & Cocktails Restaurant

1001 Marquette Avenue – HiltonAmerican $$ | 612.376.1000

WITHIN 6 BLOCKS

8th Street Grill

800 Marquette Ave | 612.349.5717American $

Basil’s

www.basilsminneapolis.com

710 Marquette Ave | 612.376.7404American $$$

6 BLOCKS CONTINUED

Crave

825 Hennepin Ave | 612.332.1133American (L)$$ / (D)$$$

Key’s Café

http://www.keysfoshay.com/

114 South 9th St | 612.339.6399American $

Manny’s Steakhouse - W HOTEL

825 Marquette Ave S | 612.339.9900Steakhouse $$$$

The Melting Pot

www.meltingpot.com/minneapolis

80 South 9th St | 612.338.9900Fondue $$$ Reservations highly recommended

Mission American Kitchen - IDS CTR

www.missionamerican.com

77 South 7th St | 612.338.4700American $$$

Ruth’s Chris Steak House

920 2nd Ave S | 612.672.9000Steakhouse $$$

The Third Bird

1612 Harmon Place | 612.767.9495Innovative Southern $-$$$

Zelo

831 Nicollet Mall | 612.333.7000New Italian $$$

WITHIN 8 BLOCKS

BANK - THE WESTIN

88 South 6th St | 612.656.3255American $$$

Borough Minneapolis

730 N Washington Ave | 612.354.3135Menu Changes Seasonally $-$$$

HYATT REGENCY1300 NICOLLET MALL

FREE APPETIZER

OR DESSERT10% OFF BILL FREE DRINK

Pricing Guide $ = Less than $10 $$ = $10-$20 $$$ = $20-$30 $$$$ = More than $30 Updated: 01/18/16

** Must be presented at time of purchase. May not be combined with any other coupon, discount or promotion. Exclusions and limitations may apply.**DEALS ARE EFFECTIVE THRU 12-31-16.

WALK-TODINING

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LaSallePlaza

Orpheum

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ButlerSquare

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TritechCenter

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GrainExchange

TheCrossings

MedicalArts Bldg

TargetCommons

DOWNTOWNDOWNTOWNMINNEAPOL I SM INNEAPOL I SS KYWAYSSKYWAYS

US Bank Plaza 220 South Sixth Street Suite 230www.commuter-connection.orgBrought to you by

Central City (2 mile loop)

City Hall to Target Center (.7 mile)

TCF (1 mile loop)

Skyways

Tunnels

Foshay to Convention Center (.5 mile)

LRT

Commuter Connection

abc-ramps.com

hourcar.org

Hour Car Location

commuter-connection.org

Parking Ramps with Carpool Discounts, Bike Lockers & Showers

N

Peavey Plaza

BakerBuilding

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100Washington

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CHC

ACDAisofferingalloftheacceptedsingersat-shirtforfree.Thesizeswerealreadyrequestedandinputtedattheauditionprocessonline.Inadditiontothefreeshirtsthesingersreceive,wearealsomakingavariationofthet-shirtavailabletoparents,chaperones,teachers,familymembers,etc.thatwouldliketopurchasethem.Ifyouareinterested,youcanorderasmanyasyoulike.Clarifywhichsizeyouwant(notethereareyouthandadultsizes)andwewillhavetheseforyouonsite.PaymentcanbemadeviacheckorcreditcardandneedtobeorderednolaterthanDecember10thusingthisform.

NameofAcceptedHonorChoirSinger:

CircletheHonorChoiroftheSinger:

Children Jr.High/MiddleSchool SeniorHighSchool CollegiateUnityChoir

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YS YM YL YXL S M L XL 2XL 3XL

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InordertopayforyourHonorChoirRegistration,pleasesubmitthisformalongwithpayment($120),intheformofacheck(canbeaschoolcheckorapersonalcheck)ormoneyorderpayabletoACDA.Ifyouprefertouseacreditcardforpayment,pleasecompletetheappropriateinformationrequiredbelow.

NameofAcceptedHonorChoirSinger:

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ACDA HONOR CHOIRS 2017 PERMISSION FOR MEDICAL TREATMENT

(parents may not notarize their child’s form) I/We, the undersigned, being the parent, legal next-of-kin, or legal guardian of: _______________________________________ ________________________________________________ (Student's Last Name) (Students’ First Name) (Birth Date) hereby authorize emergency medical treatment for this person beginning March 8th, 2017 and continuing through March 11th, 2017. I/We acknowledge the liability for medical expenses, hospital expenses or other such charges incurred for such services as may be rendered for or on behalf of my/our child as a result of injury or sickness. I/We will assume financial responsibility for the incurred expenses through the insurance company listed below.

MEDICAL INSURANCE INFORMATION ________________________________ ______________________________

Insurance Company Student's Physician's Name ________________________________ ______________________________

Policy Number Physician Phone ________________________________

Company Address Medication and/or food allergies, pertinent medical information, scheduled medications (what should our on site managers know about your child?): ___________________________________________________________________________________________ ___________________________________________________________________________________________

PARENT/GUARDIAN INFORMATION

____________________________________________________ Parent/Guardian Names (please print)

___________________________________________ ________________________________________

Home Address City, State, ZIP _____________________________ ___________________________ ________________________

Home Phone Work Phone 1 Work Phone 2 ________________________________ ______________________________

Parent/Guardian Cell Phone Parent/Guardian Cell Phone

THIS FORM MUST BE NOTARIZED BEFORE SUBMISSION. FORMS THAT ARE NOT NOTARIZED WILL BE RETURNED.

__________________________________________________________

Parent/Guardian Signature ______________________________ My Commission Expires: Notary Public Personally known ______ or Produced Identification _______ Type of Identification Produced__________________________________

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ACDA HONOR CHOIRS 2017

SINGER/CHAPERONE INFORMATION & PARTICIPATION AGREEMENT SINGER LAST NAME _______________________________________________________________________ SINGER FIRST NAME _______________________________________________________________________ SINGER PREFERRED E-MAIL _________________________________________________________________ SINGER MOBILE PHONE NUMBER ____________________________________________________________ CHAPERONE LAST NAME ___________________________________________________________________ CHAPERONE FIRST NAME __________________________________________________________________ CHAPERONE PREFERRED E-MAIL _____________________________________________________________ CHAPERONE MOBILE PHONE NUMBER ________________________________________________________ PARTICIPATION AGREEMENT: I/We, the undersigned, agree to the following stipulations and rules for participation in the 2017 ACDA Honor Choirs: 1) Singers, their parent/guardian(s), and their sponsoring ACDA member have read all the ACDA Honor

Choirs information and agree to the information contained therein. 2) Singers and chaperones agree to stay in their designated chorus’ hotel. Singers who do not stay in their

designated hotel may be unable to perform. 3) Singers must return all necessary paperwork and registration fee to the Honor Choir Coordinator by

December 10, 2016. Failure to submit in a timely manner will result in removal from the choir. 4) Singers will arrive at the convention site with their music fully prepared. Singers who are not

adequately prepared will be unable to perform and will be labeled an “audit.” Music and part-learning materials will be provided to singers.

5) Singers agree to attend all rehearsals as stated in the final rehearsal schedule. Singers who are tardy or miss rehearsal will be unable to perform and will be labeled an “audit.”

6) ACDA will provide supervision for singers only during posted rehearsal times. 7) Singers will adhere to the following policies:

- A “lights out” curfew of 11:00 pm will be in place for all singers OR one hour after the end of the evening performance, if attended. Choir managers may adjust curfews times as needed.

- Singers of opposite genders will not be in hotel rooms together without chaperone supervision. - Singers will be respectful of other hotel guests and abide by hotel rules as posted and as stipulated

by their choir coordinator, ACDA member sponsor, or chaperone. - Singers will not engage in illegal activity, including the use of alcohol, tobacco, or other controlled

substances, or they will be immediately removed from the ACDA Honor Choirs and sent home at their parent/guardian’s expense.

8) Singers are responsible for the financial obligations listed below. All monies submitted are non-refundable. - Conference registration fee (includes music, t-shirt, part-learning materials, and bus transportation) - Hotel lodging at the designated hotel - Meals and transportation, including travel to Minneapolis.

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ACDA HONOR CHOIRS 2017

RELEASE, INDEMNITY AND AUTHORIZATION TO PHOTOGRAPH, RECORD AND REPRODUCE EVENT: 2017 ACDA Honor Choirs DATES: March 8th-11th, 2017 In consideration of the acceptance of my participation in the Event described above, I agree to the following: I AGREE TO ASSUME THE RISKS incidental to participation in the Event and, on my own behalf, and on behalf of my heirs, executors and administrators, RELEASE and forever discharge the ACDA, of and from all liabilities, claims, actions, damages, costs or expenses of any nature arising out of or in any way connected with my participation in such activity, and further agree to indemnify and hold the ACDA harmless against any and all such liabilities, claims, actions, damages, costs or expenses, including, but not limited to, attorneys’ and other professionals’ fees and disbursements. I understand that this release and indemnity agreement includes, without limitation, any claims caused or suffered by me and any claims based on the negligence, action or inaction of the ACDA and covers bodily injury (including death) and property damage, loss or theft (including any personal property I may bring to the Event whether or not used in conjunction with the Event), whether caused or suffered by me before, during, or after such participation. I further authorize first aid or other medical treatment for myself, at my cost; however, it is acknowledged that the ACDA shall have no duty, obligation or liability arising out of the provision of, or failure to provide, first aid or other treatment. I grant the ACDA the right and exclusive license to make, edit and modify, use and re-use, reproductions, photographs, and recordings (audio, visual and audio-visual) of the likeness, voice and sounds of me at the Event, as well as my name and biographical information, in any manner the ACDA may desire, in all forms and media, whether now known or hereafter devised, through-out the universe, in perpetuity, without the need to obtain further authorization or consent from myself, without additional compensation to myself or subject to any condition, reservation or limitation whatsoever (collectively, the “Reproduction Rights”). The ACDA shall not have any obligation to exercise or exploit any of the Reproduction Rights nor shall the ACDA have any obligation to accord me any credit in connection to any use of the Reproduction Rights. Each photography, videotape, recording or other work, created by or resulting from the making, editing, modifying, re-use, exercise or exploitation of the Reproduction Rights shall be a work for hire, the ACDA shall be deemed the sole owner of all Reproduction Rights, including any copyright and/or trade-mark rights (and all related applications, registrations and renewals) and, without limiting the foregoing, I assign to ACDA all Reproduction Rights. I agree to comply with any Event rules or other directions or instructions given to me by the ACDA. As used in this release and indemnity agreement (this “Agreement”), “the ACDA” shall mean the American Choral Directors Association and all its subsidiaries, components and representatives. I represent and warrant to the ACDA that I am 18 years of age or older and that I have the full right, power, capacity and authority to execute this Agreement on behalf of myself and, if applicable, as the parent/legal guardian of any minor child(ren) identified below for the purposes of this Agreement. I acknowledge that I shall not receive, or be entitled to receive, any payment, compensation or consideration in connection with the Event, this Agreement, or the ACDA’s exercise of the Reproduction Rights it being understood that the ACDA is relying on this Agreement as a material inducement in accepting my participation.

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CHC No union, guild or any other such association or group has the jurisdiction over this Agreement or my participation in the Event and this Agreement shall not be submitted to, or subject to, certification or approval by any such organization. The ACDA’s rights, including Reproduction Rights, shall be free of any residual impairment, obligations or costs. This Agreement shall be binding upon me and my heirs, personal representatives and assigns, and shall be governed by the laws of the State of Minnesota without regard to conflicts of law principles. This Agreement constitutes the entire agreement among the parties with respect to the subject matter of this Agreement and supersedes any and all previous agreements among the parties, whether written or oral, with respect to such subject matter. I hereby consent, agree to and ratify the terms of this Agreement as the parent/legal guardian of the minor child(ren) identified below, in which case “I,” “me,” “my,” and “myself” as used herein shall jointly and severally refer to said minor child(ren) and me as the parent/legal guardian of such child(ren) and, without limiting the terms of this Agreement, I will also indemnify and hold the ACDA harmless from any claim, liability, loss or expense of any kind arising out of any contest, challenge, disaffirmation or revocation of this Agreement. __________________________________________________________ __________________________ Signature of Parent/Legal Guardian Date _______________________________________________________________

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