Manhattan Transfer, the internationally acclaimed vocal quartet was in Wilmington on Saturday, January 16 at 8:00 pm. For over 40 years, this grammy-winning group has helped to put vocal jazz on the American popular music map, and they are STILL AWESOME!

Forty-five years from their ground zero, The Manhattan Transfer put on an amazing show last evening at the Wilmington Grand Opera House. The theatre was about 80% full, mostly grey heads who walked down memory lane as the quartet sang us through the decades of their hits. "Tuxedo Junction," "Duke of Dubuque," "Candy," "Route 66," "A-Tisket, A-Tasket," "Señor Blues," "Corner Pocket, "Ten Minutes Till The Savages Come," "Joy Spring," "Trickle, Trickle," "Hear The Voices," and the incomparable vocalese "Birdland" were some of the group numbers, delivered one right after the other with only a quick sip of water in between and maybe a 10-word introduction.

Marty Lassman, Delaware ACDA treasurer and teacher at Cab Calloway School of the Arts, will be presenting our Jazz Reading Session at the Rehoboth Beach Choral Workshop this year.
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"I'm excited to be one of the presenters at this year's Rehoboth Beach Choral Workshop. I was asked to do a session on Jazz, and I know the immediate concerns everyone will have. Everyone loves singing the pieces but many are worried about how to present an authentic performance. With that in mind, I chose four pieces that will:

by Cera Babb, Performing Arts Teacher, Sanford School, Hockessin, Delaware

When I received approval to attend the National ACDA Conference, I quickly booked my flight and began poring over the light blue magazine ACDA had released. I was determined to attend all the best sessions, and began planning my trip right away.

When my flight landed in Utah, I was sure my planning would pay off. My focus was on music education. How can I teach certain techniques better? What kind of repertoire am I unfamiliar with? What is out there that I do not know exists? These were among the questions I was determined to answer as I was exploring my conference path through interest sessions, concerts, and quick coffee runs. I was eager to learn helpful tricks and tools from experts in the field, and was sure my schedule of sessions and concerts would give me some answers. In the end, what I ended up taking away from this conference is worth so much more than anything I could have planned.

After arriving at the conference center, I was thrilled by how close everything was. The proximity of each session and concert allowed attendees to maximize their time at the conference. Instead of worrying about getting to the next place on time, I was able to arrive early to each session. This gave me the opportunity to speak with different musicians who were also devoted to music education. For instance, at a middle school reading session, I met a woman from Utah who just began her work as a middle school music teacher this year. At an afternoon concert, I met an educator who is also an editor for an educational magazine. Even on my way to get coffee, I met a graduate composition student from Indiana University who was eager to share some of his work. It was incredibly interesting to speak to each of these people. More impressive, I think, is how so many people came from so many different situations in pursuit of the same thing: new, exciting ways to experience music.

By attending many different interest sessions, I was introduced to new concepts that I am looking forward to using in my own classroom. At an interest session focused on group-singing, I experienced how easy it can be to lead an informal, improvised jam session. While singing in a Kodály-focused interest session, I explored a new method of approaching folk music in a choral setting. In a movement-focused session, I looked at how movement is used in 21st century choral music, and what this means for choral music as an art. In total, was able to attend 18 diverse and insightful sessions.

Through these sessions, I learned many invaluable ideas which I plan to use in my everyday teaching. In the end, however, there is one more thing I took away from this conference which is perhaps more valuable than all of these sessions combined.

I saw performances of all kinds. Ensembles comprised of musicians who were extraordinarily different from one another came together to perform in this conference. For me, seeing this unity in choral music across so many different domains was a representation of what music can and should be: a method of communication that forgoes all boundaries. Watching all of these wonderful ensembles come together for one common purpose was incredible. And for that purpose to be something as pure and beautiful as music, is the most striking thing I experienced on that trip.

I walked away from this conference with answers to my questions, new contacts from all over the country, and most importantly, a renewed sense of excitement and purpose for something I believe in so deeply.

You can count on seeing me in Minneapolis!

The first annual Delaware Collegiate Choral Composers Competition was held March 10 in Dover with four composers participating: Emily Bentz (Wesley College), Emily DeWoolfson (University of Delaware), Nicholas Oakley (Wesley College), and Carl R. Pariso (University of Delaware). Singers from the Delaware Choral Society, Coro Allegro, and the Kent Chamber Choir came together to form a group of over 100 strong. Each of the students' works were rehearsed for 25 minutes and then performed before a panel of four judges.  Emily DeWoolfson's piece, "Siren Song", was chosen as the winner and will be featured on the Delaware Choral Society's spring program at the Schwartz Center on April 19. The event was a huge success and we look forward to hosting it again next year. Here are a few pictures from the evening:

by David Lockart, President-elect, DE ACDA

Of the many benefits ACDA membership provides, I would like to reflect on ACDA’s mission to “inspire choral excellence,” and my experience with the finest choral conference I have attended. 

Having spent the past two Eastern Division Conferences (Rhode Island and Baltimore) as the Interest Session Chair, I was delighted when Dr. Robert Duff, Director of Choral Activities at Dartmouth College, called and asked if I would take on the role of Asst. Interest Session Chair for the National Conference. For approximately a year, Bob and I organized the General Interest Sessions and, with leadership from composer Steven Sametz, the Composers Track Interest Sessions. We organized and edited over 70 presenters’ session information, photos, biographies, and session handouts for publication in the Choral Journal and on the conference app. During the conference, we coordinated the presenters, the session rooms and AV set-ups, pianos, risers, Session volunteers, presiders, and conference center personnel. 

One of the best aspects of attending any ACDA conference or event is strengthening the connections made with our friends and colleagues. The Salt Lake City conference was no exception, as I enjoyed connecting with the ACDA leadership, friends old and new, and meeting new friends. The organizational meeting in ACDA President-Elect’s suite included Mary Hopper, ACDA President Elect, Executive Director Tim Sharp, Program Chair Mike Huff, ACDA Associate Director Craig Gregory, performance site chairs, and the leaders of the Honor Choirs, Hospitality, Interest Sessions, Auditioned Choirs, and Foreign Choirs. 

Being from NJ, I was delighted to enjoy a dinner at the famous Red Iguana restaurant with Jack Hill, Chris Thomas, Laurie Lausi, Lori Lynch and the rest of the NJ delegate. It was a delight visiting with Joseph Flummerfelt, one of my most influential mentors, and reconnecting with some graduate school buddies including Andre Thomas and Anton Armstrong. I enjoyed spending time with our Delaware contingent, including Duane Cottrell, Cera Babb, Joanne Ward, Arreon Harley, Paul Head, Alexis Ford, Peter Solecki, Ned Perwo and Sara Gaines. Tom Sabatino was also on hand manning the JW Pepper booth. 

Salt Lake City provided an excellent conference site. Several major hotels were within walking distance to the massive Salt Palace Conference Center, which housed all of the Interest Sessions, Conference Registration, Honor Choir rehearsal space, and industry vendor booths. Over 5000 choral directors attended. An additional 5000 choristers from invited, auditioned and honor choirs were present to perform at the many concert venues, all within easy walking distance. The venues included the Abravanel Hall (home of the Utah Symphony Orchestra and Chorus), the Mormon Tabernacle, the LDS Conference Center (whose 21,000 seats were full for the closing conference concert), and a nearby cathedral. 

One obvious benefit of attending an ACDA conference is listening to excellent choirs – how they shape phrases, balance, blend, unify vowels, infuse feeling in their performance, and manage a variety of literature. Notable performances were given by our friend Stephen Holmes and the Maryland State Boychoir, the USC Chamber Singers, the Iowa State Singers, as well as some fabulous foreign choirs, The Metropolitan Chorus of Tokyo, Sine Nomine from Cuba, and the Estonian Philharmonic Chamber Orchestra. The big evening concerts were phenomenal. On the opening night, the King’s Singers and the Real Group performed to a packed audience in the Tabernacle. The next night featured the Utah Symphony with combined ensembles of the University of Utah, featuring the Verdi Four Sacred Pieces and other selections. On the third night, I attended a flawless concert in the Tabernacle by the Mormon Tabernacle Choir. The closing concert in the LDS Conference Center featured the Mormon Tabernacle Choir, Sylvia McNair, Santino Fontana, the USAF Singing Sergeants, which were joined by all of the honor choir members for the final selection. After a poignant message from Sylvia McNair about how important we all are in the lives of our singers, there were few dry eyes. 

I am hopeful that this article will inspire you to set aside the time and expense necessary to attend ACDA events, including our DE ACDA Choral Workshop in June, Voices United in August, the Division Conference (February 2016 in Boston), and the 2017 National Conference in Minneapolis. You will be inspired, and the singers in your choirs will benefit from what you have experienced. Mark your calendars and visit the DEACDA website frequently for new news and information. 


Please visit http://www.deacda.org/resources.html to sign up for DE ACDA notices.

by Kelly Hudson, Fine Arts Department Chair, Caravel Academy, Bear, Delaware

The Men Only Aloud workshop is an awesome experience for middle school boys, and this year was no exception. 

Not only does this event allow them to sing with lots of other boys (where they may be one of only a few in their school choir), but it also gives them one-on-one attention where the needs of a male singer can be addressed. As a female director that is often challenged by the changing male voice, this festival is a great learning experience for me to gain tips and techniques from the clinicians. My boys love it and look forward to it every year. 

Here are a few things, Ms. Hudson's students had to say about the workshop this year: 

“The director was very fun but also could get things done.”

“I liked how he had jokes during the festival.”

“I felt that the songs, the director, and the experience have taught me many things. They've taught me to sing at a higher pitch, the importance of having a smile on my face when singing, and to be more confident in my abilities. I felt lucky to have participated in such a wonderful and memorable event. The thing I enjoyed most was just the whole experience in general. This experience has helped me raise my self-esteem and the importance of this is that you sing better when you feel good about yourself. If you don't feel good about yourself and you try to fake a smile, the performance will always go horrible one way or another. In the end of it all, I feel like if I could go through it all over again, I would for the whole experience.”

“I liked how he taught us some songs with only words, no sheet music. It was a new experience that I thought was pretty cool.”

We are delighted to announce the 2015 Delaware ACDA Children’s Honor Choir Festival to be held on March 6-7, 2015 at Newark High School. Our guest conductor this year will be Anthony Trecek-King, Artistic Director of the Boston Children’s Chorus. Prior to joining BCC, Mr. Trecek-King earned international acclaim for his work as a choral director. At BCC, he has been integral to the development of a rigorous and highly advanced musical curriculum. In addition to learning musicianship skills, an interpersonal aspect is integrated into the experience for BCC singers, providing a nurturing environment that encourages them to become compassionate and engaged citizens.

You are invited to select singers in grades 4-6 to be a part of this festive weekend. We ask that—to the extent possible—you send an equal number of sopranos and altos. Please submit your materials as soon as possible, but no later than 1/18/2015 -- the maximum number of singers that can be accepted is 150 (if we reach 150 prior to this date, your registration check will be returned to you). Director must be a member of ACDA (applications can be found at www.acda.org). Please feel free to share this information with your colleagues.

We will work on Friday, March 6 from 5:45-8:30pm and on Saturday, March 7 from 9:15-4:30pm. The festival concert will take place at 4:00pm: there will be a $5 admission fee for age 6 and up. Included in the $45 registration fee for each singer will be lunch, snacks and drinks for singers on Saturday, an Honor Choir t-shirt to be worn for the concert, octavos and a practice recording (music/recordings will be sent to the director for distribution). Directors are encouraged to participate in the weekend’s activities to the fullest extent possible. If you would like to volunteer for any of the tasks required to make this weekend a success, please let us know!

We look forward to another successful year—please join us in providing a special choral experience for our young singers. For more information (like registration forms), please contact either, Lys Murray or Kelly Hudson.

By Margaret Anne Butterfield, Upper School Choir Director & IB Music Instructor, Wilmington Friends School


I am privileged to teach at a school where learning about various countries and cultures is highly valued. Of course, we learn about different cultures with choral music all the time! Because music is a universal language and a gateway to experiencing different points of view, I wanted to share 5 tips on including multicultural music in choral programming. 

1. Singing in unfamiliar languages is easier with IPA. (Wouldn't it be lovely if all publishers used the same system?!?) If IPA isn't included, seek out a native speaker when possible. When my choir was learning Érik a Som*, I sought assistance from a colleague from Hungary and transcribed her pronunciation into IPA to share with my students. Once we mastered the pronunciation, we gave an impromptu performance for her math class. She loved it and praised the students for their diction!

2. Drums always add a "cool" factor. So does choreography, when appropriate. Mohland Ke Ktoglelang Hae was a huge hit with my choir and made other kids want to join!

3. Don't be afraid to teach something by rote. Doing so makes pieces from oral/aural traditions more authentic. And this isn't limited to pieces from other countries - the same practice works for our own folk songs. Those who attended Voices United in 2013 heard the Festival Choir with Jeff Johnson sing Down in the River to Pray using this very approach. If you are looking for a good source for African songs, Vela Vela is an excellent resource by Mollie Stone, drawn from her experiences with the Chicago Children's Choir and University of Cape Town in South Africa. The book comes with a DVD that includes individual part instruction as well as full performances. It also includes interviews with South African singers.

4. Get your audience involved by teaching them a song during your concert. A good resource is Nick Page's Sing With Us collection. We often do this as a "seventh inning stretch" during longer programs without an intermission - it's a win-win for the choirs and the audience.

5. Look for musical elements/gestures that are similar to something your kids know. It helps them make connections to other cultures and provides a great opportunity to explore how many people in a different part of the world experience the same musical phenomena. Learning traditional songs opens the door to investigation of ideas and elements that are significant in other cultures.

While I may be stating the obvious here, studying music of other cultures allows students to make other valuable sociological observations. When we did Sten Kallman's arrangement of the Haitian folksong Peze Kafé last year, in addition to mastering the various rhythmic and melodic patterns, it was fascinating to learn about the important of coffee in Haitian culture. And really, who doesn't love a good cup o' joe!


*Find more information about the repertoire mentioned above, here:

Mohlang Ke Ktoglelang Hae - Sesotho Folksong, arr. Rudolph deBeer; SATB - Hal Leonard Music

Peze Kafé - Haitian Folksong, arr. Sten Kallman; SATB - Walton Music

Érik a Som - Hungarian Folksong, arr. Lajos Bardos; SAB - Santa Barbara Music

Vela Vela - striving for authentic performance in black South African choral music, Mollie Spector Stone (self-published booklet with DVD)

Sing With Us Songbook - Nick Page; Hal Leonard

To purchase these titles (or for more information), please contact our friends at The Musical Source. For questions or comments about how multicultural music in the classroom, feel free to contact Margaret Anne Butterfield.