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Cover: Chanticleer, featured perlorminggroup for the 1988 North Central Divi-sion Convention

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CONTENTS

Volume 5, Number 1

November 1987

Full Speed Ahead For Minneapolis-Paul Rusterholz

Eric Ericson Headlines

Jr. High Honors Choir to Premiere Hamberg Work

Chanticleer: Featured Convention Ensemble

Norman Luboff: An Appreciation-Thea S. Engelsen

Minneapolis '88: At the Heart of American Culture

A Conversation with John Jacobson-Linell Gray Moss

President's Letter-Tom JanssenTake Flight: Convention Fares

1988 North Central Division Convention Schedule

Convention Housing

Map of Minneapolis

For Your Information

State NewsFrom trie Editor-Sandra ChapmanThe Alexander Technique-1] -Andrew Smith

Convention Extra

North Central Convention Pre-Registration Form

The American Choral Directors Association reserves the right to editany material submitted for publication.

Melisma is a publicationof the North Central Division of

the American Choral Directors Association.It is published 2-3 times yearly.

NORTH CENTRALDIVISION OFFICERS

Division I] resident:T. L. Oom) Janssen509 SW Franklin Dr.Ankeny, IA 50021(515) 964-4851

Division President-Elect:Stephen Porker219 Polley Dr.Spcarfish, SI) 57713(605) 642-7161

Me]isma Editor:Sandra L. Chapman1209 Aye. C.Ft. Madison, IA 52627(319) 372-1778

Melisma Advertising Editor:Judith K. Mathers1011 VAshington Dr.Milhank, SD 57252(605) 432roi7

STATE PRESIDENTSIowaGary FiscusI.ewis Central High SchoolHighway 275Council BIuffs, IA 515010 -712-366-2S31H - 712-322-7966

NInnesotaRol]ert PeteTsonEdina Senior High School6754 Vauey View DriveELna, MN 554350-612-944-2110 Ext. 218H - 612-545-8357

NebraskaDonald I,. ReinerBe]]evue West High Schoo)1501 Thurston AvenueBel]evue, NE 680050 -402-293-1650H -402-291-5105

North IfakotaJames F. RoddeUniversity of North mkotaMusic DepartmentGrand Forks, ND 582020 -701-777-2818H - 701-775-9650

WisconsinPaul AlmjeldLakeland CollegeBox 359Sheboygan, WI S30810-414-565-1506H-414-565-3007

South DakotaJim Feisz]iSouth Dakota School of Mines501 East St. Joseph StreetRapid City, SD 577010-605-394-2433H -605-342-7528

JL

FULL SPEED AHEAD FOR MINNEAPOLIS:NORTH CENTRAL CONVENTION FEBRUARY 25-27Erie Ericson Headlines

Erie Ericson will be featured headlinerfor the 1988 North Central Division conven-tion in Minneapolis, Frebruary 24-27, 1988.Ericson will conduct the ACDA CollegiateFestival Choir in the final concert of the con-vention in Orchestra Hall. Participatingchoirs include The Gustavus Choir, the SaintCloud State University Concert Choir, andthe Nebraska Wesleyan University Choir.There will be open rehearsals of the FestivalChoir during the convention for those whowish to observe Ericson "in action." Ericsonwill also conduct a post-convention concert•by The Dale Warland Singers on Saturdayevening, February 27, at Central LutheranChurch.

On Thursday evening, conventioneers willhear "Chanticleer." Billed as America's fore-most male vocal ensemble, this group has ap-peared twice on American Public Radio's"St. Paul Sunday Morning." Their repertoire

ranges from early music of the 15th and 16thcenturies to the very latest of the pop andavant-garde.

On Friday evening, Central LutheranChurch will resound with the joyful singingof five choirs led by Karle Erickson, con-ductor, and John Ferguson, organist. Enti-tled "Alleluia: A Celebration in Song," theevening will explore the role of choral musicin worship leadership. Participating choirsinclude Angelica Cantante, Steven Cramer,director; The Lakeshore Chorale, Paul Alm-jeld, director; The Manitou Singers, SigridJohnson, director; St. John's University Men'sChorus, Axel Theimer, drector; and theWestwood Lutheran Church Choir, Ron Nel-son, director.

The Junior High Honors Choir will beconducted by Sally Herman. In 1986, shedid an outstanding job with the Junior HighHonors Choir in Lincoln, Nebraska, and sheis widely respectd as an expert in this area.The Honors choir will have open rehearsalsduring the convention. Their culminatingconcert on Saturday afternoon in OrchestraHall will feature the world premiere ofan ACDA-commissioned work by PatriciaHamberg.

Also featured during the convention areNorman Luboff, conductor of the NormanLuboff Choir; John Jacobsen, professional

entertainer and choreographer for DisneyProductions; Joel Revzen, Sister I.ornaZemke, Layton James, Kenneth Phillips,Larry and Leslie Mitchell, Norma Ander-son, Michael Nuss, and Axel Theimer.

Performing choirs include ensembles fromBrainerd High School, Dordt College, theUniversity of Manitoba, Wartburg College,University of Wisconsin-Eau Claire, Carle-ton College, Plymouth Church Choir fromDes Moines, Pueri Cantores from Lincoln,Leffler Junior High School from Lincoln,Jefferson High School from Cedar Rapids,The Lakeshore Chorale from Elkhart Lake,Wisconsin, and Cantate di Camera fromMinneapolis.

Central Lutheran Church will serve asthe main performance site, with additionaluse of Westminster Presbyterian Churchand Orchestra Hall.

Plan now to attend the 1988 North Cen-tral ACDA convention, February 24-27 inMinneapolis. For further information, con-tact convention chair Diana J. Leland, 7145Knox Avenue South, Minneapolis, MN55423; phone: 612-861-5071.

Jr. High Honors Choirto Premiere Hamberg Work

ACDA and the North Central Junior HighChoral Repertoire and Standards Committee willpresent a 200 voice Honors Choir concert at theDivisional Convention in Minneapolis, MN, onSaturday, February 27. 1988.

The Honors Choir will consist of students ingrades 7, 8. 9 who are active in public and privateschool music programs, or church youth choirs.They will rehearse intensively for 2]/2 days underthe leadership of Sally Herman, a dynamic JuniorHigh teacher/conductor/clinician, from Barn-hart, Mo., and sing a 30 minute concert for theconvention at Orchestra Hall. The concert will fea-ture the premiere of a North Central ACDA com-missioned work by Patricia Hurlbutt Hamberg ofMinneapolis.

Auditions for the Honors Choir will consist ofACDA members submitting tapes to their staterepresentatives no later than November 16, 1987.Approximately 35 voices from each state in theDivision will be chosen and notified in early De-cember. The following items are required for thesubmitting of an audition tape:

I. The director submitting the tape must be amember of ACDA.

2. The auditioning song must be recorded ona cassette tape.

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3. Only one student must be recorded on eachtape.

4. The student must say his/her name, grade,and title of song at the beginning of the tape.

5. The selection must be no longer than 4minutes.

6. On the outside of the tape must appear thestudent's name, grade, voice part, school, city andstate.

7. An audition form containing the above in-formation plus that of the director must accom-pany each tape.

8. Absolutely no pop, gospel, rock, or countrysongs will be considered.

Honors Choir singers will be responsible forall their expenses: meals, housing and transporta-tion. A fee of $30.00 must be paid upon notice ofacceptance to Katherine Doepke, Honors ChoirChair. This fee will cover the packet of music, T-shirt, and a social event at the convention. Allstudents must stay at the rehearsal hotel, HolidayInn, Minneapolis. Chaperones are being soughtamong parents and teachers and will be paid onehight's lodging for their assistance. For more in-formation contact the chairperson of your statewho has the audition forms.

It is the sincere wish of the North Central Jr.High R & S Committee that you, as a director,take every advantage of this opportunity to treatyour outstanding young singers, and yourself, toa musical experience that will long be remem-bered as a highlight in their young lives.Katherine G. DoepkeHonors Choir Chair2212 Mary Hills DriveMinneapolis, MN 55422(612-588-2212)

e4edkke.,9ededeoane~e~As America's premiere vocal ensemble,

Chanticleer has performed hundreds of con-certs nationwide to diverse and enthusiasticaudiences. And Chanticleer's 1987 interna-tional touring schedule includes per for-mances at the prestigious Salzburg Festival.Unique among professional American en-sembles: 8-12 males voices form an extraor-dinary "orchestra of voices" from sopranoto bass. They perform a daring "do-it-all"repertoire from new interpretations of earlymusic to contemporary classic, folk, ``pops,"spirituals, and gospel and a growing numberof new music commissions and custom sig-nature arrangements.

Founded in 1978 by Louis Bott, Chanti-cleer gave its first performance in that yearof a program drawn from the rich, male-voice tradition of the 15th and 16th centu-ries. Performances in the first few years wereconcentrated on the West Coast with manyappeara€nces in the Sam Francisco Bay Area.Especially popular were the five annual per-formances of "A Renaissance Christmas" -a highly successful and acclaimed concert inSam Francisco and U.C. Berkeley-and twofeatured concerts of early music in "Mass -A Festival with Robert Shaw."

In their first international appearanceCONTINUED on page 4 .....

CHANTICLEER continued .....

Chanticleer was singled out for outstandingperformance at the 18th International Fort-night Music Festival in Bruges. Shortly there-after they began touring under professionalmanagement, and in five years have per-formed over 700 concerts in the UnitedStates, Canada and Europe. Four albums-"Chanticleer on Tour," "Psallite," "Chan-

ticleer in Concert" and "Grand Motets So-lennels" -have been released. "Grand Mo-tets Solennels" featured music of HeinrichIsaac and was the product of a joint-collaboration with Rene Clemencic and theClemencic Consort in Vienna during 1983.

In July of 1984 Chanticleer was the onlyAmerican ensemble invited to perform forthe International Josquin Symposium spon-sored by WDR (Radio Cologne) and theUniversity of Utrecht. During the 1984-85season the group made their highly laudedNew York debut at Alice Tully Hall.

Returning to Sam Francisco from NewYo.rk, they headed west on a busy schedulewhich included three weeks in Alaska and in-augurated a home concert season.

During the fall of 1985 Chanticleer per-formed with outstanding success through-out Germany and recorded their gospel andspiritual music for WDR.

Chanticleer was awarded the largest choralgrant for the 1986-87 season by both the Na-tional Endowment for the Arts, and theCalifornia Arts Council. They have alsoreceived a Consortium Commissioning grantfrom the Endowment for the creation offour new American choral works, from com-posers Morton Gould, Allen Shearer, Rus-sell Woolen and Cary John Franklin. Othermembers of the Consortium are the GreggSmith Singers, Plymouth Music Series andOratorio Society of Washington.

Future plans . . . summer festivals inAmerica and Europe and multiple recordingprojects . . . Prairie Home Companion hasinvited Chanticleer to highlight their 1987Thanksgiving program. While in the ThrinCities the ensemble will also tape "A Chan-ticleer Christmas" for broadcast on St. PaulSunday Morning . . . The L.J. and Mary C.Skaggs Foundation has invited Chanticleer'sparticipation in a 1987 Institutional Stabili-zation Program. This is a Sloo,000 grant fordevelopment of a long-term Chanticleer in-vestment program.

Chanticleers achievements have earned ita place on the touring rosters of the Califor-nia Arts Council, Western States Arts Foun-dation and the Southern Arts Federation.

Chanticleer records for Harmonia MundiUSA and for Aspen Records.

Who Could resist?I?AN EVENING 0F

DIVINE DECADENCENCACI)A-MINNEAPOLIS

FEBRUARY 25th

NORMAN LUB0FF=AN APPRECIATION

(Note: Norman Luboff was to have appeared inMinneapolis in February. In view of his untimelydeath this fall, his widow will be present as NorthCentral ACDA honors his memory.)

by Thca Sikora Engelson

Norman Luboff's forty-five-year careerin choral music took many different tracks:singer, teacher, composer, arranger, record-ing artist, conductor, publisher and clini-cian. In all of these roles, one characteristicholds true: Luboff continued to be an avidstudent, as well as scholar, of his art.

A native of Chicago, Luboff received hisformal education at the University of Chi-cago and Central College, doing graduatework with composer Leo Sowerby. It wasduring this time that he began to work as ateacher (theory at Central College) and asa singer and arranger for popular radioshows. Following a World War 11 tour ofduty with the Signal Corps and radio workin New York, Luboff moved to Hollywoodto become choral director of "The RailroadHour." Starring Gordon MCRae, this weeklyradio program featured music from opera,operetta and musical comedy. These Holly-wood years were some of Luboff's most pro-ductive years. He arranged and composedmusic for television and more than 80 mo-tion pictures and recorded with many popu-1ar artists, including Bing Crosby, Frank Si-natra, Jo Stafford, Doris Day, FrankieI,aine, Ezio Pinza and Katharine Hepburn.It was also during this time that the NormanLuboff Choir established itself as one of theleading choral groups in this country andabroad.

Beginning as a recording ensemble, thisgroup has recorded over 75 LPs featuring awide range of music. The popularity ofthese recordings led to touring -1988 cele-brates the 25th consecutive year "on theroad" for the Norman Luboff Choir. Thrill-ing literally millions with their sound, thechoir is known for its versatility and excel-lence in performance, singing pieces thatrange from Schtity to spirituals to "pop"Songs.

Particular favorites of his audiences havebeen his arrangements. With over 150 com-positions and arrangements in print, Lu-boff's publications are known and per-formed all over the world by choirs thatrange from high school to professional, com-munity to church. His arrangements of"Still, Still, Still," "All My Thials," "Dixie,"

and "Deep River" have become standards ofchoral repertoire. One of his singers noted

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that his arrangements are "masterly in theireconomy of scoring. making the perfor-mance of his publications easily approach-able by amateur choirs, whilst the sophistica-tion `Of others with rich orchestral back-ground has offered a challenge to the mostgifted of professional musicians." In all ofthese publications, he achieved a personalstyle -a distinctive and recognizable Luboffsound-that is loved by singers and audi-ences all over the world.

With his extensive background in arrang-ing and composing, Luboff entered the pub-lishing business in the late 1950s. Since thattime, Walton Music Corporation has devel-oped an extensive and diverse catalog rang-ing from classical works to pop arrange-ments. Under Luboff's direction, the househas given several young composers theirstart and often publishes pieces for theirquality and musical value rather than theirsales potential. It is also largely through Wal-ton Music that the music of Canada andScandinavia has been made readily availableto choral musicians in this country.

Luboff 's reciprocated love affair withScandinavia and its music is said to havebegun at a Swedish choral concert in Chi-cago, where he heard the lovely "Aftonen"by Hugo Alfv6n. Now, more than twentyyears later, Luboff came to be considered byScandinavians and Americans alike as a sortof "cultural pioneer," as one Danish musi-cian put it. Anders 6hrwall, well-knownSwedish composer and conductor, statesthat Luboff was ``a sort of trans-Atlanticmusical/cultural conduit." Luboff not onlymade Scandinavian music readily availablein the United States, but he was also in-strumental in helping the choirs of Scan-dinavia tour in the U.S., as well as make re-cordings of their work available here. In ad-dition to these recordings, he made his ownrecordings, including two with The DaleWarland Singers featuring Swedish choralmusic. As a guest conductor, he conductedand toured with the Danish Radio Choir,the Swedish Radio Choir and ChamberChoir, and the Orphei Dranger, the malechorus of the University of Uppsala. As astudent of Scandinavian music, Luboff hada thorough knowledge and a deep sense ofunderstanding of the choral music of thisregion. Dan Fog, Danish music publisherand antiquarian, states: "To an exceptionaldegree, (Luboff) managed to absorb and un-derstand the peculiarities of the Scandina-vian peoples and their vernaculars." It isbecause of his mission to make Scandi-navian music known that the Hugo Alf-ven Society of Sweden awarded him theirGold Medal in 1985. He was the first non-Scandinavian to be so honored.

Norman Luboff was a familiar figureamong choral musicians. A great many ofus encountered him in a variety of musicalcircumstances ranging from clinics to con-ventions. But the one thing that was evidentin these contacts was Luboff 's ability to givechoral musicians something new in reper-toire, interpretation, and musicianship.Thus we honor Norman at the North Cen-tral Division convention.

M!NNEAPC]L!S '88

AI the Heart ofAmerican Culture

Minneapolis is a city that was made for lovers.Lovers of the theater, lovers of music, lovers

of dance - lovers of all the arts. With over 90 rep-ertory and dinner theaters, 136 art galleries, 21music companies, 15 museums and 9 dance com-panies, the Minneapolis area is a cultural paradisefor anyone who loves the theater, music, dance -all of the arts.

Thanks to incredible foresight, business lead-ers realized the importance of arts to the peopleof Minneapolis and formed the first ``five percentclub" in the country. This club was established toencourage companies to donate five percent oftheir pre-tax profits every year to charities and thearts.

The spirit of corporate philanthropy has madeMinneapolis a cultural center of America duringthe past 20 years; a fact that lures visitors to Min-neapolis' lakes and parks year after year. Typi-cally, in an average week, visitors can choose be-tween 30 different theater productions, 40 musi-cals and recitals, and over 90 different art showsin and around the Minneapolis area.

And no trip would be complete without takingin a play at any one of several nationally and in-ternationally famous theaters in Minneapolis.There's the world renowned Tyrone Guthrie Thea-ter, followed by the equally famous Children'sTheater Company, the largest professional chil-dren's theater in the country. Other theaters withnational recognition include the Cricket Theatre,Theatre in the Round, and the Theatre De LaJeune Lune.

For connoisseurs of great music, there is al-ways fine entertainment provided by The Minne-sota Orchestra's renditions of classical fare. Theseperformances can be enjoyed in the acoustically-perfect Orchestra Hall designed for complete lis-tening pleasure.

Culture enthusiasts whose preferences aremore visually oriented will delight in touring theMinneapolis Institute of Arts and the Walker ArtCenter, both centrally located near the loop areaof downtown Minneapolis. The Institute has over75,000 pieces of artwork, including works fromthe masters like Van Gogh and Rembrandt, whilethe Walker will appeal to those with a more con-temporary flair.

Other popular spots with visitors are Minne-apolis' fine museums which appeal to everyone.Some of the more notable galleries include theAmerican Swedish Institute, the Bell Museum ofNatural History, the Hennepin County HistoricalSociety and the Children's Museum.

Growing in popularity with area residents isdance, the fastest growing cultural art. Creatingthat acclaim is the wide array of visiting profes-sionals and performing troops which make fre-quent stops in Minneapolis. These include every-thing from the annual visit of the MetropolitanOpera to performances by Pavorotti and othertop entertainers and musicians.

For your complete culture center, nothing canbeat Minneapolis.

A CONVERSATION WITH JOHN JAC0BSONby Linell Gray Moss

John Jacobson has directed, choreo-graphed, and performed in hundreds ofstaged productions through the nation andthe world. He has worked with the Fred War-ing Choral Workships, The Show ChoirCamps of America, Walt Disney Produc-tions, and he conducts seminars for studentsand music educators. He will present two ses-sions at the ACDA North Central Conven-tion on February 25 and 26.

ON THE NORTII CENTRALCONVENTION

LGM: The first session you'll be doingis entitled Gotta Sing; Gotta Dance. Whatis the hierarchy between movement andsinging?

JJ: Well, you always get into troublewhen you start talking about this! I believethe music is the most important, the mostfundamental. If you have bad singing, youcan't cover it up with all the choreographyin the world. However, let's say you've got apiece of music that works: it's emotional,it's musical, it moves people. Then anythingyou add to it -choreography, lighting, cos-tumes, programming -just amplifies some-thing that already works. You start from thecore, which is good, solid music. Then youask what will enhance it, make it more effec-tive and dynamic.

LGM: In what ways can movement im-prove singing?

JJ: There are times when the kids willsing better if they're moving. Singing is aphysical activity from the bottom of yourtoes to the top of your head, and demon-strating that will have them singing better. Astudent asked me, "Where do you draw theline? What would you Nor choreograph?"Well, I wouldn't choreograph the "Hallelu-jah" chorus -but I might in a rehearsal situ-ation ! Everyone has students that sing "Hal-le-lu+AH!" I would think of a move to helpthem realize that the "JAH" is not where theaccent is. They might raise their right handon the "Ha" and drop it down on the "jah."Then they realize physically where the ac-cent is. and they would remember it onstage.

I.GM: Can movement impede vocaltechnique?

JJ: You have to keep in mind the vocalpriority. Think how you would enhance thesinging without getting in the way. However,a number that leaves your singers gaspingfor air just might leave your audience breath-

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less as well.LGM: Your second session is entitled

Thansference from Show Choir to Tradi-tional Choir: Really?

JJ: There are some pretty easy ways thatyou can transfer what you've learned in theart of entertainment to your traditionalchoir. We've done a video for Hal Leonardentitled "Staging for the Traditional Choir."There are some simple things you can do vi-sually to enhance what you're doing vocally.

I,GM: How can a music teacher prepareto add show/pop to their program?

JJ: I've done 27 workshops this summer.There's really no excuse for a music teachernot going to a camp, festival, or convention.And I'm working with publishers, trying tocome up with a notation for choreography,a glossary. Combining this with video, we'vegot great new teaching tools. For example,we'll do a half-hour musical review. 1'11 putin all the choreographic notes. We'll find agroup, teach it to them, and videotape it.Then people can purchase the score and thevideotape. Hal Leonard has done the mostin this area, but other companies are start-ing to get on the bandwagon.

LGM: How do you respond to those whobelieve that pop/show music has no place ina music program?

JJ: There are so many show choirs in thenation, and the kids are fired up about it.It's not going away! If you're going to existin this profession, then grow with us. Everystudent ought to have the opportunity tosing and dance. If not, we're not promotingthe things we say should happen in musiceducation: taking risks in the classroom, giv-ing the kids the opportunity for a manage-able ordeal, trying new things, having theclassroom be a place for passions, bellylaughs, tears, anger. If we keep the studentsin a narrow realm, we've made the class-room into a place where I surely wouldn'twant to be.

My plea is that any good music programought to "Have it all." It ought to have somepop music and show music, but it also oughtto have sacred and historical music, avant-garde, speech chorus . . . all the differentfacets in one program. Any responsible mu-sic education program ought to have some-thing to do with show choirs and pop music.And I see that around the country, musicschools that are serious about music educa-tion are making sure they have pop/showmusic.ON COMPETITIONS

JJ: One of the things I feel sad about inthe show choir movement is the competitivenature.

LGM: Aren't you a part of that as ajudge?

JJ: I quit judging competitions abouttwo years ago. I love watching the kids per-form, and I think that 907o of what happensat competitions is great: they work hardtoward a goal, strive for excellence, meetCONTINUED on page 6 .....

JAC0BSON continued„...

other kids, get good ideas. But in the end,someone wins and someone loses. Even ifthat's 10% of the total, I don't want to giveup 107o. But in the last few years, I've dis-covered alternatives.

I.GM: Would a show choir camp or a fes-tival be an alternative to a competition?

JJ: Exactly. At a camp or festival, theyshare ideas with other groups, strive forexcellence, meet other people, get newideas . . . all the same things that occur in acompetition, but in the end they all go homewinners. Competitions are unproductive.Who needs a trophy? I do festivals with fouror five choirs, we have a concert at the end,and that's the trophy.

We've started a new festival, which willbe held in Washington, D.C., in May 1989.It's called America Sings, and any groupthat wants to raise the money to get therewill have the opportunity to sing on thegrounds of the monuments. We're havingoriginal music written for the event, andvideotapes will be available to groups whowant to learn the choreography for the fi-male. A brochure will be coming out soon.ON MUSIC EDUCATION

I.GM: As an undergraduate at the Univer-sity of Wisconsin, did you plan to becomea music teacher?

JJ: I come from a family of 10 kids. Mymom and dad are both teachers, and nine ofthe ten kids are teachers. Education is big tous-it's all we talk about! So I went intomusic education. What happened, however,was that I was performing a lot. I performedwith the Kids from Wisconsin, I worked atWalt Disney World as a performer in thesummer: I worked my way through collegeas a singer/dancer. I assumed I'd get out ofcollege, perform for a while, and then teach,whi£%#:b£Sj:fa[yyowuh:;v[jshea::p:r:::.young

musicians to study music education?JJ: In any profession, you need to get

your training. If you want to be a song anddance man, then study song and dance. Stu-dents drive me crazy when they think theycan get out of high school and be a per-former-it would be like deciding to be asurgeon and just starting to slice away. A col-lege education is the place to get your train-ing. My experiences have happened largelybecause of my college education.

I.GM: Are you pursuing a graduatedegree?

JJ: Not a music degree. I'm at George-town University, doing a Master's of LiberalStudies. I'm talking all the courses a musicmajor doesn't get to take.people who wanttion. And honestly, I tter choreographer.

I.GM: How so?

t's a program forden their educa-it makes me a bet-

JJ: It rounds out your life experience,makes you more creative, puts a little bal-ance in your life. I don't want to just singand dance, and I don't want to just teachshow choirs. Anybody who wants to be crea-tive needs to have an education of a wide

enough breadth that you don't narrow your-self down, and lose your creativity.

LGM: Why is music important?JJ: The effect of music is felt far beyond

the concert hall. It affects the way studentspresent themselves in an interview, theirhome life, the way they handle their prob-lems. And show choir can teach kids how todress, how to present themselves, how tohandle themselves when things go wrong,how to impress people. Music can be verypowerful. That makes it a great responsibil-ity to be a music teacher. That responsibilitymakes it very exciting.

7JeeArdded 4,J4zee

What a wonderful, vital time for ACDA!Based upon four meetings with leader-

ship in the last four months, I have becomemore aware-than ever-of a new innerstrength throughout ACDA.

This is a new horizon for our orga-nization-new leadership, new energies,new projects, and new excitement about on-going programs.

Please let me cite some highlights fromeach of those meetings:

National Board Meeting,May 30-31, 1987, Lawton

1. Saw the new addition to national head-quarters, open house, celebrations, beauti-ful building.

2. Approved the purchase of a newHewlett-Packard computer system for thenational office.

3 . Approved a pilot project for video tap-ing educational interest sessions.

4. Refined plans for the forthcomingdues referendum.

5. Appropriated seed money for summerchoral institutes.

6. Approved the hiring of an Arts Con-sultant to study the total ACDA organiza-tion and to project refinements.

Convention Chairs Meeting,September 12, 1987-88, Minneapolis1. Heard glowing reports about the

North Central Division Convention, Minne-apolis, February 24-27, 1988-choirs areselected, program is near completion, facili-ties look great, publicity is rolling, registra-tion is well-organized, exhibit space is begin-ming to fill, Junior High Honor Choir andIntercollegiate Festival Choir are well-planned, church night is in place, socialfunctions will be fabulous.

2. Outstanding leadership of Chair Di-ana Leland and Program Chair Paul Brand-vik is noted.

National Board Meeting,September 18-19, 1987, Louisville

I. Toured the 1989 National Conventionsite -fabulous!

2. Heard a fascinating preliminary reportfrom Josepb Wesley Zeigler, arts consultant.

3. Heard an excellent report from Ray-mond Brock, Director of Development for

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ACDA.4. The ACDA Endowment Trust was

signed and put into effect.5. The National budget was carefully

scrutinized and refined.6. Board members invited to Israel as

guests of the Ministry of Tourism.Division Leadership Meeting,

September 25-26, 1987, MinneaspolisI. All new state Presidents and Presidents-

Elect were in attendance. Outstanding lead-ership qualities in evidence.

2. Evaluated Melisma and projectedrefinements.

3. Heard exciting report from Philip Bru-nelle about this summer's Minnesota Mid-summer Music Festival.

4. Heard of the recent death of NorthCentral friend Norman Luboff.

5. Heard an exciting update on the Divi-sion Convention.

6. Heard an hour and a half of Olie andLena jokes!

This is a great time to be connected witha professional organization virtually promis-ing to be a vital part of your choral musiclife. Aren't we glad we share it?

Take Flight=Convention Fares

Northwest will provide the Minneapolisconvention attendees and their families 5percent off from the lowest applicable roundtrip fare available at the time of booking,booked in the appropriate class of service,or a 35 percent discount from the full adultcoach class fare (Y, YN, Y9), booked in 8class, from point of origin within the UnitedStates to Minneapolis and return. Every pas-senger will receive a discount and the great-est discounts will go to those who book early.Travel at the discounted fares will be per-mitted three days prior to the conventionthrough three days following its conclusion.Discounts are valid on all types of faresexcept,

Military, VUSA, or Government Con-tract fares

Fares under Sloo.00 roundtripThese fares will be offered if available

and lower than their convention fare. Ticket-ing time limits for each of the fare levels willapply.

The above discount is intended for in-dividual travel. If ten or more people aretraveling together to the convention, North-west will negotiate group rates. These faresmay vary from the individual discount, andsome restrictions may apply, including a de-posit to hold blocks of seats. Group reserva-tions must be blocked through Northwest'sMeeting Services group desk 1-800-328-1111,ext. 7721.

Make your reservations soon by callingNorthwest Meeting Services weekdays be-tween 8:00 a.in. and 8:cO p.in. Central Time.Please call I-800-328-1111 (in Minnesota callI-800-272-1408).

Please mention ACDA's special code:12739

1988 NORTH CENTRAL DIVISION CONVENTION SCHEI)ULE

(Schedule is subject to change)Wednesday, February 24

R:gisfr?ti:?ra| DivisionI.eadership Meeting

RegistrationExhibits openWelcomeBrainerd High School A CappellaChoir Bralnerd, MNDordt College Concert ChoirSioux Center, IAExhibits openSimultaneous Interest Sessions IA. Kodaly Methods for Elementary

Choirs ISr. I.oma Zemka, Clinician

B§ng§;;n£],¥§§:s§jSbn;;¥f[:I:i;E::g£.

C. Style, Sound, and rfechnique inRomantic MusicErie Ericson, ClinicianThe Gustavus Choir, St. Peter,MN

D.3nudalitzEftfrr;a#rs;hJ:gi,°hEf8cyh

Mcconeghey, ClinicianSimultaneous Interest Sessions 11A. Motivation, Pacing, and Se-

quencing for Junior High Sing-ers -Michael Nuss, Clinician

8. Gotta Sing, Gotta Dance! Sing-

:ni:F,a,n!,::are?:n:g?gpsg:I?:h|3E|c;aTC. Developing Vocal Style in Ba-

roque Choral Music-I.aytonJames, ClinicianCarleton College Chamber Sing-ers, Northfield, MN

:ro%a#¥affr&#§i:e;;i¥o¥_dSimultaneous Interest Sessions IllA. Kodaly Methods for Elementary

Choirs ll -Sr. Lorna Zemke, Clinician

8. Motivation, Pacing, and Se-

gruse=C*njghfa°dJNuui?.rc¥]jfhc]¥n8-C. The Concertato Principle in Ba-

roque Choral Music-I.a}tonJames, ClinicianCarleton College Chamber Sing-ers, North field, MN

D. Panel Discussion Continues:Building and Maintaining a

!=tiityHfgEoS?h::fg#,li:rnaMiller, Moderator

Exhibits openLefler Junior High School

Select Choir Lincoln, NEJefferson High School

Select Men's ChoirCedar Rapids, IAUniversity Singers University of

Manitoba School of Music

Convention HousingPlease make your reservation DIRECTIY

with the hotel of your choice. All reservationsreceived after January 25, 1988, will be honoredONLY if hotel space is still available. Please in-dicate that you are attending the ACDA CON-VENTION to qualify for these rates. Please usethe reservation envelope provided to make yourreservation at the Hyatt Regency.

Headquarters Hotel Sing/Doub Thip 'QuadHyatt Regency Mpls. $69 $79 $891300 Nicollet MallMinneapolis, MN 55403(612) 370-1234

Holiday Inn $65 $72 $821313 Nicollet Aye.Minneapolis, MN 55403(612) 332-0371

Lureford suites $75 $85 $951101 Lasalle Ave.Minneapolis, MN 55403(800) 662-3232

ReceptionsQuality Literature:

Church and Community-JerryHansom, ainician

Chanticleer - Sam Francisco,Califomia

An Evening of Divine Decadence

RegistrationExhibits openSimultaneous Interest Sessions IVA.:I:nsi:;?a;DK:i]n°£FeHn:£°hr£,Xg:,n8

A Thnsference: From Show Choirto Traditional Choir: Really? -John Jacobson, Clinician

C. Choral Conductors ConductInstrumentalists - Joel Revzen,Clinician

D. Quality Literature: Tteble VoicesJudy Sagen, Clinician

Women's Chorus I (Wocho)University of Wisconsin-Eau

ClaireCantante de Camera -Minneapolis,

MNSt. OIaf Couege Chapel Choir-

Nonhfield, EN

ggga:nfits±t%£e:Tfgscf:fag:t¥:°d#alrsand Newsletter Editors

Simultaneous Interest Sessions VA. Breathing Motion and Breath

Management for Young Sing-ers -Kenneth H. Phillips,Clinician

8. Panel Discussion: The Reality ofthe Choral Art: Survival Pech-

RE8rur:i,fi#dheerfi:tYears-BruceC. Accessible Scandinavian Choral

Music-Dale Warland, ClinicianD. Simple and Creative rfechhiques

and Literature for ChurchMusicians -John Ferguson,Clinician

Simu]tancous Interest Sessions VIA. Quality Literature: Men's

Voices-James Rodde, Clinician8. Panel Discussion Continues: The

Reality of the Choral Art: Sur-

#s¥8hrunfufrsoi°;:,thL:oEt:torC. Vocal Techniques for a

lo-Minute Voice lesson-AxelTheimer, Clinician

D. Successful Festival Music forMassed ChoirsDale Warland, Weston Noble,

Karle Erickson, CliniciansExhibits openPueri Cantores-Lincoln, NEWashington High School

Concert ChoirCedar Rapids, IAWartburg Choir-Waverly, IAcoEdnpcctf:fcs¥n¥¥Tipni=£Technique

ACDA Student ReceptionAlleluia: A Celebration in Song

-±j

Karle Erickson & John Ferguson,CoordinatorsAngelica Cantanti (MN)The I.akeshore Chorale (WI)The Mantiou Singers of St. 0lafCollege (MN)St. John's University Men'sChorus (MN)Westwood Lutheran ChurchChoir (MN)

North Central Ihivision Party

RegistrationExhibits openSimultaneous Interest Sessions VnA. Building A Good Sound in a

Small Church Choir-NormaAnderson, Clinician

8. Quality Literature: Children'sVoices - Holly Berquist, Clinieian

c.g;:t#,tffeg:cthu;::i£%'£feci:5-man, Clihician

D. Panel Discussion: Sacred Musicin Secular Schools-DonaldPeterson, Moderator

Simultaneous Interest Sessions VIIIA. Vocally Appropriate Musicals

for Junior and Senior HighSchools-I.arry Mitchell andLeslie Mitchell, Clinicians

8. Maintaining Vocal IntegrityWithin the Jazz/Pop Idiom-

ie:gREP|i=od:I:g:T%nsingers,St. Paul, EN

C. Simple and Creative Techniquesand Literature Church Musi-cians -Join Ferguson, Clinician

D. Panel Discussion Continues:Sacred Music in SecularSchools -Donald Peterson,Moderator

Apouo Club Male ChorusPlymouth Chancel ChoirDes Moines. IANorth Central Junior High Honors

Choir -Sally Herman, ConductorPremiere of NC-ACDA Com-

missioned Work by PatriciaIIamber8

Tribute to Norman LuboffNorth Central Collegiate Festival

Choir-Erie Ericson, ConductorThe Gustavus ChoirSt. Cloud State University Con-cert ChoirNebraska Weslq5ran UniversityChoir

Post-convention concertsThe Dale Warland SingersErie Ericson and Dale Warland,

Conductors(***Additional charge for tickets)

The North Central Collegiate Festival Choir and Junior High Hon-ors Choir will present open rehearsals throughout the convention.

For Your Information

1. ALERT Because of another convention, only 50rooms at the Hyatt Regeney and NONE at the Holiday

Inn are available on Wednesday evening, February 24.If you are arriving prior to Thursday, February 25,please make your reservations early. If downtownrooms become unavailable for Wednesday evening,

you may wish to make reservations in a suburban hotelfor Wednesday evening ONIY.

2. There are PLENTY of hotel rooms available in thedowntown area for the evenings of February 25, 26,and 27.

"hfa¥°sEe¥c¥ealflra*gs8*°al%iEg:gpgtsbx°#eh#rs?;r,:::€call I-800-328-1111 for reservations and give the groupnumber #12739 (in MN call I-800-272-1408).

4. Your registration badge will admit you to.both eveningsocial events which are scheduled during the conven-tion. They are:I) An Evening of Divine DecadenceThursday, February 25 (10 p.in.)

and2) North Central Division Party

I:ig:i:rFte:==e?3fr`!2t::E3needsfortheseevents,please indicate on the pre-registration form whetheror not you will be attending these social functions.

Sddeu7)-ateoftyot Sl, 7e-

Final event in the College of Saint Ter-esa's celebration of its 80th year was the pre-miere performance of Libby Larsen's musi-cal setting for the well-known compositionof Saint Francis of Assisi, "The Canticle ofthe Sun.„

Libby Larsen, a Minnesota composer,was commissioned to write the musical set-ting early last year. Her composition, now inproduction, was written for the College ofSaint Teresa Chamber Choir. Dr. Paul Rus-terholz of the College faculty directs theChamber Choir. The College Dance Com-pany, directed by Gretchen Cohenour of theCollege Dance faculty will assist in thisproduction.

The composer, Libby I.arsen, is knownas a vigorous advocate for American music.Her composition, "Symphony Water Mu-sic," received its world premiere under thebaton of Sir Neville Marriner and the Min-nesota Orchestra in 1985. Her choral sym-phony, "Coming Forth Into Day," with Je-ham EI Sadat collaborator and narrator, waspremiered at the Ordway Music Theatre,1986. "The Daytime Moon," with choreogra-pher Min Janaka, and film-maker SandySmolan, can been seen on PBS' Alive FromOff Center. Currently, the young composeris completing a song cycle for Benita Va-lenti, ME (Brenda Ueland), for premiere per-formance in November, 1987. She is alsocomposing "Frankenstein," a full lengthopera for the Minnesota Opera's 1988-89sea-son.

Warland Singers BeginSeason with Argento Tribute

Music Director Dale Warland opened theDale Warland Singers 1987-88 season in a"choral celebration" of Minnesota com-

poser Dominick Argento's 60th birthdaySunday, October 18, at the Basilica of St.Mary, Minneapolis. Entitled "Argento'sAngels," the all-Argento program featuredfive spirituals called Suite for Chorus, andhis opera The Masque of Angels.

The Masque of Angels, featuring thelibretto of John Olon-Scrymgeour, is a cos-tumed, semi-staged operatic comedy forsoloists, chorus, dancers and a small instru-mental ensemble. A rollicking upliftingstory, the opera tells of a group of bunglingangels sent down to earth to aid young lov-ers. Premiered in 1964 at the Guthrie Thea-ter, the work was acclaimed by national crit-ics and helped establish Argento as a majorcomposer.

Also featured on the program was theworld premiere of the Suite for Chorus fromArgento's opera Colonel Jonathan the Saint.A collection of five spirituals, the Suite is

dedicated to Dale Warland by Argento "withadmiration and appreciation."

Argento is the recipient of many composi-tional awards, including a 1975 PulitzerPrize for his song cycle From the Diary ofVirginia Woolf. A Regent's Professor ofMusic at the University of Minnesota, Ar-gento's works are well known to local au-diences, having been performed by the Min-nesota Orchestra, The Saint Paul ChamberOrchestra, the Guthrie Theater and the DaleWarland Singers.

The Dale Warland Singers, founded byDale Warland in 1972, is the only fully pro-fessional choral ensemble in the Midwest.The 40-voice group has toured throughoutthe United States and Europe, and mostrecently received national acclaim for perfor-mances at the 1987 American Choral Direc-tor's Convention and the Colorado MusicFestival.

HUTCHINSON FAMILYSINfiERS TOUR

The Hutchinson Family Singers, a Min-neapolis/St. Paul-based professional vocalquintent that performs in period costumeand authentically portrays the celebratedl9th-century singing Hutchinson finily, pre-sented a series of "living history" perfor-mances in Washington, D.C., and West Vir-ginia September 25-30, 1987.

On September 25 and 30, they appearedat the Pavilion at the Old Post Office inWashington, D.C.

On September 26, the ensemble was spon-sored by The Park and History Associationin a special performance at the FrederickDouglass Home in Washington. The HFSspecializes in adapting its "you are there"presentation to prominent historical figuresand social reform causes of the l9th cen-tury, and since the historical connection be-tween Douglass and the Hutchinsons was es-pecially strong, the script for the ensemble'spresentation at the Douglass Home in-cluded words from `Douglass's own writingsand speeches as well as a performance of"The Fugitive's Song," written by Jesse

Hutchinson and dedicated to Douglass in1845. (John Hutchinson sang it at Doug-lass's funeral in 1895.)

West Virginia State College sponsoredthe HFS September 28. September 29 the en-semble appeared on the Concert Series atWest Liberty State College to commemoratethe college's sesquicentennial.

Members of The Hutchinson Family Sing-ers are George Berglund (JOHN), Wayne Dal-

-8-

ton (ASA), Judy Sjerven (ABBY), Bill Rollie(JUDSON), and Linda Steen (RHODA).All are active professional musicians inMinneapolis-St. Paul. Paul Gerike will ac-company the performers as Stage Manageron this tour. Marsha Smith is Stage Directorfor The Hutchinson Family Singers.

The HFS has given over 60 performancesin 10 states, including "A PRAIRIE HOMECOMPANION" with Garrison Keillor,Green field Village in Dearborn, MI, theWomen's Rights National Historical Parkin Seneca Falls, NY, the Joint Annual Con-ference of the College Music Society andSonneck Society.

The HFS is available for engagement fora wide variety of special performances, edu-cational programs, and residencies. Formore information, contact George Berg-lund, Executive Director, at (612) 871-7359,or Linda Steen, Music Director, at (612)644-5181, or write The Hutchinson FamilySingers, 2119 Pillsbury Avenue South, Min-neapolis, Minnesota 55404-2359.

HAYES TRIBUTE ATUW-EAU CLAIRE

Morris Hayes, longtime choral directorat the University of Wisconsin in Eau Clairewas honored with a "Morris Hayes Week-end" on the UW campus October 24 and 25.A vast number of Hayes' singers from theEau Claire campus, UW-Madison, and Kan-sas State were to meet for reunions, socialevents, and alumni choir concerts, all as asalute to the much-revered director.

Concert Choir Alumni were to performByrd - "Aye Vernum Corpus," Bach - MotetNo. 6, Wagner-"Go Down Moses," andDawson - "Ain'a That Good News"; alumniof the men's choir, the Statesmen, wereslated to perform the Alma Mater, Bruck-ner-"Thosterin Musik," Shaw/Parker-"Mary Had a Baby," Marais -"Marching toPretoria," "Everything's Coming Up Roses,"and the Fight Song. The alums were to com-bine for Beethoven's Choral Fantasia.

A bound album of letters from students,alumni, colleagues, and friends was pre-pared for presentation to Hayes at the ban-quet. The official alumni publication alsourged singers to attend an Afterglow to"kick off the shoes and brush up on favoriteMorrisisms."

At the urging of Hayes' students, alumni,and friends, the UW-Eau Claire Foundationhas established a fund in the name of Mor-ris D. Hayes to honor his career. The fundwill provide scholarship support to studentsparticipating in UW-EC choral ensembles.At Hayes' request, the fund will be availableto music and non-music majors alike.

People in the arts have long wished to beregarded as professionals. The term "profes-sional," however, is difficult to define, par-ticularly with regard to musicians, artists,and the like. Here are a few thoughts onwhat makes a choral director professional:

1. A professional values the professions,but values people more.

2. A professional doesn't try to have theonly game in town; rather, s/he sup-ports the endeavors of others.

3. A professional willingly shares what-ever expertise s/he has gained. By thesame token, s/he is not too pridefulto use the good ideas of others.

4. A professional attacks the problem,not the problem-causer.

5. A professional is inspired by the suc-cesses of peers, not diminished by them.

6. A professional offers criticism in such away as to leave the criticized with his/her dignity intact. Hurt is never will-ingly inflicted.

7. A professional never stops learning, isadaptable, and willing to try new ideas,as well as culling-out the poor ideas.

8. A professional is an eternal optimist.9. A professional is a professional in the

sense that money is traded for expertise,but is an amateur in the purist sense-that of doing the job out of love.

10. A professional acknowledges the powerof the spoken and written word to cureor kill, to elevate or destroy.

11. A professional serves the art, rather thanbeing self-serving.

12. A professional actively likes the works/he is doing.

13. A professional maintains perspective onsituations, and sometimes takes a stepback in order to see rightly.

14. A professional aims higher than mightseem realistic, for realism has little placein art.

15. A professional does not wear a ``SuperPro" badge, nor does s/he need to. Thetrue professional's attitude is badgeenough, and it is seen by those with likevysIVon rfudrr

CONVENTloN EXTRAThe Dale Warland Singers will present a

post-convention concert on Saturday eve-ning, February 27, at 8:00 P.M. An addi-tional ticket is necessary to attend thatconcert.

se THE sTANDARDs-BEARERsArticles from the Repertoire & Standards Chairs

Alexander Technique lnby Andrew Smith

In the first part of this article, I discussedbreathing and relaxation techniques to aid inthe development of the Alexander Technique.

In beginning to develop the AlexanderTechnique, begin by memorizing the basicexercise: "Let the neck be free, to let thehead go forward and up, to let the backlengthen and widen." The technique usesmore lnental power than physical move-ment; the mind guides the muscles in properreaction. Standing, let the head float up andforward to the ceiling; feel the spinal col-umn lengthen and the back, across the ribs,widen. As this is taking place, let the shoul-ders relax, and any tension fall through thearms and out through the fingertips. Takedeep, deliberate breaths, allowing the abdo-men to expand on inhalation and contracton exhilation. Use as an example a balloonbeing filled with air and then allowing theair to escape. The body should be in excel-lent alignment for singing. rib cage up andback straight, shoulders down and relaxed.If your singers accomplis-h nothing morethan this, it will be well worth the effort, asdemonstrated by the sound and appearanceof your choirs.

As we move about in our everyday lives,we frequently use far too much energy thanis necessary to complete a given task. For ex-ample, reach up to the ceihing; pretend topick an apple. Repeat the exercise, applyingthe body-awareness principles. Repeat theexercise several more times, being aware ofthe musculature being used in the upperarm. Then, repeat the exercise again, butthis time just let the fingertips float up tothe ceiling, being aware of how much lessenergy is used, particularly in the upperarm, to complete this movement.

Many of the beginning students in showchoirs, not only can look awkward, but feeluncomfortable as they become involved inchoreography. (Remember the old adage,"If it doesn't feel good, it won't look

good!!") Begin with the above exercises,then start the students defining arcs withtheir arms, letting the fingertips lead andfloat through the air. Use one arm, thenswitch to the other.

When walking, have the students leadwith the tips of their toes, always with thehead floating up and forward, stretchingout the spine. As this becomes habit (and itis so easy to let gravity take its toll and causethe body to slump in upon itself), the stu-dents will not only look better but will beginto feel better, because their erect body per-mits the internal organs room to functionproperly. (It doesn't damage the image thesestudents project, either.) As these exercisesare performed, students must always be

-9-ELJ

Singing & Choregraphy-llaware of what is happening in their bodiesas they perform any movements. They mustpractice relaxing Various muscle systemswhich are unnecessary to complete a move-ment. It is helpful also to use the image oftensions flowing out of the fingertips andtoes to inhibit building of muscular tightness.

As these simple exercises are developedand the students' movements are refined,the visual aspect of the performance will beimproved considerable because of the ap-parent lightness and bouyancy of the move-ment. There are several books about theAlexander Technique, but unfortunatelythey are out-of-print. You might find themin your library:

Barker, Sarah. The Revolutionary Wayto Use Your Body for Total Energy. NewYork: Bantam Books, 1978.

Stranksy, Judith, and Robert 8. Stone.Joy in the Life of Your Body. New York:Beau fort Books, Inc., 1981.

Other articles are available from Center-line Press, 2005 Palo Verde Ave., Suite 325,I.ong Beach CA (213) 421-0220.

YOUR OFFICIALAIRLINE

American Choral Directors AssociationNorth Central Division Convention

Minneapolis . . . February 25-27, 1988

Fly Northwest Airlines to your Conven-tion and youll receive a special discount onair fare-plus the personal service youdeserve.

Northwest professionals will assist youwith all of your travel needs. A special to]l-free number and a reservation code uniqueto your event guarantees fast and efficientservice.

Getting your discount is easy. Simply callthe toll-free number to confirm your reser-vations. Purchase your tickets from North-west or your local travel agency. Northwestguarantees you'll receive the lowest fare avail-able at the time of ticketing.

The best discounts will go to those whobook early. Make your reservations soon bycalling Northwest Meeting Services week-days between 8:00 a.in. and 8:00 p.in. Cen-tral Time: 1-800-328-1111

(in Minnesota call I-800-272-1408;in Canada I -800-328-7747)

Please mention your special code: 12739

I.ook to us.NORTHWEST

N C CONVENTloN PRE-REfilsTRATI0N FORMPRE-REGISTRATION FORM

*Must Be Postmarked by February 1, 1988

CONVENTION REGISTRATION( ) ACDA Member .................. $35.00

($45.00 "At-Door")( ) Spouse of Member ............. $25.00

($30.00 "At-Door")( ) Student Member ................. $25.00

($30.00 "At-door")( ) Retired Member ................... $25.00

($30.00 "At-Door")DUES PAYMENT( ) RENEWAL: Active/Assoc ....... $25.cO( ) NEW: Active/Assoc ............... $25.00( ) Life Member (Installment) ...... $50.00( ) student .............................. Slo.00

( ) Retired ............................... $ 7.50

SPECIAL EVENTSPlease check (J) those social eventsyou are planning to attend:

_ An Evening of Divine Decadence-Feb. 25_ North Central Division Party-Feb. 26

SPECIAL TICKET ORDER -Post-CorIvention concertThe Dale Warland SingersSaturday, February 27-8:00 p.in.

_ ticket(s) @ $13.00 = S__ ticket(s) @ $ 9.50 = S_

Enclosedis:( )Check ( )MoneyorderMake check or money order payable to ACDATOTAL AMOUNT ENCI.OSED: S

*If postmarked after February I, your registration form and check will be held until convention andthe "at-door" fee will be a|)plied. Please present your ACDA MEMBERSHIP CARD at the registrationdesk.

______----------------------------------__-

1988 NORTH CENTRAL DIVISION CONVENTION PRE-REGISTRATION FORM

HOME ADDRESS

CITY/STATE/ZIP

HOMEPHONE( )

INSTITUTION

INSTITUTION ADDRESS

CITY/STATE/ZIP

BUSINESS PHONE ( )

DATE 0F ARRIVAL

NAME OF HorEL

OFFICE USE ONI.YDate Rec'dTotal Rec'dCheck -

Return this form and payment postmarked byFebruary 1, 1988, to:

Joyce SchubkegelDr. Martin Luther CollegeNew Ulm, MN 56073

Your canceled check is confirmation of regis-tration. Receipt will be issued at convention.

Make checks payable to: ACDA

+*++±±±***++*tt+*++*****+

r\fllNNEAPOLis aBE3C=!TY 0F LAKES

NORTH CENTRAL

DIVISION ACDA

CONVENTloN

Minneapolis

February 24-27,1988

*}ck+jJ-i:``x±T++Jdr:++~++*+++**-10-

APOLOGIA:Apologies to

TIM SHARERwhose article "The

Use of Sacred ChoralMusic in the Public

Schools" appeared inthe May issue without

his deserved byline.

NEW CHORAL MUSIC;_

A LITTLE MUSIC FOREPIPHANYCantata for two-part voices, con-gregation, C treble instruments(s),percussion and optional handbells(2 octaves) by David Herman. 25minutes.Complete score 11-7222 5.00Choral score 11-72251.00Instrumental parts 11-7224 4.00

LO, HOW A ROSECantata based on the beloved carolarranged by John Leavitt. ForSATB, baritone solo, strings (2 vln,vc), opt. 2 flutes or keyboard and 2C instruments.Vocal score 11-7256 2.50Instrumental parts 11-7257 4.00

New InstrumentalAccompaniments forBest-Selling Octowo . . .

BEFORE THE MARVEL 0FTHIS NIGHTSATB Christmas anthem by CarlSchalk.Vocal score 11-2005 .80

Opt instrumental parts, Schalk2 vln, vla, vc/db, horn, fl/ob

11-2004 5.00

Opt instrumental parts, Fergusonhandbells, harp ol. guitar and db

11-5180 5.00

AuqsBbHUG426 S 5th St, Box 1209Minneapolis MN 55440

612/330-3343MN WATS: 800/752-8153

OTHER STATES WATS: 800/328-4648

r-