Upload
shaun-patrick-cloonan
View
219
Download
0
Embed Size (px)
Citation preview
7/26/2019 ACDA-PA Polyphony, Spring-Summer 2016
1/8
Presidents WelcomeMatthew P. Fritz
ACDA-PA President
Dear Members,
For those of us on the academic side of our profession, summer has arrived or
will in short order. Of course concerts and other end-of-the-year activities make
life seem like a whirlwind! For our colleagues in the music in worship area of our
profession, there is some closure a-foot and a different type of pre-summerrush. We all look for time to rejuvenate whether it be reconnecting with friends
or spending quality down-time with loved ones, summer is vital to our physical,
emotional, spiritual, and PROFESSIONAL well-being!
So, amidst the planning for your summer rejuvenation, there are some
important dates to plan for:1. Registration for Summer Conference (June 1 deadline for early-bird
registration!!)
2. Summer Conference itself: August 1 & 2
3. Fall Conference Performing Choir Audition Application
June 2, 2016------Postmark deadline for mailing applicationmaterials
June 7, 2016------Executive selection committee convenes for
final screening.
Mid June, 2016------Invitations extended to choirs. All
notification will be sent via email.
4. Fall Conference: November 4 & 5
SUMMER CONFERENCE AUGUST 1 & 2 at Elizabethtown College
The fabulous Susan Medley, President-Elect, has been hard at work organizing
Summer Conference 2016 for us. On the agenda include something for
everyone:o Vance George, headliner
o
Multiple reading sessionso Eleven interest sessions with something for EVERYONE!!!o
Plenty of time to reconnect with ACDA friends
FALL CONFERENCE NOVEMBER 4 & 5 at
Susquehanna University
Held in conjunction with the PA Collegiate Choral
Association, college students can come together tmake music with A. Jan Taylor. Visit
http://pacollegiatechoral.orgfor more informationbringing your collegiate choir members.
In addition to the Collegiate Honor Choir, come seand hear some of the best PA choirs from all age
levels perform in Stretansky Hall!
Want to bring your choir? Complete an auditionapplication online:
http://www.acdapa.org/conferences/FallConf16/PormingChoirs/
We are a busy bunch. This edition of Polyphonycontains several articles written by your colleague
from throughout the state. Others are participatin
innovative programs to keep students singing
beyond high school. Still others work to bring yougreat conferences. Consider becoming more invol
in YOUR professional organization. We have severa
open positions on the Board for ACDA-PA and wo
LOVE to have your input! Let us know how we can
serve you and how you can help serve our profess
through ACDA! Hope to see you in August! And bewishes for a rejuvenating summer.
Inside This IssueSummer Conference Info 2
The For-Profit Choir 4
More Multi-Cultural Music! 5
Jazz Makes Connections 6
Spotlight: Voces Solis 7
The Keep Singing Project 8
News from the Pennsylvania Chapter of the American Choral Directors Association (ACD
Spring/Summer
7/26/2019 ACDA-PA Polyphony, Spring-Summer 2016
2/8
2
About our Headliner: Vance GeorgeVance George is internationally recognized as one of Americas
leading choral conductors. Under his direction the San Francisc
Symphony chorus has been hailed as one of the finest in the wo
On their behalf he has accepted four Grammy awards, for Best
Performance of a Choral Work Orffs Carmina Burana, 1992 and
Brahms Ein Deutsches Requiem, 1995, Best Classical Album of th
year Stravinskys Persphone, 2000 and Mahlers Symphony No.
3, 2004. He also conducted the San Francisco Chorus and Orche
in works ranging from Bachs Mass in B Minor to Carmina buranand film credits include an Emmy for Sweeney Todd, 2002 and
soundtracks forAmadeus, The Unbearable Lightness of Being,
and Godfather III. Vance Georges work embodies the legacy of
great maestros he has known as protg and colleague, especi
Robert Shaw, Julius Herford, Margaret Hillis, Robert Page, Otto
Werner-Mueller, and Mary Oyer. He has received great acclaim
his unique knowledge of musical styles, languages, vocal colors
and his synthesis of the choral-orchestral tradition. He was awa
an honorary doctorate by Kent State University, and a Lifetime
Achievement Award from Chorus America.
chedulesit www.acdapa.organd go to the Conferences link to see specific details about session topics and presenters.
Monday, August 145-10:00 Welcome
:00-11:00 Interest Session 1
Being the Middle Child: Bringing Your Middle School Feeder Program to Life
Presenter: Alexis Farrell
Theyre Too Pooped to Phonate, but You Need to Rehearse
Presenter: Judith Nicosia
Creating and Managing a For-Profit Community Choir
Presenter: Patricia (Pat) Guth
Performing Masterworks with your High School Choir
Presenters: James D. Moyer and Lindsey Bruno
:00-11:15 Shop with Musical Source
:15-12:45 Lunch (on your own)
:45-2:00 Vance George Session: Miniature Masterpieces
00-2:15 Break (Shop with Musical Source/Coffee/Tea/Snacks)
5-2:55 Reading Session 1 (3 choices)
College & University Choirs / Self-Published Composers
Male Choirs / Womens Choirs
Vocal Jazz / Show Choir
00-3:40 Reading Session 2 (3 choices)
Community Choirs / Music in Worship
Sr. High Choirs / Multicultural & Ethnic Choirs
Childrens & Community Youth Choirs /
Jr. High & Middle School Choirs
40-4:00 Break (Shop with Musical Source/Coffee/Tea/Snacks)
00-5:15 Vance George Session: The Artist Conductor --- You
5-6:00 R&R Area Roundtables
5-7:30 Dinner --- Bowers Writers House
45-9:00 Directors Chorus with Vance George:
Singing Brahms with piano 4-hands
00 After Hours at TJ Rockwells
7/26/2019 ACDA-PA Polyphony, Spring-Summer 2016
3/8
Tuesday, August 230-9:30 Interest Session 2
That First YearPresenter: Jordan M. Shomper
Your Altos will Thank You!Presenter: Grace Muzzo
Teaching High School Male Singers When You Are a Woman: Overcoming Vocal DifferencesPresenter: Jaclyn Johnson
How Do I Gesture That? Developing a Conducting Vocabulary to Capture Your Ideal SoundPresenter: Caron Daley
30-9:45 Break (Shop with Musical Source/Coffee/Tea/Snacks)45-10:45 Interest Session 3
Robert Shaw: His Atlanta DaysPresenter: Julia Brasher Thorn
Building independent musicianship through Audiation, Visualization, and AnticipationPresenter: Christopher G. McGinley
From the outback to the islands: Australian choral music for all choir levelsPresenter: Kym Scott
0:45-11:00 Break (Shop with Musical Source)1:00-12:15 Vance George Session: Sing It Like You Say It --- Choral Colors2:15-1:30 Lunch (on your own)30-2:15 R&R Area Roundtables
15-2:30 Break (Shop with Musical Source/Coffee/Tea/Snacks)30-3:30 Q&A with Vance George30-4:00 Closing sing --- Vance George00 Conference concludes (Board meeting to follow)
RegistrationRegistration OptionsMember Registration $150.00
etired Member $125.00Member's Spouse $100.00
tudent Member $60.00on-Member $160.00
n-Campus Housing $117.00ingle-Day $95.00
xtra Reading Packet $8.00
ease Note:
One-Day Rate$95 for either day, includes picnic for Monday.
Reading packets (choose 2)are guaranteed if requested before July 1.
Non-Member rateincludes $10 fee which can be applied to yourmembership in ACDA for one year if youchoose to join.
To Registerick the Register button at www.acdapa.orgunder
he Summer Conference link. Early bird registration
tes expire onJune 15, so register today!
HousingOn-CampusHousing is available on the campus of Elizabethtown College in HackmanApartments. There are 23 apartments, and each has two bedrooms with
two beds in each room, bathroom with shower, kitchen with refrigeratorand microwave and living room area with sofa, chairs and dining table. Allbeds have a pillow and a blanket. Sheets, pillowcase, towels andwashcloths are not included. The rates for the apartments for the night ofMonday, August 4 are:
4 people in an apartment at $29.25 each = Total of $1173 people in an apartment at $39.00 each = Total of $1172 people in an apartment at $58.50 each = Total of $1171 person in an apartment at $117 = Total of $117
Apartments must be reserved by July 25, and the entire fee of $117 is duewith the reservation request. It is the responsibility of the registrant tomake arrangements with and collect fees from any others who will sharethe room.
Holiday Inn ExpressLocated just a few miles from campus,the Holiday Inn Express has roomsavailable at a special rate forconference participants. Just mentionACDA-PA Summer Conference.147 Merts DriveElizabethtown, PA 17022(717) 367-4000
3
7/26/2019 ACDA-PA Polyphony, Spring-Summer 2016
4/8
4
A New Model for Success?By Patricia Guth
ur years ago, I sat at my kitchen table
ndering the next direction I would takemy long musical career. In the 30 years
ce college, I had taught in private and
blic schools, struggled through more
no lessons than I care to count, and
d already spent some 37 years as the
ector of music at various churches in
colic Bucks County, Pennsylvania. I was
ling stale, bored. So it was time for aw project.
husband, also a lifelong professional
usician, was helping me brainstorm.
hat, he asked, have you always
nted to do in your musical career that
u havent yet done? The answer wasmple as the question was one I had
ndered many times. Thats easy, Id. Id like to form and conduct a
mmunity chorus. But there were
eady a huge number of such chorusesthe Greater Philadelphia area and I
dnt view much hope for success.
ver the type to give up easily, I kepts goal in the back of my mind and, as
ese things tend to happen, in the
ddle of the night the idea of forming a
mens chorus came to me. After a little
earch, I discovered there were just one
two options in our area for women
o wish to sing together --- a Sweet
elines group about 30 miles away andeminist chorus in Center City
ladelphia. I wasnt leaning towardsher of those styles; I was hoping to
mply form a womens community
oup open to all, performing a variety of
ostly-secular repertoire.
e thing bothered me, however. I hadne the community chorus thing
fore, but with children. I loved the kids
but I hated the whole non-profit schtick,
things like attending board meetings,
fundraising, and sometimes bowing tothe musical and administrative wishes of
others, even when I knew best.
On the other hand, my husband and I
have been entrepreneurs for some time.
We opened a teaching studio in 1997 and
also market ourselves as musicians in thefreelance realm. We knew how to run a
business so why not make this new choir
a business?
We thought about this option for a while
and even asked for opinions from our
many friends in the choral world. The
general reaction was Youre Crazy! No
one is going to join a community choir
thats not a non-profit organization! Wethought perhaps they were right, but
anxious to get the group started bySeptember (it was June) and willing to try
and fail, we put together a business plan
and forged ahead.
No one was more surprised than us that it
worked! A press release sent to the localnewspaper was, happily, nabbed by a
reporter who wanted to do a featurearticle on the founding of the group, so
we met with him and outlined all the
specifics of membership, INCLUDING the
fact that members would pay a certainfee each month in exchange for never
having to fundraise. We told them theydbe paying for their uniform and music
but theyd never have to sell a minimum
number of tickets for a concert.or any
at all, if they preferred. That made them
happy!
In short, the phone rang and rang. By the
end of the first week, I had spoken to 115
women and nearly 90 showed up at
pre-season gathering I organized --- a
of meet-and-greet that solidified my
inkling that I had stumbled upon a g
idea. At the first rehearsal two weeks
later, 81 women came, checkbooks inhand, eager to get started. Today, we
delighted to have 92 singers. More th70 percent have been with us since t
beginning. Four years later, wevepresented about 40 concerts, donate
$6500 to arts-related charities, enjoy
concert tour of Northern Italy, and ar
readying ourselves for our second toHungary and Austria.
Yes, I choose the music. I choose the
concert venues. I even chose the unif
All by myself. But when I need help w
an event or activity, my happy choris
stand ready to pitch in. Several pairs
helping hands are always available.
Ask any choir member why theyd wa
to pay a monthly fee to belong to a c
and theyll tell you they spend more
venti latte and a cookie at a certain
popular coffeehouse than they do ea
week for choirand they get a whol
more from their evening of singing. A
them if they mind that I make moneythe director and theyll tell you Of co
not. She works hard for it. Those wh
dont want to pay dont join, but wevcertainly foundenough who recogn
that its well worth the cost.
For me, its been a win-win situation.
been able to supplement my income
course, but Ive also realized my dreacreating and directing a community
chorus without having to deal with t
trappings of the non-profit model. A
have 92 new friends.
7/26/2019 ACDA-PA Polyphony, Spring-Summer 2016
5/8
The Dire Need for More Multi-CulturalMusic in the Choral Classroom
By Matthew Erpelding
the slim chance you were unaware of it, this is a presidentialection year in the United States. As is typical, cultural issues,
ke those centered on race, religion, and gender, are at the very
orefront of this years political conversation. What isnt typical
hough is the timbre of this conversation. The rhetoric of this
ears presidential candidates is at times alarmingly uninformed
nd ignorant, even destructive and dangerous. Such vitriolicalogue begs this question: when and where is the most
ffective place to learn how to interact respectfully with people
fferent from ourselves?
o begin, we all must acknowledge that we are only able to
ew the struggles of others through the lens of our ownxperiences. We, with our own uniquely personal cultural
erspectives, may struggle to find true common ground with
eople from different backgrounds. This holds true no matterow strong our desire to understand others may be. However,
here are places where other cultures can not only be studied,
hey can also be experienced and valued; places where respect
nd empathy for people different from us is not only learned,
ut is also requisite for success. These places are classrooms
here students study and sing multicultural choral music------andseems that this kind of learning may be needed more than
ver.
her book Music Education and Multiculturalism,Terese M.
olk states that the diversification of the U.S. population, a new-
ound sensitivity to global intercultural relationships, and annderstanding of the synergy between people and the world
hey occupy are reasons enough to incorporate multiculturalismto the modern classroom (5). Music education is an ideal
means by which to instill these kinds of multiculturalonnections and intercultural competencies. First, music is
early ubiquitous, yet vastly different from culture to culture------
essence, we all have some kind of music that is our music.
econd, multicultural music education is about the relationship
etween different people and their own music. Understandinghe role and function of music in the lives of people vastly
fferent from ourselves helps us to better understand and
mpathize with others. In many ways, the study of multicultural
music opens our ears, eyes, minds, and hearts to not just the
music of other people, but to the people themselves.
egarding multicultural music education, we choral directors
may be in positions of greater power and responsibility thanther music teachers. Consider some of the potential social
utcomes of singing in a choral ensemble, as documented in a
2009 study conducted by Chorus America. Members of ch
all ages within the study were more likely to volunteer and
participate in civic activities such as elections (9). Additionboth choral music educators and parents noted perceived
improvements in their students levels of self-confidence,creativity, and problem solving abilities (14). Even more st
were the ways parents of children in choirs described how
young choristers work as part of a community. For examp
87% of parents with children in choirs believed that their
singing children were helpful around the house, compare
64% of those parents whose children did not sing in choirOf parents with kids in choir, 84% stated that their children
contributed significantly to group activities, compared wit
of parents with non-singing kids (16). A full 77% of parent
surveyed asserted that choir helped their child become m
social; and 60% claimed that joining a choir helped their
children better to understand the emotions of others and
simultaneously better manage their own, with only 8% in
disagreement (17).
And so, the choral classroom appears to be an ideal place
students to not only learn about multicultural music, but t
embrace social skills and intercultural competencies that adesperately needed in todays society. Imagine an enviro
that exposes our students to the music and lives of other
peoples, while simultaneously fostering their minds and hto be better citizens. Consider a community enriched wit
experiences which sensitizes its members to the joys andhardships of people different from themselves, in a setting
where improved self-confidence and empathy are measur
outcomes. Picture a place where people are taught to va
and respect the artistic creations of others, and at the sam
are taught to help others and create their own collective a
This is why multicultural music is so important in ourclassrooms. There may be no better way to teach a studen
to value other people and cultures than to rehearse a
multicultural work to perfection, the same as we would an
our music. That demonstration of cultural respect, sensi
and empathy is quite possibly one of the greatest gifts we
impart on our students for the future of our world.
Now, if only some of this years presidential candidates wojoin a choir
WORKS CITED
Volk, Terese M. Music, Education, and Multiculturalism. NewOxford University Press, 1998.
Chorus America. The Chorus Impact Study: How Children, Ad
and Communities Benefit from Choruses. Washington, D.C.:
Chorus America, 2009.
Matthew Erpelding serves ACDA-PA as Multi-Cultural and Ethnic Music
Repertoire and Resources Chair. He is Director of Choral Activities and
Assistant Professor of Music at Lebanon Valley College.
5
7/26/2019 ACDA-PA Polyphony, Spring-Summer 2016
6/8
6
Using Jazz to MakeInterdisciplinary Connections
By Lindsey Bruno
ery year, educators are professionally charged with new initiatives to incorporate into daily lessons making it
rder to allow time for creativity in the classroom. These initiatives (common core, flipped classrooms, bringur own device and SLOs to name a few) make it increasingly more important for music educators to justify
e necessity of the music curriculum within their building. One reoccurring initiative that we as music
ucators can embrace is Interdisciplinary Learning.
eating an interdisciplinary unit or lesson can easily be applied to music because our art is so often derived
m culture and history. Jazz, in particular, is a direct reflection of Americas twentieth century history.
aching vocal jazz concurrently with American history can aid students in learning about the evolution of our
untry in the last one hundred years by observing the reflective effect Jazz has on art and culture and vice-
rsa
e Jazz Age (the period of time from the end of World War One to the beginning of the Great Depression)
s the birth of the popularization of jazz and holds a plethora of musical treasures. During the Roaring Twenties, America wa
up-swing. Politically and economically, our country was improving and expanding. The Great Gatsby (1925) by F. Scottzgerald brings to life the decadent life of Jay Gatsby. We can help our students connect parallels between Gatsbys life and ja
usic of the 1920s through several popular tunes from this era.
25 Sweet George Brown arr. Greg Jasperse --- Alfred Music Publishing
26 Someone to Watch Over Me George and Ira Gershwin/arr. Althouse --- Alfred Music Publishing
27 Blue Skies Irving Berlin/arr. Steve Zegree --- Hal Leonard Corporation
28 Basin Street Blues arr. Tom Anderson --- Hal Leonard Corporation
28 Mack the Knife arr. Russell Robinson --- Alfred Publishing Co., Inc.
29 Aint Misbehavin Fats Waller/arr. Mark Hayes --- Shawnee Press
e Great Depression followed the Roaring Twenties and era of Prohibition. Swing became the prominent style of jazz during t
me. Big Bands rose to popularity and helped lift the morale of young Americans throughout World War II. Students may recog
mes of big band leaders like Benny Goodman, Cab Calloway, Duke Ellington and Glen Miller. Students spend a fair amount of
rning about the Great Depression and the events that led up to World War II. Of Mice and Men (1937) by John Steinbeck,
other novel popular among English teachers, paints a portrait of American life during the Great Depression. Tunes from this t
riod are a great way to team up with your schools jazz band to create a combined project.
32 It Dont Mean a Thing Duke Ellington/arr. Roger Emerson --- Hal Leonard Corporation
33 Its Only a Paper Moon Harold Arlen/ arr. Kirby Shaw --- Hal Leonard Corporation
35 Summertime George Gershwin/arr. Mark Hayes --- Alfred Music Publishing
39 Over the Rainbow E.Y. Harburg and Harold Arlen/arr. Andy Beck --- Alfred Music Publishing
41 Boogie Woogie Bugle Boy arr. Alan Glasswock --- Lush Life Music (Vocal and Jazz Band parts)
ite a History teacher into your class to discuss the Roaring Twenties and Great Depression. Invite an English teacher to talk ab
y Gatsby and the music that was the soundtrack to his life. Collaborate with your band director on a big band piece. Reachingyond our American history, invite a Spanish teacher into talk about bossa nova and samba. The possibilities for interdisciplin
laboration through jazz music are endless!
dsey Bruno serves as Vocal Jazz Repertoire & Reading Chair for ACDA-PA. She is on the staff at Pennsbury High School.
7/26/2019 ACDA-PA Polyphony, Spring-Summer 2016
7/8
By Maura Underwood
oces Solis is committed to educating,spiring, and challenging its members and
udience through exceptional performances
f the highest quality choral chamber music.
ased out of the South Hills of Pittsburgh,
oces Solis brings music teachers,
rofessional musicians, choristers and
ommunity performers together to learn
nd perform a vast array of high-level choral
epertoire.
nd perform, they do! In this past year alone,
oces Solis hosted four of their own
oncerts, collaborated with the Chamberrchestra of Pittsburgh and performed with
he Chieftans and Pittsburgh Symphony
rchestra.
s one of the founding members of the
rganization, it has been my pleasure to see
his group evolve over the last five years. In
ct, I had no idea that the group would
ecome so successful, but with the talented
usicians of Pittsburgh, it doesnt surprise
e.
How do you start a choir? you might ask.Well, according to my experience, you invite
our best friends over for a movie night,
ake up the next morning to French toast,
show YouTube clips of your favorite choirsongs you wish you could sing again, and
start a choir. Yes, thats how it happened. We
were sitting around my kitchen table,
reminiscing about our favorite choral
experiences, and then it struck us that we
knew enough professional singers and
educators in our circles to jumpstart what
would be then be known as the Summer
Singers.
We rehearsed and performed in the
summers of 2011 and 2012, and by 2013,
there were enough members yearning tosing year-round that the group would
evolve; from then on, we were known as
Voces Solis.
Ryan Keeling joined the group in 2014, first
as a singer, then conductor, and now as
conductor and Artistic Director. Ryans
contributions have been numerous, through
repertoire and connection to community
performance groups, most recently, the
Chamber Orchestra of Pittsburgh. I chatted
with him about his thoughts on the group.
Q: As Artistic Director of Voces Solis, what
would you say are the strengths of the
organization?
A: Our first and biggest strength lies inexcellent singers in the organization. A
group of strong musicians, with great v
who are stylistically flexible, makes for
really exciting choir. Furthermore, they
happen to be really good people who
incredibly fun to be around which real
helps!
The second biggest strength is our eng
and active board of directors. Having a
group of leaders backing your group w
are willing to shoulder a lot of the
organizational responsibility is incredibimportant, and really a prerequisite to
sustained growth.
Q: What are the challenges of being th
Artistic Director of a fairly new choir?
A: The challenges of being the Artistic
Director of a fairly new choir are in a lo
ways the same as any organization.
Retaining top talent, programming ins
challenging concert experiences, and
bringing in enough funding to grow th
organization. I think maybe the biggeschallenge facing a new choir though, i
of funding and audience building. Perh
unfortunately, this means a heavy relia
on your members to bring an audience
your concerts, which will hopefully ins
them to return, bring others, and supp
the organization through donations as
Q: Whats new in the future of Voces So
A: What I'm most excited for in the futu
Voces Solis is in our programming. Goi
forward we are hoping to center eachconcert around a semi-extended or ma
work which allows us to explore some
thrilling repertoire that isn't typically h
in the standard chamber choir concert
Voces Solis has quite a line-up prepare
2016, including concerts in April, July,
August and October. You can find deta
information, as well as live recordings
www.vocessolis.org.
7
7/26/2019 ACDA-PA Polyphony, Spring-Summer 2016
8/88
ACDA-PAPolyphonyShaun Cloonan, Editor
North Hills High School
53 Rochester Road
Pittsburgh, PA 15229
Dear Pennsylvania Choral Director Friends,
I am happy to announce a second year of the KeepSinging Project! One common goal among chorusteachers is to inspire their students to be life-long
singers. We all work hard to keep students singing as
they transition from middle school to high school, and
now there is an easy way for you to help bridge the gap
from high school to college so they KEEP SINGING into
adulthood! Last year Pennsylvania had the second
highest response rate in the country! Thank you for
helping make that happen; let's build on last year's momentum!
The Keep Singing Project mission is simple: to help graduating chorus seniors keep singing when they go to college. We acco
this in two steps: 1) Invite high school chorus seniors to participate by completing an online form; and 2) provide their shared
information to the choir director(s) at their chosen college, university, or community choir who can then reach out to them absinging at the next level. Taking part in a choir is so often initiated by a simple invitation to join!
This project began in 2014 as an initiative of the Michigan School Vocal Music Association (MSVMA). Students from all over th
expressed their desire to Keep Singing in college, and collegiate choral faculty enthusiastically welcomed the chance to reachinterested freshmen they might otherwise not have known. As we build on the success of year one, we are inviting other state
join Michigan in 2015 to help young people continue to sing into adulthood.
You are busy, so we made this easy. This is all you have to do help your students to KEEP SINGING:
Plan A (for HS Choral Directors):
1. Go to this website on the computer in your classroom or office: http://www.keepsinging.info/?page_id=26
2. Have seniors go over one at a time to enter their info.
Plan B (for anyone):
1. Share this link on Facebook/ Twitter: http://www.keepsinging.info
2. Forward this email to the HS Chorus Seniors you know, and ask them to follow the link and enter their info.
3. Be sure to include a note from you about how much you would love for them to continue singing after high school.
Deadline June 1, 2016
What happens next?
The senior's contact info will be sent to the choral director(s) at the college or university they plan to attend. The choral directthen be able to inform them about the choral programs at their schools and invite them to participate.
Spread the word: Let's Keep EVERYONE Singing!
Thank you for your support of this project and for all you do every day to inspire your students to be life-long singers!
Ryan Beeken
Director of Choral Studies, Indiana University of Pennsylvania