2015 Dallas Church Music Workshop
sponsored by the Dallas Chapter of Choristers Guild
Friday, January 16 and Saturday, January 17, 2015
Lovers Lane United Methodist Church
9200 Inwood Road
Dallas, Texas 75220
|Member 2-Day Registration:||$135|
|Member 1-Day Registration||$110|
|Non-Member 2-Day Registration:||$160|
|Non-Member 1-Day Registration:||$135|
Information is forthcoming about reservations at the Dallas/Love Field Embassy Suites Hotel, minutes from our host church. We will update this as soon as information is available.
3880 W Northwest Highway | Dallas, Texas 75220
Clinicians: View Full Bios
We apologize that Elizabeth Shepley is unable to join us for the 2015 conference due to scheduling conflicts. We will try our hardest (with guilt trips and batted eyelashes!) to get her to join us for 2016!
Schedule: Download Schedule
|Session A:||Creative (and Easy!) Hymn Accompaniments
The organist at your church plays several hymns every Sunday while the bells just lie there on their tables or, worse yet, upstairs in their cases. Learn simple and effective ways to incorporate handbells with your weekly hymns in ways that are sure to delight and uplift your congregation. Participants will look at sample hymns and brainstorm practical ways to include handbells, then will play through the hymns using those ideas.
|Session B:||More than Two
Many ringers — novices and old pros alike — balk any time they might need to handle more than two bells. Chromatic passages in the music become a source of concern and fear, and heaven forbid a ringer should have to hold more than one bell in each hand! Come along on a journey to learn and practice the fundamentals of weaving, Schelley ringing, and four-in-hand.
|Reading Session:||That's Original
Come and discover an entire session dedication to original compositions suitable for various occasions in worship.
|Reading Session:||Hymns We Know and Love
This session is dedicated exclusively to compositions based on an array hymn tunes throughout the liturigcal year.
|Session A:||ABRACADABRA – Discovering the Magic of Improvisation (Organ Class Session)
Come to discover that there really is no magic to organ improvisation. Tom Trenney's efficient and effective approach affirms and challenges all talents and inhibitions! This interactive session will encourage wild creativity within specific guidelines, offer attainable models to inspire us, and affirm us all to celebrate the unique music that is within us. (Organ Class Session)
|Session B:|| And May God Give Us Faith to Sing Always
This is not a 'how to' workshop. This is a 'why do' workshop. Participants will explore their collective vocation as organists, conductors, teachers, performers, and pastoral musicians. Tom Trenney shares his personal faith story, inviting us to reconsider and reaffirm our individual calling to music ministry. In this interactive and inspirational workshop, everyone will pause to consider their purpose as a servant musician and ponder how they might grow in faith that they may sing always!
|Session C:||Building Your Choir from the Inside Out
Partipants will start with a piece of music and the group of people who happen to show up for this workshop, and by the end of the hour, they will be transformed into a choir. Along the way, they will share in real time many possibilities that will encourage their singers to become a choir and that will help everyone to sing their faith from the inside out.
|Session A:||Preparing the Singer
Come and find techniques and exercises that "wake up" the rehearsal, rejuvenate the rehearsal to keep minds active and prevent excessive "socializing." Singing is a physical and intellectual activity. Particpants will receive well over one hundred exercises that help this part of a rehearsal. These exercises also have methods for increasing pitch awareness, sensitivity, diction, voweling, and breath management.
|Session B:||Teaching Tone: Unhinging the Jaw and Unleashing the Sound
Each rehearsal should feel like an expensive voice lesson. This session will include all Janeal has learned from her singers in the last 100 years of her life. While it did take a while, she now has that sound and breath connection down...she thinks. Come discover her wisdom (finally) on these many revelations as she explains "What I wish I had known when I started."
|Session C:||Check Lists for Effective Rehearsals
Who is in charge? How can that rehearsal create an atmosphere that helps singers to want to be fully engaged and want more information, to feel a sense of the ONENESS in a choir setting and a sense of urgency to accomplish the tasks at hand? This session will also include Q&A time with Janeal.
|Session A:||Developing Healthy Choral Tone Through Choral Warm Ups
This session will explore various vocal techniques and methods that have been found to attribute to good choral singing.
|Session B:||Developing Healthy Choral Tone Through proper voice placements
Come and discover how to use the art of matching timbers when placing your students in a choral position that is conducive to a successful ensemble sound.
|Session C:||The Choral Works of Moses Hogan
Do you happen to be a Moses Hogan fan? Particpants will enjoy understanding the history of selected choral works of the composer in this reading session style class.
|Session A:||Adorning the Bride; the use of Visual Arts as an Enhancement to Worship
This class will explore the history, philosophy, suitability and theology of the use of visual art in Christian worship.
|Session B:||Liturgical Art and the Elements of Design: Studio Class
Particpants will create small paper lace cut banners and in the process discuss the elements of design as well as what is appropriate for worship space. All are welcome in this studio class which will be fun, informative, and even therapeutic!
|Session C:||Liturgical Art and the Elements of Design: Studio Class - Continued
A continuation of session B. Don't miss out on the continuation of the fun, creative, and theraputic natures of this class!
|Session A:||Vocal Techniques for the Young Singer
This session will demonstrate and explore various aspects of vocal production, vocal development, and care of the young voice in the choral setting. Vocalizes and repertoire will be used as the main tools, learning to enhance them through visualization and movement. Developement focus will include: Mental Focus, Singers' Posture, Relaxation Exercises, Breathing Exercises, Pitch Memory, Vowel Formation, Vowel Uniformity, Vocal Modeling, Learning Anchors, Choral Tuning, Variety of Choral Timbre, and Stylistic Artistry. This course will also include significant attention to recently published repertoire appropriate for the young singer.
|Creating Artistry through Visualization, Movement, Imagery, Color and Gesture
Learning theorists contend that singers learn in three basic ways: visually, aurally and kinesthetically. We will discuss those methods of learning, developing "anchors" for artistic expression. This session will include specific techniques used to develop artistry through visualization, kinesthetic motion, imagery, color and gesture. Oftentimes "parrot choirs" repeat the pitches, rhythms, dynamics and phrasing of other choirs, but true artistry and expression must be built from within. Professor Leck will be working with a demonstration choir demonstrating various approaches to creating choral artistry.
|The Boy's Changing Voice
One of the challenges for music educators is coping with and understanding the Male Adolescent Changing Voice. This session will review the historical role of the male voice, current trends in classifying young male voices and approaches to aiding in the productive development of such. This process will be demonstrated with adolescent boys of many voice types.
|Session:||Choosing Congregational Songs for Worship
This class will outline principles for choosing hymns and songs and explore a variety of ways to use singing in worship.
Christian worship is, by nature, embodied worship. What we think and understand is important, to be sure. Yet it is what we do with our bodies in worship that forms us for the life of discipleship.
Everyone wants worship to be creative and engaging. But how do we know whether we are giving glory to God or simply designing a worship "experience?" A few basic principles help guide our way.
|Session A:||Using Music to Encourage Gross and Fine Motor Skills
Participants of this fun workshop will take part in music activities designed to encourage motor skills in children. Come and discover different instruments that can easily be incorporated into these activities.
|Session B:||Using Music to Stimulate Communication and Educational Skills
Music can be a powerful tool to use in encouraging communication and educational skills. Take home some fresh new tunes and gather some new ideas on how to increase the use of music to focus on these important areas.
|Session C:||Using Music to Encourage Social Skills and Self Esteem
Creating and implementing positive musical experiences that children can successfully participate in is a great way to encourage social skills and self-esteem. Come learn how to find or create musical activities that will inspire your class during this entertaining workshop!
|Session A:||Voice Pedagogy for the Aging Singer Part 1
The strategies and techniques used to implement and maintain healthy, efficient, and artistic singing practices in aging singers are not radically different from those used to teach younger singers. ALL singers need to continually address the individual aspects of the singing system, the "tions" as Robert likes to call them: body position, respiration, audiation, phonation, resonation, articulation, and emotion. What is different for older singers is yet another "tion," -- expectation. This is a "voices on" interactive session. Come prepared to sing!
|Session B:|| Voice Pedagogy for the Aging Singer Part 2
A continuation of part 1. Come prepared to sing!
|Session C:||Gender-Neutral Pedagogy for All Ages
The vocal sounds human beings make are more the result of gender and cultural bias rather than physiologic function. The human larynx is, for all intents and purposes, a gender-neutral instrument: males and females can produce similar sounds with similar component parts. Training the whole voice is simply good voice pedagogy. Limiting pedagogy to males making "male sounds" and females making "female sounds" is not. In this session, Robert will state the case for gender-neutral voice pedagogy. He will then work with male and female volunteer singers to help them explore the totality of their voices free of gender, cultural, and tribal restrictions. Q&A time will be included.