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February 9-12, 2022 Boston, Massachusetts

performance practices from African Julia Zavadsky is a clinician for this a string quartet celebrating the riv-
American, American Folk, East- session. Her photo and bio are on er Nile; and “Al Ain,” an orchestral
ern European, Jewish, Latinx, and page 20. work recently released on the Naxos
LGBTQIA+ perspectives. label.

Presenters:
Is Your Voice
Margaret Hillis—
J. Donald Dumpson is the curator Sacred, Spiritual, or Cultural?
for this session. His photo and bio Unlocking Her Approach from
are on page 28. Presenting sacred choral reper- Score Study to Rehearsal Planning
toire from unfamiliar cultures rais-
Michael Bussewitz-Quarm is a cli- es questions of customary practice, Margaret Hillis was a pioneer of
nician for this session. Her photo respect, and appropriateness, espe- choral methods. Her methods were
and bio are on page 26. cially if informational and other re- inspired by her work with Rob-
sources are scarce. This session will ert Shaw at Juilliard. Shaw did not
Rollo Dilworth is a clinician for this introduce several pieces of sacred teach how to develop a chorus. In-
session. His photo and bio are on repertoire from the various faiths of stead, Hillis learned by observing his
page 23. the Arab world, specifically the Le- methods. When she embarked upon

vant (Syria, Lebanon, Jordan, and her career during the late 1950s, she
Wendy Moy is a clinician for this Palestine) and Egypt. In the process worked with untrained singers, and
session. Her photo and bio are on of exploring these pieces, we will through trial and error, she devel-
page 27. discuss their cultural and religious oped her own methods for building
contexts and approaches, as well as a chorus. She created strategies in-
Nick Page calls him- the question of whether there is truly formed by score study. Her methods

self classically trained a difference between the sacred, the can be applicable to choruses of all
and folk schooled and spiritual, or even the cultural in mu- levels. This session will be a discus-
is equally comfortable sic. sion of her approach to score study.
conducting the clas-
sics and leading community sings, Shireen Abu-Khader is a clinician Cheryl Frazes Hill is di-
ukulele in hand. He has over 100 for this session. Her photo and bio rector of the Milwau-
published choral pieces with Boosey are on page 24. kee Symphony Chorus
& Hawkes, Hal Leonard and other since 2017 and associ-
publishers and is the author of four Nahla Mattar is an ate conductor of the
books including his book on song Egyptian composer and Chicago Symphony Chorus. Now in
leading, Sing and Shine On. He professor of music at her forty-fi fth season with the CSC,
directs Boston's Mystic Chorale, a Helwan University in she was mentored by Margaret Hil-
community chorus that regularly Egypt and former di- lis, founder of the Chicago Sympho-
leads its audiences in sing-alongs. rector of the Umm Kulthum Muse- ny Chorus. Frazes Hill is an associate
In the mid-eighties Nick was a con- um in Cairo. She received her DMA professor at Roosevelt University’s
ductor with the Chicago Children’s in composition from Arizona State Chicago College of Performing Arts,
Choir. University. She has received recent since 2002. Frazes Hill’s publications
commissions, awards, and record- include a biography of Margaret
Diana V. Sáez is a clinician for this ings for her compositions “Three,” Hillis (GIA, 2021).
session. Her photo and bio are on a trio for cello, bass clarinet, and pi-
page 27. ano; “A River inside Us Running,”

CHORAL JOURNAL January 2022 Volume 62 Number 5 29