Feature Article:

Wisdom from Choral Legend, Charlene Archibeque
By Diana Hollinger, National Collegiate chair-elect and coordinator of music education, San Jose State University

Charlene Archibeque is a well-known figure to seasoned choral conductors. She built and led a renowned choral program at San Jose State University in California, is a regular honor group conductor and clinician throughout the country, and has taught scores of teachers to better lead choirs. She is known simply as “Dr. A,” to her students, while her friends and colleagues address her as “Char.” I was extremely fortunate to work with her during my first two years at San Jose State University. As a band conductor, I did not immediately realize her importance within the choral world. I came to understand that she is, in short, a legend in the choral hall. I write this article as an outsider, being a music teacher but not a choral director. Therefore, what I share here will be understandable and useful to any music teacher. On a personal note, my time with Char was like two old friends renewing a friendship. We discovered so much in common within our pedagogy, that it reminded me we ought to converse “cross-ensemble” much more than we do. We have much to share with one another, and hopefully some of you nonchoral people are reading this! It is my privilege to convey a little about and from Charlene Archibeque.

Beginnings

Charlene Archibeque (née Paullin) was born in 1935 in a small town in Ohio, growing up in the shadow of the Great Depression and the threat of World War II. She came from a musical family and began piano and violin studies in elementary school. She did her undergraduate work at the University of Michigan as a music education major, intending to teach both choral and instrumental music. While her main instruments were piano and violin, she was also required to take two years of voice lessons. Her junior year, Archibeque served as president of the university’s student chapter of the National Association for Music Education (MENC, now NAfME). During this time she also had the opportunity to study with Elizabeth Green, an early influence on her conducting. After graduating in 1957, she decided to teach somewhere warm, and made her way to San Diego in sunny southern California. Though she was fully prepared to teach both instrumental and vocal music (indeed, she actually was an instrumentalist), she discovered upon her arrival that the district did not allow women to teach instrumental music. Men taught band and women taught choir. Her first job assignment consisted of two periods of junior high school choir and three periods of general music. Thus, a simple twist of fate delivered Archibeque into the world of choral music rather than instrumental, and choral music is richer for it. Following is “Dr. A’s" advice in three areas that are common concerns for new teachers.

Common Choral Director Errors

Question: All conductors want to run a positive, musical, and efficient rehearsal, but often fall short. What common errors do you see choral directors make that hold them back from success?

Charlene Archibeque:

• Not building community among sections, singers, and the entity (choir).
• Working on notes before musicality and expressive singing. Facial, physical and emotional involvement must come at the beginning, not at the end.
• Picking the wrong music.
• Bad standing position—straight lines—singers can’t hear each other—semi-circles, and circles are optimum.
• Not using placement to improve weaknesses of choir. For instance, if the altos are weak, put them in front of sopranos. Placing strong singers next to or behind weaker singers helps solidify the weaker singers.
• Telling choir what is wrong instead of how to fix it. For instance, if the tenors are sharp, tell them not only that they are sharp, but how to fix it. If they knew they were sharp and why they were sharp they would have fixed it themselves.
• Talking too much instead of singing all the time! Stop only to fix tone, vowel uniformity. Let your conducting show what you want instead of verbalizing.
• Stopping too often—it frustrates the singers. Sing a whole section —look at the big picture.
• Not having a lesson plan, or not sticking to it—know exactly how much time to spend on each piece during a rehearsal!
• Poor rehearsal order. The first piece after warm-ups sets the tone for the whole rehearsal! Depending on the mood of the choir, choose something they love to sing and can use their warmed up voices on all together to create unity and joy. Remember the golden mean and after the 2/3 point do a lot of singing for polishing, memory work and less intellectually taxing music.
• Not being positive all the time. Give positive feedback! Get rid of frustration and think analytically about what YOU have to do, not what they are doing wrong.
• Not making sure singers are using abdominal/pelvic support.
• Not getting women’s throats really open.
• Not having pronunciation sheets printed in advance—use IPA or tone syllables.
• Lack of organization—have schedules, maps, instructions on dress, and other handouts ready early.

The Importance of Warm-Ups

Question: Warm-ups are such an important part of the rehearsal, particularly for singers. They not only warm up the body and voice, but also set the tone for the entire rehearsal. What are important elements to include in the warm-ups?

Archibeque: Some general things to keep in mind during warm-ups:

• Demonstrate difference in tone with movement and without.
• Do all motions with energy—nothing halfway—go to the max!
• All exercises must be done at mf to forte level for maximum benefit—this presupposes resonance, or ring at all times (combination of diaphragmatic support and open throat for women, singing on the cords for men in chest voice).
• Director must understand function of each vocalise and how it works. Some conductors simply go through the motions from habit.
• Maximize warm-up time by only doing 4 or 5 keys per exercise—try for 8 or 10 exercises total.

Most important of all:

After working voices, go immediately into your first song! Do not sit down! Do not sight read! Sing a wonderful, exciting song that uses the beautiful tones you just built.

Repertoire

Question: Repertoire choice seems to be one of the major stumbling blocks for conductors, especially those with less experience. They often choose literature that is too difficult or too exposed. What are some musical “gems” that work great with young choirs?

Archibeque: Here is easy repertoire for beginning choirs or for situations where you need to put something together with little rehearsal, or at the beginning of the season.

• Canons such as O How Lovely is the Evening, Hello, Hello to You All, Man’s Life’s a Vapor
• Caro mio ben (unison)
• Oh, My Love’s Like a Red, Red Rose (Scott Coulter, Men and SSA, SBMP)
• Heilig, Heilig, Schubert (from Deutsche Messe)
• Panis Angelicus (Franck, 2-voice canon)
• Songs from the Morikelieder (arr. Archibeque, SA)
• Kyrie (Leavitt)
• Let There Be Peace on Earth
• Three Madrigals (Diemer)
• Danza! (Spivacek)
• Jubilate Deo (di Lasso)
• Jubilate Deo (Halmos, SBMP)
• Exultate Justi in Domino (Adams, SBMP)
• Laudate Pueri, Laudate Nomen Domini (Pergolesi, Schirmer)
• Sanctissima (traditional, SSA)
• Jabberwocky (Sam Pottle)
• Wondrous Love (arr Christiansen, Augsburg)
• A Maiden Is In A Ring (Hugo Alfven, Walton)
• Poulenc, Chansons Francaises (especially “Margoton va t’a l’iau” and “Pilons l’orge,” Salabert edition)
• All My Trials (arr. Luboff, Walton)
• The Cuckoo (arr. Heninger, SBMP)
• Sanctissima (traditional, SSA)
• Mendelssohn, Midsummer Night’s Dream
• Come with Rejoicing (Robert Leaf, Augsburg, unison)

As music educators, we are fortunate to have someone of Archibeque’s caliber truly supporting what we do in public school music. I have heard her ask university professors on more than one occasion, “Where do you think your students are coming from, if not from public school music?” Thank you Dr. A! If you want to know more about her, see her a website.  

Meet Your Collegiate Student Representative

6 Questions for Student Representative Jacob Lewis, Southern Division

Meet Jacob Lewis
I am a senior at the University of North Carolina at Greensboro, majoring in music education with an emphasis in trombone. My career goal is to become a successful middle or high school instrumental music teacher.
During my junior year in college I consulted with the UNCG NAfME faculty advisor to consider new programs our chapter could initiate. The result was a new program that bridged the gap between what students learn in the music education classroom and opportunities to integrate those experiences into practical teaching experiences. After many extensive conversations and planning sessions, the Educational Opportunities Network (EON) was initiated. This program makes connections between UNCG music education students and teachers in the area schools. Through this program, several local music programs provide teaching experiences for NAfME Collegiate members. To date, members have participated in marching band, concert band, and choral internships. A private lesson program was initiated at two area high schools in which over 75 middle and high school students continue to receive weekly private lessons from 30 NAfME Collegiate members. A partnership with central North Carolina schools provides All-District and All-State solo preparation sessions and master classes that help students prepare for competitions and also for the band Music Performance Assessment. To date, over 65 NAfME Collegiate members have participated in at least one cocurricular teaching experience through the EON program. The responsibilities of these experiences are beyond the usual expectations of music education classes. They offer authentic teaching opportunities and members do not receive college credit for participating.
For several years, I have worked with local band programs teaching private lessons and assisting with concert and marching ensembles. I also have had opportunities to adjudicate all-county auditions and observe middle or high school rehearsals. From these experiences, I am developing classroom management skills, working within booster programs, planning budgets, utilizing rehearsal techniques, preparing for concerts, etc., that are at a deeper level than those required by the usual music education coursework. Not only will I graduate with a degree, but I will also have authentic knowledge and experiences that will extend and guide my teaching success for years to come.
I encourage every music education student in the United States to pursue teaching opportunities such as these during their undergraduate study. Frequently, these experiences must be sought, but most teachers are eager to offer the opportunity when contacted. The opportunities are numerous. Practical teaching experience in combination with the knowledge gained through the curriculum will help you prepare for a successful music teaching career.
I am pleased to serve as the Southern Division Representative for NAfME Collegiate. I will give my best effort to connect all of the NAfME Collegiate chapters in the Southeast to collaborate and share ideas for how to promote music education and prepare NAfME Collegiate members for their music teaching careers. Please feel free to contact me if you have suggestions or need any assistance. 

Member Benefit Spotlight

Weekly Web Articles
Each week a short article is posted on the NAfME website in seven different categories: Band, Chorus, Orchestra, Future Teachers, General Music, Jazz, and Higher Education. These articles discuss topics of special concern to music educators and offer suggestions for teaching and tips for the classroom. To read current and past articles, go to the section archives.
Here is a sample of recent articles:

• Band - Motivate Your Band to the Max
• Choral - Sacred vs. Secular Repertoire Wranglings
• Jazz - 5 Questions for the December 2011 Mentor
• Future Teachers - Common Sense Tips
• General Music - Tap Into the Magic of Drumming 
• Orchestra - Ensuring Student Health 
• Higher Education - Roots and Blooms – Gifts to Share 
• Legislative Memo 

December Monthly Special - Music Education for Life Hooded Sweatshirts
    

In December only, NAfME members can purchase the new black “Music Education for Life” hooded sweatshirt for only $18.70 – 1/3 off the regular price!
Share this timeless slogan everywhere you go with the colorful blue and green logo.
No additional purchase is required.
“Music Education for Life” Hooded Sweatshirt – #5094B-F $18.70
(Medium – XXX-Large)
Call 1-800-828-0229 or visit www.nafme.org to order.
(This special is not available at state conference resource shops.)

 
Current News and Announcements 

MENC Becomes National Association for Music Education (NAfME)
As of September 1, 2011, MENC is NAfME (pronounced "N-A-F-M-E"). Collegiate chapters are NAfME Collegiate. A yearlong transition is under way!

CHAPTER OF EXCELLENCE RECOGNITION PROGRAM- DEADLINE IS Thursday, December 15!

Each year NafME recognizes Collegiate chapters that excel in the following categories:

• Music Program—A musical program organized and/or presented by a chapter.
• Professional Development—A project organized and/or presented by the chapter to further the professional development of its members.
• Recruitment Techniques—Successful techniques to recruit members to the chapter.
• Service—A project organized and/or presented to benefit its school or community.

Activities completed between January 1, 2011 and the application deadline of December 15, 2011, are eligible for Chapter of Excellence Recognition. Three chapters will be selected from each category, for a total of 12 awards. The criteria for Chapter of Excellence selection are chapter participation, commitment, creativity, impact, organization, uniqueness, and visibility. A committee of the current NAfME Collegiate Division chairs will select the Chapter of Excellence winners to be recognized. Check out sample projects.
Each award-winning chapter will be featured in the Newslink and either Teaching Music or Music Educators Journal. This year, the awards will be presented at the 2012 NAfME Biennial Conference in St. Louis, Missouri! The deadline to apply for these awards is December 15, 2011. Apply now.

Deadlines approach for Collegiate scholarship and contest opportunities!
Here are three outstanding opportunities for Collegiate NAfME members for which the deadlines are quickly approaching.

• The Student Composers Competition – The deadline for this annual contest is February 15. Collegiate members are encouraged to compose a piece for any combination of flute, clarinet, oboe, horn, bassoon and piano, up to a quintet, no more than one of each instrument. Piano solos will not be accepted. Winning composition in each level will be performed in a Millennium Stage concert at the John F. Kennedy Center during Music Education Week. Philip Lasser, distinguished American composer and Juilliard composition faculty member, will conduct a composition mini-seminar prior to the concert for all winners and attendees at the Composition Academy during Music Education Week. Winners also receive $500! More information on the contest can be found at http://www.nafme.org/gp/student-composers-competition and the Composition Academy schedule can be seen at http://www.nafme.org/events/view/music-education-week-2012-composition-academy
• The NAfME Audio Logo Contest – NAfME is seeking an “audio logo”! (Think NPR, NBC!) We are looking for a brief motif to identify the association and three arrangements that will be used in a variety of applications – website opening, webinar, and ceremonial. Deadline for submission of compositions and application is February 1. For contest rules and application directions, go to http://www.nafme.org/gp/nafme-audio-logo-composition-contest. Winning composition receives $500!
• The NAfME Copyright Awareness Scholarship Program – NAfME and the Music Publishers Association seek creative video presentations by individuals ages 13–25 and currently enrolled in an accredited educational institution to educate their peers on the importance of intellectual property and copyright law. First prize - $5,000. Deadline for submission is March 5. Go to http://www.nafme.org/gp/nafme-audio-logo-composition-contest to see the 2011 winners. Contact Brittain Ashford at scholarship@mpa.org for more information.

2012 Biennial Music Educators National Conference
The 2012 Biennial Music Educators National Conference will provide a forum to share current research and pedagogical innovations that could shape the future of the profession. The conference is March 28–31, 2012, in St. Louis, Missouri.
The conference has a special focus on research in music education and on music teacher education. It is aimed at music education researchers, music teacher educators, college students, and pre-K–12 teachers interested in the cutting edge research and pedagogical innovations that will shape the future of the profession.
There will be a dedicated conference strand solely for NAfME Collegiate members. Each session will be of importance to you as you prepare for your career as a music educator. Moreover, the conference is a perfect opportunity to network with other collegiate members and learn what is happening in music education all over the United States. Plan to have your chapter attend! Register now.
 

 
Looking ahead to 2012!
June 22–25, 2012 – Baltimore, Maryland Music Education Week is music education’s premier event presented by the National Association for Music Education. A change from past NAfME national biennial conferences, Music Education Week occurs in a destination location on an annual basis and during the summer instead of the school year. At Music Education Week, teachers will network, lend their voices to advocacy efforts with our nation’s leaders on Capitol Hill, participate in professional development academies, attend concerts, and visit exhibits showcasing music education products and services.

NAfME Book of the Month
Quick Reference for Band Directors
By Ronald E. Kearns

Quick Reference for Band Directors is a go-to guide for new and experienced band directors. With tips on recruiting and retaining members, preparing lesson plans and program objectives, developing a booster group, budgeting, classroom management, using technology, and making emergency repairs, this book will soon number among your closest advisors. Learn how to build, maintain, and improve your program. Get tips on how to structure concert band, symphonic band, wind ensemble, marching band, small ensembles, jazz band, and pep band while developing musicianship. The book focuses on high school band programs but offers advice for elementary and middle school directors as well. Read it sequentially or select the chapters most pertinent to you. You'll come back again and again to benefit from the author's thirty years of teaching.

Quick Reference for Band Directors is available from RLE. NAfME members receive a discount of 25% by using the code NAfME25. To order or for more information, call 800-462-6420 or visit www.rowmaneducation.com. 

Member Benefits and Resources

Member Discounts on NAfME Resources
NAfME Collegiate members receive a 25% discount on all resources available from NAfME including publications, videos, and other items covering a wide range of music education topics. Members may reference the NAfME Resource Guide. For more information or to place an order, call 1-800-828-0229 or email NAfME Member Services.

December Poll: Sacred vs. Secular Concert Fare

December Question of the Month: Since 1999, NAfME has been checking with members to find out about the issues and challenges they face when it comes time to plan a December concert. Trends have shown less and less use of the term “Christmas concert” and more and more “holiday concert” or “winter concert”. We’ve asked about names of concerts, choices of music, ways to work with parents and students who may disagree with repertoire choices, and generally asked your impressions. Here is this year’s version. Please take a minute or two to weigh in – and thank you!
Please take the short survey.

NAfME Collegiate Facebook – Like us today!        

• Stay connected with other NAfME Collegiate members around the world by joining NAfME’s Collegiate Facebook Fan page. Become a fan on NAfME Collegiate today!
• Want to know what’s happening in music education? Become a fan of NAfME on Facebook! 
• Chapter Events Section: E-mail Becky Spray with your chapter’s events, service projects, concerts, and more. Please include date, time, location, and a brief description of the event. NAfME will then add it to the events section on the Facebook Collegiate Page where other Collegiate members can get information about the event.
   

Follow NAfME on Twitter.


NAfME on LinkedIn
Connect with fellow NAfME members and music education advocates on LinkedIn, a professional networking site. Participate in discussions about current topics, get music education news, and network with others in the field. To join, log in to LinkedIn, select “Search Groups” from the top dropdown menu, and search for “NAfME.” If you haven't created an account yet, you can sign up at linkedin.com.

“Ask the Mentor” Forum 
Do you have music education questions? NAfME’s mentors have the answers! Each month from September to May, the “Ask the Mentors” forum features a different mentor for band, orchestra, chorus, general music, jazz, and guitar. The mentors are veteran teachers who offer advice in response to your teaching questions. Post questions and read responses on the Future Teachers Forum.

Month of December
Band - Glenn Scheuermann
Chorus - David Baar
General Music - Paul Corbiere
Guitar - Ronald Korbitz
Jazz - Dave Edmund
Orchestra - Cynthia Bush 

For today's students to succeed tomorrow, they need a comprehensive education
that includes music taught by exemplary music educators.

—Becky Spray, December 13, 2011, © National Association for Music Education 

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