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choirs, where tuning can be a challenge because of the enjoying his retirement and spending lots of time vol-
close harmonic structure. “We can shake the walls with unteering at the Oregon Humane Society. In the fall
sound as opposed to peel the paint,” he quips. While of 2024 he came out of retirement to found the Port-
acknowledging the distinct qualities of tenor-bass cho- land Sage Singers, a community-based choral ensem-
ruses, he maintains that the fundamental techniques for ble for older LGBTQ+ singers. “Who starts a choir
good singing are universal. “I don’t think there’s any- when they’re seventy-four?” he jokes. The group’s
thing particularly unique about one choir to another. motto—“singing for the rest of our lives”—was gifted
The key is listening.” He also advocates for clear com- to the ensemble by activist and songwriter Holly Near,
munication, efficient rehearsal pacing, and a strong who wrote the LGBTQ+ social justice anthem, “Sing-
emphasis on outer voice tuning. ing for Our Lives.”
As Seelig reflects on his career, he returns to this
truth: “Lives are changed in rehearsal, not perfor-
Music and Mission mance.” This belief underscores his commitment to
Dr. Tim Seelig’s legacy in choral music is insepara- preparation, presence, and purpose. Whether conduct-
ble from his lifelong commitment to advocacy, particu- ing a world premiere, mentoring an emerging conduc-
larly through the lens of LGBTQ+ visibility, inclusion, tor, or building a new ensemble from the ground up,
and empowerment in the arts. His work has consistent- Seelig remains focused on creating meaningful human
ly embodied what he describes as the “twins of music connection through music. “I try to make sure that ev-
and mission … I’ve tried to feed them both every single ery single person I meet feels full and whole just the
day,” he says. For Seelig, a choir is not just a group of way they are.”
people singing together, it is a vehicle for social change. His legacy, however, is not measured in accolades or
Since retiring from the San Francisco Gay Men’s performance, but in impact. “At the end of the day,
Chorus in 2022, Seelig moved to Portland, Oregon. it’s the same for all of us who are music educators or
Aside from the occasional honor choir, guest lecture conductors. I’m most proud of the people whose lives
and a TedxTalk (available on YouTube), he has been have been changed.”

World Musics and Cultures

Madlen Batchvarova 1
National Chair, World Musics and Cultures Netherlands is frequently referred to as a Korenland,
batchvarova@hanover.edu literally “a choir country.” This article offers a brief
synopsis of the Dutch choral tradition, examining its
historical roots, variety of repertory, and distinct so-
ciocultural character. By doing this, we intend to offer
Bridging Centuries, Crossing Borders: information that will be helpful to choral conductors
An Introduction to Dutch Choral Music
and educators worldwide, but especially in the United
by Michel Hogenes and Madlen Batchvarova States of America.

From Jan Pieterszoon Sweelinck’s polyphonic mas-
terworks to Calliope Tsoupaki’s avant-garde vocal A Nation of Choirs
landscapes, Dutch choral music exhibits a remarkable The Netherlands boasts one of the highest per cap-
convergence of tradition, experiment, and cultur- ita densities of choirs in the world. The term Nederland
al expression. Because of its rich historical heritage Korenland reflects a strong national self-image: that of
and constant sensitivity to modern artistic trends, the a singing society in which amateur and professional

CHORAL JOURNAL August 2025 Volume 66 Number 1 51