Feel free to make it an on-going conversation in improving our mutual work in choral music
by Joel Ulrich, WA State R & S Chair, High School

Greetings and best wishes to you as you begin 2007.  This last year, we’ve submitted articles inviting response/feedback pertaining to our work in choral music education.  Our goal was to establish an on-going conversation about our work together—what works/what hasn’t, what are specific needs in our state/your region, how can we help each other in our mutual work in choral music education, etc., etc.

We have so much to give to each other and, thus, we would like to create a regular conversation to more freely communicate and share our insights and frustrations for the benefit of all.  This may be a “good idea” but everyone’s too busy to actually respond, or it may just not be a good idea.  So, once again, send us some feedback—one way or the other:  If you have any thoughts from the previous articles, we’d love to hear from you.  If you have an article or thoughts to share, do it now. 

The collective thinking of the ACDA board is that we want to do all we can to further the choral craft in this state, and if we can do more than just the Summer Institute, we need to hear from you about “what” that “more” should be.   If the UNISON is not an effective tool, let us know, but also let us know what we can do.

Blessings on your work, and thanks for taking time to respond!

Norbert Rossi reviews Choral CHARISMA, Singing with Expression, a book by Tom Carter

A little over a year ago I was visiting the website Choralnet.  I dropped in on a forum conversation about choir performances at the ACDA National in Los Angeles.  Someone who had been there (I had not) asked if anyone else was struck by the lack of musical connection by some of the great-sounding choirs.  One of the respondents was Tom Carter, author of Choral CHARISMA, Singing with Expression (Santa Barbara Music Publishing, 2005, with a revised 2nd edition now available). Mr. Carter commented on the general lack of expression by many choirs who are technically and vocally superior.  He also took the opportunity to tell everyone about his new book.

I have been grappling with this dichotomy for many years.  “Can we have a choir that goes beyond the technically superior sound to also produce an artistic, visually captivating performance?”  We have all probably experienced performing at an adjudicated event where the choir and director were confronted with the question “Why didn’t you put the same expression into the Mozart that you had in the Spiritual?”  So, I went online and ordered the book.  (The author addresses this issue directly on page 29 when he points out: “If the singers fail to connect truthfully and meaningfully to the music… a magnificent sounding choir may be IMpressive, but it won’t be EXpressive.”)

The first two chapters of this book should be read by all music directors and teachers, regardless of experience or situation.   Examples and discussions centering on expectations, respect, courtesy, and support under the heading “Safety First” provide much fodder for deep thought.  Mr. Carter directs us all to be aware of the atmosphere that we cultivate in our rehearsal rooms.  Discussion moves quickly into “Emotional Vulnerability” which explores the many benefits of authentic connection to text, and invites us to empower our singers with the tools necessary for truthful expression.  Expressive singers will have a compelling effect on the audience, engaging their hearts and minds while reminding them of their own humanity, says Mr. Carter. He also suggests that the choir will sound better, singing with greater unity, musicality, sensitivity, and power since "Truthful Connection Affects Sound." If you accept this as truth (and I do), then one must read on.  

The rest of the book (chapters three thru ten) offers specific techniques for singing with authentic connection.  These include everything from text analysis to methods of becoming more personally involved in the music.  Each technique is explained in detail, with many examples and anecdotes.  Based on Mr. Carter’s experience as he relates, these techniques work quickly, and can have a profound impact on the experience of singers at all levels. 

Throughout the book, Mr. Carter includes many exercises that help to free up singers physically, mentally, and emotionally.  These ideas are easily adaptable for your group setting.  I found some that I used exactly as presented.  Others were used in part, or modified for the given situation.  Some of the exercises dig down to a very personal level, which will challenge the best of singers. 

In Choral CHARISMA: Singing with Expression, Tom Carter presents an approach designed to transform the choral experience for singer, director, and audience member. It becomes about imagination, creativity, and engaging “our  humanness while singing.”  He challenges our profession to consider a “paradigm shift” for choral performance – toward truthful human connection and away from a dominant (and often limiting) focus on "per fect" sound.  According to Mr. Carter, "Choral artists can combine truth and beauty, and have more of each as a result. " I believe that it is time to do just that.

This is not a book to be read and placed on a shelf.  As Mr. Carter states in his Conclusion: “Use the techniques as you are inspired to do so, choir by choir, day by day, and song by song.  The book is meant to be frequently picked up, thumbed through, and perused, a nibble here, a picnic there, and maybe even a feast every once in a while. “  I suggest that you dig in!

Norb Rossi, Walla Walla High School
Walla Walla, WA