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Resound
Fall, 2011
Resounding Through the Division!
Volume 35, Number 1
How to Have the World’s Greatest
Family Reunion
What a joyous time it is when families gather. Whether it’s as simple as a
weekend barbeque or something as incredibly complex as a wedding, bringing loved
ones and friends together is a time of great celebration for most of us.
It’s much the same when we gather as a family of choral conductors, isn’t it?
We greet one another with smiles and hugs, we celebrate accomplishments, we share
stories, and we listen to fantastic music. Oh, yeah . . . and we eat. A lot.
INSIDE THIS ISSUE
Sharing the Choral
Story.................................. 2
What is a “Re-Treat”?.... 4
Enjoy our Hoosier
Hospitality..................... 5
How to Communicate?.6
Enjoy the Honeymoon March is Only four
Months away!................. 9
The First Impression...10
Spice Up Your Romantic
Choral Cuisine!............13
Why Does it All
Matter?...........................14
Get Involved.................19
Planned Sessions for
the Conference . ..........21
Fort Wayne Needs
You!..................................23
The 2012 ACDA Central Division Conference will be just such a gathering.
We have a wonderful event planned for you, a veritable feast of choral camaraderie!
Interest Sessions will cover such amazing topics as Tanzanian choral music,
switching from bel canto to vocal jazz singing, studying the Bach St. Matthew
Passion, rehearsal techniques, using rounds, advocacy, and oh, so very much more!
(Visit <http://choralnet.org/view/284043> for a complete list.)
Still not enough? We’ll also offer you great literature for all ages through our
reading sessions – and just like we did at the last Central Division Conference, you
will receive ALL of the reading packets as a part of your registration.
Of course, we will have tasty treats for your ears through an astounding
slate of concerts . . . 30 choirs in all! You’ll get to hear Conspirare from Austin,
Texas, and the U.S. Navy Sea Chanters from Washington, DC. We’ll hear TWO
mass setting of a folk nature on the same stage, the Misa Criolla (Ramirez) and the
Bluegrass Mass (Barnett) with the latter accompanied by the band which premiered
the work, Monroe Crossing. From here in the Central Division, we’ll offer you a
genuine junior high choir, a vocal jazz ensemble, high school groups, and collegiate
choirs – PLUS collegiate chamber, sacred, and women’s honor choirs led by
internationally acclaimed conductors. (You can see the full list at <http://choralnet.
org/view/286530>.)
What about the facilities, you ask? The interest and reading sessions will be
held in the attractive, spacious Grand Wayne Convention Center. The concerts will
take place in three churches that are literally across the street. At the end of each
wonderfully frantic day, rest in the Fort Wayne Hilton or the brand new Courtyard
by Marriott. I’ve tested both hotels . . . trust me, you won’t be disappointed.
For a little added bit of grown-up fun, Central Division President Tom
Merrill is planning a wine & music tasting event called a “Choral Cabernet!” Imagine
sampling a little Italian vino while singing Italian madrigals, then doing the same
with French wine & chanson, German wein und lied . . . you get the idea.
Between all of that, you’ll see dear friends, make new associations, laugh,
smile, and hug as we gather together as a family passionately devoted to the choral
art.
For more information on the conference, see page 21 of this
issue. You can register now! It’s only a couple of clicks away at
<www.acda.org>.
Now pass me some of that BBQ . . .
- Scott Dorsey serves as Central Division Conference
Program Chair and is ACDA’s Director of Communication and
Education.
DIVISION
LEADERSHIP
President
Tom Merrill
Xavier University
3800 Victory Parkway
Cincinnati OH 45207-5511
O- 513/745-3135
F - 513/745-3343
merrillt@xavier.edu
PRESIDENT-ELECT
R. Brett Goad
2526 Ravinia Lane
Woodridge IL 60517
H- 630/241-4454
C - 630/621-8452
rbgoad52@sbcglobal.net
VICE PRESIDENT
Mary Hopper
Wheaton College
501 College Avenue
Wheaton IL 60187
O- 630/752-5825
H- 630/858-7510
C - 630/890-4679
mary.hopper@wheaton.edu
Treasurer
Kathy Walker
7360 Xavier Court
North Ridgeville OH 44039
H- 440/309-4691
katherine.walker@
avonlakecityschools.org
Sharing the Choral Story
In Ohio, September 11,
2001 was a beautiful sunny
day. September 11, 2011 was
much the same, weatherwise. Think how much has
changed in the interim in so
many aspects of our lives.
What struck me the most
while listening to many 9/11
ceremonies, remembrances and memorials
was the inclusion of music, much of it choral, at
every ceremony. It was certainly not surprising
to me, but I wondered how many others who
were listening to the same reports even noticed
the music at all.
It seems natural to us who work in the
choral profession that any activity of great worth
will include music as a part of the celebration or
commemoration. If your school, community or
church is like any of the ones with which I am
associated, then you are often called upon to
provide “something special” for that day. It is
commonplace for who we are and what we do.
We are surrounded by music every day, and it is
as natural to us as breathing.
Has music become so commonplace in
the lives of others that perhaps they have lost
the beauty of the individual tree for the constant
view of the forest? My wife (a choral educator
as well) posed this question to me the other day:
“Why is it that people will loudly sing “Take Me
Out to the Ball Game” at the eponymous event,
but not so much as even whisper our National
Anthem when it is being sung? Has it become
solely the province of pop stars that take
“National Anthemic” ornamentation to new
heights, or perhaps depths?
All who conduct choirs are choral
educators. We educate not only our singers,
but also our audiences. We invest time and
energy into making our art, and most of us do
it because we love what we do, not because our
pay is so great that we can retire at fifty. Let us
take some responsibility for choral singing and
choral education.
Write about the art of choral singing
in your programs. Talk about choral singing
to people who do not regularly sing, e.g. a
PTA board or a Chamber of Commerce. Take
the time to educate those around you about
the antiquity and beauty of our art. Perhaps
even mention that it provides the most human
experience of the performing arts in that there
is no mechanism between the musician and the
listener.
The thing that “got” to me when I was
listening to all of the 9/11 remembrances was
the story. The stories of loss and sorrow, of
trials and peace, and of fear and redemption
were powerful reminders of that day, and our
lives ever since. I believe that we have stories
just as powerful to tell about our art, and that
we should do so whenever we find the right
opportunity. Share your choral story, because it
matters.
- Tom Merrill is Associate Professor,
Music Department Chair, and Director of
Choral Activities at Xavier University in
Cincinnati, Ohio and serves as Central Division
President.
Resound
The official publication
of the American Choral
Directors Association
Central Division
Fall, 2011
Published three times
a year.
Volume 35, No. 1
William G. Niederer,
Editor
Elkhart Central High
School
1 Blazer Boulevard
Elkhart IN 46516-4565
2
Resound, Fall 2011
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Resound, Fall 2011
L i v i n g Mus i c
APPLICATION DEADLINE
music.indiana.edu
Dec. 1, 2011
3
DIVISION
LEADERSHIP
2012 CONFERENCE
PROGRAM CHAIR
Scott Dorsey
3201 North Walker, #9204
Oklahoma City OK 73102
C - 405/639-7265
drscottdorsey@gmail.com
resound editor
William G. Niederer
Elkhart Central High School
1 Blazer Boulevard
Elkhart IN 46516-4565
O- 574/295-4743
F - 574/295-4712
H- 574/234-0718
wniederer@elkhart.k12.in.us
What is a “Re-Treat”?
In Illinois, we had
a great time at our summer
Re-Treat. David Rayl from
Michigan State University
was our directors’ chorus
conductor, and we learned
a great deal from him about
creating music together.
Mary Goetze taught us about
authentic multicultural music, and John Jost
taught us about performance practices.
All in all, we were able to spend time
with old friends, make some new ones, and sing
and learn together with other choral artists.
Afterward, in our board meeting, we discussed
changing the name: apparently, Re-Treat does
not seem to describe our purpose as positively
to some school administrators as well as we
would like. But what is a Re-Treat?
Well, “retreat” has several meanings,
according to <www.dictionary.com>:
• the act of withdrawing, as into
safety or privacy; retirement;
seclusion.
• a place of refuge, seclusion, or
privacy
• a retirement or a period of
retirement for religious exercises
and meditation.
• an asylum, as for the insane.
argue the last example as well, but how many of
us describe our school years, duties, schedules,
etc. as “insane” at times? Surely the Re-Treat
can be an asylum of sorts, one which helps to
remind us of why we became choral directors in
the first place?
I believe that the Illinois board that
created this term nearly 20 years ago was
deliberate in its choice and punctuation of the
term Re-Treat. A treat is something special,
usually a reward for good behavior or a job
well done. It is a treat for me to join my ACDA
colleagues every summer for several days of
singing, learning, and lots of laughter. “Re”
means to do again, and can be found as a prefix
to many words: revive (bring back to life);
rejuvenate (give more energy); repeat. Our ReTreat helps to revive us to go back to our schools
and classrooms, ready to teach another year. It
rejuvenates us when we’re drained at the end of
a school year. We know that the Re-Treat will
happen again every summer, so we can repeat
the experience!
Semantically, words like “convention”
or “conference” might better describe what
we do for three days each summer in ACDA.
The term which will always speak to my heart,
though, is Re-Treat. I will be there in Illinois
next summer, June 27-29, 2012 at Illinois State
University, to again treat myself to ACDA.
I don’t see how any of these statements
define the ACDA summer “Re-Treat,” except
that singing and learning together can be a
form of refuge for many of us. Some might
- Beth Best is Choral Director at Hill
Middle School in Naperville and serves as
President of ACDA-Illinois.
chamber
orchestra
chamber
orchestra
574.229.2247 • www.VesperChorale.org
4
Resound, Fall 2011
Enjoy Our Hoosier Hospitality
Here in the Hoosier
State, we are very much
looking forward to hosting the
Central Division conference
in Fort Wayne in March.
As indicated in past
articles and in this issue
of Resound, the facilities
being used in Fort Wayne
are terrific. The conference will have a very
different feel from those held in the more
metropolitan areas of Chicago and Cincinnati. If you’re wondering about the concert
sites, be assured that the three churches being
used are fine acoustically, have excellent sight
lines, and are within a three-block radius of
the Grand Wayne Center (where all interest
and reading sessions will be held). The two
conference hotels are connected or adjacent via
sky bridge to the Grand Wayne, as well. While
the weather in March is unpredictable, the
fellowship and quality of the conference is not it will be GRAND.
As with other states, it’s been a time
of change in Indiana for those of us in public
education. A removal of collective bargaining
rights, a voucher program taking tax dollars
from the public schools, new evaluation
processes, and the continuing high rates of
unemployment have made it an interesting
time to be teaching choral music. Many
different things are added to our plate, and yet
what remains the same? Our singers and their
desire to experience music. As Tom Merrill
writes (page 2), we need to remember to “sell”
what choral music does for our students.
We also need to remember that our
professional organization is a real source of
renewal when the blahs of winter appear. By
March, we’re all tired of how dark it remains
and are wondering when spring will make
its appearance. What can help? Come to
Fort Wayne and experience some Hoosier
Hospitality.
The Central Division conference costs
have been kept low, with part of that coming
from the location of Fort Wayne. Many things
for which the division had to pay in prior cities
are being provided free of charge in Fort Wayne.
I think you’ll find that it’s an ideal place to
hold a conference - our state music educators
association had its conference there in January
and it was a great success.
Our summer conference, with headliner
clinicians Pearl Shangkuan of Calvin College
(past Division president) and Jeff Johnson of
the University of Kentucky, was a great success,
Resound, Fall 2011
with many practical ideas being shared by the
clinicians and those in attendance. It’s always
a good time to recharge and to remember why
we’re in the field of choral music.
It’s not too soon to put the Indiana
Choral
Directors
Association
summer
conference on your calendar! After two years
of being in mid-June, the conference has
moved back to mid-July. We’ll be holding
the conference July 11-13 at the University of
Indianapolis.
Our headliner clinicians in 2012 will
be Keith Hampton and Russ Robinson, with
reading sessions and interest sessions as well.
An addition to the summer conference will
be the All-State Vocal Jazz Ensemble, under
the direction of Millikin University’s Steve
Widenhofer. The vocal jazz ensemble has been
in existence for a number of years, but had been
under the auspices of our state MEA. As with
a number of things in the state over the past
few years, ICDA is taking a more active role,
examining the way we do things, and providing
more leadership in choral activities.
I hope that those of you who are not
ICDA members will consider coming to our
summer conference - we have a great time,
learn a lot, and I’m sure that President-Elect
Dan Andersen will have planned some new
ways for us to all improve as musicians.
It’s an exciting time to be a part of
ACDA in Indiana. We hope that the Fort
Wayne conference will give the division a
chance to experience our Hoosier Hospitality
first hand! Make your plans now - register
online at <www.acda.org>!
DIVISION
LEADERSHIP
Illinois president
Beth Best
Hill Middle School
1836 Brookdale Road
Naperville IL 60563
O- 630/428-6200
Beth_Best@ipsd.org
Illinois
President-Elect
Karyl Carlson
Cook Hall 109
Illinois State University
Normal IL 61970
O- 309/438-2012
kkcarls@ilstu.edu
Indiana President
William G. Niederer
Elkhart Central High School
1 Blazer Boulevard
Elkhart IN 46516-4565
O- 574/295-4743
F - 574/295-4712
H- 574/234-0718
wniederer@elkhart.k12.in.us
Indiana
President-Elect
Dan Andersen
Center Grove MS Central
4900 Stones Crossing Road
Greenwood IN 46143
O- 317/882-9391
F - 317/885-4534
H- 317/889-8834
andersend@centergrove.k12.
in.us
- William G. (Bill) Niederer is Music
Department Chair/Choral Director at Elkhart
Central High School and serves as President of
the Indiana Choral Directors Association and
as Central Division Editor.
A view of downtown Fort Wayne
5
DIVISION
LEADERSHIP
Michigan
President
Deb Fristad
3724 Newcastle Drive
Rochester Hills MI 48306
H- 248/377-4439
O- 248/693-5420
fristad@comcast.net
Michigan
President-Elect
Gabriela Hristova
University of Michigan-Flint
Department of Music
126 FH
303 East Kearsley Street
Flint MI 48502
O- 810/762-3375
ghristov@umflint.edu
Ohio President
William Zurkey
Avon Lake High School
175 Avon Belden Road
Avon Lake OH 44012
O - 440/933-6290, ext.1501
F - 440/930-2798
H - 440/933-4972
C - 216/407-5500
wzurkey@aol.com
Ohio PresidentElect
Dara Gillis
320 Amber Light Circle
Delaware OH 43015
O - 740/833-1010
H - 614/327-1073
dbgillis1@yahoo.com
6
How to Communicate?
Greetings to all from
Michigan, state of Great
Lakes and Great Singing!
As our August board
meeting gathered people
from the far-flung corners
of our state there was a
sense of a new direction
for our organization and
the importance of meeting in person. We
spent some time reflecting on our past
accomplishments and brainstorming our vision
for the future. Following up on the discussions
begun the past two years with headliners JoMichael Scheibe and Tim Sharp at our annual
conference, we are beginning to see how our
hopes for the future are intricately tied in with
finances, procedures, and most importantly,
communication with our membership and
sister organizations.
The communication piece emerged as
the highest priority for our strategic planning.
While our Web site continues to evolve, we
also need to turn our attention to a Facebook
page, Twitter, and print material. We will work
to make improvements in these areas, but the
greatest communication is still the face-toface contact with colleagues who share our
passionate interest in choral music.
In this age of instant electronic
tethering, it has become essential. I know I
LIVE for the moments when I can get away from
a computer screen and have some conversation
and laughter with another human being. I
believe my high school students do too, even
though they can’t always verbally articulate
that need. (Judging from how much time they
need to spend in my classroom talking with me
about matters shallow and profound, I’d say
they are LONGING for it.) How lucky we are as
musicians, conductors, and educators that we
can make a positive difference in people’s lives
through this art form of live, verbal interaction.
Please consider joining us for our
conference this fall so that you can do just
that; face-to-face interaction with our choral
colleagues; humanity at its best.
The 2011 ACDA-MI Fall Conference
will be held October 28-29, at Central Michigan
University in Mt. Pleasant.
Visit our Web site <www.acdami.org>
for details, but be prepared for some GREAT
conversations.
- Deborah Fristad is Choral Director
at Lake Orion High School and serves as
President of ACDA-Michigan.
Resound, Fall 2011
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Resound, Fall 2011
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Choral MusiC
Performance Opportunities
Concert Choir
Masterworks Chorale
Women’s Chorale
Sycamore Singers
Opera/Music Theater Workshop
at indiana state university
Undergraduate Degree
Programs
For more information, visit:
wwwindstate.edu/music
Music Education
Music Performance
Music Business
Graduate Degree Programs
Choral Conducting
Vocal Performance
Music Education
8
www.indstate.edu
Resound, Fall 2011
Enjoy the Honeymoon - March is only
Four Months Away!
New
beginnings
are always exciting.
As
educators, we are fortunate,
as we have a lot of new
beginnings. We have new
school years, new semesters,
new choir rosters, new choir
officers, new booster groups,
new music, and often new
administration, and sometimes, new positions.
I just sat at the helm of a Ohio Choral Directors
Association board meeting. It is an awesome
board - very talented, dedicated,
great
character, and they have a humorous side too.
It was a great board meeting. OR, is it the
honeymoon period?
How about your choirs? I always enjoy
that first chord I hear from each new choir in
the fall. The attitude of the students, especially
the NEW seniors, is so refreshing as they try
to gain your attention and affection. They are
working so hard to fill top positions left by the
recent graduates. They concentrate on skills
and technique as if they were auditioning for
Carnegie Hall. They look at your every move
as though you were the greatest conductor
since Bernstein. This must be September, the
honeymoon period of any school year. It is the
most enjoyable time of the year.
But what happens by March? Sally
did not make your top group, so she stopped
watching you in December. You favorite bag
of tricks is getting old and your warm-ups
need new revitalization. You have performed
that same piece of music every other year and
need some new literature ideas. The required
selection for contest has passed its prime and
the choir groans when they have to sing it. Then
you realize that you have entered five groups in
District contest and the first group performs
at 7:00 am on Saturday morning. You want to
declare an insanity plea, but you can’t because
there are more concerts, boosters meetings, the
choir tour, and the fund raiser, all in the brutal
month of March. How did this happen? Stop
the world, I want to get off!
How do we get from September to
March and avoid the misery? The answer is
plain and simple. Attend the ACDA Central
Division Conference in Fort Wayne, Indiana.
The dates are March 7-10, 2012. Fort Wayne
is a fabulous location for our conference - a city
of churches, which will be great performance
venues for our choirs. What could be a more
centralized location than Fort Wayne? Tom
Resound, Fall 2011
DIVISION
LEADERSHIP
Merrill, Central Division President, and Scott
Dorsey, Program Chair, have put together an
amazing schedule of events complete with
concert sessions, reading sessions, interest
sessions, and honor choirs.
Honor choir
conductors include Bruce Chamberlain, Sacred
Honor Choir; Hilary Apfelstadt, Women’s
Honor Choir, and Ed Maclary, Collegiate Honor
Choir. Look for more information on the ACDA
and Central Division Web sites, coming soon.
I attribute much of my growth as a
choral conductor and teacher to my association
with ACDA and to the conferences that I have
attended since my first year of teaching. These
conferences and the professional contacts
developed have been my revitalization every
year. I know that when I return from a
conference, Sally will watch me again, my bag of
tricks has been replenished, and I have a whole
new attitude for the month of March.
- Bill Zurkey is Director of Choral
Activities at Avon Lake High School, Director
of the Oberlin College Conservatory of Music
Women’s Chorale, and serves as President of
the Ohio Choral Directors Association.
Children
And Youth
Community
Choirs
Emily Ellsworth
Anima - Young Singers of Greater Chicago
799 Roosevelt Road, Bldg.6, Suite #100
Glen Ellyn IL 60137
O- 630/858-2471
F - 630/858-2476
H- 630/665-6788
ellse@earthlink.net
College and
University Choirs
Charles P. (Chuck) Brown
Concordia University Chicago
7400 Augusta Street
River Forest IL 60305
O- 708/209-3066
F - 708/209-3176
H- 630/665-0087
charles.brown@cuchicago.
edu
Community
Choirs
Wishart Bell
906 East Fairview
South Bend IN 46614
C - 574/229-2247
H- 574/232-9404
wbell@wishartmusicservices.
com
Ethnic and
Multicultural
Perspectives
Madlen Batchvarova
Hanover College
Box 890
Hanover IN 47243
O - 812/866-7327
H - 812/265-1161
batchvarova@hanover.edu
XAVIER UNIVERSITY
A classical education that recognizes the
significant contribution of music to society.
OUR CHORAL FACULTY:
Thomas Merrill, DMA
YOUR CHORAL OPTIONS:
Edgecliff Vocal Ensemble
Concert Choir
Men’s Chorus
Women’s Chorus
YOUR EDUCATION:
BA in Music
BS in Music Education
Accredited by the National Association of Schools of Music.
For detailed information contact:
9
DIVISION
LEADERSHIP
Jazz Choirs
Jim McCullough
St. Charles East HS
1020 Dunham Road
St. Charles IL 60174
O- 630/513-2105
F - 630/513-5751
H- 630/443-9536
james.e.mccullough@d303.
org
Junior High &
Middle School
Choirs
Mona Jethmalani
Dundee Middle School
4200 West Main Street
West Dundee IL 60118
O- 224/484-4535
C - 630/205-2347
mjethmalani@aol.com
Male choirs
Bob Boyd
122 Prairie Drive
Westmont IL 60559
H- 630/986-9531
C - 630/920-1960
bealextoo@aol.com
Music IN Worship
John W.W. Sherer
Fourth Presbyterian Church
126 West Chestnut Street
Chicago IL 60611
O - 312/787-4570
H- 773/685-3148
C - 773/512-9140
jsherer@fourthchurch.org
10
The First Impression: Introducing A Piece
Effectively Can Make It Last
Last year I found
myself
bewildered
(and
excited!) by how engaged and
expressive the singers in my
seventh grade chorus became
while rehearsing a piece that
I was initially unsure about
programming. As I reflected on
the rehearsal process and my programming
choices, I realized that there were several
pieces in which I had a planned a thoughtful
introduction and a few others that were simply
passed out with some verbal notes and then
sight read. The way we introduce a piece
DOES matter a great deal. A larger variety
of choral literature could be better received
by young choirs if the director adopts an
attitude of presenting a new piece for singing
and understanding, rather than simply sight
reading a new work or diving into notes and
rhythms too quickly.
If a new style of music is to be
presented, the director should lay some
groundwork before the work is introduced.
Otherwise, the chances for its success are poor.
Why isn’t more time spent on this? Directors
often choose music too late or don’t spend
enough time with it ahead of time. In the midst
of busy schedules, directors are afraid to pick
unconventional pieces and usually revert to
a tradition of passing out music, giving a few
notes about it, and beginning the sight reading
process.
After a work has been selected and a
rehearsal study has been carefully made, the
director must then determine the best way
to introduce the piece. There are a couple of
things one can consider when planning an
introduction. First, what is most attractive
about the piece and how can you build an
introduction around that? Second, what are
some tricky elements that could be a toughsell initially: Is the text in a foreign language,
mature or childlike? Is the culture affiliation
too unfamiliar or does it have preconceived
opinions? Could the music come across as too
difficult, structured, or contemporary?
Randy Swiggum of the University
of Wisconsin-Madison and Madison Youth
Choirs has devised some strategies which can
work when introducing a piece:
• Tell an interesting anecdote about
the piece, if there is one.
• Tell the story of the piece or the story
of its text. Dramatize it.
• What’s interesting about the
composer? Make the composer come alive.
Read a letter from the composer about the
piece (that you write!).
• Begin by singing only the main theme
as it travels through the piece.
• Give students only the title of the
piece and have them jot down ideas about
how they think the piece will sound (using
specific musical vocabulary and addressing the
elements of music). Discuss.
• Teach the melody of folk song and
spiritual arrangements by rote/ear first. Put the
emphasis on the beauty or enduring character
of the melody.
• Tell a personal story of your own
about the piece.
• Use a focused listening activity. Keep
it brief. Have a specific goal for the listening
that everyone is attending to. This works best
when the piece is too difficult to sight read or
when the piece has an immediate aural impact.
• If strong poetry drives the piece’s
effect, print the text on a separate sheet – one
for each student – before passing out the music.
• Work backward in creating your
introduction. Plan the steps that lead to actually
passing out the music. You do not need to start
singing from measure one on the first day.
It is sometimes a good idea to play a
recording (when available) of a work when it
is being introduced. This is particularly an
advantage with a work in a new idiom or if a
score of some complexity is being introduced.
This can give the students a better concept of
the work and often interest them in wanting
to sound as good as the recording. When a
recording is played at the introduction point
of the rehearsal, there will not be a tendency
to copy the recording. When recordings are
played to teach the choir a piece, the choir
can then often sound like a poor copy of the
recording.
Remember that a favorable impression
of a work is nice, but equally important is a
simple attitude of receptivity on the part of the
students. The students will hardly be able to
sight read a score and be able to grasp the full
musical value of a piece. Sometimes they need
to be taught to adopt a ‘wait and see’ attitude.
It is too early to decide whether or not
to “like” a work. I always say, “It’s not love at
first sight!” Impress upon the students that
Continued on page 12
Resound, Fall 2011
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Resound, Fall 2011
11
continued from page 10
at the first reading they will not know
what the work really sounds like. It is not
until they have sufficiently mastered its
technical difficulties that they will begin to
have an idea of the merits of a piece.
- Mona Jethmalani is Choral
Director at Dundee Middle School in West
Dundee IL and serves the Central Division
as Repertoire & Standards Chair for
Junior High/Middle School Choirs.
One of the great performance
venues in Fort Wayne
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Resound, Fall 2011
Spice Up Your Romantic Choral Cuisine!
Exoticism has been
a part of music development
for centuries. Composers
from every historical era
have turned to the unusual,
exotic, charming, and distant
as sources of inspiration
and excitement. Performers
and audiences have been
fascinated by the folk traditions and cultural
intricacies of distant lands. Syncopated
rhythms, instrumentally-conceived vocal lines,
frequently changing metric combinations, and
sultry melody lines with flair of chromaticism
form the unusual yet curiously appealing spice
combinations of this exotic musical cuisine. Our
time, filled with technological advancement and
vigor, is perhaps best equipped to accurately
represent the mysterious, glamorous and
colorful multicultural music.
The selections illustrated below
hail from the Latin American traditions of
Argentina, Mexico and Venezuela and represent
the passion and zest for life of the Latino
nations. All pieces are based on or inspired
by popular dances which have transcended
their folklore and have become mainstream
dance repertoire around the world – tango,
huapango, joropo. They all epitomize their
respective cultural legacies and are exciting
for the choirs to sing and for the audiences to
experience.
Antonio Estévez, “Mata del
anima sola,” earthsongs, SATB with
tenor solo, unaccompanied
Antonio Estévez (1916-1988) was
a Venezuelan musician, composer, and
conductor, and founder of the Central
University of Venezuela Chorus. He graduated
from the Escuela de Música y Declamación
with degrees in oboe performance and
composition and secured a scholarship from
the Education Ministry to continue his studies
of music in Europe and the United States. His
compositional technique shows an affinity
toward a nationalistic style particularly
manifested in his Missa Criolla inspired by
the poetry of Alberto Torrealba. “The Tree of
the Lonely Soul” is based on the Venezuelan
joropo. The name “joropo” encompasses a
broad spectrum of Venezuelan cultural forms
from dress and poetry to dance and music and
is an important part of life in the Venezuelan
llanos, tropical plains around the Orinoco
River. The composer casts an exciting web
of vocal forces, impersonating a variety of
stringed and percussion folk instruments.
Resound, Fall 2011
Estévez entrusts the instrumental imitation to
the chorus, while the tenor solo resemblances
the free, non-metered improvisatory character
of the rural folk songs. The dance rhythm of
the opening section is juxtaposed with a slow,
contemplative segment depicting a night in the
plains. The return of the sparkling rhythmic
imitation of folk instruments rounds off the
tripartite form. The rhythmic displacement
of strong and weak parts of the beats with
the characteristic hemiolas paired with the
carefully chosen onomatopoeic syllables and
an appealing melody line create the sensuous
landscape of a Latin dance. This piece can spice
up perfectly your choral concert joropo (party).
Astor Piazzolla, “Libertango,”
arr.
Oscar
Escalada,
SATB,
accompanied, Neil A. Kjos Music
Company, ed. 8929
Astor
Piazzola’s
(1921-1992)
compositions have one major characteristic
that distinguishes them from other works.
It is unmistakable. As Jorge Pessinis and
Carlos Kuri point out in their article “Astor
Piazzola: Chronology of a Revolution,” “his
opus, comprising more than 1000 works,
a characteristic career and an undoubtedly
Argentine flavor…[is] characterized by
his aesthetic power and his unique style,
almost in a league of his own…It is about the
[unique] “language” that he created…with
heterogeneous and rebellious elements (jazz,
classical music, experiments in sound) he
produced a unique music under the drastic
pulse of his Tango.” Piazzola was a welltravelled musician and spent time in South and
North America and Europe. His creativity led
to numerous commissions and performances.
Following a heart attack, he moved to Italy,
where he dedicated his creativity to a series
of recordings, the most famous of which is
his Libertango (Tropical Music CD 68.904),
recorded in Milan, Italy.
Oscar Escalada’s choral arrangement
of Piazzola’s masterpiece gives vocalists an
opportunity to experience the power of the
Argentine tango. The arranger masterfully
translates the sound of the famous quintets
playing New Tango (bandoneon, violin,
bass, piano, electric guitar) to the nonsense
scat syllables of the choral parts. Escalada
uses accents and short articulation to render
accurately the passionate, pulsating rhythm of
the tango. The sopranos mostly carry the solo
line, joined at times by a countermelody in the
DIVISION
LEADERSHIP
Senior High
Choirs
Angela Vaughn Hampton
Floyd Central High School
6575 Old Vincennes Road
Floyds Knobs IN 47119
O- 812/542-8504
ahampton@nafcs.k12.in.us
Show Choirs
Pat Wiehe
2435 Glenhill Drive
Indianapolis IN 46240
O- 317/259-5301
F - 317/259-5369
H- 317/844-1433
pwiehe@msdwt.k12.in.us
Two-Year College
Choirs
Phil Spencer
Joliet Junior College
Fine Arts Department
1215 Houbolt Road
Joliet IL 60431-8938
O- 815/280-2225
pspencer@jjc.edu
Women’s choirs
Lisa Fredenburgh
Music Department
Aurora University
347 South Gladstone Avenue
Aurora IL 60506-4892
O- 630/844-4577
lfredenb@aurora.edu
Youth & Student
Activities
Robert Sinclair
VanderCook College
3140 South Federal Avenue
Chicago IL 60616
O - 312/225-6288, ext. 224
C - 773/445-9777
rsinclair@vandercook.edu
continued on page 17
13
Why Does It All Matter?
On April 3, 1974 my hometown
of Xenia, Ohio was devastated by one of
the largest tornadoes in history. With
no warning at all, the tornado ripped
through the center of town and left a path
of destruction five miles long and one
mile wide. Our house was directly in that
path, but thankfully we had a large hill in
our backyard. We were told that when
the tornado hit that hill, it lifted off the ground just enough
to spare our home. About ten doors down, where there was no hill, the
homes were gone. I was about 12 years old at the time, and
after a minute or so of huddling in the basement, waiting
for the tornado to pass, came upstairs to find the world
that I had grown up with radically changed. Massive trees
were uprooted and thrown to the ground; live electrical
wires were dancing in the streets, shooting sparks through
the air. There were no windows left in our house, the roof
was stripped bare and one entire wall had been pulled
out. What was left of the interior was filled with debris
and wreckage. The walls even had nails, boards and other
objects embedded inside them.
I was scared and in some degree of shock, but I had
been playing piano since I was seven and the piano was right
where it had always been in the corner of our living room.
I can clearly remember sitting down amid all that chaos and
playing the “Minuet in G Minor” by Johann Sebastian Bach.
In that music was beauty, calm, order and sanctity. I didn’t
know it at the time, but realized later that in that moment
I received my calling to be a musician, to bring beauty and
truth into a world that desperately needs both.
During this busy fall season, we all have many
deadlines, meetings, rehearsals, concerts and other events
that demand our attention. Sometimes it is easy to lose our
focus, get lost in the details and ask ourselves, “Why does it
all matter?” It matters because we are musicians and we are
each called to bring beauty and truth into the world.
On September 11, 2011 I helped to organize an
event commemorating the tragic events of September 11,
2001. We invited Christian, Jewish and Islamic speakers
and musicians to come together. We formed a choir of
120 Jewish and Christian singers and an Islamic children’s
choir. We commissioned a fifteen minute piece by Aaron
David Miller called “Voices of Peace,” based on children’s
poems from around the world. The planning for this began
in January and at times was very difficult. There were many
moments when the entire endeavor seemed impossible and
the challenges simply insurmountable.
The night finally arrived for the big event and people
began arriving an hour before it began. By the time it started
there were 1,200 people, a capacity crowd, to sing, listen
and pray together. We sang about peace,
we listened to stories, and we prayed for
healing and reconciliation in our hearts
with our neighbors and throughout the
world. When it was over, we were all
deeply transformed and our lives were
much better than before. One person said,
“I have only had a few glimpses of heaven
in my life and that was one of them.”
That is why it matters! It matters
because music can inspire us and bring us
together. Music can transform a moment
or a lifetime. Music can reveal truth when
nothing else can. Music can bring beauty
back into the world when that beauty has
been ripped away. We, as musicians, are
called to serve the music and to serve each
other as we live out this calling together.
- John W. W. Sherer is Director
of Music and Organist at The Fourth
Presbyterian Church of Chicago, serving
the Central Division as Repertoire &
Standards Chair for Music in Worship.
14
Resound, Fall 2011
Learn. {Perform. Excel.
Discover Choral Music at North Park University
Choose from four choirs, opera workshop, orchestra, concert band, jazz ensemble, and chamber ensembles.
Choose From Five Majors
Bachelor of Music in:
· Performance
· Composition
· Music in Worship
· Education (K–12 certification, instrumental and choral)
Bachelor of Arts in Music
Dr. Julia Davids
Director of Choral Activities
Undergraduate Auditions
February 11 and 25, 2012
The School of Music is fully accredited by the
National Association of Schools of Music (NASM).
To schedule an audition, visit campus, attend a class, see
a performance, talk to faculty and learn more, contact:
Dr. Rebecca Olthafer
Music Recruiter
(773) 244-5623
rolthafer@northpark.edu
www.northpark.edu/music.
Discover choral activities at the University of Indianapolis
UIndy offers degrees in Music, Music Performance, and Music
Education with concentrations available in Theory/Composition,
Jazz Studies, Recording Technology, and Church Music.YouÕll find
small classes, plus faculty who focus on undergraduate education,
all on a campus with one of the nationÕs finest performance halls.
UIndy is located minutes from the heart of downtown Indianapolis.
For more information or to inquire about auditioning for a
scholarship, contact the Music Department at (317) 788-3255,
1-800-232-8634 ext. 3255, or e-mail labensg@uindy.edu
A Summer Vocal Arts Institute for high school singers is offered
each year. Contact the Music Department for more information.
music.uindy.edu / (317) 788-3255
Resound, Fall 2011
15
TRAINING HEARTS AND MINDS IN MUSIC
Effectively educating students in music performance,
music education and musical theatre.
•
•
•
•
•
Accredited by the National Association of Schools of Music (NASM)
Professional, caring music faculty
Vibrant, Christian atmosphere
Scholarships available
A reputation for excellence
For audition dates/information, visit:
www.BethelCollege.edu/Music
16
1001 BETHEL CIRCLE
MISHAWAKA, I
800.422.4101
www.BethelCollege.edu
Resound, Fall 2011
continued from page 13
alto part. In order to achieve the highest level of authenticity
in the performance, it would be beneficial to introduce the
original instrumental Libertango to the choristers. A trip to
a professional dance performance to witness and experience
in person this deeply exciting dance of romance, sensuality,
trust and passion for love and life will stage a cultural
immersion into a fascinating new world and ensure the
performance success of this arrangement.
Stephen Hatfield, “Las Amarillas,” 3-pt.
Treble, unaccompanied, CME MO51467846
Huapango is a type of musical style played
throughout the La Huasteca region in Mexico. The Spanish
fandango is believed to be its closest predecessor. The most
common forms of the dance today are the classic huapango,
the huapango norteño and the huapango de mariachi.
For one of the most exhilarating classical instrumental
huapango, check out the performance of the Simón Bolívar
Youth Orchestra of Venezuela performing “Huapango” by
Arturo Marquez, under the direction of its conductor and
music director, Gustavo Dudamel (also of the Los Angeles
Philharmonic).
The classical huapango is characterized by a
complex rhythmic structure, mixing duple and triple meters
which reflect the intricate steps of the dance. Stephen
Hatfield’s three-part choral arrangement of “Las Amarillas”
is no exception. The piece is in 6/4 and is driven by the
pulsating rhythmic excitement of the juxtaposition between
the duple and triple combinations of the meter. Resound, Fall 2011
The top two parts are often cast opposite the Treble
III’s rhythm. All three parts heavily employ syncopation
and dotted rhythmic combinations. The Spanish text must
be executed in a precise manner yet with flair for the sound
rather than the meaning. The same is valid for the overall
mood of the song - “hot-blooded and haughty, a mixture of
delight and disdain.” Similarly to its dance counterpart, this
vocal huapango is driven by the body percussion executed
by the choristers as they sing. As Hatfield points out in the
performing guide of the edition, “….[the body percussion]
…is not meant to be just rhythmic ornamentation, but
also to help create a sense of the groove throughout the
body.” Energetic yelps and shouts additionally invigorate
the singers and contribute to the exhilarating vibe of “Las
Amarillas.”
So, gather your newly found exotic spices. Pick up
your trusted, regularly used ingredients. Choose a variety
of safe and experimental yet strangely exciting dishes, and
enjoy the wild ride of the choral concert cuisine.
- Madlen Batchvarova is Associate Professor
of Music and Director of Choral Programs at Hanover
(Indiana) College and serves the Central Division as
Repertoire & Standards Chair for Ethnic/Multicultural
Perspectives.
17
Columbia College Chicago
Announcing the Appointment
of Jeremy D. Jones to the
Music Faculty
...it keeps getting better!
You’re talented, inventive, and all about singing. You need
an education that understands your music and where you
want to go with it. Columbia’s specialized programs in
performing contemporary, jazz and popular music will take
you from basic theory to in-depth, high-level musicianship.
Excellence in educating contemporary musicians is our
goal. What’s yours?
Dr. Jeremy Jones joins
Dr. William Bausano on the
choral and music education
faculty at Miami University.
Dr. Jones is the conductor
of the 100-voice Men’s Glee
Club and the Collegiate
Chorale and teaches
courses in music education. He is a graduate of the
University of Cincinnati
College Conservatory of
Music (D.M.A.), with
additional degrees from
East Carolina University
and Middle Tennessee
State University.
Fall 2012
ScholarShip auditionS
February 4, 2012
by appointment only
colum.edu/music
music@colum.edu
312-369-6300
Voice and Accompanist Faculty:
Alison Acord, voice and vocal pedagogy
Audrey Luna, voice
Mari Opatz-Muni, voice and opera
Ben Smolder, voice and opera workshop
Brad Caldwell, coach/accompanist
Heather MacPhail, accompanist
Degrees Offered:
LaShera
Vocal performance
class of 2012
photo by allie Smith
Bachelor of Music degrees
in music education
and music performance
Master of Music degrees
in music education
and music performance
Bachelor of Arts degree
in music
Miami University
is proud to announce!
Miami University
Department of Music
109 Presser Hall
Oxford, Ohio 45056
513-529-3014
music@muohio.edu
arts.muohio.edu/music
YEAR OF THE
2
O
1
1
-
2
O
1
2
arts.muohio.edu/yearofthearts
18
Resound, Fall 2011
Get Involved
I hope that everyone is settling
into a new semester of music making
and study in your respective colleges,
schools, and jobs. I am excited about the
opportunity to serve the Central Division
as the new chair for Youth and Student
Activities. As a former junior high and
high school music educator and now, as a
teacher of future music educators, I know
the importance of preparing people to join us as colleagues
in this profession that we all hold so dear to our hearts. For
vocal music students, getting involved means you care about
the future of this profession. Finding ways for your singers
to become involved helps them to grow as musicians and as
young professionals.
It is never too early to start finding ways to get
involved in the choral profession in general and with
ACDA in particular. Meeting with others who share your
passion and visiting with them about the field can create
great, sometimes lifelong connections for the future choral
conductor. Student chapters will be receiving an invitation
to send representatives to Fort Wayne to assist at the
conference in March 2012. In exchange for volunteering
some service time at the conference, student members will
receive a discounted registration rate. I will be contacting
student chapters throughout the division to get a sense of
chapter activities and what kinds of things can be done at
the state and division level to help them to prepare for their
future in the choral field.
As you continue down that road of “preparing to be
a professional”, I’d like to leave you with a few thoughts:
• Have a “professional hall of fame”. We all need
role models. Choose people who have had an impact on
your life and work to become like those role models.
• Act your way into a way of thinking. If you want
to be a professional choral musician, begin to act like one.
How does the professional musician practice? How does the
professional musician rehearse? How does the professional
conductor prepare to conduct?
• Work on your non-musical professional skills as
much as you do your musical ones. Often the difference
between getting a job and not getting one is how you present
yourself.
• There is no second chance to make a first
impression. Trite but true—hey, there may be a whole
article in that title…
• The game is played by those who show up. Be
ready when asked. Volunteer because you are ready.
Prepare yourself to be asked.
I hope you will find every opportunity to involve
yourself in the profession and in professional groups like
ACDA. All the best on your journey!
- Rob Sinclair is Director of Choral Activities and
Associate Professor for Music Education at VanderCook
College of Music in Chicago and Central Division Youth &
Student Activities Chair.
Bowling Green State University | College of Musical Arts
Graduate Assistantships
* Graduate degrees offered in Choral Conducting and
Choral Music Education
* Ensembles include Collegiate Chorale, A Cappella Choir, University
Choral Society, University Men’s Chorus and University Women’s Chorus
* Opportunities to study and perform the finest of vocal chamber repertoire
as well as major choral works with professional orchestras
* Choral faculty includes Timothy Cloeter, Mark Munson and Sandra Stegman
* Application deadline is February 5
The Master of Music degree program, offered by the College of Musical Arts,
is designed to prepare musicians to practice their specialization in the
changing environment of current American musical culture.
For more information: www.bgsu.edu/colleges/music/prospective/grad
or contact Dr. Mark Munson at munson@bgsu.edu
Resound, Fall 2011
19
Master of sacred Music
Degrees in Organ and Conducting
ELEVATE and refine existing musical skills.
DEVELop a solid theological and
liturgical understanding.
FuLFiLL a call to serve the church through music.
20
www.luthersem.edu/msm
Luther Seminary in cooperation with St. Olaf College, Northfield, Minnesota
Resound, Fall 2011
Central Division Conference Sessions
Wednesday, March 7
SPECIAL CONCERT
• Buenos Aires to Bluegrass: Amazing Mass Music; performed by the University Singers and
Choral Union, Indiana University-Purdue University Fort Wayne, and the South Bend Chamber
Singers
Thursday, March 8
CONCERT SESSION 1
• Symphonic Choir, Hilliard Darby High School, Hilliard, Ohio
• Fairfield Junior High School Chorale, Goshen, Indiana
• The Bach Choir of Valparaiso University, Valparaiso, Indiana
INTEREST SESSIONS 1
• Catch as Catch Can: Rounds, Canons and Part-Song Resources
• From Choir Director To Choral Artist: A Conducting Master Class
• Teaching Authentic Pop Styles to the Traditional Choir
Music in the Exhibition
• Women’s Glee Club, University of Michigan, Ann Arbor, Michigan
• Chamber Singers, Stoney Creek High School, Rochester Hills, Michigan
CONCERT SESSION 2
• Cantus Femina, Western Michigan University, Kalamazoo, Michigan
• Varsity Singers, Jefferson High School, Lafayette, Indiana
• Goshen College Men’s Chorus, Goshen, Indiana
READING SESSIONS 1
• SATB Medium/Difficult
• Male Voices
For updated Honor
Choir information,
please visit the
Central Division
ACDA Web site,
http://acdacentral.
org/
Here you will find
practice recordings,
chaperone
information,
rehearsal schedules,
and conductor
biographies.
INTEREST SESSIONS 2
• Exploration of Bulgarian Culture Through Choral Music: Interpretation of Secular Folklore and
Sacred Orthodox Tradition
• Choir is ________: The Meanings of the Choral Experience, Grades 7-12
• Rehearsal: It’s Why We Get Paid (Session 1) - Collegiate Repertoire Chorale
READING SESSION 2
• Treble Medium/Difficult
• Vocal Jazz
SPECIAL CONCERT SESSION: United States Navy Sea Chanters
HEADLINER CONCERT: Conspirare, Austin, Texas
Friday, March 9
Repertoire & Standards Breakfasts
CONCERT SESSION 3
• Vocal Ensemble, Bexley High School, Bexley, Ohio
• Select Women’s Ensemble, West Ottawa High School, Holland, Michigan
• University Chorale, Northwestern University, Evanston, Illinois
Resound, Fall 2011
21
Central Division Conference Sessions
INTEREST SESSIONS 3
• SPECIAL CONCERT-DEMONSTRATION: A Conductor’s Guide to the Preparation of J.S.
Bach’s St. Matthew Passion
• The Theatrical Rounds of Bob Applebaum
• Demystifying the Adolescent Choral Student
• Learning to Improvise in the Vocal Jazz Ensemble: Proven Teaching Strategies for Choral
Directors
Music in the Exhibition
• Greenville College Choir, Greenville College, Greenville, Illinois
• One Voice, Millikin University, Decatur, Illinois
CONCERT SESSION 4
• Varsity Choir, Chippewa Valley High School, Clinton Township, Michigan
• Women’s Chorale, Wheaton College, Wheaton, Illinois
• Collegiate Choir, Illinois Wesleyan University, Bloomington, Illinois
READING SESSIONS 3
• SAB & SATB Easy/Medium
• Treble Easy/Moderate
INTEREST SESSIONS 4
• Tanzanian Choral Traditions
• The History of the Future: Tomorrow’s Choral Leaders as
10-Year Olds Today
• Actions Speak Louder Than Words
• Rehearsal: It’s Why We Get Paid (Session 2) - Collegiate
Repertoire Chorale
READING SESSIONS 4
• Music for Worship
• Show Choirs
Stace Stegman Award & Brief Convention Wrap-up
HONOR CHOIR CONCERTS
• Sacred Honor Choir
• Women’s Honor Choir
• Collegiate Chamber Honor Choir
All-Convention Party: A Choral Cabernet
Saturday, March 10
Repertoire & Standards Breakfasts
INTEREST SESSIONS 5
• ACDA International Conductor Exchange Program guest scholar Mtro. José Antonio Méndez
• The Kids Can Sing Too! Developing a Choir in the Elementary School
• Making the Case for Your School Choir: An Advocacy Guide
CONCERT SESSION 5
• Southern Illinois University Carbondale Concert Choir, Carbondale, Illinois
How To Register for the Conference
Go online to <www.acda.org> and register! A print copy of the registration form will be available at
<www.acdacentral.org> in the near future, along with hotel and other information.
22
Resound, Fall 2011
Fort Wayne Needs You!
Dear choral colleagues,
In this issue of Resound you can see the titles of sessions planned for our terrific Central Division conference, to
be held in Fort Wayne in March. Two of our honor choirs give different groups of singers the opportunity to perform - the
Intergenerational Women’s Honor Choir and our Sacred Honor Choir. We do not often afford these singers an opportunity
to make music at our Division conferences, and I can think of no better venue than the beautiful acoustics that are offered by
our performing venues in Fort Wayne.
My good colleague at Miami University (Ohio), Bill Bausano, will present a “Choral Cabernet” choral reading session
and wine tasting. Though there is an additional $25 fee for this event, I am certain that you will find it most enjoyable. Bill
and I shared a similar event for the Ohio Choral Directors Association, and it was a lot of fun.
The registration for the Central Division’s Fort Wayne conference will be online through the ACDA National Office,
and will go live on or soon after October 1 at <www.acda.org>.
Finally, I am indebted to all of my colleagues on the conference committee who work behind the scenes to make the
conference run smoothly. One gets an idea of the sum total of work when you see the master schedule for the conference
come to life. Thank you all – you make the job as president an easy one. Listed below are the members of the conference
planning committee for Fort Wayne 2012.
Treasurer - Kathy Walker
Program Chair - Scott Dorsey
Facilities - Aaron Mitchell, Patricia Kennedy
Honor Choirs - Julie Clemens
Collegiate Honor Choir - Rob Sinclair
Women’s Honor Choir - Karyl Carlson, Lisa Fredenburgh
Sacred Honor Choir Chair - Brett Scott
Exhibits - Dick Wesp, Jason McKee
Registration - Mary Evers
Interest Sessions - Robert Vance
Reading Sessions - Jennifer Burkemper, Jonathan Busarow
Hospitality - Dawn Stone
Program Book - Bill Niederer
Concert Security - Annette Oh
Collegiate Repertoire Chorale - Nina Nash-Robertson
Student Workers - Rob Sinclair
Advisor - Mary Hopper
Tom Merrill , Central Division President
Resound is the official publication of the American Choral Directors Association Central Division.
It is published three times a year, using the below copy and advertisement deadlines:
Fall issue: September 15 (November delivery)
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Spring issue: March 15 (May delivery)
Items received after these deadlines may not be used.
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Resound, Fall 2011