Fall 2012, Tactus - Western Division ACDA

Fall 2012, Volume 37, Issue 1
Recognize the Potential,
Dream for the Future
Kathryn Smith, President,
ACDA Western Division
T
he fall season always feels like
the beginning of a big project:
the academic community often
begins its work in late August and
September, worship programs recommence during the fall, and community
choral groups often start a new year
in September. I hope you, too, have
enjoyed a “roaring start” to your
year, full of potential with dreams for
your future musical experiences.
After Singing the Legacy concluded in March 2012, most of us on the
Western Division Board took a break.
The “after glow” of the conference
stayed with us, and we celebrated
the wonderful performances, interest
sessions, honor choirs, and networking. As the spring turned to summer,
it was evident that our work was far
from completed. The Western Division Board has been working on
various projects, full of potential with
dreams for the future of ACDA.
Leadership Conference, June
2012, Dallas. Representatives from
the Western Division attended this
important event, including President
Kathryn Smith, President-Elect Steve
Hodson, Treasurer Dena Edwards, as
well as our state presidents and their
treasurers. During our time together, we worked on the Strategic Plan,
bringing to life ideas for the next few
years in the life of ACDA. Expanding
our definition of choral success was
an important topic, as ACDA continues to support and encourage the
1 Tactus, Fall 2012
development of choral organizations
whose primary experience is outside
of performance: prison choirs, special
needs choirs, aging voices and others.
During the National Board Meeting,
considerable time was spent in planning the many and various activities
associated with the National Conference in Dallas. This promises
to be an exciting and inspirational
event! Congratulations to Western
Division representatives who have
been selected to perform and present
in 2013:
Mt. San Antonio Chamber Singers,
Bruce Rogers, conductor
Fullerton College Chamber Singers,
John Tebay, conductor
Crystal Children’s Choir,
Karl Chang, conductor
CSU Fullerton University Singers,
Robert Istad, conductor
Mormon Choral Organization,
Brett Stewart, conductor
“Latin American Rhythm in your
Blood: An Interactive Workshop,” Cristian Grases,
presenter
“Paradigm Shift: The New Conductor/Composer Dynamic,”
Paul Carey, presenter
“Sure Fire Choral Techniques For
Your Next Big Choral Orchestral
Performance With You Conducting,” Vance George, presenter
Continued on Page 3
NEwS FLASH:
WESTERN DIVISION
ACDA TACTUS TRANSITIONS TO ONLINE!!!
E
xciting news! You will now receive your TACTUS online!
From a desire to save precious
operating costs and for the opportunity to streamline information and
updates, you will be able to merely
“click” for your favorite articles, ads,
contacts, and commentary. From a
unanimous decision by your Western Division Board, this choice to go
electronic is in step with many other
Divisions. Our desire is to best serve
the Western Division with an exciting look and easy-to-navigate source
of information. There are so many
outstanding things happening in the
Western States, even in the face of
tremendous financial issues. The
savings are enormous and can, we
feel, best be spent on programs and
people, thereby giving us access to
storehouses of information for our
students. ENJOY! And let us hear
from you!
Western Division ACDA Board
of Directors
Kathryn Smith, President
Steve Hodson, President-Elect
Cheryl Anderson, Vice President
See you at:
National ACDA Conference –
Dallas March 12-16, 2013
Western Division Conference Santa Barbara, CA, 2014
National ACDA Conference Salt Lake City, 2015
(WESTERN DIVISION!)
ACDA Western Division Leadership
EXECUTIVE BOARD
President
Kathryn Smith
Sacramento, CA
C 916­529­3663
[email protected] President­Elect and Webmaster
Steven Hodson
Santa Barbara, CA
C 805­705­1820
[email protected]
Vice President
Cheryl Anderson
Aptos, CA
C 831­277­9017
[email protected] Treasurer
Dena Edwards
Soquel, CA C 831­234­6196
[email protected]
COMMUNICATIONS
Newsletter Editor (Temporary)
Kathryn Smith Sacramento, CA
C 916­529­3663
[email protected]
!"#$%&"'()*+,-(.$/$0$%&(1$"$0%&(
Craig Gregory
Oklahoma City, OK W 405­232­8162
[email protected]
STATE PRESIDENTS
Arizona
Greg Hebert Chandler, AZ C 480/229­7158
[email protected]
California
Jonathan Talberg Long Beach, CA C 562­673­9600
[email protected]
Hawaii
Esther Yoo
Honolulu, HI W 513­328­9826
[email protected] !-/"2"
Rossana Cota
Las Vegas, NV C 702­340­2093
[email protected]
Utah
Jean S. Applonie Provo, UT W 801­422­7495
[email protected]
REPERTOIRE and STANDARDS
Boy Choirs
Herbert Washington
Phoenix, AZ C 602­819­1644
[email protected]
Children’s Choir
Diane Simons
Los Angeles, CA H 310­641­0649
[email protected]
3%''-4-(5(6&$/-70$#8(39%$70((
Cory Evans
Logan, UT C 435­881­2721
[email protected]
Community Choirs
Daniel Afonso
Modesto, CA
C 209/408­8995
[email protected]
Ethnic and Multicultural
Cristian Grases
Los Angeles, CA C 786­879­1010
[email protected]
High School Choirs
Ken Abrams
Danville, CA C 925­788­3802
[email protected]
Junior High/Middle School Choirs
Laurel Farmer
Peoria, AZ
C 293/293­0193
[email protected]
Men’s Choirs
Zach Halop
Irvine, CA C 714­337­5402
[email protected] Music in Worship
Nick Strimple Los Angeles, CA C 310­867­4707
[email protected]
Show Choirs
Pending
Two­Year College Choirs
Bret Peppo
Pleasant Hill, CA C 925­808­9689
[email protected] Vocal Jazz
Gregory Amerind
Phoenix, AZ
C 408­586­6976
[email protected] Women’s Choirs
Jennifer Tibben
Reno, NV C 775­846­4250 [email protected] :%;#9(5(<#;2-&#(=,#$/$#$-0(
David Weiller
Henderson, NV
C 702/241­8489
[email protected]
In This Issue:
Features
Benefits of Including Vocal Jazz
Studies within the Standard
Curriculum of the American Music
Conservatory (Part 1) .......................14
Columns
President: Recognize the Potential,
Dream for the Future ........................... 1
Children’s Choirs R&S: Fabulous
Holiday Repertoire ............................4
State President, Utah: Time is Our
Friend...and So is David Allen................5
Women’s Choirs R&S: What
Do YOU Need ...................................7
2 Tactus, Fall 2012
Past President: World Choir
Games, 2012 ....................................11
Ethnic and Multicultural Perspectives
R&S: Choral Composers from
Argentina ........................................ 13
High School R&S: Becoming a
501(C)(3) Non-profit Organization....... 18
Information
NEWS FLASH: Western Division
Transitions to Online.................... 1
Division Leadership ...........................2
ACDA Advocacy Resolution ..............7
2014 Santa Barbara Conference’s
Next 3-Day Format .....................8
Comission a New Choral Work
(for $1–$100 (or Free) ..................8
The 12 Purposes of ACDA ................ 10
ACDA Mission Statement ................. 10
ACDA Membership Application ........ 21
Advertisers
ACDA 2013 National Conference ....22
Cabrillo College .............................. 12
CSULA: Summer 2013 .......................6
CSULA ..............................................9
Music Mart........................................4
South Bay Children’s Choir .............. 19
UNLV Choral Ensembles ..................20
USC Thornton School of Music ..............17
Continued from Page 1, President’s Article
ICEP, International Choral Exchange Program.
This national
initiative is bringing together choral
conductors from all over the world.
Every two years, a conducting group
from a foreign country will visit our
division conferences, and the next
year, a group of ACDA conductors will
visit that country. Our first exchange
was with Cuba, and the next will be
with China. Plans are now underway
to host our conductors from China.
Western Division Executive
Committee (Kathryn Smith, President; Steve Hodson, President-Elect;
Cheryl Anderson, Past President; and
Dena Edwards, Treasurer) has met
three times since the June Leadership
Conference. Discussions continue as
we consider important directions for
the Western Division. Agenda items
have included:
The impact of the economy on
the choral art
Many of us have seen the devastating effects of school budget cuts, the
loss of choral communities and their
conductors, and the dramatic results.
Western Division ACDA continues to
reach out to its membership, requesting suggestions from our members. Our
R & S Chairs wish to be receptive to
ongoing concerns of the constituency.
What do you need? How can we help?
Transitioning to online communications
As of this issue, the Tactus newsletter has become an online resource for
its members. The Executive Committee
worked hard to make a smooth transition from hard copy, and we hope you
enjoy it!
In addition to the newsletter, we
hope to update the website, accept
performance applications, interest ses-
sions proposals, honor choir auditions
and applications through electronic
media. Web mail will become more
important to our contact with Western
Division members. As we move to online communications, it will be important to remember that electronic media are simply tools. They never will
replace the human contact and connection, which is vital to the nature of
the choral art.
Reactivating and re-energizing
the Past Presidents’ Council
Our Past Presidents serve as “wit
and wisdom” for the Western Division. Their institutional memory, their
energy, their foresight, and their experience will serve to guide us through
our future.
Support and encouragement of our
newest members through Youth &
Student Activities
We continue to look for fun, energetic, and engaging activities to draw
our young conductors into the choral
art. Mentorship, networking opportunities and student chapter events
are possibilities for the future.
Support and encouragement for
our five state ACDA chapters
Making the connections with the
state officers and keeping the communication open will help ACDA grow
its leadership and strengthen the entire organization, from the national
level to the divisional level to the
state level.
choral world, and a vision for the future of the choral art. Make plans to
attend this exciting event!
Board Roster Updates
Please help me welcome the following to our Western Division
Board:
Daniel Afonso, R & S for Community Choirs
Laurel Farmer, R & S for Junior
High School/Middle School Choirs
Greg Hebert, Arizona State President
David Weiller, R & S for Youth
and Student Activities
And, taking on additional responsibilities:
Cory Evans, Membership Chair &
R & S for College and University
Choirs
Newsletter Editorial Board
Bret Peppo
Kathryn Smith
Steve Hodson
Cheryl Anderson
Dinah Phillips, Ancillary Board
Member
Western Division ACDA Board is
working hard to guide us into the next
few years, updating and re-energizing
activities to make them easier and
more accessible to the membership.
Stay connected! With your help, we
recognize the potential and dream for
the future.
Planning for the 2014 Santa Barbara Conference
Conference Chair Steve Hodson,
Program Chair Gary Unruh, and the
Conference Planners are preparing for
an exceptional conference, celebrating 50 years of Western Division,
Western Division contributions to the
Limitations and Disclaimer
! Articles published in Tactus may be reprinted with permission of the Editor.
! The views expressed in Tactus are those of the article authors and do not necessarily reflect the views of the Western Division ACDA.
Publication in this newsletter should not be considered an endorsement.
Tactus, Fall 2012
3
Need Sheet Music?
Fabulous Holiday Repertoire!
By Diane Simons, R & S Chair for Children’s Choirs
S
ometimes I have been frustrated trying to find good repertoire for December. This December holiday season happily provides an abundance
of delightful repertoire that is mostly new to me. There are several new
pieces for young singers that I am programming for my choir.
Winter Dreams by James Desjardins (Carl Fischer) is unison with an easy
range and a lovely, romantic melody, with the added bonus of a wonderful,
evocative text describing the beauty of snow.
We’ve Got It!
For more than 60 years, Music
Mart has been a printed-page
music specialist, serving music
educators, church musicians,
private teachers, performers
and music lovers. We carry
music for every need: choral,
vocal, piano, organ, band,
orchestra and all instruments,
sacred and secular, popular
and classical. Be sure to visit our
website: www.musicmart.com.
THE
MUSIC
MART INC.
1-800-545-6204
1-505-889-9777
Fax: 1-877-653-3627
www.musicmart.com
[email protected]
3301 Carlisle NE,
Albuquerque NM 87110
Monday - Friday 9:00 - 5:30
Saturday 9:00 - 5:00
Fuyu No Uta by Rachel Stenson (SBMP 979) in two independent parts was
a real find for me. I had seen this Japanese folk song about snow in several
books for very young children, but it was such a short snippet of a song that it
was not appropriate for a concert. This arrangement is very rhythmical, partly
in Japanese and partly in English, fun to sing and fun to listen to.
The following three pieces are excellent choices for intermediate or advanced choirs:
Winter’s Night by Fjellheim (Boosey 48004925) evokes icy arctic winter
and includes a haunting saxophone part that would not be optional.
Christmas Carols from the Bohemian Paradise by Bartos-Smisek (Alliance AP 10242)
Love Came Down at Christmas by B.Wayne Bisbee (Santa Barbara Press)
My most advanced choir is singing Ave Maria 2 by Parrotta (AMP0717).
It is SSAA, homophonic, with delicious, slightly dissonant harmonies,
and my singers love it. El Cielo Canta Alagria by Pablo Sosa arr. Roger Bergs
(3304176) has the kind of excitement and spirit that would work in a December concert, but I chose to program it in May this year.
Two new pieces I am saving for next year are
Two German Carols, arr. Winebrenner, (BriLee 733), two part a cappella, and
Exsultate by Courtnay (BriLee BL 735) SSA. This looks like it would be
a very good “first piece in 3 parts”.
Finally, I recommend two older publications that should not be forgotten.
Ode to Peace by Jill Gallina (Shawnee), is 2 part treble. My favorite setting
of Beethoven’s Ode to Joy, it is a straightforward partner song that works
well with young children and is a good introduction to Beethoven! And also
remember Solstice by Randall Thompson (ESC 4289), unison.
As this marks my sixth year as the Repertoire and Standards Chair for Children and Youth Choirs, this is probably my last article in this capacity in the
Tactus. Being on the Western Division Board has been a wonderful experience
for me, and I encourage more of you to get involved as I have. You will be
glad you did!
CORRECTION
In the last edition of Tactus (Spring 2012, page 10), a photo was incorrectly
identified as CSU Fullerton. It is, in actuality, Fullerton College Chamber
Singers, John Tebay, conductor.
4 Tactus, Fall 2012
TIME IS OUR FRIEND…AND SO IS DAVID ALLEN
By Jean S. Applonie, Utah State President, Brigham Young University, Provo, Utah
I
have been painfully aware of time (and my mismanagement of it) since I was about fifteen, a freshman in high
school. At that time, I struggled with the twin flaws of
perfectionism and procrastination. When I began my career
as a choral music teacher and conductor, I became a piler
(one who creates piles and piles of stuff, managing occasionally to keep track of which pile some stuff is in) instead of
a filer (one who either files or tosses everything that comes
across their desk). And, I gained lots of experience in crisis
management, letting myself be hurled relentlessly from one
deadline or urgency to the next. There was one exception
to my low-functioning existence—I could meticulously plan
for a performance from start to finish—from repertoire selection, to rehearsal sequencing, to performance polishing, to
concert. Today, I call myself a “recovering perfectionist” and
have honestly been working to reverse my favorite character
flaw, procrastination, for about seven years. Yes, I hear you
laughing, but I have truly made progress.
Now, as I approach the autumn of my life, with my priorities clearer than ever, I want to create more time for the
people and things that are most important to me. I strive to
see time as my friend and not my enemy. I strive to embrace
the perspective of abundance—that I have time, plenty of
time—IF I manage it.
If any of you have had similar challenges with time, I have
a great new book for you. Getting Things Done: The
Art of Stress-Free Productivity by David Allen has both
disciplined and liberated my workspace, my schedule, and
my life. Allen states, “No matter what the setting, there are
five discrete stages that we go through as we deal with our
work. We (1) collect things that command our attention; (2)
process what they mean and what to do about them; and
(3) organize the results, which we (4) review as options for
what we choose to (5) do.” Allen’s book is a “compilation of
more than two decades’ worth of discoveries about personal
productivity—a guide to maximizing output and minimizing
input, and to doing so in a world in which work is increasingly voluminous and ambiguous.”
If you are a list person you will love this book. Each chapter takes its topic and breaks it down into lists—of factors, of
tools, of questions to answer. There are so many lists, I began
to lose track of them all. But, as I went back to re-read and
re-establish where I was in the process, and especially as I
began to practice the process, it all made sense.
Looking at some principles unique to this book—workflow processing, next action, and funnel planning, I found
some key ingredients missing in the organizing of my life.
The “workflow diagram” depicts a multi-level method of
processing “stuff” that winds up in your in-basket or on your
mind. You take the top item from your in-basket and ask
yourself, “What is it, and is it actionable?” If your answer is
no, the item may go into the trash or be placed in a “Someday/Maybe” file or a “Reference” file. If your answer is yes,
your next question is “What’s the next action AND will it take
less than two minutes?” If your answer is yes then DO IT. If
your answer is no, then delegate it or defer it to a specific
time on your calendar in the future or write it on a list of
“next actions” to do as soon as you can. If you are looking
at something that involves multiple steps, you have yourself a
project that requires planning—making a list of all the actions
that need to be taken to complete the project. Then you
regularly review your project plans to rotate the next actions
into your in-basket.
Funnel planning is a “broad picture down to small detail”
method of planning and reviewing your weekly schedule. At
the top of your funnel, or the widest part, you make lists in
categories of action reminders such as—CALLS, EMAILS, ERRANDS, FOLLOW-UP, DELEGATE or by location, such as—AT
HOME, AT COMPUTER, AT OFFICE. From this list of action
reminders, you funnel down to create a to-do list for each
day of the week. Then you funnel or narrow down even
further to the specific time appointments you have each day
of the week. You can always add items to your list so that
as soon as something comes to your attention and is on your
mind, you can get it off your mind by writing it on one of
your action lists for that week. Details written down and
processed the David Allen way are now outside of your head
and off your mind.
The methods David Allen describes are based on two objectives:
(1) capturing all the things that need to get done—now,
later, someday, big, little, or in between—into a logical
and trusted system outside of your head and off your
mind
(2) disciplining yourself to make front-end decisions about
all of the “inputs” you let into your life so that you
will always have a plan for “next actions” that you can
implement or renegotiate at any moment.
So far, it’s working for me. I have had the sanest ever
start to fall semester. In addition to auditioning over 300
women, costuming 180 of them, and preparing them for their
first concert three weeks later, I have purchased a new car, put
up a two bushels of ripe Utah peaches, and finished the final
stages of updating my will and setting up a Revocable Trust
and Health Care Directive. You’re right, now I’m just showing
off. And I’m sending in this article. It’s only a day late!
Tactus, Fall 2012
5
College of Extended Studies and International Programs
6 Tactus, Fall 2012
WHAT DO YOU NEED?
By Jennifer Tiben, ACDA Western Division, R&S Chair for Women’s Choir
A
s I start my second year as the Women’s
Repertoire and Standards Chair, the thought most
on my mind is: What do YOU need?
We are a large division, both in numbers and in distance. There are women’s choirs made up of adult community members. There are women’s choirs that are middle or high-school singers. These are quite varied populations that we all conduct. And so, one would think our
needs are equally diverse. Additionally, we have a very
strong National program. But, is the Western Division giving YOU anything that would be helpful? I want to hear
from you!
I want your ideas, your brainchildren, your concerns,
your hopes, your dreams. Is anyone interested in a Western Division Women’s Choir Festival? Do you wish there
were a graded repertoire list of women’s choir music,
with annotations about range/difficulty/text/tessitura? Do
YOU wish you could get some help finding a composer to
commission for your group? Would it help for us to have
a blog or a forum to communicate with each other? So,
put on your dreaming-hat and send me an email: [email protected] with any of your thoughts.
On my wish list right now is a county honor choir for
a women’s ensemble in addition to the mixed ensemble
we field. Do any of you have such a creature in your
school district/county/region? When I suggested the idea
recently to some fellow conductors, I was met with the
usual “who would want to be a part of the women’s
choir?” I remember a discussion at a conference recently
about making your TOP choir the women’s choir. When
I proposed that idea, the suggestion was not warmly received. Do you do that in your program? How do you
provide excellent musical opportunities for an over-abundance of women in your program? Or do you not have
that overabundance of women in your program? How
can WE make women’s choirs not the “ugly-stepchild” of
our choral world?
I know this is a random stream of consciousness rant
here … and I’m preaching to the choir … but, the bottom
line is this (I think): Any of you reading this article have a
passion for providing for women of any age a musical experience that is challenging and musically delightful. How
can I (and the Western Division Board or ACDA nationally) help to make that EVEN BETTER? I look forward to
hearing from you!
ANNOUNCEMENTS
Updated Website
New Address: acdawestern.org
Applications and
Submissions
for Santa Barbara
Please seriously consider your application for performance and presentation at the Western Division
Conference, Santa Barbara, 2014.
Forms and applications for Performing Choirs and proposals for Interest Sessions will be available at the
website in early 2013. Please look
for them! Applications and Proposals will be due in April 2013.
TACTUS
Now Online!
ACDA
Advocacy Resolution
WHEREAS,
the human spirit is elevated to a broader understanding of itself through study and performance
in the aesthetic arts, and
WHEREAS,
serious cutbacks in funding and support have
steadily eroded state institutions and their programs throughout our country,
BE IT RESOLVED
that all citizens of the United States actively voice
their affirmative and collective support for necessary funding at the local, state, and national levels
of education and government, to ensure the survival of arts programs for this and future generations.
WESTERN DIVISION ACDA MEMBERS ARE
ENCOURAGED TO PRINT THIS ACDA
ADVOCACY RESOLUTION IN ALL PROGRAMS.
Tactus, Fall 2012
7
2014 Santa Barbara Conference’s new
3-day format will feature the
LA Master Chorale
in a tribute to Morten Lauridsen
C
apping the 2014 Western Division Conference will be the Saturday
evening tribute concert in the Granada Theater for USC’s much beloved composer, Morten Lauridsen. The Los Angeles Master Chorale
under the direction of Grant Gershon will perform a full program of Lauridsen’s works in a climactic event that will highlight the USC composer’s
designation as the 2014 Conference Honoree. Earlier on Saturday, the film
Shining Night will be shown, a magnificent and award-winning documentary
by Michael Stillwater. In a review of the film that appeared in the Wall Street
Journal, the writer noted that although Lauridsen is America’s finest living
composer, his music is still unfamiliar to many in this country.
The LAMC website states: The Grammy-nominated Los Angeles Master
Chorale (LAMC), led by Music Director Grant Gershon, is recognized as one
of the city’s cultural treasures and one of the world’s premier choruses. The
Los Angeles Times proclaims, “Under Gershon, the Master Chorale seems to
be able to master anything.” The respected arts blog CultureSpotLA, states,
“The Master Chorale is not just any ensemble – it is the nation’s, and maybe
the world’s, most innovative choral group, thriving under its vibrant music
director, Grant Gershon.”
Morten Lauridsen is a native of the Pacific Northwest, once working as a
Forest Service firefighter before traveling south to study composition at the
University of Southern California. He began teaching at USC in 1967 and has
been on their faculty ever since.
In 2006, Lauridsen was named an ‘American Choral Master’ by the National Endowment for the Arts. He received the National Medal of Arts from
the President in a White House ceremony in 2007, and he is a recipient of
numerous grants, prizes, and commissions. He has held residencies as guest
composer/lecturer at over seventy universities and has received honorary
doctorates from Oklahoma State University, Westminster Choir College, and
King’s College, University of Aberdeen, Scotland. He now divides his time
between Los Angeles and his summer home on remote Waldron Island in
Puget Sound.
In an important shift from the former Wednesday through Saturday afternoon format of previous conferences, the 2014 Western Division Conference
in Santa Barbara will run for three days, February 20th to 22nd. The program
will begin on Thursday morning and will conclude with the Los Angeles Master Chorale’s Saturday evening performance honoring Mr. Lauridsen.
Commission a New
Choral Work for
$1 - $100 (or free)!
I
f you missed the first announcement on
ChoralNet about this unique, first-time,
low- or no-cost Commission Project happening through October 15, 2012, here it is
again!
More than 30 talented, highly-motivated
composers are participating in this special project, and for a limited time you can commission
one of them (or more than one) to write a
special piece of music for YOUR choir. We are
happy to announce that more composers have
joined the project since the first announcement
in July.
In return for a brand new piece that meets
your standards and is provided on time, you
will guarantee a premiere public performance
of the work and provide the composer with a
nice audio recording of the piece (not necessarily of the premiere).
Some, but not all, composers request a
very modest fee, ranging from $1 - $100. Most
composers reside in the United States (but are
willing to work with any choir, anywhere),
and the list also includes one composer each
from Barbados, France, Sweden, and England
(ditto).
This special project is open to all choir
directors and choirs everywhere who have
never before commissioned a choral work.
Interested? See all the project details and information about each composer here:
http://www.choralnet.org/view/384044.
Not quite sure how to participate? This
site will give you solid advice on how to successfully commission a piece from a composer: http://www.choralnet.org/392961.
“Real art is one of the most powerful
forces in the rise of mankind, and he who
renders it accessible to as many people as
possible is a benefactor of humanity.“
Zoltán Kodály
The Los Angeles Master Chorale
8 Tactus, Fall 2012
P.S. Julia Laylander, project coordinator, states,
“Although, technically, the project’s offer is
“good until October 15,” the participating
composers would be more than happy to
consider any offers of a commission after
that date.”
California State University, Los Angeles
Department of Music, Theatre and Dance
Bachelor of Music
Master of Music
Vocal Performance
Music Education
Vocal Performance
Choral Conducting
Located in the heart of the Arts and Entertainment
Industry, the CSULA Music, Theatre and Dance
Department offers degree programs ranging from
BA options in Music, Theatre Arts, and Dance, to
advanced professional degrees in instrumental and
vocal music performance, commercial music, AfroLatin music, music education (BM and MM
options), the MA in Theatre Arts and the MFA in
Television, Film and Theatre.
Dr. Sébastien Vallée
Director of Choral Studies
Dr. William Belan
Choral Studies
Dr. Susan Kane
Director of Voice Studies
many solo and ensemble performance opportunities
Chamber Singers
University Chorus
Concert Choir
Fully Staged Operas
Auditions: December 7 and March 2
[email protected]
323-343-4060
www.calstatela.edu/academic/music
Tactus, Fall 2012
9
The 12 Purposes of ACDA
!""#$"%$&'()"*+,"-)$.$'("/0$)*1"&2+32+3"402/0"4211"-)$52,("*)'2&'2/6"/71'7)*1"*+,"&-2)2'7*1"
(8-()2(+/(&"%$)"'0("-*)'2/2-*+'&9
!""#$"%$&'()"*+,"-)$.$'("'0(":+(&'"';-(&"$%"/0$)*1".7&2/"'$".*<("'0(&("(8-()2(+/(&"-$&‐
&2=1(9
!""#$"%$&'()"*+,"-)$.$'("'0("$)3*+2>*'2$+"*+,",(5(1$-.(+'"$%"/0$)*1"3)$7-&"$%"*11"';-(&"
2+"&/0$$1&"*+,"/$11(3(&9
!""#$"%$&'()"*+,"-)$.$'("'0(",(5(1$-.(+'"$%"/0$)*1".7&2/"2+"'0("/07)/0"*+,"&;+*3$37(9
!""#$"%$&'()"*+,"-)$.$'("'0("$)3*+2>*'2$+"*+,",(5(1$-.(+'"$%"/0$)*1"&$/2('2(&"2+"/2'2(&"
*+,"/$..7+2'2(&9
!""#$"%$&'()"*+,"-)$.$'("'0("7+,()&'*+,2+3"$%"/0$)*1".7&2/"*&"*+"2.-$)'*+'".(,27."$%"
/$+'(.-$)*);"*)'2&'2/"(8-)(&&2$+9
!""#$"%$&'()"*+,"-)$.$'("&23+2:/*+'")(&(*)/0"2+"'0(":(1,"$%"/0$)*1".7&2/9
!""#$"%$&'()"*+,"(+/$7)*3("/0$)*1"/$.-$&2'2$+"$%"&7-()2$)"?7*12';9
!""#$"%$&'()"*+,"-)$.$'("2+'()+*'2$+*1"(8/0*+3("-)$3)*.&"2+5$152+3"-()%$).2+3"3)$7-&6"
/$+,7/'$)&6"*+,"/$.-$&()&9
!""#$"%$&'()"*+,"(+/$7)*3(")(0(*)&*1"-)$/(,7)(&"/$+,7/25("'$"*''*2+2+3"'0("0230(&'"-$&‐
&2=1("1(5(1"$%".7&2/2*+&02-"*+,"*)'2&'2/"-()%$).*+/(9
!""#$"/$$-()*'("42'0"*11"$)3*+2>*'2$+&",(,2/*'(,"'$"'0(",(5(1$-.(+'"$%".7&2/*1"/71'7)("
2+"@.()2/*9
!""#$",2&&(.2+*'("-)$%(&&2$+*1"+(4&"*+,"2+%$).*'2$+"*=$7'"/0$)*1".7&2/9
A@BC@"B$+&'2'7'2$+"*+,"D;1*4&
ACDA Mission Statement
The mission of the American Choral Directors Association is
to inspire excellence in choral music through education,
performance, composition, and advocacy.
10 Tactus, Fall 2012
World Choir Games, 2012,
Cincinnati, July 4–14
by Cheryl Anderson, Past President Western Division ACDA
T
his summer after our tour, I combined a trip to see my family in
Pennsylvania with a chance to
visit the World Choir Games. Returning to Cincinnati where I did my DMA
work, I was eager to revisit the venues and the Conservatory, to see how
the city had changed, and to hear the
variety of music I knew would be presented. This was my first World Choir
Games, although I have attended the
World Choral Symposium events,
which were fabulous. This was the first
time the Games were held in North
America, and our American choirs
were well-represented and received
many top honors and medals.
The World Choir Games is the largest choral competition in the world
and happens every other year. It is
the signature event of INTERKULTUR,
an organization in Germany that produces international choral events. The
purpose of the Games is to unite singers from all nations through singing in
peaceful competition. Inspired by the
Olympic ideal, the awards ceremonies
are enormous events during which
each choir’s score is announced and
medals are presented. Bronze, Silver,
and Gold medals are given to the directors of the winning choirs, and the
country whose choirs receive the top
score gets to sing their National Anthem while their own flag is raised. It
is very impressive and exciting, and the
crowds were completely enthusiastic
and supportive.
Cincinnati was READY for this event.
There were thousands of volunteers, all
of whom were enthusiastically cheerful, helpful, and welcoming. The entire
city dedicated itself to these Games for
the duration with media coverage, banners and flags throughout the city, and
posters in restaurants, shops, Graeter’s
Ice Cream, and Skyline Chili. Schedules
were posted everywhere, and local buses carried the multitudes from venue to
venue, affording everyone the opportunity to experience the hot but gorgeous
weather.
A parade of 15,000 CHORAL SINGERS led by fire trucks received wild
applause from the crowd clogging the
sidewalks! Singing was everywhere.
For 11 days, singers from 64 countries
participated in the following categories
(23 of them!): Young Children’s Choirs,
Children’s Choir, Youth Choirs of Equal
Voices, Young Male Choirs, Mixed Boys’
Choirs, Mixed Youth Choirs, Mixed
Chamber Choirs, Mixed Choirs, Female
Chamber Choirs, Female Choirs, Male
Chamber Choirs, Male Choirs, Musica
Sacra, Music of Religions, Musica Contemporanea, Jazz, Gospel, Spiritual,
Barbershop, Popular Choral Music, Folklore, Scenic Folklore, and Show Choirs.
Look on their website for a detailed
description of each category: http://
www.2012worldchoralgames.com.
Some choirs chose to be evaluated
only and did not enter in competition
for a medal. There were ample chances
to hear a given choir because, in addition to the formal concerts, there were
Friendship Concerts in more casual venues, such as the park outside the Music
Hall, the gorgeous old Train Station,
and others.
The entire conference offered
many ways to learn about choral music
through:
* 68 competition sessions in the 23
musical categories
* More than 60 Friendship Concerts
* 41 Workshops
* Nine official events
* Eight Celebration Concerts
* 14 Pin-Trading Classes
The level of enthusiasm for choral
music AND support for one another
was absolutely tremendous. Some
choirs were simply brilliant; some came
for the joy of singing, to learn and experience by singing the camaraderie
connecting every one of the thousands
to one another. One choir, the Men’s
Prison Choir from the Warren Correctional Institution, participated via video. Because they could not leave the
facility, the Executive Committee of the
World Choir Games went to the prison
to give them feedback. Their director,
Dr. Catherine Roma, led them through
a series of spirituals and spoke about
the power of music to change lives and
give life purpose in the most dire situations. The adjudicators gave helpful
comments and expressed what an inspirational experience it had been for each
of them. You can Google “Men’s prison
choir competes in World Choir Games”
to see a very moving video about this
experience!
I left the World Choir Games with
the sense that we as choral singers reflect intense involvement, hope, deep
respect for the art, focus and purpose,
intellectual and aesthetic engagement,
pride, and joy, and I realized that we
nurture culture in its most tangible and
immediate form.
The next World Choir Games in
2014 will be in Riga, Latvia, another
of the world’s great singing cities. The
Latvian choirs were well-represented
in Cincinnati, taking home many top
awards and Gold Medals. To anyone
who has the opportunity, I would
highly recommend this great event as a
participating conductor or as a happy
audience member.
I look forward to seeing you in Dallas at National ACDA!
Best,
Cheryl Anderson,
Past President
Western Division ACDA
Tactus, Fall 2012
11
!"#$%&$'($)*)(+,#%$-$'.&/$),0.&(),*1+%)
#%+2%*,)&')*')$"(&3&'24).0##+%3&/$)
&')*')$"(&3&'24).0##+%3&/$)
$'/&%+',$'35)!'1+6)/+&($)(7*..$.4)(-+%*7)
$'.$,87$.4)9*8%&77+):#$%*4);+%7<
$'.$,87$.4)9*8%&77+):#$%*4);+%7<C(7*..)
#$%=+%,*'($)/$'0$.)*'<)3%*/$7)3-$)
=+%,*'($)/$'0$.)*'<)3%*/$7)3-$);+%7<)*77)
3-$);-&7$)6+0)#%$#*%$)3+)3%*'.=$%)3+)*)
(+'.$%/*3+%6)+%)0'&/$%.&365
(+'.$%/*3+%6)+%)0'&/$%.&365)
)
!
)
)
))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))9*8%&77+)9%+(D$%)E-$*3$%)
9*8%&77+)9%+(D$%)E-$*3$%
)
9*8%&77+)9+77$2$))
9*8%&77+)9+77$2$)
FGHH)>+I0$7)B%&/$
FGHH)>+I0$7)B%&/$)
A#3+.4)9*)JGHHK)
A#3+.4)9*)JGHHK
;;;5(*8%&77+(-+%0.5+%2)
;;;5(*8%&77+(-+%0.5+%2
)9*8%&77+)>*,#$%)?$(&3*7)@*77)))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))
)))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))));;;5(*8%&77+5$<0)
9*8%&77+)9+77$2$
!!
!
9*8%&77+)9+77$2$)+==$%.)LF)/+(*7)$'.$,87$.
77$2$)+==$%.)LF)/+(*7)$'.$,87$.)
M'(70<&'2N)
9*'3&*,+)O)
9-+%0.)
>6,#-+'&()9-+%0.
M7)B+7($)>0+'+)
9-+%*7$)
9*8%&77+)P+03-)9-+%0.
9*8%&77+)P+03-)9-+%0.)
Q+,$'R.)!'.$,87$
.)!'.$,87$)
S*TT)>&'2$%.)
U+.#$7)9-+&%)
9-$%67)A'<$%.+'))
))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))!
B&%$(3+%)+=)9-+%*7)A(3&/&3&$.))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))
!
12 Tactus, Fall 2012
Choral Composers from Argentina
in the 20th and 21st Centuries
by Cristian Grases, DMA
Chair, Ethnic and Multicultural Perspectives R&S Committee / Western Division
L
ast year we explored the repertoire
in colonial Latin America thanks to
Vicente Chavarría’s article. This
time I would like to share some information in regards to the 20th and 21st
century Argentinean composers that
have made an important contribution
to the choral repertoire. Given the nature and importance of popular and folk
melodies in this region of the world,
arrangements and choral versions of
these songs represent the largest portion of the choral repertoire. However,
this does not necessarily imply that the
quality and value of this large body of
works is high. We will therefore focus
on composers who have created original compositions, understanding that
almost all of these authors also have an
extensive catalogue of arrangements.
After the independence wars
throughout the region during the nineteenth century, the nationalistic spirit
became the norm in all Latin American
and Caribbean countries. The strong
and diverse popular and folk roots of
each nation became the focus of national pride and identity. Nonetheless,
many artists still turned their heads to
Europe in search of technical training in
the long established conservatories and
music schools and through the study of
the great masters of all periods. Many of
the great composers of the 20th and 21st
centuries in Latin America and the Caribbean spent some time in Europe before
returning to their native nations. Those
that stayed in their countries became disciples of composers trained in Europe or
immigrant European musicians.
Argentina saw a large number of European immigrants since the late 19th
century. Given the fact that a number of
these immigrants were well-trained composers, conductors, and pedagogues,
this nation experienced an important
music development in all areas and has
turned into a vital center for choral music. For many, the most important and
celebrated composer in Argentina is Alberto Ginastera (1916-1983), whose
13 Tactus, Fall 2012
Lamentaciones de Jeremias Propheta has
become a standard in choral programs
around the world. He has also composed several operas such as Bomarzo,
a major choral-symphonic work (Psalm
150), and several songs and song cycles,
including the important sacred work Turbae ad Passionem Gregorianam. Another famous Argentinean composer is Astor Piazzolla (1921-1992), who never
composed for choir, but whose powerful
Tango-inspired compositions have been
arranged for choir. Some of the most famous are his Cuatro Estaciones Porteñas,
Adios Nonino, and La Muerte del Angel.
Carlos Guastavino (1912-2000) is less
known outside of the country, but with
a catalogue of over 230 vocal works
and an equally impressive catalogue of
piano, guitar, and chamber music, is one
of this nations most prolific composers. Se Equivicó la Paloma, Arroz con
Leche, and the Indianas are some of his
prevalent works. One of the most celebrated folk masses is Misa Criolla by
Ariel Ramírez (1921-2010), who also
composed two wonderful short nativity cantatas entitled Navidad Nuestra
and Navidad en Verano. In his compositions, he uses popular dances, regional
rhythms, and inspired melodic materials
to create wonderfully moving and joyful
musical works. As with Ramírez, Eduardo Alonso Crespo (b.1956) searches
the folk roots of Argentina, both in music
and literature, and combines them with
academically polished compositional
techniques producing significant works
such as Waynápaq Taki and Pachamama
among others.
One of Ariel Ramírez’s teachers, Luis
Gianneo (1897-1968), has a more neoclassical style and has written relevant a
cappella works such as Tres Canciones
and Llanto del Imperio Inca en Agonía.
Carlos Tuxen-Bang (b. 1933) studied
with René Leibowitz and Oliver Messiaen in Paris and wrote music with a
neo-renaissance flavor. Three Motets
for Mixed Choir represents an example
of this personal style. Julio Perceval
(1903-1963) is another lesser-known
composer with a sizable catalogue of
both vocal and instrumental music.
One of his most distinguished works is
Salve, virilis pectoris virgo, patrona Galliae. Another important composer of
the 20th century is Roberto Caamaño
(1914-1993), whose compositional approach rejects folk traditions and extended compositional techniques while
embracing tonal and atonal elements.
His body of works is primarily instrumental; but his Psalm 114, Fábulas para
coro, and Cantata para la Paz are representative choral works.
Other composers worth mentioning
are Ramón Gutiérrez del Valle (19031983) [Suite Coral Argentina, Canción
dela Vendimia, Amook, Salve Regina,
Canto a San Martín], Mauricio Kagel
(B. 1931) [Palimsestos, Anagrama, Hallelujah], Jorge Maronna (b. 1948) [Canciones de Oliverio Girondo, Tres Madrigales de Torcuato Tasso], Fernando
Moruja (b. 1960) [Piezas Sacras: Ave
María – Pater Noster – O bone Jesu –
Lux aeterna – Hodie Christus natus est,
Miedo, Misa Breve], Antonio María
Russo (b. 1934) [De Profundis, Beati
quorum, Cantate Domino, Pater Noster,
Balada de la Placeta, Veleta, Canción de
las Siete Doncellas, Canto al Sol, Cuatro
Canciones para Niños], Lalo Schifrin
((b. 1932) [Rock Requiem, Madrigals
for the Space Age, Cantos Aztecas, Cantionas Argentinas], and Javier Zentner
(b. 1951) [Mi Lumia, Has Vuelto, Triste
Astral, La Serie del Angel, Haikus]. Composers Camilo Matta (b. 1955), Liliana
Cangiano (1951-1997), and Nestor
Zadoff (b. 1955) have extensive catalogues of choral arrangements of Argentinean traditional folksongs and popular
dances, some of which are transformed
into wonderfully crafted master works.
Finally, Osvaldo Golijov (b. 1960) has
received international noteworthiness
after creating eclectic works like Ainadamar and La Pasión Según San Marcos,
containing a fusion of popular dances,
Continued on next page
enchanting melodies, electro acoustic
effects, eclectic instrumentation, and eurhythmics.
One of the biggest difficulties regarding this repertoire is how to access
it. Word of mouth and direct acquaintance with composers and conductors
of the region seems to still be the best
way to access the majority of this important body of works. Nevertheless,
noteworthy efforts have been made
by some publishing companies to compile, edit, print, and distribute much of
this music. Ediciones GCC, a company
based in Buenos Aires and associated
with Maestro Nestor Andrenacci’s wonderful choral ensemble Grupo de Canto
Coral, has an extensive catalogue of
published, original compositions and
arrangements for all voicings. Also,
Oscar Escalada (b. 1945), a relevant
composer and arranger himself, has also
made a significant contribution by compiling and editing choral music from Argentina and making it available to the
world through his important series with
Kjos. Earthsongs also has four titles from
Argentinean composers and arrangers.
!"#$%&'( )"&$*$ joined the USC Thornton Faculty in the Fall 2010 semester as Assistant Professor of Choral Music and Conductor of the USC Thornton Concert Choir. Born in Ven‐
ezuela, he studied in Caracas with María Gui‐
nand and Alberto Grau, and in the USA with Jo‐Michael Scheibe and Josh Habermann. Dr. Grases currently serves as chair of the Ethnic !"#$ %&'()&'*&+!'$ ,-.-+*/0+-$ !"#$ 1*!"#!+#2$
3/4405--$ 6/+$ *7-$ 8-2*-+"$ 90:020/"$ /6$ *7-$
;4-+0)!"$37/+!'$90+-)*/+2$;22/)0!(/"$!"#$02$!$
member of the board of directors of the Inter‐
"!(/"!'$<-#-+!(/"$/6$37/+!'$%&20)=$
9+=$ >+!2-2$ 7!2$ .!+()0.!*-#$ 0"$ "&4-+/&2$
6-2(:!'2?$ @/+A27/.2?$ !"#$ -:-"*2$ !2$ !$ B&-2*$
conductor, clinician, adjudicator, and conduct‐
0"B$ .-#!B/B&-$ 0"$ C/+*7$ !"#$ 1/&*7$ ;4-+0)!?$
D&+/.-?$ !"#$ ;20!=$ E-$ 7!2$ .&F'027-#$ "&4-+‐
/&2$ !+()'-2$ !"#$ )/4./20(/"2$ !"#$ 7!2$ @/"$
!@!+#2$ 6/+$ 702$ )/"#&)("B$ !"#$ )7/+!'$ @/+A2=$
;4/"B$*7-4$02$*7-$.+-2(B0/&2$!@!+#$6/+$*7-$
!+*2$0"$G-"-H&-'!?$IJ+#-"$K/2L$<L'0M$,0F!2N$6/+$
!+(2()$ 4-+0*?$ !"#$ O+2*$ .+0H-$ !*$ *7-$ D4-+B0"B$
3/4./2-+$ 3/4.-((/"$ !*$ P!'-$ Q"0:-+20*R$ 6/+$
702$ @/+A$ G020/"-2$ #-'$ S'!"/$ T$ U=$ ;4!"-)-+=$
Dr. Grases has been comissioned to write for 2-:-+!'$ .+-2(B0/&2$ /+B!"0H!(/"2$ 2&)7$ !2$ *7-$
Piedmont Children’s Chorus and the Santa <-$ 9-2-+*$ 37/+!'-?$ !"#$ 702$ @/+A2$ 7!:-$ F--"$
.-+6/+4-#$ FR$ *7-$ S/2$ ;"B-'-2$ %!2*-+$ 37/‐
rale. This season Dr. Grases has been invited */$ B&-2*$ )/"#&)*$ 0"$ 3!'06/+"0!?$ C-@$ %-M0)/?$
Canada, and Israel.
BENEFITS OF INCLUDING
VOCAL JAZZ STUDIES WITHIN
THE STANDARD CURRICULUM
OF THE AMERICAN MUSIC
CONSERVATORY: Part 1
BY GREG AMERIND, TEMPE, AZ
D
ue to the length of this article, we will publish the first
half this TACTUS and the
second half next time. If you are
eager to read it all now and want
footnotes and endnotes, you are
welcome to contact Greg Amerind
by email at [email protected].
Background and Introduction
In the late 1960’s, a young jazz
educator named Hal Malcolm created the first credited college vocal jazz ensemble at Mount Hood
Community College, in Gresham,
Oregon. The aptly named Genesis
was called a swing choir, so as not to
offend the surrounding community.
Vocal jazz has often been marginalized, relegated to elective status, or
excluded altogether as schools favored the historical, canonic music
and traditions of Western Europe.
Although over the next three decades, Malcolm’s creation spawned
many followers around the country,
the mainstream still resisted accepting vocal jazz studies in the traditional American conservatory and
university music school. In 1996,
Bruce Bennett and Renee Feinberg
conducted a study for the now-defunct International Association for
Jazz Education’s monthly journal. In
the resulting article they cited a poll
conducted amongst educators from
leading degree-granting members of
the National Association of Schools
of Music in which a large number of
respondents agreed that “the stance
of conservative voice teachers who
dominate the voice teaching profession is responsible for the slow acceptance of vocal jazz in the academy.” Thankfully this has become
less of an issue in the intervening
years since Bennett and Feinberg’s
report. Not only is vocal jazz music
widely acceptable, so are most of its
offspring. Recent documented and
anecdotal evidence suggests that
institutional aversions to a musical
style once considered inferior to
those traditions have begun to dissipate. University music schools more
and more include jazz studies as a
primary component of their curricula, and vocal jazz, once the unwanted step child, has gained national
prominence, resulting in a significant
growth of degree offerings in both
solo and ensemble performance.
However, in most cases, vocal jazz still retains a “separate but
equal” status, only pursued as a
matter of choice rather than enjoying full integration into the vocal
performance curriculum on its own
terms. The entire musical community of performers, composers, and
audiences alike could benefit greatly
from a more technically diverse generation of singers who not only are
able to attain proficient authenticity
in jazz, art song, oratorio, and opera,
but who are capable of negotiating
the demands of atonal, serial, aleatory, and minimalist forms as well,
which require many of the same
skills needed for vocal jazz virtuosity. But resistance among many voice
teachers and administrators is still
high enough that vocal jazz proponents must do more to educate the
educators regarding the benefits of
full integration. This study will present an overview of current thinking
by vocal jazz teachers and scholars,
Continued on next page
Tactus, Fall 2012
14
as expressed in recently published
documents and the author’s own
experience as a cross-over vocalist,
to advance the case for vocal jazz
studies’ full integration within the
typical vocal performance degree
curriculum.
Task One: Dispelling the lingering myths
Myth #1: Singing jazz/pop
will damage the voice.
Damage to the vocal folds may
be created in a variety of ways. First,
incorrect speaking rather incorrect
singing may more frequently be
the culprit. Linda Trotter, an accomplished opera singer and the former
voice chair at Western Michigan
University, home to one of the most
comprehensive and successful vocal
jazz programs in the United States,
had this to say in 2000:
‘’Develop a healthy speaking
voice. Most American youth
speak in an unhealthy manner,
causing damage to the vocal
folds (which are less than one
inch long) even before they
begin to sing,’’ says Trotter.
‘’Stay hydrated. Eat healthily.
Don’t talk over noise and loud
music. Get enough sleep. Your
instrument travels with you:
you can’t pack it away and
close the lid.’’
This common sense approach of
course must apply to all singers, regardless of the genre in which they
primarily perform. To blame vocal
damage or even simple fatigue on
the style of music divorces the responsibility of vocal health from the
singer and the voice teacher.
Second, lifestyle is also a major
contributor to damage. In this case,
the myth has some basis in historical fact. The early performers of
African American-derived singing
forms, (jazz, blues, rock and roll,
etc.) were for the most part “selftrained” and often were unaware of
even the basics of maintaining vocal health. Contributors to the damaging effects of their performance
15 Tactus, Fall 2012
would most likely be based in lifestyle. Long sets in smoke-filled clubs,
trying to project expressively over a
band using inferior amplification (or
none at all), cigarettes and alcohol
between and after sets, late nights
lasting into the early morning hours,
traveling under adverse conditions,
unhealthy eating habits, and, in the
more extreme cases, drug abuse.
These are all accepted characteristics of the life of a jazz singer and
musician from the earliest days up to
the present. Still, none of the items
on this list is directly connected to
the actual style of music, and therefore with care and training, they
can be overcome to allow the jazz
singer to perform as healthily as the
opera or art song specialist.
In the pragmatically applied
sense, the most common primary
cause of vocal fold damage is the
absence of good basic technique.
While there are many variations and
approaches to developing correct
singing technique, commonalities
include developing strong breath
support, possessing a basic understanding of the structure of the vocal apparatus, employment of vocal
exercises to connect and unify the
different registers of the voice, and
of course good vocal hygiene, all of
which are the basic components of
any qualified voice studio.
Dr. Rachel Lebon is a voice teacher at University of Miami whose
own career has involved frequent
work in both the classical and popular genres. (The University of Miami
is one of only a handful of institutions that offers advanced degrees in
vocal jazz.) She sums up the importance of technique as the foundation
for vocal health by simply saying,
“It’s not just a matter of style; it’s really a matter of the manipulation of
your technique to fit the style.’’ In
other words, performing an opera
aria allows for and requires more
time to focus on breath, voice mix,
and resonance, whereas singing an
up-tempo jazz piece relies upon
quicker, more immediate adjustments, but the underlying technique
is consistently sound.
Myth #2: Singers cannot
crossover successfully
between musical genres.
Having established that crossing
between styles or genres is not inherently damaging to the voice, the
question becomes, why do more
singers not choose to cross over? It
seems a logical conclusion that by
developing strong facilities and authentic performance practices in a
variety of styles, a vocalist would
become that much more marketable
and therefore employable. In order
to be successful in multiple genres,
the singer will need to understand
and “buy in” to the characteristics of
those genres. For example, singing
a pop song in the same fashion as
an aria will sound phony and contrived to the audience as would be
the reverse of that effort. Late in his
career, Lucianno Pavarotti recorded
numerous performances with pop
singers singing songs from that genre
but never made any attempt to alter
his style to fit the genre. Likewise,
Barbra Streisand recorded an album
of classical art songs in the 1970s,
performing Fauré and Debussy in
the same manner as she would a selection of pop or show tunes.
Other well-known singers have
had more success navigating the waters between the classical and pop
shores of the musical river. A brief
You Tube search of long-time celebrity Florence Henderson will reveal
her many variety show appearances early in her career in which she
demonstrated a great ease of crossover ability between opera, musical theater, jazz and contemporary
pop. More recent examples include
opera diva Renee Fleming, who released CDs of jazz and contemporary songs in which her performances were very authentic to the genres,
prompting the New York Times reContinued on next page
viewer to credit her with beginning
“to solve the longtime problems of
opera singers’ pop crossovers.” And
there is the phenomenon known as
“Three Mo’ Tenors,” an act which
features classically trained African American singers presenting a
concert of opera, jazz, blues, and
contemporary favorites, each performed with more-than-passable
authenticity.
They prove that not only is it
possible to successfully navigate a
variety of genres, but they help expand the awareness of a given audience to include that plethora of
styles. Returning to Pavarotti and
Streisand, no one doubts the technical prowess of either singer, so
could their lack of authenticity in
their crossover endeavors be simply
a matter of choice rather than ability? One can only speculate in the
absence of empirical data.
But members of the vocal faculty
at universities are tasked with training their students to be competitive in the professional world, and
to be competitive requires more
and more versatility than in the
past. Iconic specialized singers may
emerge from these programs and attain celebrity status, but as always,
will remain the rare exceptions.
While the public may have accepted the above artists’ forays outside
their comfort zone simply because
of their iconic status, most workingclass singers would be criticized for
their lack of authenticity and would
likely be asked to “not give up their
day job.” Choosing to ignore study
within a variety of styles is certainly
any student’s prerogative, but it will
by definition limit their professional
choices later. So crossing between
genres is not only possible, it is becoming increasingly desirable for the
singer who wishes to earn a steady
living as a musician.
Still, in order to choose the
crossover route, current vocal performance majors must be motivated either from within or by their
teachers, and it is still more often
the latter that must be convinced.
As relayed in Diana Spradling’s report, a vocal jazz director or voice
teacher may overcome the myths of
damage and crossing over by dialoguing with classically trained staff
only to find that a cultural rift still
remains that may be at the heart of
their misperceptions about jazz, or
that they simply don’t care for it.
One of the biggest misconceptions
about jazz with which both vocalists and instrumentalists wrestle is
found within its vernacular, in particular, tone quality. Use of bends,
slides, growls, register leaps, and a
host of other characteristics associated with jazz music can often be an
obstacle for classically trained musicians. Rachel Lebon touches on this
in her book “The Versatile Vocalist”
in an interview with classical and
jazz violin professor Glenn Basham.
In speaking of the typical academy
musician, Basham notes that they
spend hours upon hours in lessons,
studios and ensembles, perfecting
their tonal production so that they
become unable or unwilling to approach a sound they feel is “unrefined,” so they never try or give up
after the first attempt because it just
“sounds so odd.” So the definition
of beauty, which is ultimately subjective, can also be in play, a part
of which may be overcome through
broader education and further dialogue, and the rest through the
natural order of a new generation
of modernized educators replacing
old-school stalwarts.
Myth #3: Singers aren’t
as well-trained as are
instrumentalists.
In recent casual conversations
between myself and instrumental
jazz educators at three different universities who have a combined 200
years of professional and educational experience upon which to draw,
a common complaint emerged that
vocalists who sing pop and jazz
are often not well-trained musically, falling far below a minimum
level of basic musical literacy, rely-
ing solely on natural ability as the
foundation upon which to build a
professional singing career. While
this is not based upon any scientific
data, it occurs frequently enough
that we all shared this experience
and concluded that singers are often their own worst enemies. A few
bad apples, if not spoiling it altogether, will at least cause suspicion
about the entire bunch. While most
music schools require courses in ear
training and theory, this may not be
enough for some singers. One way
to further develop vocalists’ musical
skills is to follow the example of a
choral director at a two-year California school who does not allow
his singers to work with a piano in
either their jazz or classical ensemble rehearsals. Each singer is allowed
only a pitch pipe or tuning fork, and
must rely strictly upon their sightreading and ear training to learn
music.
It follows that in order to prompt
a university towards a fully integrated vocal program, the support
of not only the voice but also the
instrumental jazz faculty as well is
ideal. After all, it is likely that some
of the training of vocalists in the art
of jazz will be provided by instrumentalists, as is the case at both California State University, Long Beach,
and Northridge. Vocal Jazz Ensembles at other leading schools like
Western Michigan and North Texas
University are lead not by singers
but by instrumentalists. By enrolling in jazz theory and improvisation
classes alongside their instrumental
counterparts, vocal jazz students at
these and other schools are doing
much to dispel the myth of singers
having inferior musical skills, and
this trend must continue at institutions without a vocal jazz degree
in order to completely dispel this
particular myth whether or not it is
based in truth.
The second part of this article
will be presented in the next edition
of Tactus.
Tactus, Fall 2012
16
University of Southern California
Thornton School of Music
Unique among the premier music schools of the world
Imagine
Being Here
Generations of distinguished faculty have made USC Thornton a global
destination for the world’s most gifted musicians.
USC Thornton offers preeminent students of choral and sacred music the
advantage of studying, performing, and networking in one of the most
progressive and vibrant musical centers in the world.
Faculty
Jo-Michael Scheibe (chair)
Nick Strimple
Cristian Grases
Morten Lauridsen
%POBME#SJOFHBS
.BSZ.BUUFJ
4V[J%JHCZ
&+BTPO"SNTUSPOH
DMA candidate
.VTJD%JSFDUPS
-PT"OHFMFT(BZ
.FOT$IPSVT
,BSFO$PPLTFZ
Alumna
"TTPDJBUF$IPSVT.BTUFS
-"0QFSB
%FHSFFTPGGFSFE#"..%."
Christopher Eanes
The Bachelor of Arts in Choral Music offers a multitude of choices
for the serious choral singer:
t$PODFOUSBUJPOTJODIPSBMDPOEVDUJOHFBSMZNVTJDTBDSFENVTJDDPNQPTJUJPOWPDBM
KB[[NVTJDJOEVTUSZBOENPSF
t0VSVOJRVFNVTJDFEVDBUJPOPQUJPOBEEBmGUIZFBSPGTUVEZGPSB.BTUFST
EFHSFFBOE$BMJGPSOJB5FBDIJOH$SFEFOUJBM
t4FDPOENBKPSBOEPSBEEJUJPOBMNJOPSJOBOZBSFBPGTUVEZ
t5SBOTGFS4UVEFOUTBSFXFMDPNF
"QQMJDBUJPOEFBEMJOF%FDFNCFSGPSGBMMBENJTTJPOJO
Extensive financial aid available.
Department of Choral and Sacred Music
USC Thornton School of Music
(213) 821-5756
[email protected]
usc.edu/music | facebook.com/uscthornton
17 Tactus, Fall 2012
Alumnus
"SUJTUJD%JSFDUPS
$JODJOOBUJ#PZT$IPJS
$ISJTUPQIFS)BZHPPE
"#%
Assoc. Dir. of Choral
4UVEJFT
0LMBIPNB4UBUF6OJWFSTJUZ
*SJT-FWJOF
Alumna
%JSFDUPS
Vox Femina
Becoming a 501(C)(3) Non-profit Organization:
(as done in California)
by Ken Abrams, ACDA Western Division High School R & S Representative
F
or many years, my high school
choir has been taking trips out of
the country during summer vacations, using my school district’s nonprofit status. However, this arrangement
recently changed and we were directed
to become a 501(C)(3) independent,
non-profit organization. Now, this may
not be new to some of you with booster groups or separate fundraising organizations. But I was a bit unprepared,
and I was more than surprised at how
time-consuming the process is.
It took us about 6 months to learn
the requirements, identify and complete the forms, establish a board, create by-laws, and arrange the financial
processes. I’m sure it could have taken
much longer, but I was lucky to have
some very organized and dedicated
team members. I’m certainly not an expert at this, but here are some suggestions for obtaining your own 501(C)(3)
status.
1. DECIDE THE MAKE-UP OF YOUR
BOARD – President, Vice-President,
Treasurer, Secretary, Manager (choral director), ex-officio Advisor #1,
ex-officio Advisor #2 (You can have
more, but “the more the merrier”
does not work well here).
2. CHOOSE A NAME – In California, a common hurdle is choosing
a name for your new organization.
The Secretary of State maintains
a database so you can search possible names. Verify that the name
you’ve chosen is unique before doing any other steps. You might want
to include the name of your school,
church, etc., into the new non-profit’s name so that people will associate the new organization with the
overall entity while still delineating
your organization for support. It is
also worthwhile to choose a name
that has a pleasing acronym that is
easy to spell and remember (and
write on checks!).
3. OBTAIN AN EMPLOYER IDENTIFICATION NUMBER (EIN) –
This is easy and can be done online
in about 10 minutes. This can be
obtained before you get State approval on your non-profit status, or
you can wait until you have been
approved.
4. CREATE
INCORPORATION
DOCUMENTS – These are prepared by and voted upon by the
board members. There are template documents available to help
you get the key language right and
to avoid common mistakes that can
get your application for incorporation rejected. (It can be helpful
to establish the same fiscal year for
your new non-profit as followed by
your actual organization to keep
things consistent around the cycle of
your program.)
A) ARTICLES OF INCORPORATION – Very short, about one
page.
B) Includes Mission Statement; Organization name; Group’s purpose and objectives; Membership, voting privileges and dues;
Board of directors; Officers;
Board and membership meetings; Financial administration;
Dissolution protocol; Process
for amendments; and Adoption.
5. FILE FOR INCORPORATION –
You will file with the Secretary of
State’s Office for recognition as a
nonprofit corporation. You will receive a corporate ID number, and
are formed as a nonprofit corporation.
6. FILE FICTITIOUS NAME STATEMENT – This is done with the
County Clerk’s Office where your
organization’s primary address is.
It is required only if your business
operates by a name other than the
name on your Articles of Incorporation. (we didn’t have to do this.)
7. STATE FILING –
A) In California, you are required to
file an initial Statement of Information within 90 days of incorporation. Subsequent filings are
required every 2 years.
B) In California, you must also
register with the State Attorney
General by filing your registration within 30 days of accepting
any funds. The filing of forms to
receive income tax exemption
with both the state and the federal government can either occur
prior to beginning operations
or after operations have begun.
Once you accept any assets, the
30-day clock starts with the Attorney General.
C) File for Income Tax exemptions
– It makes sense to file with the
State and IRS simultaneously.
The IRS expects you to file within 18 months of the formation
of the corporation. The Federal and State forms tend to be
very similar, so preparing one is
a good basis for the other. This
is what gives you the 501(C)(3)
status.
D) The State is likely to give you the
exemption prior to the IRS. Four
months after our application was
sent to the IRS, they were only
working on applications submitted 6 months prior to our subContinued on next page
Tactus, Fall 2012
18
mission. In contrast, we received
approval from the State in a
little over 2 months. However,
the State approval presumes IRS
approval. If the IRS rejects the
application, your State approval
is meaningless. You could wait
for Federal approval before submitting State application, but it
would delay your effort further.
During the time you are waiting for IRS approval, you are
expected to report to the State
that your 501(C)(3) application
has been submitted. You are allowed to assume it will be approved and behave accordingly.
Donations can be considered tax
deductible for all donors during
this approval period.
8. RAFFLES – In California, you have
to register/apply for a permit each
year. There is typically a date to file
by (Sept. 1 in CA) and the permit is
good for a year. Each raffle that
you are planning must be identified
in the application and requires a
follow-up filing after the event to
report results.
9. WEBSITE – Not necessary, but it’s
nice to have. If you do, spend the
money and purchase a good template that you are going to like looking at for years to come. Also, you
will have to pay for the hosting of
the website and have someone who
can run/update it.
10. FINANCIAL RECORDS –
A) Quickbooks – Provides all the
flexibility you need.
B) Get a good financial person on
the board
C) Open a checking account and get
signers for signature card
D) Decide how many signatures
are required for each check (1
or 2)
E) Make sure acronyms and abbreviations of your group name are
allowed by the bank to ensure
acceptance of checks.
F) Audits – If under $1.2 million,
only needed every three years.
G) Physical Address or PO Box?
19 Tactus, Fall 2012
Your choice, but if you do this
over a school break, make sure
you have access to US Mail as
most forms are not sent electronically (in fact, ALL of our correspondence was by snail mail).
of your incorporation.
12. RESOURCES –
H) Budgets – Will need to be discussed, established and approved
by your board.
11. MAINTAINING EXEMPT
STATUS –
A) The IRS has an online training
website “Stay Exempt – Tax Basics For 501(C)(3)’s,” see www.
stayexempt.org
B) Ongoing filing requirements
- Each year you must file financial records with the IRS and the
State within 5-1/2 months after
the end of your fiscal year.
C) After each raffle, a report must
be filed no later than the start of
the following year’s permit cycle.
A) Nolo Press has a non-profit kit
which is not overwhelming.
B) Experts – try to get someone on
your board who has done this
process before, or at the very
least a volunteer who will offer pro-bono guidance. This will
GREATLY facilitate your understanding and ease of completion.
C) You do NOT need a CPA or an
attorney, but you can certainly pay someone to guide you
through the process.
D) Don’t reinvent the wheel. Look
to other similar organizations for
samples of their By-Laws, Mission Statements and Articles of
Incorporation. This process is just
like vocal warm-ups – steal and
share.
… and GOOD LUCK to all!!!
D) A Statement of Information is
filed every 2 years in the month
!
of El Camino College
is now accepting applications for
Treble Ensemble Festival
April 20, 2013 – 1:00 to 6:00 p.m.
El Camino College, Torrance, CA
with guest clinician and conductor
Dr. Charlene Archibeque
“Developing Choral Artistry”
The day will include:
Individual Clinic session with each choir
Mass choir rehearsal on one combined piece
“She Walks in Beauty” by David Childs
Culminating concert at end of the afternoon
Choir size: approx. 20 members
Limited to 4 choirs
Contact Diane Simons at
[email protected] to apply.
/0123451"6!MN749<!3053JO<35$
!
! "#$!%#&'()!$*+$,-)$+!(.!.#$!/0123451"6! 78! 0329:9;!
<95! 23=95! $*>&?! (*! &@.+.(*AB*C! '$D@.(.B&*! E&'! FB-'(*.!
D$'E&',(*%$+! .#'&@C#&@.! .#$! +&@.#G$+.! (*A! -$?&*AH!
8'&,! <(+! 2$C(+! .&! 0$G! 6&'I;! E'&,! J$KB%&! .&!
J&*.'$();!.#$!@*BF$'+B.?!%#&B'+!('$!(,-(++(A&'+!&E!('.!
(*A! C&&AGB))! .#'&@C#! .#$B'! F&B%$+! @*B.$A! B*! +&*CH! "#$!
%#&B'+!D$'E&',!(!GBA$!F('B$.?!&E!!"#!$$%&&!!'$D$'.&B'$!
(+! G$))! (+! ,(>&'! %#&'()L&'%#$+.'()! ,(+.$'G&'I+H!
J$,-$'+#BD!B+!&D$*!-?!(@AB.B&*!.&!@*A$'C'(A@(.$!(*A!
C'(A@(.$! +.@A$*.+;! ,@+B%! ,(>&'+! (*A! *&*L,(>&'+H!
5&,$! %#&B'+! ('$! ()+&! &D$*! .&! %&,,@*B.?! ,$,-$'+;!
()@,*B!(*A!#BC#!+%#&&)!+.@A$*.+H!
!
"#$!/0<2!MN749<!3053JO<35!H!H!H!
P!!#(F$!.&@'$A!.#$!+&@.#G$+.$'*!/*B.$A!5.(.$+;!N(G(BB;!
0$G!6&'I;!J$KB%&!(*A!M(*(A(H!!
P!!#(F$! D'$+$*.$A! ,(>&'! G&'I+! GB.#! .#$! J$KB%&!
0(.B&*()! 5?,D#&*?! B*! J$KB%&! MB.?;! .#$! 0$F(A(!
5?,D#&*?! 7'%#$+.'(;! .#$! <(+! 2$C(+! Q#B)#(',&*B%!
(*A!.#$!/*BF$'+B.?!5?,D#&*?!7'%#$+.'(H!
P! #(F$! (DD$('$A! B*! #&)BA(?! %&*%$'.+! GB.#! .#$! G&')AL
'$*&G*$A!O&+.&*!Q&D+!3+D)(*(A$!7'%#$+.'(H!
P!#(F$! D$'E&',$A! -?! B*FB.(.B&*! (.! G$+.$'*! ABFB+B&*!
%&*E$'$*%$+! &E! .#$! 9,$'B%(*! M#&'()! :B'$%.&'+!
9++&%B(.B&*!R9M:9S!B*!N&*&)@)@!(*A!<&+!9*C$)$+H!
P!#(F$!D$'E&',$A!-?!B*FB.(.B&*!(.!G$+.$'*!'$CB&*!(*A!
+.(.$! %&*E$'$*%$+! &E! .#$! 0(.B&*()! 9++&%B(.B&*! E&'!
J@+B%! 3A@%(.B&*! R09EJ3;! E&',$')?! J30MS! B*!
0$F(A(;!/.(#!(*A!M()BE&'*B(H!
P!!#(F$!(DD$('$A!B*!0$G!6&'I!MB.?T+!M('*$CB$!N())!B*!(!
,(++!%#&B'!D$'E&',(*%$H!
P! #(F$!(DD$('$A!B*!*@,$'&@+!E@))?!+.(C$A!D'&A@%.B&*+!
B*!%&))(-&'(.B&*!GB.#!/0<2!7D$'(!"#$(.'$H!
P! +(*C! B*! O('-('(! 5.'$B+(*AT+! JB))$**B()! 0$G! 6$('T+!
%&*%$'.+! B*! <(+! 2$C(+;! (+! G$))! (+! %&*%$'.+! GB.#!
%&,D&+$'!J('FB*!N(,)B+%#!(*A!+B*C$'!<B*A(!3A$'H!
P! +D&*+&'! (*! (%.BF$! +.@A$*.! %#(D.$'! &E! .#$! 9,$'B%(*!
M#&'()! :B'$%.&'+! 9++&%B(.B&*H! "#$! %#(D.$'! #&+.$A!
.#'$$! U$+.$'*! :BFB+B&*! 5.@A$*.! 5?,D&+B(! &*! .#$!
/0<2!%(,D@+!RVWWX;!VWWY!(*A!Z[[[SH!
P! D'&@A)?!D$'E&',!.#$!,@+B%!&E!B*.$'*(.B&*())?!I*&G*!
%&,D&+$'! (*A! /0<2! ()@,*@+! 341M! UN1"9M43;! G#&!
EB'+.! $KD$'B$*%$A! %#&'()! ,@+B%! G#B)$! +B*CB*C! B*! .#$!
/0<2!M#&'()!3*+$,-)$+H!
!
3\Q34130M3!"N3!/0<2!MN749<!"49:"170]!
!"#$%&#'()#$*+%"#,-'*"+.$/"+'-/'$'()$$
0123$4("#-5$6'&7*)8$"%%*/).$9:;<=$>?@AB;;>C
M70M34"!510=345!P!MN9JO34!MN749<3!
29451"6!J30!P!U7J30T5!MN74/5!
!
'!()*"+,"-%)&&%."/"01#%&23"4,"0%35%36"#13*7#81.5"
!
$
!
"#$%! &'()! *+,-%./! 0%1+2%.%0! 3! ,%3.! 4%.5%67! 68,6%.7! 85!
/36.%0! 3,0! /%6913.! :9/+6;;;#$%! /+,-%./<! 68,09678.<!
3668:43,+/7! 3,0! 390+%,6%! :%:=%./! 311! =97! 03,6%0! +,!
7$%!4%>/;"!$94"+/)#'$6*+D)#8$"+$'"&#$*+$4"5"#-7"=$
$
";;;?8@89/! /+,-+,-<! .%:3.A3=1%! 0%1+636@! 3,0! 48+/%<!
+:4.%//+2%! 4%.58.:3,6%<! %B4.%//+2%! 5%.28.;;;C! 9%)8'*E-5$
-7F&7*/-'*"+$GH$I-#'*+$J)#+()*,)#.$2"8$K+D)5)8$L*,)8=!
$
"#$%! %,7+.%! 4%.58.:3,6%! >3/! -18.+89/<! @%7! 0+/6+41+,%0;!
#$%! 8.6$%/7.3<! /818+/7/! 3,0! 6$8.9/%/! 4%.58.:%0! >+7$!
9,355%67%0!6$3.+/:3;C$$ 92-8$3)D-8$M)E*)NAO"&#+-5$A$J#-(,8$
M)P&*),$N*'($2-8$3)D-8$I-8')#$6*+D)#8.$0123$4("*#8$-+7$2-8$
3)D-8$Q(*5(-#,"+*/$/"+7&/')7$GH$R-E*7$S)*55)#=$
$
$
M70M34"!539570!Z[VZLZ[VX!
!
8'BA(?;!7%.&-$'!VW;!^_X[!DH,H!
$!-55$4"+/)#'T$$UV"*+W$0X$'"$V5"#HY"
!
8'BA(?;!0&F$,-$'!VY;!`_[[!a!^_[[!DH,H!
<>'($K++&-5$I-7#*D-5$Z$4(-,G)#$4("*#$!)8'*E-5$
!
8'BA(?;!0&F$,-$'!X[;!^_X[!DH,H!
R)G&88H$U1"/'&#+)8Y$Z$Q"&5)+/$UV5"#*-Y$
4",G*+)7$0+*E)#8*'H$4("#-5$[+8),G5)8$N*'($'()$$
2-8$3)D-8$I-8')#$6*+D)#8$Z$0123$6H,X("+H$\#/()8'#-$
!
8'BA(?;!J('%#!V;!^_X[!DH,H!
I-#E)5"&8$I&8*/-58$Z$\X&5)+'$\X)#)''-$
!
U$A*$+A(?!L!5@*A(?;!9D'B)!XL^!
4(-,G)#$4("#-5)$6X#*+D$L"&#$$
9K#*]"+-$*'*+)#-#H$'"$G)$-++"&+/)7=$
!
8'BA(?;!9D'B)!VZ;!^_X[!DH,H!
S",)+W8$4("#&8$Z$3-#8*'H$I)+W8$V5))$45&G$
!
5@*A(?;!9D'B)!ZV;!^_X[!DH,H!
4(-,G)#$4("#-5)$^",)$4"+/)#'$
!
8'BA(?;!J(?!X;!^_X[!DH,H!
4"+/)#'$6*+D)#8$UV#-+7$!*+-5)Y$
N*'($'()$0123$4(-,G)#$4("#-5)$Z$D&)8'$(*D($8/(""5$/("*#8$
!
!
!
#DEFG#*!
HIJKLM#*!NOPHPQ!8.!X-/C&+5EC)7&!
L11!18631!68,6%.7/!+,!&'()!R%3:!S9/+6!E%,7%.!!
8.!L.7%:9/!T;!U3:!E8,6%.7!U311;!
!
)D*D#!&*!V'(D'G!
,&8*/C&+5EC)7&_)+8),G5)8$3,0!
NNNC%-/)G""`C/",_01234("#-5[+8),G5)8$
!
Tactus, Fall 2012
20
Tactus, Fall 2012
21
22 Tactus, Fall 2012