Page 111 - Jan.indd

February 28 - March 3, 2022 Little Rock, Arkansas

instruments, will offer practical ex- rently, he is completing a DMA at poser, Crocker’s works have been

amples of accessible repertoire, and the University of North Texas. He performed worldwide.
will provide guidance on coaching is currently a national semi-fi nalist
instrumentalists to play in a vocal in the College Division of Con-
style. For small choirs with limited ducting for the American Prize. He
numbers of tenors/basses, this can holds an MM from Michigan State Ten Keys to Unlocking
be an excellent way to approach this University and a BME from Baylor Artistic Choral Performances
repertoire. University.
This session will explore a multi-
Brian A. Schmidt is the clinician for tude of ways to improve the artist-
this session. His photo and bio are Sound Patterns ry of choral performances. Issues to
on page 91. be addressed include melodic shape
for Changing Voices -
and phrasing, choosing and inter-
Sequential Sight-Reading preting texts, conducting gesture and
in the Choral Classroom artistry, tone color, movement, artic-
Seven Essentials for
ulation and dynamics, the teacher
Developing Voices in Choir Imagine: learning to sight read as first artist and the impact of in-

while having fun! Adolescent sing- terpersonal relationships on artistry.
Vocal technique is a critical part ers with maturing voices will grasp Participants will receive a generous
of choral artistry. Without proper concepts quickly while singing “real resource packet containing concept
technique, musical nuance suff ers, music” from Day One. This step- and principle illustrations, a vari-
and the fi nal performance, however by-step method builds success upon ety of tried-and-true rehearsal tips
engaging, leaves audiences desiring success—the best motivation of and strategies, conducting tips, and
more. As many students’ only voice all—with songs, accompaniments, more.
instructor, choir directors are tasked and preparatory exercises that are
with building healthy vocalism in interesting, authentic, and fl exible Frank F. Eychaner is
each singer. However, many teach- based on the sound patterns that an internationally rec-
ers lack the vocal pedagogy training form the foundations of music. ognized conductor,

necessary for such a role. This ses- Techniques and materials for SA, teacher, and clinician.
sion offers conductor-teachers tools TB, and SAB choirs will be pre- He is director of cho-

to build effi cient phonation within sented. ral and vocal activities, department
singers of all ages to achieve refi ned chair, and holds the Kathlyn Co-
tone quality that enhances the en- Emily Crocker taught sper Dunagan Endowed Fellowship
semble’s innate musicianship. public school music at in the Humanities at the Universi-
all levels for 15 years ty of Texas Permian Basin. He has
Francis Cathlina is a in Texas. In 1989 she conducted 40 honor choirs across
Vietnamese-American joined Hal Leonard, the United States, Cuba, Korea and
conductor and the vis- becoming VP of Choral Publica- Mexico. Eychaner authored “Foun-
iting director of choral tions in 2000, retiring in 2017 after dations of Conducting Technique”
activities and assistant 29 years. She was founder/direc- published with GIA. He has present-
professor at the University of Mem- tor of the Milwaukee Children’s ed over 120 interest sessions around
phis. He directs the University Sing- Choir (1994-2009) and named Di- the world.
ers and the Treble or Tenor-Bass rector Emeritus in 2019 and was
Choir and teaches undergraduate founder/director of the Vocal Arts
and graduate conducting. Concur- Academy (2009-2015). As a com-

CHORAL JOURNAL January 2022 Volume 62 Number 5 109