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TCDA
43rd Convention
Marsha Carlisle, TCDA President
Performance
Practices In African-American Vocal Music
Beverly Johnsopn Chinn, Ph. D.
Vocal
Health
Complications of Surgery on the Vocal Folds
Dr C Richard Stasney
Officer
Comments
Randy
Talley, Past PresidentDr
Donald Bailey, HS/College VPBarbara
Murphy, MS/JH VPKaren
Bryan, Elementary VPRegi
Fowler, Church/Community VPKelly
Moore, Secretary/Treasurer
TCDA
43rd Convention
Marsha Carlisle, TCDA President
Greetings! I trust your spring is coming to a successful close. Sometimes we get so overburdened with travel and tour plans, festivals and contests that we lose sight of the wonder of all that is Spring. It is a time of renewal. You may look forward to another time of renewal and a time to recharge your teaching batteries at this summer's TCDA Convention and New Music Reading Clinic, Wednesday, July 29 through Saturday, August 1, in sunny San Antonio.
Your Board of Directors has been hard at work planning a variety of workshops and selecting new music for this convention. Dr. Kenneth Phillips will be our headliner, directing the TCDA Children's Chorus and premiering the TCDA Commissioned work by Betty Bertaux. Dr. Phillips will do a workshop for teachers, providing them with innovative ways to deal with the uncertain singer in their young choral ensembles. Convention participants will have a chance to watch Dr. Phillips work with the Children's Chorus in their rehearsals.
This summer we are also happy to present three Exhibitor Showcases. Representing Brook Mays/H&H Music Company, Julie Romeo and Peggy Morales will present the first Showcase that will be repeated later that afternoon on Alternative Accompanist Solutions for the Choir. Mollie Tower will present teaching strategies for secondary choral teachers implementing the new text published by Glencoe, and Pepper of Dallas/Fort Worth will provide three internet clinics at various times throughout the Convention focusing on the needs and questions of those new to the 'Net.
The Student Symposium will feature two very different approaches to dealing with the issue of discipline in the choral classroom. There will be a panel discussion featuring an all-star cast lead by Paula Edwards of Midland. The other discipline workshop will feature TCDA's own cast of stars, the "Not Ready for Saturday Morning Players", directed by Sally Schott, SWACDA's President Elect.
Representing the Church and Community division, Paul Oakley will present two Youth Choir workshops, and Dr. Michael Hawn will present a workshop featuring global music. Dr. Stephen Heyde from Baylor University will present a two-part workshop, "So You Want to Conduct Strings?" Sharon Prince, Music Supervisor for Pasadena ISD will moderate a panel on Coordinating Music Teaching with the New TAAS Objectives.
A very special event on Thursday evening will be a concert by the San Antonio Symphony Mastersingers, John Silantien, director.
All these workshops by these outstanding clinicians will be presented in addition to the New Music Reading Clinic featuring a selection of the newest choral music available. Please pre-register and make your plans to join us in San Antonio for the TCDA summer Convention.
Congratulations to the fine Texas choirs and their directors who delighted those in attendance at the Southwest Division of the American Choral Directors Association Convention in Corpus Christi, March 26, 27, and 28.
Bill Adams and the Fort Bend Boy Choir touched our hearts with their performance of Ed Robertson's, Dream a Dream. Martha Luigi and the Rockport High School Choir were the demonstration group for John Silantien's workshop on style. Hats off to Dr. Silantien for stepping in for Rod Walker and providing us with a cohesive and informative workshop on style. Jo Scurlock Dillard and the MacArthur High School Women's Chamber Choir presented a kaleidoscope of musical treats for the audience which included their commissioned piece for women's choir by Dede Duson. We experienced the inspiring choral settings of Simon A. Sargon as elegantly expressed by the SMU Meadows Chorale under the direction of Constantina Tsolainou. Conroe High School A Cappella Choir under the direction of Angela Rivera presented a very nice concert which included the premier of their commissioned work, Lullay My Liking by Dr. Robert Young, and featured the talents of their incredible assistant director, Trina Zinecker. St. Paul's United Methodist Church Choir under the direction of Robert Brewer and Francis Anderson, presented a wonderful program displaying their versatility. Frank Sargent and the Highland Park High School Lads and Lassies presented An American Tapestry, reminding us of our diverse choral heritage. Denise R. Eaton, Amy M. Wenk and the Spring High School Chorale charmed us with their outstanding program on Saturday morning. The Sugar Land First United Methodist Church Festival Chorus under the direction of James Knapp provided a spiritually enriching program highlighted by the setting of Order My Steps, featuring the amazing talent of Barbara Johnson-Tucker. Our own Glenda Casey conducted the ACDA High School Women's Honor Choir, and from the opening procession of Somagwaza to the finale, Kansas Boys, we were enchanted. The ACDA High School Men's Honor Choir presented an awesome performance conducted by Texas' own Jim Casey. The performance was highlighted by a delightful rendition of Mr. Columbus, as only Mr. Casey could have created. Thanks to their omnipresence and unfailing persistence, Robert Stovall and Stan McGill made everything run smoothly as site coordinators for the convention, and TCDA's Executive Director Dan Wood handled the exhibits with aplomb!
All in all, we can be very proud of our Texas representation at the Southwest Division ACDA Convention featuring such fine conductors, composers, and performers.
BRAVO!
Performance
Practices In African-American Vocal Music
Beverly Johnsopn Chinn, Ph. D.
A primary goal of vocal and choral music educators is to lead students to accurate and aesthetic performances in various genres of music. Vocal style and performance practices that are aesthetic or pleasing vary according to genre. Musical genres and performance practices evolve from cultural traditions, including African and African-American traditions.
Some performance practices that are common and aesthetically pleasing in African and African American vocal style include varying the tone quality, glides, bends, dips, text improvisation, rhythmic alterations, exploitation of falsetto by men, and an emphasis of the chest register by women. These practices, and many more, extend from West African and American slave musical traditions (Williams-Jones, 1975; Southern, 1983; Burnim & Maultsby, 1987). Some singers exposed to vocalists in their homes, churches, and general community who demonstrate these practices will automatically model some of the techniques. While many of these performance practices are inappropriate in Western European vocal genres, such as Renaissance madrigals or Romantic part songs, they are appropriate in African folk songs, African-American folk songs, spirituals, gospel songs, and rhythm and blues songs.
Choral selections representing several of these genres are emerging as part of standard instructional and performance literature and are increasingly performed in concert and contest settings. Some selections are even represented in local, state, and national choir audition repertoire and on various contest lists. Since it is important to teach students appropriate performance practice in a healthy manner, four practices will be described and discussed here: bends, glides, dips, and exploitation of chest register.
Bends, glides, and dips may be described as embellishments that effect pitch. (See Figure 1) A bend occurs when a singer varies the pitch on a single syllable that is notated for only one pitch. A glide may be described as a glissando. The singer slides through a series of tones without specifically defining each pitch between the first and last pitch. A dip is vocalized by lowering the notated pitch and then raising it. In general, choral instructors teach singers to attack or release a pitch without adding extra pitches. In the African and African-American aesthetic, these embellishments are common performance practices. However, the embellishments may be more or less pronounced determined by issues such as emotional intent, maturity of the singers, the setting of the performance, and the specific style. For example, bends and dips in a gospel song sung in a church will probably be performed more obviously than they would be in a concert arrangement of a spiritual.
In practice, singers may even employ embellishments automatically, without consciously thinking to alter the pitch. For example, I taught a middle school treble choir an arrangement of Kum Ba Yah. Most of the singers were African-American. After rehearsing the first stanza, when I added the accompaniment and no longer played the melody with the choir, they automatically added a bend at the end of the first phrase. (See Figure 2) When I questioned the young singers, I learned that they thought they were singing what I taught. Based on my previous research, I realized that they altered the pitch based on previous experiences with music at church or on the radio (Chinn, 1997).
In the school choral ensemble, an often asked question is, "How much of an embellishment is appropriate?". The following guidelines are not definitive, but may be useful. First, the notated part must not become totally obscured. Second, when the singers return from an embellishment, particularly a glide, to the notated pitch, the notated pitch must be in tune.
Similarly to bends, glides, and dips, emphasis of the chest register effects pitch, but it is also an issue of vocal production. For females, vocal pedagogues often recommend that singers begin to mix the upper register with the chest register at approximately e flat to g, on the lower end of the treble clef, depending on the vocal classification. These pitches represent the upper end of the chest register in female singers (Miller, 1986). (See Figure 3). In many African and African-American vocal styles, use of the chest register on higher pitches is sometimes appropriate, resulting in a heavy, rich tone quality. However, the choral instructor should monitor the singers to insure that they don't employ chest registration so often that vocal health is sacrificed.
Several guidelines are helpful when determining the appropriateness
of chest registration. Use of chest register, beyond the recommendations
of traditional pedagogues, should complement the text, mood, and/or
the dynamic marking of the composer or arranger. The singing should
never become so heavy or loud that it sounds like yelling. The
tone should be open, well supported, and in tune. Finally, the
singers should not experience vocal fatigue or hoarseness as a
result of the rehearsal or performance.
Choral experiences of today embrace music of many cultures. It
is important that our students' performances reflect the inherent
musical and performance elements of these cultures. Present day
choral teachers easily incorporate the culture and vocal style
of Western European art music in instructional practice. As we
continue to add the music of many cultures in our choral music
programs, it is equally important to teach the inherent musical
and performance elements of these cultures, including that of
the African and African-American.
References
Burnim, M.V. & Maultsby, P. (1987). From backwoods to city streets: The Afro-American musical Journey. In G. Gay & W. Baber (Eds.), Expressively Black: The cultural basis of ethnic identity (pp. 109-136). New York: Praeger Publishers.
Chinn, B.J. (1997). Vocal Self-Identification, Singing Style, and Singing Range in Relationship to a Measure of Cultural Mistrust in African-American Adolescent Females. Journal of Research in Music Education., 45(4), 636-649.
Miller, R. (1986). The Structure of Singing. New York: Schirmer Books.
Southern, E. (1983). The music of Black Americans. New York: W.W. Norton & Company.
Williams-Jones, P. (1975). Afro-American gospel music: A crystallization of the Black aesthetic. Ethnomusicology, 19(1), p. 373-385.
Vocal
Health
Complications of Surgery on the Vocal Folds
Dr C Richard Stasney, M.D., F.A.C.S.
Texas Voice Center, Houston
Caveat emptor is a well-known aphorism for merchandise consumers, but it also applies to medical consumers. Second opinions regarding surgery on the vocal folds is almost always appropriate. Generally, the degree to which the first surgeon is offended by your seeking a second opinion is inversely proportionate to the quality of that physician. Most of us do not take offense, and are interested in what our colleagues will say. If there is a difference of opinion, ask each side to explain his/her case and make an informed decision. Here are four cases of surgical misadventure, which should serve as lessons to us all:
1. Adynamic segment following laser surgery for nodules
In this case of a 60-year-old minister, his vocal folds look good with indirect mirror examination, but closer evaluation by the videostrobe (slow motion of vocal folds) shows a clearly immobile segment on the right vocal fold (indicated by the arrow).
2. Scarring following Laser surgery for nodules.
In this case of a 30-year-old former cheerleader, there is an obvious bowed appearance of the vocal folds following some type of laser nodule removal at another institution. It is very difficult to ameliorate the hoarseness in such cases - prevention is the best course.
3. Web following surgery for papillomatosis.
We all want to "cure the problem with one-stop shopping", but sometimes, this can lead to complications. Papillomas (benign viral-caused growths) can involve both vocal folds near the front. If the surgeon tries to remove both sides during one operation, the folds can (and many times do) scar together and form a web. Although this complication can be treated with additional surgery, the best treatment is prevention by doing one side at a time and waiting for it to heal before proceeding.
4. Divot following too-aggressive removal of a polyp.
The surgeon should guard the sanctity of the vocal ligament (the band of connective tissue underlying the vocal folds). When this structure is invaded, many times scar contracture will occur, which can result in concave vocalfolds. In this case (a 24 year-old country singer), the vocal folds are bowed and are most ineffcient. Once again, this lesion is very difficult to correct.
Here are some helpful hints if you, a family member, or a friend is having surgery:
1. Don't hesitate to get a second opinion and be very suspicious of a physician who becomes upset when you ask for one.
2. Be careful when the surgeon suggests the use of s laser on your larynx. There is a place for the laser, and some very fine surgeons routinely use them without problems, but many times there are safer (and less expensive) ways to remove benign growths.
3. Make certain that the surgeon has done the procedure many times before, and ask to talk to some of that physicians patients who have undergone the surgery (it's not great if they are very hoarse on the phone).
4. Don't hesitate to try conservative management before surgery. At the Texas Voice Center, we insist on Speech Therapy (and even Singing Therapy) before removal of benign vocal fold lesions. It is de rigueur to have speech therapy during the post-operative course to insure the best possible conditions for healing. Also, the patient only wants to have the procedure once, so he/she must change vocal abusive habits before surgery to prevent recurrence.
Officer
Comments
Congratulations to all of you who have completed another year of successful teaching and conducting. Thank goodness for the summertime - a time to relax, charge our batteries, and get ready for another year of making choral music. The 43rd Annual Convention of the Texas Choral Directors Association will be a battery charger for all who attend. The TCDA Board has invited outstanding clinicians to this year's convention. Workshops and reading sessions have been designed to give you ideas, information, and "new" choral literature to benefit your program. Also, the TCDA Convention will be a time to see old friends and make new ones. We are an organization of more than 1600 men and women who come to the Convention with a spirit of unity and a common purpose! Plan to attend this year's Convention, and encourage your elementary, middle school, junior high, high school, college, community, and church colleagues to join us. Our goal is to make every choral director in Texas a contributing and benefitting member of TCDA.
As the immediate Past President, I am involved in the planning sessions geared toward the student membership and those "new to the profession". A question that is usually asked of young choral directors by music supervisors and principals during an interview is, "How do you plan to handle discipline problems in the classroom?" This question, which is a difficult one to answer for a first year teacher, is important because good classroom management, or discipline, is a key element in the development of a good choral program. We are going to address this issue with two outstanding workshops which will appeal to both the "beginning" and "experienced" teacher. First, a panel of four successful teachers will lead a workshop entitled, "Dare to Discipline". Paula Edwards will facilitate this workshop featuring Deidre Douglas, Denise Eaton, and Brett Farr. What a powerhouse panel! These outstanding teachers will share their secrets to success. Secondly, after a little arm twisting, Sally Schott has agreed to bring back the "Not Ready For Saturday Morning Players" for another hilarious installment demonstrating "different styles of discipline". As you know, Sally and her friends have provided us some of the most unforgettable moments in the 43 years of our association. Don't miss this!
Finally, I am proud to announce that this year's commissioned work will be written by nationally known composer Betty Bertaux. The commissioned work will be premiered by the TCDA Children's Chorus at the Friday business meeting. Make your plans to attend this very special concert.
Donald Bailey
High School/College Vice President
It almost seems impossible, but the school year has flown by and preparations for a great summer Convention are nearly completed. I hope you are making plans to attend and take part in some wonderful activities. Highlighting the convention reading sessions will be Dennis Richardson from Mary Carroll HS conducting the Holi-day/Seasonal session, Randy Hooper from Garland HS conducting the Treble/Men session, Gloria Stephens from Ryan HS conducting the Pop/Novelty session, Brian Miller from Sam Houston State University conducting the SATB General, and Barry Talley from Deer Park HS conducting the TMEA All State Music. We are deeply appreciative of the talent of these fine conductors and I know you will enjoy their leadership as we read through the new music selections. We are also pleased that Paula Ogle from Cedar Valley MS and Howard Thompson from Midway HS will serve as accompanists for the high school/college music reading sessions.
I am extremely excited about the clinicians we have contracted for the convention. Professor Stephen Heyde (Baylor University) has agreed to present two sessions dedicated to helping choral directors learn how to effectively deal with the orchestra when combining our choirs with strings for major works. Using the Vivaldi Gloria as a basis for discussion, he will show how the normal rehearsal techniques of the choral rehearsal can be used to effectively lead the strings. A sub-title for these sessions might well be "Everything you wanted to know about strings but were afraid to ask." You do not want to miss these valuable sessions. Professor Heyde is the Mary Franks Thompson Professor of Orchestra Studies and Conductor-in-Residence at Baylor University, and is one of the most effective orchestral conductors in the field. He has a genuine love of choral music and is anxious that our students experience the wonderful choral/ orchestra repertoire.
Last summer, one of the most popular workshops was presented by Opti-Sound on the topic of how to get the best sound for your group when using amplification. By popular demand, David Phipps and Jody Pearson of Opti-Sound will present their workshops again this summer for those who were not able to get into the sessions last year. Their highly professional work can make the difference between a solid performance or an acoustical disaster. If you did not get to his workshop last summer, let me encourage to you be in the Opti-Sound session. We are very fortunate to have these two highly professional clinicians for our workshops this summer.
In our last issue of Texas Sings!, we announced the project to develop a list of recommended high school repertoire. Now that the school year is winding down, I hope you will take the opportunity to think through the really great pieces you have encountered and complete a recommendation form. You will find a form in this issue if you have misplaced your last issue. It is our desire to make this valuable resource available this coming year. I am convinced that great choral repertoire is the key to having great choral programs, great performances, and great music education. If we in the choral profession hope to have a lasting influence on our students, we need to seek out the music of all styles which have both musical and textual merit. Please take the time to give us your recommendations. WE NEED YOUR CONTRIBUTIONS.
Barbara Murphy
Middle School/Junior High Vice President
How quickly the time is flying - this has been a fast few months. That "deadline dragnet" can overtake us all at this time of year. I feel it closing in: Solo and Ensemble Contest to organize, recruiting concerts to schedule and letters to write, the 'end of the year' parties to plan, next year's budget to prepare, and so on. If this is all too familiar, it is because school music teachers are task-oriented year round, or programs wouldn't be as successful as they are. Give yourself a pat on the back for a job well done! After spring break, all of us feel refreshed and ready to enjoy the last nine weeks of school. Tweedle-dee and Tweedle-dumb also come back from spring break with renewed energy. Remember to fight the battles you can win and enjoy and build on their successes and achievements. Smile, and they will smile back at you. You know you have made a difference in their lives, because they have made a difference in yours! Enjoy!
The best part of summer vacation in Texas is that it ends with a great Convention TCDA! Here are the offerings for the 1998 convention. Let's begin with the reading session conductors. The Middle School/Junior High Session conductors are Michele Stehling from Peterson MS in Kerrville directing the El/ MS Training Choir session, Marc Erck from Hill Country MS in Austin conducting the Middle School General Session, and Gene Holkup from Edinburgh South JH in the Rio Grande Valley conducting the MS/HS Training Choir Session. At the keyboard will be two familiar TCDA faces: Jane Haas from Eisenhower Middle School in San Antonio and Laura Taylor from Richardson West Junior High.
A highlight of the MS/JH offerings will be the workshop, "They know the notes, now what?" with Georgia Kornegay from Curtis Middle School in Allen, directing a demonstration group of 36 Varsity seventh and eighth grade girls as they prepare a UIL Contest program. Along with that will be a workshop presentation about UIL programs that work presented by three successful directors, Nancy Kissinger of Arnold JH in Cy-Fair ISD, Tommy Haygood from Killeen Ninth Grade Center, and Linda Ice from Young JH in Arlington.
Completing the 1998 Convention agenda is the ever-popular Tried and Proven workshop led by these outstanding directors, Kitty Amshoff from Teague MS in Aldine with Holiday Tried and Proven, Carl Braden from Atoscocita MS in Humble with General Tried and Proven; and Ruth Millner from Greiner MS in Dallas with Off-the-UIL List Tried and Proven.
Hospitality will be chaired by Irma Taute of Children's Chorus of San Antonio/Incarnate Word/UTSA, with M.G. Garvin of Sellers MS in Garland serving as our official TCDA photographer.
Please make plans, now, to attend the 43rd Annual Convention. You owe it to yourself and your program. Best wishes for a summer that is restful and relaxing. See you in July for TCDA98!
Karen Bryan
Elementary Vice President
It is with mixed emotions that I write my final article as the Elementary Vice-President of TCDA. I have had two very busy years, and have met some wonderful people through my association with the TCDA Board. It has been an honor to serve with such dedicated musicians, and for such hard-working elementary choir directors.
Before I tell you about our exciting plans for the Elementary Division 1998 TCDA Convention, allow me to share one last personal warm fuzzy with you. Those of you who have taught as long as I have certainly have encountered at least one child that made everything worth it in your career. Let me tell you about my "Tony".
Who needs an Oscar when you can have a Tony?
My earliest recollections of Tony are when he was a Kindergartner. I wasn't teaching Kindergarten students at the time, but it didn't matter. EVERYONE in the school knew Tony - he was the one that was always in trouble. Tony was a racially mixed little boy, and unfortunately had never met his father. (Mom was unmarried, and was no longer in contact with his father by the time Tony was born.) To be polite, mom was lacking in parental skills.
For some reason, (called Divine Intervention?), Tony and I really hit it off. He didn't have many friends, and seemed to always be in trouble for something or other, but he loved music class, and knew that I loved him. When Tony repeated first grade (he was too busy trying to survive to learn to read the first time), his classmates gave him a hard time. I asked him to help me teach some of the games he had learned the year before, and he seemed to gain a little more respect from his peers. By the time he was in fifth grade, we were great "buds". My nickname for him became "Bud" at that time. He told me several times he always felt "safe" in my room, and knew that it was okay to make mistakes and try new things, (one of the joys of being a music teacher).
At the time that Tony went through elementary school, our school system did not have official vice-principals. Our school, however, did have a very gifted fifth grade teacher that was our unofficial VP. Tony spent so much time in this teacher's classroom for disciplinary reasons in the last four years, it was only natural that he be in his classroom as a fifth grade student! This was a wonderful thing, because this man had the same ethnic makeup as Tony's father. He became a wonderful role model/father figure. Together, we got Tony through elementary school.
When he left for middle school, his fifth grade teacher and I were both concerned that Tony might get lost. Who was there to understand how much Tony needed? Who would be able to see the wonderful person deep inside that troubled child? Who would be tough enough and love him enough to help him survive? Who would be on Tony's side?
However, we needn't have worried. Tony got involved in the choral department, and found a new friend in the choir director. Tony was safe! He had someone to love him and guide him through all four years at middle school (repeated seventh). Divine Intervention again? I definitely believe so!
By the time Tony was (finally) ready for high school, the middle school choir director and I didn't take any chances. We made SURE the high school choir director knew his name. It just so happened that Tony had a wonderful bass voice, and she was glad to get him. All this time, he still kept in contact with his fifth grade teacher, his middle school choir director, and me. I would always get a big hug from him whenever I at-tended one of his concerts. It was such a thrill for me to see this tall, gorgeous young man give an old lady (a teacher even!) a hug in front of all his buddies. Tony's middle school choir director got him in touch with the Vocal Majority, and before long, he was a member. What a vast array of positive male role models!! They immediately took him under their collective wings, and nurtured him along.
At the end of his sophomore year, Tony was told he would have to repeat that year due to excessive absences. At the age of 18, he decided it just wasn't worth it any more. He had never done very well with academic work, and needed to make money. So he dropped out of school, getting minimum-wage type jobs. He did maintain his relationship with the Vocal Majority, however, and soon earned his GED!
I kind of lost touch with "Bud" after he dropped out of school, but last year he surprised me by walking into my music room! He had gone to his former middle school, where his fifth grade teacher is now teaching, and told him he was on his way to see me. The teacher told him I had moved to a new school, and Tony drove across town to see me! (Visitors are usually announced, but he wanted to surprise me, and I guess the office decided he looked safe enough.) We had a wonderful visit, and I learned that he had a career, was in love, and was living in a very respectable section of town. I was so thrilled for him. A couple of weeks ago, he called me to get my home address so that he could send me a wedding invitation. I told him I was so honored that he would want to include me, and he told me, "Mrs. B., if it weren't for you, I wouldn't be here!" I was very grateful that I didn't have a class at the time, so that I could compose myself before I would look out at a sea of expectant, trusting young faces.
That very afternoon, we had a faculty meeting, and our wonderful principal shared this story:
Every day, an old man walked the beach with a pail, picking up starfish that had been washed in by the tide, and throwing them back into the sea. One day a young boy stopped the old man and asked, "Why do you throw the starfish back? It doesn't matter. They will only wash up on the shore again tomorrow."
The old man picked a starfish out of his pail, threw it as far as he could into the sea, and replied . . . " It mattered to this one."
Attached to a card with this story written on it was a golden starfish. I turned to a good friend with whom I had shared my Tony story only that day, and her face was as wet as mine. We both whispered, "Tony!" Whenever I wear my starfish, I will always remember the impact that Tony has had on my life, and be grateful for the impact I was able to have on his!!
1998 TCDA Convention Plans
And, now, speaking of impacts. . . DON'T MISS this summer's Convention! Dr. Kenneth Phillips, from the University of Iowa, will be conducting the 1998 TCDA Elementary Children's Chorus. Dr. Phillips was suggested by several of you last year as a possible conductor for this year's Children's Chorus (without knowing that the plan was already in motion!). Janet Scarcella, from Houston, will be his accompanist. It always fascinates me to watch a conductor take a group of children that are virtual strangers, and lead them to make beautiful music. Being able to watch someone with his expertise tackle some of the challenges we encounter in our own rehearsals is very enlightening, and I'm sure you'll be inspired! If you were not at the 1995 TCDA Convention to hear Dr. Phillips, you might be interested to know that he specializes in developing vocal skills for young singers. He will also be doing a workshop on Saturday morning entitled, "What Do I Do With Johnny and Janie One-Note?" Make plans now to stay after this session to have Dr. Phillips autograph your copy of Teaching Kids to Sing and/or Basic Techniques of Conducting. If you already have one or both of his books, bring them with you. If you haven't purchased one yet, they will be available at several of the exhibits!
Ruth Ann Goodwin, from Longfellow Elementary in Houston, had a powerful impact on those of you who attended her session last year discussing how to get your choir organized. This summer, she is returning to TCDA to give some insights on using choreography effectively with our choirs. Her session will be titled "Movement with Purpose". Our U/SA Reading Session is always very popular, and this year we are privileged to have Phyllis King Braund, from Plano, to conduct for us. She is extremely capable musically, and I'm sure you'll enjoy her warm personality during this session! Please make plans NOW to attend the 1998 TCDA Convention from July 29-August 1!! You'll be glad you did!
As you finish your year and look out at all those faces that are consumed with spring fever and/or raging hormones, when you are tempted to lose your cool, ask yourselves if there are possibly any "Tonys" out there who really need you to push them ahead. When you're asking yourselves, "Now, just WHY am I doing this, again?", "Is it worth it?", "Does anybody care about this besides me?", "Am I really getting through to anyone?", etc., ask yourself this one, too: "Is there a starfish desperately needing to be rescued and saved?" Believe me, I have to remind myself of that sentiment frequently at this time of year!
Thank you again for the privilege of serving as your TCDA Elementary Vice-President. May God bless you all as you minister to your students! If I could leave you with one parting reminder: There is no song more important than the child who sings it!
Regi Fowler
Church/Community Vice President
Spring is in the air and music is blossoming all around us! I love the freshness of the season, the slight breeze and the bright sunshine. The light has never shone brighter than it will on the TCDA Convention '98! Get ready for a blinding good time full of education and resource.
First bright spot in the Church/ Community Division will be our three (that's right, three!) reading sessions full of great music written for the new year. The Sacred Unison/2 Pt/3 Pt session will be conducted by Deanna Goodman, Music Associate at First United Methodist Church in Richardson. The Sacred Contemporary Session will be conducted by Billy Talley, Choral Director at Tascosa High School in Amarillo, and music director at St. Paul United Methodist Church, Amarillo. The Sacred Mixed Session will be conducted by Dianne Brumley, Artistic Director and Conductor of the South Texas Chorale. All three reading sessions will be accompanied by Marcus Bradford, Randall High School Choir Director, Canyon.
Also shining brightly are three clinics for Convention 1998 in the Church/Community Division. The first clinic will be from Dr. C. Michael Hawn, Associate Professor of Church Music at SMU. This clinic will be in the area of "Global Music", with representative literature from Africa, Asia, and Latin America.
The other two clinics will feature San Antonio's University United Methodist Church Youth Choir. The clinician is Paul Oakley, world recognized clinician for youth choirs. He will work with the choir using effective rehearsal techniques for "once a week" choirs. This clinic should be extremely useful for choir directors who don't get to rehearse with the same group five times a week.
The brightest spot will be a concert featuring the San Antonio Symphony Mastersingers, under the direction of Dr. John Silantien. The concert will be on Thursday night and promises to be the highlight of the Convention.
As you can see, the bright spots are in place for the TCDA Convention.
Make sure your calendar is marked for July 29, 30, 31 and August 1. You won't want to miss out!
Kelly Moore
Secretary/Treasurer
Pre-Registration is Here!
Now is the time to send in your pre-registration for the 43rd Annual TCDA Convention and New Music Reading Clinic which begins Wednesday, July 29, and ends Saturday, August 1. The final date for the pre-registration to be received in Austin is July 10th.
This year we are doing something brand new! You will still save $10 when you pre-register, but in addition, along with the confirmation you get in the mail, you will receive your badge, membership card, and voucher for BBQ tickets, t-shirts, etc. By showing your confirmation to a registration worker, and just picking up a badge holder and a program, you'll be on your way into the Convention, fast.
There is often some question concerning the membership categories. Hopefully this will clarify them for you.
1. Active This category is for a teacher, director (church, community or school choir), consultant or supervisor.
2. Student This is for full-time students registered for classes at a Junior College, College, or University. If you are a part-time student and director or accompanist of a church choir, you must register as an Active member.
3. To qualify as an Associate, you are interested in TCDA objectives, but do not meet the Active requirement.
4. To register as a Retired member, you must no longer be employed in the profession in any capacity. If you hold a church job, you must register in the Active category.
There is one non-member category, Guest, with two parts:
1. Spouse This refers to the person you are married to who does not work in the profession. He/She is not an accompanist or private lesson teacher. This person is not employed in the music profession in any capacity. Please remember, if your spouse works in the music profession, he/she must register in the Active category.
2. Child/Family Please indicate children's names on the pre-registration form. The $5 fee will provide professional child care services.
If your family member intends to visit the sessions or exhibit area for any length of time, they must purchase a guest badge for $5.
For the first time this year, TCDA will be accepting credit cards for payment. Mastercard and Visa, only, may be used for pre-registration and at registration during the convention. Of course, cash and checks are always accepted.
I would also like to encourage you to contribute to the General Scholarship Fund which you may do on the pre-registration form and at convention. I urge you to give to this necessary fund to help future choral directors of our state.
When filling out the membership form enclosed in the magazine, please re-enter all information so that we can double check it with our records. Thank you for taking the time to fill out the pre-registration form. Mail to: TCDA/ 2550 South IH-35, Suite 201/ Austin, Texas 78704-5749.
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