Southwestern
November 15, 2025
SWACDABoard(2024-2026)
JonathanOwen,President
JoshuaOppenheim,President-elect
JeffreyMurdock,PastPresident
JeffWall,Treasurer
MargieCamp,ConferenceChair
Children’sandCommunityYouth-NathanWubbena JuniorHigh/MiddleSchool-CristiMiller SeniorHighSchool-SpencerWiley 4-YearCollegeandUniversity-RayvonTJMoore 2-YearCollegeandUniversity-TatianaTaylor StudentActivity-JenniferSengin CommunityChoirs-AndyWaggoner MusicinWorship-BryanTaylor VocalJazz-BethEnloeFritz ShowChoir-MichaelShimp WorldMusic&Cultures-EduardoGarcia-Novelli Tenor/BassChoirs-ReginalWright Soprano/AltoChoirs-TannerOglesby
FromthePresident’sPen
Well, autumn has definitely arrived in St. Louis with cooler temperatures, leaves constantly falling from thetreesandtheskyalternatingbetweenadismalgrayandabeautiful,cloudlessblue.Ienjoybeingableto experience all four seasons, although I wish spring and fall were each twice as long.While I do love this timeofyear,Idon’talwaysappreciatethechangeintime.Eveningscanseemtolastforever.
No matter what your winter may feel like, I know that when March rolls around, it will be beautiful in Albuquerque.CheckinganAlbuquerqueweatherguide,Marchhightemperaturesshouldberightaround60 degreesandalowof33degreesinthemorning Therelativehumidityaverageis39%,withapossibilityof 73%chanceofsunshine Sopackyourbags,putinsomelayers,andgetreadyforafabuloustime
Whether you enjoy attending SWACDA for the interest sessions, the auditioned choir concerts, the honor choirsorcatchingupwithfriendsandcolleagues,Albuquerquewillhaveitall
Over20diverseInterestSessions
11R&RsessionsonWednesday
MusicinWorshipImmersionDayonThursday,withanafternoonecumenicalservice
7HonorChoirandeachconductorwillshareasessiononWednesday
19 traditional auditioned choirs and 4 non-traditional, including show choir, jazz choir and contemporaryacappella
All-ConferenceSingsconductedbysomeofouresteemedpastpresidents
AnexcitingWelcometoAlbuquerqueopeningnightconcert
SWACDA’sfirsteverHighSchoolJazzhonorchoir
Ourheadliner,Apollo5-fromtheUKandpartoftheVoces8Foundation
Incrediblefoodandculturestoexperience
EarlyWednesdaymorninghotairballoonrideopportunity.
IfyouhaveattendedSouthwesternregionconferencesinthepast,you’llwanttobeapartofthisonealso If you ’ ve never had the opportunity to attend SWACDA, you definitely want to attend this once in a lifetimeexperience
After 30 conferences in 13 cities in six states, I am so excited to be in a new city and state for the 2026 conference.GetreadyforsomeNewMexicohospitality!!!
Best,
JonathanD.Owen SWACDAPresident
State of the State Missouri - Christy Elsea, President
MissouriChoralDirectorsAssociationhasaparticularlystrongtraditionwithinourSouthwestdivision A quickGooglesearchofACDAhistoryrevealsthatKansasCity,Missouriwasthebirthplaceofourbeautiful organizationin1959 ThereisgreatpridewithinourMCDAcommunityrecognizingthosewhoforgedthe path for us in our community Years of making connections with fresh and seasoned teachers has strengthenedourorganizationconsiderably. MCDAisastrong,vibrantorganizationwithmuchtoofferits membersandguests.
TheMCDAsummerconferencewiththetheme,“TiesThatBind: Choir&Connection”willtakeplaceJuly 14-17, 2026 in Springfield, MO. With 7 honor choirs, grades 4 to adult, several headliners and countless opportunities to learn from friends and colleagues, the Missouri summer conference is not to be missed. There are always friends from within our division who remark what a fabulous experience the Missouri conference offers. If you are unsure about attending the conference, try our Open Access Day on Friday, July17th,whichisopentoanyoneandFREE! Plantojoinus! Informationcanbefoundonourwebsiteat moacda.org
The Missouri All-State Choir was coordinated by Janice Bradshaw for 46 years! The Missouri Choral Directors Association has established a scholarship to honor Janice for her many years of insisting upon excellence The merit-based scholarship will be awarded to individuals planning to pursue higher education in music and have shown leadership, resilience and depth of character through their musical journey Those who have been a member of the Missouri All-State choir are eligible to apply for the scholarship. Ifyouareinterestedinsupportingthescholarship,pleasegotothemoada.orgwebsite. Janice BradshawhasleftaprofoundlegacywithherleadershipacrosstheSouthwestDivision.
Missouri Choral Directors are building on the legacy of our predecessors. Our foundation is strong and continues to grow and flourish. Please make plans to join us at our summer conference or support our future.Beapartoftradition.
MichaelShimp ShowChoirR&RChair
Pt.1of4
Welcome to a four-part spotlight on how show-choir scoring really works. Across th down the jargon, unpack scoring models and tie-breaks, and share practical lessons from the people buildingthetoolsdirectorsrelyoneveryweekend.ThefirsttwoinstallmentsfocusonCarmenForte,their platform, philosophy, and what transparency looks like in practice so directors, students, and families can follow the process with confidence I recently sat down with Sherman Charles, founder of Carmen Forte, andMartyLindvahl,consultantandveteranshow-choiradjudicator WetalkedabouthowCarmenForteis reshaping show-choir contests from scoring to transparency so directors, students, and families can actuallyunderstandhowresultsaredetermined Whatemergedwasaclearpictureofaplatformbuiltfor educationfirst:faster,moreequitable,andfareasiertofollow.
Q1.What problem in adjudication or contest hosting did you tackle first, and how did that shape yourfirstfeatures?
We built Carmen Forte because adjudication was letting everyone down. Directors were stuck waiting hours sometimes overnight for results (complete with the occasional math oops). Judges and admins were buried in forms instead of giving real feedback. And students? They couldn’t see why they placed wheretheydidbecausethescoringwasablackbox.
Back in 2007 we started with a simple challenge: design the perfect scoresheet. Then it hit us the sheet wasn’ttheproblem.Theworkflowwas.Soourfirstreleasewasn’t“paper,butdigital.” Itwas:
●Instanterror-proofresults(nocalculators,nosurprises)
●Transparentscoringeveryonecanseeandunderstand
●Flexiblescoringmethodsthatmatchyourteachingphilosophy,notjustwhat’seasiesttotally
Today, directors get results within 60 seconds of awards being finalized, judges spend their time on feedback, and students finally understand the reason behind their placement. That core trio speed, accuracy,transparency stilldriveseveryfeatureweship.
Q2.Whichscoringapproachesdoyousupport andhowdohostspicktheonethatfits theirgoals?
Shortanswer:sixwaystoscore. Slightlylonger(andfriendlier)answer:
●RawScores–Addupthepoints.Highesttotalwins.
●AverageScores–Averagethejudges’numberstosmoothoutscaledifferences.
●OlympicScoring–Dropthehighestandlowestjudge,thentotalwhat’sleft.
●BordaCount–Judgesrankgroups;ranksconverttopoints(1stplaceearnsthemostpoints,etc)
●ConsensusOrdinal–Buildsarankingthatreflectswherejudgesmostlyagree
●Condorcet–Head-to-headmatchups:ifagroup“beats”everyothergroupone-on-one,itwins
ShowChoirR&RChair Pt.1of4-Continued
HowdoesCarmenFortehelpyouchoose?
Pickbasedonyourteachingpriorities:
●Simplicity&clarity:RaworAverage.
●Reduceoutliers:OlympicScoring
●Emphasizerankingsoverrawnumbers:BordaorConsensusOrdinal.
●Head-to-headfairness:Condorcet
EveryoptioninCarmenFortecomeswithplain-languageexplanationsrightonthescreen,sonon-experts canmakeaconfidentchoice.
Tie-breaks(noblackboxes)
Weusetransparent,step-by-steptielogic,explainedinsimpleterms:
●Ifyou’reusingCondorcetandthere’satie: 1.OverallBordaCount,then 2.OverallRawTotalScoresforoverall(placement)awards. Forcaptionawards(e.g.,BestVocals,BestChoreography): 3Caption-SpecificBordaCount,then 4.Caption-SpecificRawScores.
●Ifyou’reusingBordaCountorConsensusOrdinal:
•Overallawards:breaktieswithRawTotalScores
•Captionawards:breaktieswithCaption-SpecificRawScores.
●Allothermethods(Raw,Average,Olympic):
•Usestandardrawscorecomparison
Ifautomationstillcan’tseparatetwogroups(atruetie),hostscanmakeamanualoverride withafull audittrail.Werequireashortwrittenjustification(minimum10characters)andwelogtheoriginally calculatedwinners,theoverridewinners,timestamps,andthereasonDirectorscanseeitall
Q3.Howdoesajudge’scritiquegetfromtheirdevicetoadirector fast andinaformat everyonecanuse?
Thequickversion:judgestap,CarmenFortesaves,anddirectorsgeteverything scores,recordings,and summaries aboutaminuteafterawardsarefinalizedHere’sthefriendly,non-techietour:
1)Forjudges(easyin,nostress)
●Anydevice:Phone,tablet,laptop openthereal-timescoringpageandgo.
●Autosavesafetynet:Everyscoreandcommentsaveslocallyandsyncstothecloud,sonothing getslost.
●Categorycomments:Judgestypefeedbackinexpandableboxesastheygo noflippingbetween screens.
●Audiothatjustworks:Weusethedevice’sbuilt-inrecorderwithlocalbufferingandbackground upload,sojudgeskeeptalkingwhilefilesuploadbehindthescenes nospinningwheels,nowaiting
ShowChoirR&RChair
Pt.1of4-Continued
2)Scoring&awards(themathyoudon’thavetothinkabout)
● When judges submit, we automatically apply penalties, compute rankings using the chosen scoringmethod,andruntie-breaksexactlyaspublished(noblackboxes)
3)Deliverytodirectors(organizedandinstant)
● As soon as awards are finalized, directors get secure links to everything usually under 60 seconds.
●Materialsareneatlysortedbyjudge,caption,division,round,group,andcompetition.
●Downloadoptions:ScorePDFs,CSVexports,andaudiofiles(sharedviatemporary,secureURLs)
●Directorskeeppermanentaccesstotheportalforfuturereference
4)Judge’sAssistant(listenless,learnmore)
●Critiquesareauto-transcribedandsummarizedwitheducator-focusedprompts.
●Judgesreviewandedittranscriptsbeforethey’refinal,keepingaccuracyhighwhilesavinghours.
●Transcriptionstypicallyfinishinunderaminuteperrecording
5)Accessibility(builtin,notboltedon)
●TheplatformfollowsWCAGguidelinessoalluserscanaccessthesameinformation.
●Transcriptsand(whenenabled)captionssupportuserswhopreferorrequiretext.
Q4.Howdoesyourplatformhandlehostoperationsatscale,forexampleschedules, judgeassignment,volunteercoordination,day-ofchanges,andpost-eventreports?
Think of Carmen Forte as your contest command center: one place where schedules live, judges know exactlywhatthey’rescoring,andlast-minutecurveballsdon’tderailtheday.
Schedules(thatactuallystayuptodate)
Build a full schedule performance times, divisions, judges and if something changes, it updates everywhereinstantly.Nogrouptextchains.Nopapertapedtowalls.
Judgeassignments(surgicalcontrol)
Assignjudgesbyspecialty(eg,“Smith:Music&Effectonly”)sotherightpeoplescoretherightthings Everyoneseestheirroleclearly,rightontheirdevice.
Real-timemonitoring(knowwhat’sdone andwhat’snot)
Watch live progress by division: which judges are finished, which groups are fully scored, and when a divisionisreadytofinalize Whenit’sawardstime,calculatedresultsarerightthere Needtomakeahostpolicycall?Youcanapplyamanualoverridewithashortnote;thesystemlogswho,when,andwhy full audittrail.
ShowChoirR&RChair
Pt.1of4-Continued
Day-ofchanges(thenightmaremadenormal)
Judge calls in sick? Reassign in 30 seconds, and all affected folks see the change instantly. A group withdraws?Removethemandrankingsrecalcautomatically.Papersystemspanic;CarmenForteshrugs.
Post-eventreports(hoursofworkinseconds)
As soon as the dust settles, you ’ ve got: ranked results, judge stats, director feedback bundles, and data exportsinPDFandCSV.Hostsgettofocusonpeople notpaperwork.
Builttoscale
Froma10-groupinvitationaltoamulti-divisionfestivalwith100+groupsand12+judges,theplatform deliversthesamereliability:zerocalculationerrorsandinstantresults nomatterthesize.
Q5.Whatsafeguardsprotecteventswhenconnectivityisweak,forexampleoffline capture,localbackups,autosaveintervals,exportoptions,andrecoverysteps?
CarmenForteisbuilttokeeptheshowmoving evenwhentheinternetisn’t
Onthejudge’sdevice(safetyfirst)
●Autosaveevery10secondswhilethey’retalking/typing.
●Savesagainwhenevertheymovetothenextbox.
●“Wait!You’vegotunsavedwork”warningsbeforeclosingorrefreshing
●Crashrecovery:reloadthepageandeverythingcomesback
●Clearstatusicons/bannersshowonlinevs.offlineataglance.
RayvonTJMoore 4-YearUniversityR&RChair
TheRoleofReflectivePracticeintheConductor’sDevelopment
Conductingstandsatthecrossroadsofartistry,pedagogy,andleadershipTheconductor’staskisboth musicalandhumanshapingsoundthroughgesture,butalsoshapingcommunitythroughpresenceYet fewprofessionsrequiresuchsimultaneousself-awareness:theconductormustlistentotheensemblewhile listeningtothemselves,readingtheroomevenastheyreadthescoreInthisbalanceofinstinctand reflectionliestheheartofartisticgrowth
Reflectivepracticethestructuredactofthinkingcriticallyaboutone’sownactionsanddecisionsoffers conductorsawaytotransformexperienceintoinsightItshiftsthefocusfromwhathappenedtowhyit happened,andwhatmightbelearnedfromitAsDonaldSchön(1983)arguedinTheReflective Practitioner,trueexpertisedoesnotsimplyaccumulatethroughrepetition;itevolvesthroughthoughtful analysisofpractice
TheNatureofReflection
JohnDewey(1933)describedreflectionastheprocessthatturnsexperienceintolearningExperiencealone, henoted,isnotenoughitmustbeexamined,questioned,andinterpretedSchönbuiltuponthis, suggestingthatprofessionalsengageintwoformsofreflection:reflection-on-action(afterthefact)and reflection-in-action(withintheactitself)
Forconductors,reflection-on-actionmighttaketheformofjournalingafterrehearsal,reviewingvideo recordings,ordebriefingwithamentorIt’sthequietpauseattheendofalongevening,whenoneasks: Whatworkedtoday?Wheredidwelosefocus?WhatcouldIdodifferentlynexttime?Reflection-in-action, bycontrast,iswhathappensinthemoment:thequickrecalibrationwhenarehearsalstrategyfails,the instincttoswitchfromverbalexplanationtophysicalmodeling,orthesubtlechoicetosmileinsteadof scold
Schön’smodelisparticularlysuitedtoconductingbecauseofhowfluidlyconductorsmustadaptThe ensembleisamirrorreflectingnotjustmusicalchoices,butalsoemotionaltone,pacing,andclarity Conductorswhocultivatereflection-in-actioncanpivotgracefully;theynotice,adjust,andlearn,oftenin realtime
WhyConductorsNeedReflectivePractice
ConductingisanembodiedformofteachingItinvolvesgesture,verbalcommunication,toneofvoice, pacing,andempathyallatonceBecausesomuchofthecraftistacit,it’seasyforhabitstogo unexaminedManyconductors,evenexperiencedones,repeatinheritedrehearsalpatternsorphysical gestureswithoutrealizingtheireffectReflectivepracticeshinesalightonthoseinvisibleassumptions
Researchinmusiceducationsupportsthisapproach.Gumm(2003)emphasizesthevalueofselfobservationandinquiry-orientedteachingforconductors,whileHennings(2000)arguesthatchoral leadershiprequiresawarenessofone’sownteachingpatterns.Whenconductorsreflectintentionally,they begintoseerehearsalnotasaroutinebutasadynamicsystemonewheregesture,words,and psychologyintertwine.
4-YearUniversityR&R
Continued
Moreover, reflective practice helps prevent stagnation. It turns every challenge a disengaged choir, a confusingpassage,anunevenbalance intodataforimprovement.Conductorsbecomescientistsoftheir ownartistry,testinghypotheses:WhatifIsaidless?WhatifIgavethemmoreownership?WhatifIshaped thephrasewithmybreathinsteadofmyhands?Overtime,thesequestionsbecomeamindsetoflifelong learning.
MethodsofReflection
There is no single way to reflect.The key is consistency and honesty. Below are several methods used by successfulconductorsandeducators:
1.JournalingandRehearsalLogs
A brief daily or weekly journal encourages conductors to capture thoughts before they fade. Brookfield (1995) recommends focusing on “critical incidents” specific moments of success or frustration rather thanbroadgeneralities.Ajournalentrymightask:Whatsurprisedme?Whatenergizedthesingers?What derailedtherehearsal,andwhy?Overtime,thesereflectionsrevealpatternsthatinformplanningandselfawareness.
2.VideoObservation
Manfredo(2008)highlightsthepowerofvideofeedbackindevelopingconductingskills.Watchingoneself conduct can be both humbling and transformative. Many conductors discover that their gestures are smaller, sharper, or less communicative than they felt in the moment. Video also reveals pacing, facial expression,andtheratioofteachertalktosingeractivity allcrucialelementsofrehearsaleffectiveness.
3.PeerorMentorFeedback
Conway (2003) notes that professional dialogue is a vital part of reflective growth. Inviting a trusted colleague or mentor to observe a rehearsal can expose blind spots we cannot see ourselves. A colleague might notice that a conductor always starts with the same section, unconsciously favors one group, or unintentionally uses language that creates tension. These outside perspectives turn reflection into conversation.
4.ReflectiveScoreStudy
Reflection begins long before rehearsal.While marking a score, conductors can ask:What will my singers struggle with?What teaching moments are embedded here?What gesture or imagery will make this idea clear? This type of anticipatory reflection merges artistry and pedagogy, transforming score study into rehearsalplanning.
5.ActionResearch
For educators in schools or universities, reflection can take a more formal shape through action research. Mertler (2014) outlines a simple cycle: identify a problem, implement a change, collect data, reflect, and revise.Aconductormightexplorestrategiesforimprovingtoneinabeginnerchoir,documentobservations, andadjustaccordingly.Theprocessitselfbecomesprofessionaldevelopment.
4-YearUniversityR&R
Continued
TheEmotionalandHumanSideofReflection
Reflection is not purely technical it is emotional and ethical. Conductors lead human beings, not just voices. Each decision on the podium influences mood, motivation, and trust. Reflecting on these aspects means asking hard questions: Did my correction build confidence or fear? Did every singer feel included? Didmyhumorempoweroralienate?
Choral conductors, in particular, shape communities. The rehearsal room can be a place of belonging or exclusion, depending on how reflection informs leadership. Brookfield (1995) urges teachers to question assumptions about authority and control Conductors who do so often find that shared ownership, gentle humor,andvulnerabilityyieldstrongermusicalresultsthancommandalone
Inthissense,reflectivepracticealsonurturesempathy.Itremindsconductorsthatthey,too,arelearners.By modeling curiosity and humility, they encourage singers to take risks and listen deeply. Over time, reflectioncultivatesnotonlybettermusiciansbutmorecompassionateleaders
Despite its benefits, reflection can feel elusive amid the daily demands of rehearsals, concerts, and administrative tasks. Time is the most common barrier; self-assessment easily slips behind repertoire preparation and logistics. Some conductors also fear what they might see on video or hear from peers. Vulnerabilityispartoftheprocess.
Onestrategyistomakereflectionhabitualbutbrief:threequestionsattheendofeachrehearsal What worked? What didn’t? What will I change? can make a difference Another is to pair reflection with celebration:notingsuccessesalongsideareasforgrowthhelpsmaintainperspective AsLabuta(2010)and Jordan(2009)bothremindus,conductingdevelopmentisalongjourney;reflectionisitssteadycompass
TheLastingImpact
The benefits of reflective practice reach far beyond immediate improvement. Conductors who engage in regular reflection often find their rehearsals becoming more fluid and responsive. They learn to diagnose problems quickly, communicate with greater clarity, and nurture a stronger sense of ensemble trust.They alsogainaclearerartisticidentity,abletoarticulatenotjusthowtheyconduct,butwhytheymakecertain choices.
Perhapsmostimportantly,reflectiontransformsconductingintoalivingdialogue betweentheconductor and the choir, between intention and sound, between artistry and humanity Every gesture, every silence, becomesanopportunitytolisteninwardlyaswellasoutwardly.Schön(1983)remindsusthatthehallmark ofamatureprofessionalisnotcertaintybutcuriosity.
Reflectiveconductorsembodythatspirit.Theyremainopen,observant,andwillingtolearnfrom theverymusictheycreate.Intheend,reflectivepracticedoesnotsimplymakeoneabetter conductor;itmakesoneamorethoughtfulartist andperhaps,abetterperson.
Continued
SelectedReferences
Brookfield,S D (1995) BecomingaCriticallyReflectiveTeacher Jossey-Bass
Conway, C (2003) “Professional Development for the MusicTeacher” Music Educators Journal, 89(3), 30–34
Dewey,J (1933) HowWeThink DC Heath
Gumm,A J (2003) MusicTeachingStyle:MovingBeyondTradition GIA
Hennings,D (2000) “WholeMusicianDevelopmentinEnsembleRehearsals”ChoralJournal,40(9) Jordan,J (2009) EvokingSound:FundamentalsofChoralConductingandRehearsing GIA
Labuta,J A (2010) BasicConductingTechniques(6thed) Pearson
Manfredo, J C (2008) “Reflections on the Use of Videotape in the Development of Conducting Skills” MusicEducatorsJournal,94(3),42–48
Mertler,C A (2014) ActionResearch:ImprovingSchoolsandEmpoweringEducators(4thed) SAGE Schön,D.A.(1983).TheReflectivePractitioner:HowProfessionalsThinkinAction.BasicBooks.
