Sing! - High School Choral Festival, NJ-ACDA

HIGH SCHOOL CHORAL FESTIVAL

Dr. Deborah Simpkin King, Coordinator

sponsored by the

New Jersey Chapter

of the

American Choral Directors' Association

Learn about the Festival: For a complete description of the Festival, along with application form, please visit the NJ-ACDA web site, at <http://acdanj.tripod.com>

Personal Statement of

Enthusiasm for ACDA and for the High School Festival

I began my association with ACDA as a freshman in college. In the almost thirty years since then, I have missed only one national convention. My first call from my new office upon moving from Texas to an academic position in New Jersey was to the president of the state chapter of ACDA. I became active on the state Board of Directors almost immediately, and both hosted and adjudicated the state High School Choral Festival during that first year. I remained involved in the Festival continuously until, in 1996, I was asked to coordinate the event.

Since then, many changes have taken place in the Festival, and in NJ-ACDA overall. Notably, New Jersey is now one of a small handfull of states which not only includes adjudicated sight singing as part of its high school festival, but commissions its own sight reading examples! The 2001 Festival was the subject of a fine feature article in the Star Ledger.

Additionally, the state chapter added a Fall Conference to its roster of sponsored annual activities, beginning in 1997. And, as of September of 2001, the state chapter now has a web site, which Chris Eanes, Director of Choral Music at Blair Academy, and I worked together on constructing.

In short, I believe that ACDA membership is a MUST for any serious choral musician, working on any level and in any arena. The tangible support offered through conferences and conventions, through state, regional, and national publications, and through the available resource of our wonderful Repertoire and Standards Chairs in all facets of choral work, is complemented splendidly by the collegiality of the ACDA members. If you need to hear more about my enthusiasm for ACDA, just ask; but, be prepared to sit and stay a while!

CHORAL CONDUCTING & TECHNIQUE

Beginning patternsand cueing
Gestures of expression
Gestures to support good vocal production
Technique with a baton
Score analysis and preparation
Rehearsal planning and technique

The Choral Art: The complexity of the art of ensemble singing is one which is often underestimated. As conductors, we ask our singers not only to sing accurately and with good tone, but to do so exactly in response to our gestured indications. We ask them not merely to sing with accurate intonation, but with a sophistication which often goes beyond the tempered system, all the while listening for balance with other sections and with singers in their own section. We expect each one to sing expressively, yet to balance their individual instincts with the shape asked of the ensemble as a whole. Therefore, . . .

Statement of Purpose: As conductors, we OWE it to our singers to provide clarity of instruction and gesture, and to come to every rehearsal well-considered in our scores. In short, we need to continually refine our skills as we seek to "play upon the choral instrument." Solid music training and strong abilities as a singer or instrumentalist provide a good background for the training of a conductor, but DO NOT, in and of themselves, provide all that is needed for excellence in the choral art. Choral conducting lessons focus on all aspects of the choral art, as needed in each individual student, and may involve on-sight observations with the conductor's own ensemble(s).

Student Qualification and Responsibility: In order to benefit from individual choral conducting lessons, a student must already possess a substantive musical background. Ideally, the student is active as a choral conductor at the time of study. It goes without saying that score study/analysis/preparation, and practice with the techniques covered is necessary for progress, and is expected.

STUDIO POLICIES

Lesson Schedule: Lessons will be arranged at intervals appropriate to the amount of preparation required.

Payment Schedule: Payment for each lesson will be made at the beginning of each lesson.

Student Cancellation: In the event of unavoidable cancellation of a lesson on the part of the student, 24-hour notice allows for the possibility of rescheduling, if a workable time can be found. In cases of illness or emergency, arrangements will be made for a make-up lesson, assuming notice has been given prior to the lesson time. Without advance notice, the student will be expected to pay for the time which he/she had reserved.

Teacher Cancellation: In the event of unavoidable teacher cancellation, the student will be given a choice between a make-up lesson, and a payment credit.

By understanding and adhering to these basic policies, we free ourselves to work most effectively. I look forward to sharing with you the pursuit of excellence in the choral art!

TEACHING CREDITS

If a conductor has advanced-study credits to fulfill for his/her employer, a course of study can be provided in the form of a syllabus, for submission.

CHORAL WORKSHOPS

and ADJUDICATIONS

Choral workshops can be an exciting way to focus a choir's attention in very positive ways on such issues of the choral art as:

tone production,
vowel structure,
ensemble balance and sound,
style,
expressive shaping,
word stress and release, and more.

Depending on the various parameters, a workshop can be as limited as an hour, or can expand into a full-day activity. This can be a fun and productive way to get a season off to a stimulating start, to prepare for a major event, or to maintain interest at any time during the year.

Conductors' workshops are becoming increasingly popular, as school systems seek to provide productive ways in which their teachers can acquire the advanced education credits required by the state. The specific content of such workshops can vary widely within the sphere of the choral art--from group vocal instruction to clarity of conducting gestures.

Adjudication of choral festivals and vocal competitions which deal primarily with "traditional" literature can also be arranged. (Refer to High School Choral Festival, NJ-ACDA.)

PROFESSIONAL ASSOCIATIONS

American Choral Directors' Association

National: <http://www.acdaonline.org/>

Eastern Division: <http://www.demiq.com/friends/acdaeast/>

New Jersey Chapter: <http://acdanj.tripod.com>

Chorus America: <http://www.chorusamerica.org/>

College Music Society: <http://www.music.org/>

Music Staff: <http://www.musicstaff.com/>

National Association of Teachers of Singing: <http://www.nats.org/>

Vocal Area Network: <http://www.van.org/>

Schola Cantorum on Hudson

Dr. Deborah Simpkin King

Founder/Artistic Director

Excellence in the choral art serving Hudson and surrounding counties
Educational outreach:
- Choral Scholar Program
- Cantorum Kids Program
- Sightsinging Classes
Community outreach through annual Ethnic Celebration Series

Schola Cantorum on Hudson, a thirty-five voice choral ensemble based in downtown Jersey City, is in its seventh season as an independent non-profit organization. Educational and community outreach have been partnered with a passion for artistic excellence from the time of the group's inception. Drawing not only from Hudson County, but from Manhattan and suburban New Jersey, as well, members audition for placement in SCH, and represent many professions, including that of musician.

Information regarding upcoming concerts, educational programs, audition procedures, etc. can be obtained by visiting our web site, found at <http://scholaonhudson.cjb.net>

PRIVATE VOCAL INSTRUCTION

Pedagogy (alignment; use of breath; tone production)
Repertoire (according to individual interests/needs)
Diction (foreign, as well as English)
Performance Style
Use of the speaking voice for clarity, authority, expressiveness

Statement of Purpose: The study of any musical instrument requires discipline and dedication to the pursuit of excellence. The voice is no exception. In my studio, we seek to establish/improve the understanding of the functioning of the vocal instrument, and to increase the ability to apply technical understanding in singing and speaking. Work with repertoire, diction, styles, etc. is undertaken with each individual as is consistent with the goals we establish together.

Student Qualification and Responsibility: Students from high school age on are welcomed into my studio. I work with a wide variety of levels of experience, from high school students preparing for college auditions, to active professionals. Goals also vary widely, and include improving/developing solo abilities, improving the speaking voice for stage or podium, and improving ongoing choral participation skills. Although rate of progress varies with each individual, students are expected to ensure their own steady improvement through the following:

Regular and punctual attendance at weekly lessons.
Consistency in terms of having music, exercises & a pencil at all lessons.
Conscientious preparation of assigned repertoire.
REGULAR, DAILY PRACTICE.

STUDIO POLICIES

Lesson Schedule: Unless unusual arrangements are made, lessons are met according to a regular, weekly schedule. One-hour lessons are the norm and are most beneficial, although half-hour lessons may also be arranged.

Payment Schedule: Payment for the following month's lessons should be made at the last lesson in each month.

Teacher Cancellation: In the event of unavoidable teacher cancellation, the student will be given a choice between a make-up lesson, and a payment credit.

By understanding and adhering to these basic policies, we free ourselves to work most effectively. I look forward to sharing with you the pursuit of musical excellence!