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Programming forthe Twenty-First Century
Quality, Inclusion,
and Diversity
Panel:
Hilary apfelstadt Professor Emerita, University of Toronto
lynne Gackle Professor, Baylor University
euGene roGers Associate Professor, University of Michigan
Jo-MicHael scHeibe Professor, University of Southern California
SponSored by:
GIA publIcAtIonS, Inc.chIcAGo
Programming for the Twenty-First Century
Quality, Inclusion, and Diversity
Panel ParticiPants:
Hilary Apfelstadt • Professor Emerita • University of [email protected]
Lynne Gackle • Professor • Baylor [email protected]
Eugene Rogers • Associate Professor • University of [email protected]
Jo-Michael Scheibe • Professor • University of Southern [email protected]
This session focuses on how choral educators at various levels and different contexts (schools, community) can respond to changing times and demands for music that engages diverse musicians and audiences while promoting excellent quality.
I. FOCUS — CURRENT CHORAL CLIMATE:
• Changing demographics • Media influences
2. FOCUS — REPERTOIRE SELECTION:
• What are we looking for? (general criteria) • How many purposes does it serve? (consider context — school, community, worship — and mission — musical artistry or social justice)? • What musical criteria do we use? (three keys: quality -- expressiveness and craft; content -- musical matter that is worth our time; context -- is it appropriate to the musicians and audience?) • How do we address the age-old issue of “tried and true” vs. “new and current”?
3. FOCUS — PROGRAMMING:
• How do we present music in ways that captures the imagination of the singers and audiences? • How do we find balance and flow in programming? • What musical criteria do we use? • Do we educate or entertain or “edutain”?
4. FOCUS — RESOURCES:
• Teaching Music through Performance in Choir, Vol. 5 (Chicago: GIA Publications, 2019) • See previous volumes of Teaching Music through Performance in Choir, including one directed at middle school/junior high school students. • See additional resources on the following pages.
selected resources
The following articles pertaining to various types of diversity are found in recent ACDA Choral Journal issues:
Berglin, J. (2018.) Incorporating Contemporary A Cappella Process into the Secondary Choir. The Choral Journal, 58(11), 10–19. (With repertoire examples)
Bond, V. (2014). Culturally Responsive Teaching in the Choral Classroom. The Choral Journal, 55(2), 8–15.
Cho, R. (2015). Cultural Appropriation and Choral Music: A Conversation that Can Make Both Our Music and Our Community Better, Repertoire & Resources column, Ethnic and Multicultural Perspectives, The Choral Journal, 55(10), 59–63.
Guthe, E. (2017). The Choral Process: Enhancing the Success of Students with Disabilities within the Choral Structure. The Choral Journal, 57(10), 51–55.
Miller, J.R. (2016). Creating Choirs that Welcome Transgender Singers. The Choral Journal, 57(4). 61–63.
Rivera, J. (2018). Sing, Dance, and Celebrate: Choral Music of Diverse World Traditions. Repertoire & Resources column, Ethnic and Multicultural Perspectives, The Choral Journal, 59(1), 67–73. (Contains a list of repertoire and a useful bibliography.)
nafMe resources
Abril, C.R. (2006). Music that Represents Culture: Selecting Music with Integrity. Music Educators Journal, 93(1), 38–45. https://doi.org/10.1177/002743210609300122
Gray, D.A. (2018). Diversity in the Choral Classroom: Adversity or Electricity? https://nafme.org/diversity-choral-classroom-adversity-electricity/
Shaw, J. (2012). The Skin that We Sing: Culturally Responsive Choral Music Education. Music Educators Journal, 98(4), 75–81. https://doi.org/10.1177/0027432112443561
diversity – General
Kelly-McHale, Jacqueline. (2016). The Conversation. (The author notes that one in four students under the age of eight has an immigrant parent.) http://theconversation.com/why-music-education-needs-to-incorporate-more-diversity-53789
De Quadros, A. (Ed.). (2012). The Cambridge Companion to Choral Music (Cambridge Companions to Music). Cambridge: Cambridge y Press. (The author notes that one in four students under the age of eight has an immigrant parent.)
african-aMerican cHoral repertoire
African American Church Music Series. Ed. by Dr. James Abbingdon. Chicago: GIA Publications.
Dolan, M., (2005). African-American Choral Music Repertoire Suggestions. http://www.madolu.com/mc/afamrep.html
Guenther, E. (2016). In Their Own Words: Slave Life and the Power of Spirituals. Saint Louis, MO: MorningStar Music Publishers.
Southern, E. (1997). The Music of Black Americans: A History (third edition). New York: W.W. Norton & Co., Inc.
Thomas, A. (2008). Way Over in Beulah Lan’ – Understanding and Performing the Negro Spiritual. Dayton, OH: Heritage Music Press.
lGbtQiaThis site includes a space for discussion and resources surrounding LGBTQIA issues in choral music. http://www.queeringchoir.com
This site includes resources for teachers of LGBTQ students, including a link to the GALA website. https://galachoruses.org/resource-center/singers/transgender-voices
Hearns, L.J., and Kremer, B. The Singing Teacher’s Guide to Transgender Voices. San Diego, CA: Plural Publishing, 2018.
Kissen, R. K. (2016). Singing for Our Lives: Lessons from the LGBT Choral Movement. (This paper was presented at a conference at the University of Illinois, Gender-Queer Studies and Music Education.) https://publish.illinois.edu/genderqueermue/2016/04/06/singing-for-our-lives-lessons-from-the-lgbt-choral-movement/
Palkki, J., and Caldwell, P. (2018). We are often invisible: A survey on safe space for LGBTQ students in secondary school choral programs. Research Studies in Music Education, 40(1) 28–49. https://doi.org/10.1177/1321103X17734973
Note: The second biannual Transgender Singing Voice Conference takes place at Earlham College in Richmond, IN, March 30–31, 2019. https://earlham.edu/about/transgender-singing-voice-conference/
social Justice
The Justice Choir movement was founded in 2017. It provides a template for groups whose mission is peace and social justice. https://www.facebook.com/pg/justicechoir/about/
The Justice Choir Songbook (curated by composers Abbie Betinis and Andrea Ramsey). https://www.chorusamerica.org/advocacy-research/repertoire-cause-justice-choir-songbook
For an example of a group that has a social justice mission for several decades, check out the website for Cincinnati’s MUSE Women’s Choir. https://www.musechoir.org/about
The entire October 2018 issue of Choral Journal was devoted to social justice and choral communities. (Kristina Boerger, guest editor).
Hilary apfelstadt
Hilary Apfelstadt is Professor Emerita of Choral Studies at the University of Toronto, where she held the Elmer Iseler Chair in Conducting. She won the 2018 Choral Canada Award for Outstanding Choral Publication for her book on Canadian composer Ruth Watson Henderson: I Didn’t Want It To be Boring (Toronto: Prism Publishers, 2017).
lynne Gackle
Lynne Gackle is Director of Choral Activities and the Mary Gibbs Jones Chair in the School of Music at Baylor University, where she conducts the Baylor Concert Choir, Baylor Bella Voce, and teaches choral literature and choral conducting. National President-Elect of the American Choral Directors Association (ACDA), she will serve as President from 2019–2021.
euGene roGers
A two-time Michigan Emmy Award winner, a 2017 Sphinx Medal of Excellence recipient, and a 2015 GRAMMY Award nominee, Eugene Rogers is recognized as a leading conductor and pedagogue throughout the United States and abroad. In addition to being the founding director of EXIGENCE, Rogers is the director of choirs and an associate professor of conducting at the University of Michigan.
Jo-MicHael scHeibe
Jo-Michael Scheibe chairs the Thornton School of Music’s Department of Choral and Sacred Music at the University of Southern California. He teaches choral development and graduate choral conducting, supervises recitals and dissertations, and conducts the USC Thornton Chamber Singers. Ensembles under his leadership have sung at seven national ACDA conferences, two national conventions of the Music Educators National Conference (NAfME), the World Choral Symposium, and the National Collegiate Choral Organization National Conference.
the Mind, and the Spirit: An Effective Approach toward Literature Selection with Treble Voices” by Lynne Gackle; “The Blueprint of Ensemble Musicianship Contained within Chant” by James Jordan; “It’s All About the Up: Journey, Text, Gesture, Music, and Motion” by Jo-Michael Scheibe; and “Community Collaboration: Relevant Programming that Moves Beyond the Classroom and into the Community” by Phillip Swan. Indexes by title, publisher, and composer/arranger for all five volumes of the series are included.
There is simply no better way to find and prepare the best choral literature available for achieving excellence in choral music education at all levels. The Teaching Music through Performance in Choir series continues to make a significant contribution to the choral arts. G-9595 HARDCOVER ........................................... $47.95
TEACHING MUSIC
THROUGH PERFORMANCE
IN CHOIR – VOL. 5
JEFFERY L. AMES HILARY APFELSTADT LYNNE GACKLE JAMES JORDAN JO-MICHAEL SCHEIBE PHILLIP A. SWAN
Compiled and Edited by
HILARY APFELSTADT and JO-MICHAEL SCHEIBE
Choosing repertoire is one of the most important and time-consuming tasks choral conductors undertake. And the Teaching Music through Performance in Choir series remains one of the most important resources for choir directors looking for quality repertoire that has been vetted by a distinguished panel of educators.
Each volume in the series contains Teacher Resource Guides for 100 works, organized by difficulty. Selected by a team of leading choir directors, the repertoire in Volume 5 balances SATB literature with works for women’s and men’s choirs, and includes a healthy mix of selections aimed at bringing greater attention to the rich choral culture in Canada.
Featuring the same team of authors as Volume 4, this volume also includes chapters that cover: “More than Spirituals and Concert Gospels: Choral Music in the Western European Tradition by Contemporary African American Composers” by Jeffery Ames; “North of the Border: Accessible Choral Music by Canadian Composers” by Hilary Apfelstadt; “Engaging the Voice,
Compiled and Edited by Hilary Apfelstadt and Jo-Michael Scheibe
Jeffery L. AmesHilary ApfelstadtLynne GackleJames JordanJo-Michael ScheibePhillip A. Swan
Teaching Music
through Performance
in ChoirVOLUME 5
GIA Publications, Inc. ISBN: 978-1-62277-272-8
G-9595 U.S. $47.95
GIA
Compiled and Edited by Hilary Apfelstadt and Jo-Michael Scheibe
Teaching M
usic throughVOLU
ME
5P
erforma
nce in Choir
Choosing repertoire is one of the most important and time-consuming tasks choral conductors undertake. And the Teaching Music through Performance in Choir series remains one of the most important resources for choir directors looking for quality repertoire that has been vetted by a distinguished panel of educators.
Each volume in the series contains Teacher Resource Guides for approximately 100 works, organized by difficulty. Selected by a team of leading choir directors, the repertoire in Volume 5 balances SATB literature with works for treble and tenor/bass choirs, and includes a healthy mix of selections aimed at bringing greater attention to the rich choral culture in Canada.
Featuring the same team of authors as Volume 4, this volume includes chapters that cover: “More than Spirituals and Concert Gospels: Choral Music in the Western European Tradition by Contemporary African American Composers” by Jeffery L. Ames; “North of the Border: Accessible Choral Music by Canadian Composers” by Hilary Apfelstadt; “Engaging the Voice, the Mind, and the Spirit: An Effective Approach toward Literature Selection with Treble Voices” by Lynne Gackle; “The Blueprint of Ensemble Musicianship Contained within Chant” by James Jordan; “It’s All About the Up: Journey, Text, Gesture, Music, and Motion” by Jo-Michael Scheibe; and “Community Collaboration: Relevant Programming that Moves Beyond the Classroom and into the Community” by Phillip A. Swan.
Indexes by title, publisher, and composer/arranger for all five volumes of the series are included.
There is simply no better way to find and prepare the best choral literature available for achieving excellence in choral music education at all levels. The Teaching Music through Performance in Choir series continues to make a significant contribution to the choral arts.
Hilary Apfelstadt is Professor Emerita of
Choral Studies at the University of Toronto,
where she held the Elmer Iseler Chair in
Conducting. She won the 2018 Choral Canada
Award for Outstanding Choral Publication
for her book on Canadian composer Ruth
Watson Henderson: I Didn’t Want It To be Boring (Toronto: Prism Publishers, 2017).
Jo-Michael Scheibe chairs the Thornton
School of Music’s Department of Choral and
Sacred Music at the University of Southern
California. He teaches choral development
and graduate choral conducting, supervises
recitals and dissertations, and conducts the
USC Thornton Chamber Singers. Ensembles
under his leadership have sung at seven national
ACDA conferences, two national conventions
of the Music Educators National Conference
(NAfME), the World Choral Symposium, and
the National Collegiate Choral Organization
National Conference.
Jeffery L. Ames is Professor of Music and
Director of Choral Activities at Belmont
University, where he conducts the Belmont
Chorale, Oratorio Chorus, teaches under-
graduate and graduate courses in conducting,
and oversees fourteen choral/vocal ensembles.
Lynne Gackle is Director of Choral Activities
and the Mary Gibbs Jones Chair in the School
of Music at Baylor University, where she
conducts the Baylor Concert Choir, Baylor
Bella Voce, and teaches choral literature and
choral conducting. National President-Elect of
the American Choral Directors Association
(ACDA), she will serve as President from 2019–
2021.
James Jordan, GRAMMY-nominated conductor,
recording artist, and music psychologist, is
Professor and Senior Conductor at Westminster
Choir College in Princeton, New Jersey. He has
authored more than 50 books on all aspects of
the choral art, including a landmark volume
on choral pedagogy, Inside the Choral Rehearsal (GIA, 2017).
Phillip A. Swan is Co-Director of Choral
Studies and Music Director for LU Musicals
at Lawrence University in Appleton, WI. He
is artistic director for newVoices (Northeast
Wisconsin’s Vocal Artists) and choir director at
Appleton Alliance Church.
G-9595TMTPCVol5DustJacket.indd 1 1/11/19 6:12 PM
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