There have been times during this first part of my term as president, when I have felt the imposter syndrome kicking in. I look at leaders in ACDA and past leaders of SWACDA and am in awe of their accomplishments,bothmusicallyandacademically.Idonotteachatauniversity.Iamnotinternationally known. I don’t travel the country and conduct honor choirs. My choir never performed for an ACDA conference.Thelistscouldgoonandon.IfIstoptodwellonthesethings,Icanbegintofeelinadequateto accomplishthetasksbeforeme.MaybeIamaloneinfeelingthisway,butIthinkthereareothersoutthere whohavepossiblyfeltsimilarly.
The phrase "bloom where you ' re planted" often conveys the idea of making the best of your current circumstancesandthrivingintheenvironmentyoufindyourselfin.Whenyougetcaughtintheimposter syndrometrap,whatcanyoudo?Howcanyougetoutofitandmoveforward?
I believe that you have to acknowledge your feelings. Imposter syndrome thrives on self-doubt and silence.It’soktofeeluncertainoroutofplaceattimes,butthesefeelingsdon’tdefineyourabilitiesor worth.Itisgoodtoreframeyourperspective.
Instead of focusing on whether you belong, consider how your unique qualities and skills contribute toyourcurrentenvironment.Thiscanbeanopportunitytogrowinunexpectedways.Trythinking“I havetheopportunitytolearnandbringafreshperspective”.
Blooming doesn’t mean perfection-it means growth. View your situation as a chance to stretch your skillsandgrowintoyourpotential.
Share your feelings with trusted friends and colleagues. They can offer encouragement and remind youofyourstrengths.
Comparisonisthethiefofjoy-thisissomethingthatpeopleoftensay.Itisthetruth.Celebrateothers. Be happy for your colleagues in their accomplishments. Their successes don’t take away from your value.
IcanonlybewhoIamandIneedtostrivetobethebestpossibleversionofme.Iamaretiredhighschool choralconductor,whichmeansIhavethetimetocreateandworkonthispublication.Ihavetimetoreach out to others and connect and hopefully be a good ambassador for ACDA, in my city, state and region. I don’tneedthispositionforfillaresume’.Asamatteroffact,Ireallydon’tneedaresume’anymore.I’mnot tryingtoclimbtheladderofsuccess.Myhopeistohelpliftotherstobethebesttheycanbe.Iwanttodo my best, because that is what I expect of myself, not because I have to so that I can earn approval. I am whoIam.Whatyouseeiswhatyouget.
Best, JonathanOwen,SWACDAPresident
PastPresident’sCorner
SallySchott
Sally Schott taught in Pasadena ISD as the choral director at Jackson Intermediate for 9 years and South Houston High School for 30 years She has just completed 20 years of post-retirement service as a University Supervisor of studentteachersfortheUniversityofHoustonandisinher21styearofvolunteerserviceontheHoustonChamber Choir Educational Advisory Board. She continues to serve the choral community as an adjudicator, professional development presenter, and mentor. For American Classic Tours and Music Festivals, she is Director of Specialty Choral Festivals, overseeing five madrigal and chamber choir and celebration of excellence festivals in San Antonio, Houston, Dallas, and Austin currently involving 175 high school performing groups. She is also an American Classic marketingandperformancetourteammember.
In addition to working with a wonderful team to present the 2002 conference, my most vivid ACDA conference memoriesareperformancesatregionalconferencesinOklahomaCity,1976;Dallas,1984;andDenver,1994aswellas thenationalconferenceinNewOrleansin1981
Opportunities to present and to conduct reading sessions brought opportunities to forge new bonds with colleagues, asdidattendingmultipleregionalandnationalconferencesasanexhibitoronbehalfofAllianceMusicPublications andSchottBradshawPublications.
Professional service includes being R & S Chair for Tenor Bass and High School Choirs, and Vice President of the Texas Choral Directors Association. Ms. Schott is a recipient of the TCDA Choral Excellence Award and is the 17th recipientoftheTexasChoirMasterAward
From my attendance at the pre-MENC & ACDA day in Colorado Springs in 1967 and the first independent national conference in Kansas City in 1971 to the national conference in Cincinnati in 2023, ACDA has been about opportunities to witness excellence in performance, exposure to visionary teacher/conductors, and connections with oldandnewcolleagues.ACDAbroadenshorizonsandinspiresandequipsmemberstohonetheirskillsandcommitto providing the very best experience for their singers. It also provides a means to develop enduring friendships with fellowchoraldirectors.
Thisisawonderfulpieceforabeginningchoir It’sagreatwaytointroducetheideaofsinginginGerman in a bite-sized and accessible way It starts in unison, introducing two partner melodies, then puts them together Attheenditmovesintoaroundacappellabeforefinishingtogetherwiththepiano Ihavedone thisacoupletimes;bothtimesmybeginningchoirsregularlyaskedtorehearsethisjoyfullittlesong
TheTurtleDove -EarleneRentz
Voicing:Unison
Iamconstantlyonthesearchforunisonsongsthathavewonderfulmelodiespairedwithbeautifulpiano parts. This is one of my favorites to bring back every so often. This piece can serve many purposes, and I particularlylovetouseitfortoneandheadvoicedevelopment,includinginmyintermediateandadvanced treblechoirs.Italsooffersopportunitiestoexploresingingleaps,andalsohastwotriadswrittenintovery easilyteachamomentof3-partharmony.
Iselectedthissongforthepowerofthemessage,andtogiveyouanideatotakeitastepfurther.Don’tlet thevoicingscareyou-thisisanEASYthree-partsplit-partnermelodies.Whenmyensemblesperformed this (I did this twice - once with a MS and once with a HS choir), I had the students write unkind words thattheyhadbeencalledonapieceofpaperorontheirskin,thenhadthemeitherripuporscruboffthe words, and then hold up a sign saying “I am beautiful.” I videoed each step - they could volunteer to be videoedforone,allornoneofthese.Ithenstitcheditalltogetherandplayeditonaprojectorwhilethey sang the song. It served the purpose of raising awareness for what kids go through behind the scenes, as wellasaffirmingthem.Wehadsomegoodconversationsasagroupaboutthepowerofwords.Itwasvery moving for the audience, and empowering for the students as well after receiving enthusiastic audience support.(Ifyouwanttoseethevideofromthehighschoolgroup,it’sHERE.)
SingtoMe-AndreaRamsey
Voicing:Two-Part(SATBalsoavailable)
I enjoy most of the music Andrea Ramsey writes, and this is one of my favorites. We performed this our firstyearcomingbackafterthepandemic,andmystudentscouldnotgetenoughofthispiece.Seriouslythe joy they showed every time I told them it was time for this piece was evident every time. Thinking technically,itoffersaccessibleopportunitiesforteachingmixedmetersandlessfamiliarrhythms,butthe realopportunityisinteachingmusicality.Itofferssomanypossibilitiesthatarewaitingtobeunlockedby youandyourchoir.
This is a great opener to a concert - the piano part grips you from the downbeat, and the message is uplifting!There’salotthatIcouldtalkaboutinteachingopportunitieshere,butthetwothatjumpoutto mearedissonanceandheadvoicedevelopment(thetwo-partarrangementkeepsbothaltosandsopranos in their head voice for most of the time) I love it when I find pieces that are more S1/S2 voicings so it forcesallmystudentstostrengthentheirupperrangewithconsistency(andtheycan’tcopoutoritwillbe obvious!)
I have no idea how I originally stumbled upon this piece, but it’s one of my absolute favorite accidental finds.It’sacollaborativeworkthatcrossesthelinesbetweenhip-hopandclassicalgenres.Ifyou’reableto dothispiecewithastringquartet,doit-itmakesallthedifference.It’sforamoreadvancedgroup,butit soundsinitiallymoredifficultthanitis.Oneofmychoirsperformedthislastyear,andI’malreadylooking forachancetodoitagain.
HelloSWACDAFriends!
For my repertoire suggestions, I decided to share pieces from a few of our favorite concert themes. Hopefullythiswillgiveyouaheadstartifyouenjoythethemes!
Music is a part of so many wonderful and meaningful occasions We broke this concert up into four sections: Music for the Fun of Singing, Music for Worship, Music for a time of grief and Music for Our Country Eachpiecewasprecededbyashortnarrationgivenbyoneofourchoirmembersaboutthepower of music Many singers shared their first musical memory or they used it as an opportunity to thank someonewhomadeadifferenceintheirmusicallife.Thiswasadeeplymovingandvariedconcertandwe had a great time. In addition, half of the concert was by the same composer and so we brought him in to performontheconcertwithus.ThisisALWAYSagoodtimeandallowsoursingerstheopportunitytoget toknowthemusicfromthecomposersperspective.Theysangthesepiecessopassionatelybecausethere wasgreatcontext.
ISingOut–MarkHayes–Alfred38100
WhyWeSing–GregGilpin–ShawneePressA2239
IHaveaSongtoSing–JosephMartin–HalLeonard00125329
SingGently–EricWhitacre–HalLeonard00354707
WhenInOurMusicGodIsGlorified–HopePublishingC5900
BRITISHINVASION–MusicFromAcrossthePond
Keep Calm and Choose Fun British Music! This encompasses SO many different genres and styles. From greatEnglishchoralliteratureandBroadwaymusicalstopopstarslikeTheBeatlesandAdele.Creatingthe stagedesignwasreallyfunforthisconcertaswell.SomanyofourfavoritepopssongshaveBritishroots andsonarrowingitdowntoasimplesetwasdifficult!IloveALLthesepiecesbutFieldsofGold,arranged by Greg Jasperse is a real stand out We used a full band and horn section to fill out the accompaniment WealsofeaturedsongsfromBillyElliott,QueenandDavidBowie
In this feature, we take a deep dive into a diverse range of tenor and bass repertoire, carefully curated from a variety of composers representing different backgrounds. I've included works by female, trans, and composers of color, alongside some established favorites. This collection spans numerous styles and traditions, from folk songs and gospel-inspired pieces to Romantic and contemporary choral works, celebrating the creativity and innovationofcomposersfromdiverseperspectives.
1.Truth–ConnorKoppin
Publisher:connorkoppin.com
This self-published piece, Truth, delves into themes of honesty, accountability, and vulnerability. The work’sevocativeharmoniesandpoignanttextsettinginvitereflection,discussion,anddiscoverywithinan advanced tenor/bass choir. Koppin's arrangement offers space for introspection, making it a powerful choiceformoreexperiencedchoirs.
2.LittleOne–ShawnKirchner
Publisher:shawnkirchner.com
LittleOneisapiececlosetomyheart,andIhadtheprivilegeofconductingitatarecentfestival.Written forthecomposer’snephew,thisbirthdaysongfeaturesasolopartandsyncopatedrhythmsthatprovidean intriguing musical backdrop. The tender and lyrical nature of the work creates an intimate atmosphere, idealforhighlightingexpressivephrasinganddynamicnuanceinTTBBvoices.
3 TauYaThaba–SabeloMthembu
Publisher:MusicSpoke
A vibrant and rhythmic celebration of Southern African choral traditions, Tau Ya Thaba incorporates dynamic call-and-response textures, infusing the performance with captivating energy This piece is a wonderfulexampleofAfricanchoralmusic,makingitagreatadditiontoanytenor/bassrepertoire
Having performed Mari Valverde's other works by Chausson, Sérénade italienne is a delightful arrangement for tenor/bass choirs. In this two-minute piece, Valverde takes full advantage of Chausson’s Romantic style, offering accessible yet evocative music. The publisher describes it as " an invitation for a rendezvous on the sea beneath the stars," with a spiraling piano accompaniment and homophonic vocal lines.AperfectchoiceforhighschoolandcollegiateTTBBchoirs.
6.TheRiver–SusanLabarr
Publisher:WaltonMusic
Inspired by nature, The River is a flowing and lyrical composition that evokes the imagery of a peaceful riverjourney.Withsoaringmelodiesandrichharmonies,Labarr’ssensitivityasacomposershinesthrough, makingthispieceabeautifulandsereneadditiontotherepertoire.
7.UntilIReachMyHome–BrandonBoyd
Publisher:HinshawMusic
Thisspiritedworkdrawsongospeltraditions,showcasingrhythmicvitalityandheartfeltexpression.Until I Reach My Home resonates with themes of perseverance, making it an uplifting and soulful piece for tenor/basschoirs.
8.ForYouThereIsNoSong–AdamZrust
Publisher:GentryPublishing
A hauntingly beautiful work, For You There Is No Song explores themes of loss and remembrance. With evocative text painting and sensitive harmonic progressions, this piece creates a deeply emotional atmosphere,makingitanimpactfuladditiontothechoralrepertoire.
9.DrinkingSong–DudleyBuck(ed.DavidP.DeVenney)
Publisher:GentryPublishing
FromtheAmericanRomanticSeries,DrinkingSongoffersaspiritedandwittyoptionfortenor/basschoirs. Althoughitrequiresaskilledbaritonesoloist,thechoirpartsareaccessible,makingitafunandcharming choice. Based on Scenes from Longfellow's Golden Legend, the piece is full of rhythmic charm and lightheartedness.
Staytunedforthesoon-to-be-releasedpiecesfromtheBriLee/CarlFischercatalog These workshavebeenbattle-testedandwillstandthetestoftime,offeringbothyoungerandmore advancedchoirsvaluableopportunitiesformusicalgrowthanddevelopment
11 AWanderer’sSong–PaulDavidThomas
Publisher:CarlFischer
With its opening line “A wind’s in the heart of me, a fire’s in my heels,” A Wanderer’s Song captures the energyofanindividuallongingtoleavetheirhomeandexploretheworld Thisenthusiasmforexploration isrepresentedmusicallybythepulsating,mixed-meterpianoaccompaniment,thesyncopatedrhythmsof thevocallines,andthechromaticbutaccessibleharmonicprogressions
12 DameLeMano–EvanRamos
Publisher:BriLee
GABRIELAMISTRAL(1889-1957),pseudonymforLucilaGodoyyAlcayaga,wasaChileanpoet,educator anddiplomat In1945,shebecamethefirstLatin-AmericanauthortoreceivetheNobelPrizeinLiterature "for her lyric poetry which, inspired by powerful emotions, has made her name a symbol of the idealistic aspirationsoftheentireLatinAmericanworld"
13 NotYet–ChristiJones
Publisher:BriLee
NotYetisanempoweringpiecefortenor-basschoirthatexploresthejourneyfromself-doubttoself-belief Inspiredbytheconceptsoffixedandgrowthmindsets,thissongencouragessingerstoembracechallenges, view mistakes as opportunities, and persist in the face of setbacks With its uplifting message and approachable melodies, Not Yet reminds us that progress takes time and effort but growth is always possible.Aperfectadditiontoanyprogramcelebratingresilience,perseverance,andpersonalgrowth!
HellofromthechoraldirectorsofthegreatstateofKansas!Aswewelcome the new year, I like to take stock of the year before and celebrate its successes, honor its losses, and study its challenges. The successes are manyandallduetotheimmenseworkourmembersdoeverydaytobring choral music to life – whether they’re rooted in our academic institutions, religious groups, or are connected to professional or community arts organizations.
Kansas has a growing professional and semi-professional choir scene, counts some of the nation’s most performed choral composers among its own, has exciting choral faculty at our institutions of higher education,andprovidesrobustcommunityandeducationalopportunitiesforsingersofalltypes Gettinga sense of the fantastic performance accomplishments by Kansas choirs is my favorite part of serving as presidentofKansasACDAandI’msoproudtobepartoftherichchorallifefoundhere
Beyondthesuccesses,Iwasreflectingonourchallengesthisyear Theshortageofmusiceducatorsistop of my list, though I work on that issue in other parts of my professional life and is beyond the scope of ACDA.So,anotherchallengethatIseeasanopportunityiswhereIwanttofocusandthatisthesocietal shiftwefindourselvesinthemidstof Whatisthepurposeofgroupsinginginourworldtoday?Howcan ourworkmeettheneedsofoursingersandaudiences?Whygiveupaclassperiodoraneveningeachweek tosing?Likeourchoralancestors,wemustgrapplewiththesequestionsinourtimeandourplace.
Asanoptimistandabelieverinthepowerofchoralmusic,Ithinkthereareelementsofwhatwedothat canbeleveragedforagreatergood.Thefirstandmostsignificantiscommunitybuilding.Asoursociety becomes more secular, the need for community outside the workplace and home becomes even more crucial For some, choir is their only outlet, hobby, or time to socialize and so planning a potluck, happy hour, or movie night is even more important today. Our social media-addicted brains need screen-free, positive, in-person interactions and what better way to focus inward than through singing? I mean, we have everything: stretching, deep breathing, meditation on powerful texts, teamwork, artistic interpretation,andafinalproducttosharewithourwidercommunity.Whatmorecouldonewant?
Myhopefor2025istobetterleveragetheinherentpositiveelementsofgroupsingingsofolksinourchoirs haverich,meaningful,andjoyfulexperiencesthisyear Iwanttofosterenvironmentswheresingerscan deepen interpersonal relationships, explore new musical worlds, and utilize performance projects to strengthen connections with other community organizations. My intention for 2025 is for every single performanceIleadto bericherthanasimplechoirconcert Iwanttocelebratethepowerofchoralmusic toenrichthelivesofthesingersandmakeconnectionswiththebroadercommunity.For thefearsIhave surroundingoursociety,strengtheningcommunityisapotentremedy.
Charlotte Ann Adams was born in Ardmore, OK, on December 5 th , 1943, to Charlotte Evelyn and GC Adams Jr There were many aunts, uncles, and grandparents to welcome Charlotte to the world In 1947, Charlotte,heroldersisterSandra,andtheirparentsmovedtoRoswell,NewMexico,whereherdadranan Anthony’sdepartmentstore.
There was always music in her home, a piano next to an organ; her parents played music together. Charlottewasalwaysinvolvedinmusic,singinginschoolchoirs,andtakingpianolessons.Sometimes,her parakeet,Pete,wouldbeperchedonhershoulderwhileshepracticed.
Charlotte’sloveofmusicandchoralsingingledtohercareerinmusic.AfterCharlottegraduatedfromhigh school, she earned a BA from Colorado College and an MM from Indiana University, where she studied withthelateJuliusHereford
Charlotte has had an illustrious career in choral conducting in many different settings; Charlotte was the music educator and conductor of Girls 21 and the acapella choir at Cherry Creek High School, Englewood, Colorado,from1974to2003andchoraldirectorfortheUniversityofDenverin2005.ShewastheFounder and Principal Conductor of the Colorado Woman’s Chorale, a select adult women ’ s choir in Denver, Colorado. The Colorado Women’s Chorale performed at the 2005 Colorado ACDA summer convention and the2006ChoralPerspectivesworkshopinSantaFe,NewMexico.Charlottealsoconductedthe2007World Voices Australia International Choral Festival at the Sydney Opera House and the Choral Salute to the 2008 Beijing Olympics Her choirs toured throughout the USA, Canada, Australia, England, France, ScotlandandSwitzerland
CharlottewasinductedintotheCMEAHallofFamein2004.shealsoreceivedtheColoradoACDA’sLegacy Award,theSallieMaeTeacherTributeAward,andtheMENCOutstandingOvationformusicteachers.She received the teacher appreciation award from the Denver Stake of the Latter-Day Saints. Miss Adams served as SWACDA Repertoire and Standards chairperson for women ’ s music and held this position with theColoradoACDA.
Charlotte presented numerous vocal development sessions at ACDA, MENC, and national, regional, and state conventions Santa Barbara Music Publishing published the Charlotte Adams music series and her acclaimedvideo,DailyWorkoutforaBeautifulVoice,intheCharleneArchibequeChoralSeries Charlotte has conducted All-State and Honor Choirs in Alabama, Arkansas, California, Colorado, Florida, Georgia, Indiana, Kansas, Kentucky, Louisiana, Maryland, Michigan, Minnesota, Mississippi, Missouri, Nebraska, NewMexico,NewYork,NorthCarolina,NorthDakota,Tennessee,Texas,Utah,VirginiaandWyoming.She hasconductedtheACDANorthCentralandACDANorthwestRegionalWomen’sHonorChoirs.Underher direction, Girls’ 21 performed for the 1989 and 1997 ACDA national conferences, the 1982, 1986, and 1991 SWACDA regional conferences, the 1984 MENC National Convention, and numerous performances for CMEA.
The celebration of Charlotte’s life will be held at Hope Methodist Church,5101 South Dayton Street in Greenwood Village, Colorado, on February 20th, 2025, at1:00pm
The 2026 Southwestern ACDA Regional Conference will highlight our rich choral heritage, celebrate the music and expertise of our present-day choral colleagues, and look forward with excitement to the next generation We invite our membership to share performances that demonstrate excellence and expertise, showcasing a broad spectrum of choral repertoire, including music prior to 1850, works by historically excluded composers, and newly commissioned pieces We seek applications for performances that will actively engage our ACDA membership Conductors from all R&R areas are strongly encouraged to apply It is a priority that ensembles from every R&R area be represented on the concert stage at this regional conference
I. Eligibility
A. Conductors must be current members of ACDA and have held the same position with the same organization since fall 2022. No choir or conductor may perform in successive regional conferences as a performing or demonstration choir.
1 If applying as Co-Conductors:
a. Co-conductors for a particular ensemble must submit ONE application if all of the following conditions apply:
b Both conductors are ACDA members and have co-conducted the ensemble for at least three years
c Both conductors share an equal or similar leadership role with the ensemble
d. Each conductor must submit THREE recordings and programs representing their own performances with the choir. The complete submission (six recordings total three from each conductor) will be assessed as one performance application.
e. Programs must clearly indicate that co-conductors have an equal or similar role in performances with the specific ensemble
A ACDA will not assume financial responsibility for travel, food, or lodging for II.
III. IV. Application Process:
A All materials listed below must be submitted at www swacda org by 11:59 pm CDT
on Thursday, May 15, 2025 Help desk support is available until 5 pm CDT on May 15, 2025 After that time, no support will be provided, even in cases of technical issues The help desk can be reached at membership@acda org
Applicants are encouraged to plan ahead. Late submissions will not be accepted for any reason.
B. The platform assigns each submission a number to ensure confidentiality until after the Regional Adjudication Committee completes its evaluation.
C. The choir/conductor's identity will remain unknown to screening committee members. Incomplete uploads of audition materials will not be considered.
Application Requirements:
A FOR ALL SUBMISSIONS: ensembles or directors. Completing the online application implies that the conductor and the ensemble will secure the necessary funds to travel and perform at the conference if accepted.
1 All application aspects must be complete and accurate to be considered
2 As part of a new policy for SWACDA performing ensembles, we require a sample program of literature for the application, with the finalized program due on OCTOBER 15, 2025, for selected ensembles The finalized program should align with the general characteristics of the proposed sample submitted in the application
3 Sample Program Requirements:
a Include the title, composer/arranger, and complete publication information for each piece.
b Indicate the approximate performance time for each piece Total program time should not exceed 25 minutes on stage, including applause
c The sample program should present a combination of eras and styles Programs highlighting historically excluded and/or twenty-first-century composers are encouraged, as the sample program is evaluated in the final screening rubric Only one manuscript (not commercially available) piece may be included
d. Final submission policies will accompany performance invitation letters which will include the following information:
4. Conductor and Ensemble Biographies & Photos
a. 900 characters maximum for the ensemble’s biography.
b. 900 characters maximum for the conductor’s biography.
c. Conductor(s) headshot in .jpg format, 3” x 5”, high resolution (minimum 300 dpi)
d An ensemble photo will only be requested for selected choirs and will be due by October 15, 2025.
5. Choirs will be asked to self-categorize as follows:
a Ensemble Type (select the ONE R&R area that best describes your ensemble)
1 Children and Community Youth
a. Singers in this ensemble are in grades 3-5; fill in % of students in the ensemble
b Singers in this ensemble are in grades 5-7; fill in % of students in the ensemble
c Singers in this ensemble are in grades 7-9; fill in % of students in the ensemble
d Singers in this ensemble are in grades 9-12; fill in % of students in the ensemble
2 Junior High/Middle School
a.Small school; 799 and below students
b Large school; 800 and above students
3 Senior High School
a Small High School (9-12 enrollment 799 and below)
b. Large High School (9-12 enrollment 800 and above)
4 Two-Year College
5. Four-Year College or University
6. Contemporary A Cappella
7. Show Choir
8 Vocal Jazz
9 Community
10. Music in Worship (choir who primarily serve/perform in worship rather than concert settings)
11 Professional b Voicing 1 Soprano-Alto 2 Tenor-Bass
3 Mixed Voicing
6. Ensemble Statement (non-adjudicated)
a. Applicants are asked to share a narrative about their ensemble, the type of institution/organization, ensemble history, and mission in 1800 characters or less to help the committee contextualize your ensemble.
7 Other Required Information
a. Director’s name, home address, phone, preferred e-mail address, ACDA member number, and renewal date.
b Name of institution, name of choir, number of singers, voicing, ensemble type
c Non-refundable application fee of $50 submitted by debit/credit card only
B. FOR ALL SUBMISSIONS
(EXCEPT CONTEMPORARY A CAPPELLA AND SHOW CHOIRS-see section below for specific requirements)
1. Submit three audio recordings (or six for co-conductors; see Section I) in digital format. The total duration of the three recordings should not exceed 10–15 minutes (20-30 minutes if co-conductors are submitting six recordings).
2. The recordings should include representative examples from each of the last three academic years (September through August) and must be conducted by the same conductor
a. One selection from the 2024–25 academic year or 2025 calendar year
b One selection from the 2023–24 academic year or 2024 calendar year
c One selection from the 2022–23 academic year or 2023 calendar year
3 Include a PDF file of one concert program for each piece included in the recording. Each PDF should display the program page with the repertoire. If the date is not on the repertoire page, please also include the page showing the performance date (excluding ensemble and conductor identifiers).
4. Audio files should not be edited in post-production and must be performed by the same conductor and ensemble; live performances are preferred.
5. Recordings should reflect repertoire similar in complexity and style to the sample program for the conference, though they need not include pieces on the sample program.
C FOR CONTEMPORARY A CAPPELLA AND SHOW CHOIRS ONLY:
1 Submit three video recordings (or six for co-conductors; see Section I) that include both audio and video in digital format. The total duration of the three recordings should not exceed 10–15 minutes (20-30 minutes if co-conductors submit six recordings).
2. Include selections from each of the last three academic years (September through August) with the same conductor.
a. One selection from the 2024–25 academic year or 2025 calendar year
b One selection from the 2023–24 academic year or 2024 calendar year
c. One selection from the 2022–23 academic year or 2023 calendar year
3. Video files should not be edited in post-production and must be performed by the same conductor and ensemble; live performances are preferred
4 Videos should reflect repertoire similar in complexity and style to the sample program, though they need not include pieces on the sample program
V.
VI. Screening Process:
A All auditions are “blind,” ensuring that the Adjudication Committee does not know the identity of the choir or conductor.
B. The SWACDA President-elect will lead the committee, and an Adjudication Committee will be formed for each R&R area. Each committee will have at least five members, with no individuals submitting audition materials eligible to serve. The submissions process automatically tabulates responses from adjudicators and generates a list of the top ten submissions plus five alternates.
C A rubric showing performance criteria and rating scales for adjudicators is available at www.swacda.org.
Schedule of Dates & Application Link
A. Auditions Open: In February 2025
B Thursday, May 15, 2025 Audition application, uploads, and payment completed by 11:59 pm CDT
1. Help desk support is available until 5pm central time on May 15, 2025. Help desk is NOT available on the weekends. After that time, no support will be provided, even if technical issues are encountered. Applicants are encouraged to plan ahead to ensure they can complete the submission process. Late submissions will not be accepted for any reason. Help desk can be reached at membership@acda.org.
D June 15, 2025: Auditions review completed
E. July 1, 2025: Applicants notified of audition results
F Application and rubric are available online at www swacda org
Southwestern Region 2026 Interest Session Call
The 2026 SWACDA Regional Conference theme is New Horizons In harmony with this theme, we will gather in Albuquerque, New Mexico for the first time to celebrate our rich choral heritage, highlight the music and expertise of our present-day choral colleagues, and look with excitement to the next generation of choral musicians and composers We call upon our membership in all repertoire & resource areas to share their insights and expertise for a 50-minute session that will actively engage our ACDA membership All varieties of session topics related to the choral art are welcomed We are particularly interested in topics that align with the conference theme and sessions that are relevant and meet the needs of our diverse choral community We hope to receive submissions that will expand our knowledge of repertoire and pedagogies that will contribute to the professional development of our membership
I. Eligibility
Applicants must hold life, paying life, retired, active, or student ACDA membership Please note that all accepted presenters are expected to meet ALL posted dates and deadlines
No applicant may present at successive SWACDA conferences.
Applicants may submit more than one session proposal; however, if chosen, they may only participate in one session at the conference
II. Registration And Travel Info
It is understood that ACDA will not assume financial responsibility for registration, travel, food, or lodging for presenters or interest session/panel participants. Completing the online application implies that the conductor and the ensemble will obtain the necessary funds to travel and perform at the conference if accepted.
III. Application Process
All materials listed below will be available to submit and upload at www.swacda.org, in February 2025 and close no later than 11:59pm central standard time on April 15, 2025. Help desk support is available until 5:00pm central time on April 15, 2025. After that time, no support will be provided, even if technical issues are encountered. The help desk can be reached at membership@acda.org. Applicants are encouraged to plan ahead to ensure they can complete the submission process. The platform assigns each submission a number to ensure confidentiality. An incomplete upload of the application materials listed below will not be considered. Late submissions will not be accepted for any reason.
Individual presentations, panel sessions with no more than four presenters in addition to the moderator, and sessions featuring a demonstration choir are acceptable
The following is the list of requirements for the application:
1. Session Title: The title should be carefully crafted, brief, reflective of the session’s content, and be no longer than 60 characters.
2. Session Abstract: A succinct thesis that addresses (1) a topic that will be helpful and/or inspire the membership, (2) a clear description of the session, and (3) learning outcomes. Please submit the following using the application form:
a No more than an 1800-character description, which will be used in the conference app b No more than a 900-character description, which will be used in the Choral Journal announcement c. A brief outline in bullet points or a standard outline of your session (limit two pages) Upload pdf in the application form
3. Indicate if this session would require a demonstration choir. If you choose to bring a demonstration choir, please clearly highlight how the ensemble would support the session goals and pedagogy.
a If you wish to bring your own demonstration choir, submit the following:
Three audio submissions that include representative examples of the choir’s performances in each of the last three academic years (September through August), and each submitted recording must be conducted by the applicant conductor. Each recording should be complete and no more than 3-5 minutes in length. The file format for uploads is mp3.
1 One selection from the 2024–25 academic year or 2025 calendar year
2. One selection from the 2023–24 academic year or 2024 calendar year
3 One selection from the 2022–23 academic year or 2023 calendar
b. If you want SWACDA leadership to assign a choir to serve as your demonstration choir please indicate that desire here. There is a possibility that we will be unable to provide you a demonstration choir and if so, you would need to do your session without a choir.
4 Headshot(s) of presenter(s) in jpg format, 3” x 5”, high-res minimum 300 dpi
5. Biography or biographies of presenter(s) in 900 characters or less each
6 Biography of the demonstration choir in 900 characters or less (if an ensemble is needed for the session)
7. An ensemble photo for demonstration choirs will only be requested if the session is selected for the conference. The deadline for ensemble photo submission is October 15, 2025.
IV. Selection Process
Each submission will be reviewed by the Conference Interest Session Committee. Submissions will be evaluated based on a rubric with the following criteria: connection to the conference theme, abstract quality, utility & potential interest, relevance, learning outcomes, and session outline.
Schedule of Dates & Application Link
Application portal opens: In February 2025
By April 15, 2025: Interest Session application, uploads, and payment completed by 11:59 pm CDT
By June 14, 2025: Applications review completed
By June 30, 2025: Applicants notified of audition results
Application is available online in February 2025, and closes on April 15, 2025, at 11:59pm CST on the platform at www swacda org website
