The Southwesternconnection
What’s New?
FromthePresident’sPen
R&RResource
R&RRepertoire
ItTakesaVillage
StateoftheState-TCDA
InMemoriam
TimeCapsule
HonorChoirConductors
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
SWACDABoard(2024-2026)
JonathanOwen,President
JoshuaOppenheim,President-elect
JeffreyMurdock,PastPresident
JeffWall,Treasurer
MargieCamp,ConferenceChair
FromthePresident’sPen
Looking Back, Moving Forward:
Welcome to the latest edition of The Southwestern Connection a place where the rich legacy of our past meets the vibrant energy of what’ s ahead.
In the pages that follow, you ’ll find a dynamic blend of voices, stories, and resources that reflect both the continuity and the evolution of our shared mission. Whether you ' re a long-time member or a new reader just joining us, we hope this issue informs, inspires, and connects you.
This season, our Repertoire & Resources (R&R) articles are a highlight not to be missed. Our R&R Chairs offer insightful perspectives on emerging works and tried-and-true selections, accompanied by carefully curated repertoire lists for every ensemble type and level These contributions are designed to be practical, relevant, and musically enriching Please reach out to them if you have questions or are needing some new ideas
We’ re also proud to feature thoughtful reflections from past presidents who have helped shape our journey Their “Past President’ s Corner” articles are more than nostalgic; they offer timeless wisdom for today ’ s challenges and tomorrow ’ s possibilities. We are where we are because of their tireless work.
From across our region, updates from our state presidents bring you news of innovative programs, local successes, and leadership opportunities that deserve celebration. These reports provide a pulse on the energy and commitment thriving at every level of our organization.
And for those who love history with a twist, our Time Capsule series revisits milestone moments and memorable initiatives from past decades. These articles remind us how far we ’ ve come and how some ideas still resonate deeply today.
We will continue to meet our conference committee members in our “It Takes a Village” segment. We could not provide a wonderful regional experience without each of these important team members
Each section of this issue has been thoughtfully crafted to serve you the artists, educators, leaders, and dreamers shaping the future of our field Thank you for being part of this ongoing story Here’ s to looking back with gratitude and moving forward with purpose
Best,
Jonathan Owen, SWACDA President/Editor
R&R Resource
4-Year University
Rayvon T. J. Moore
Introduction
This year marks the 130th anniversary of the birth of Eva Jessye a pioneering figure in American music and, coincidentally, a fellow Aquarius I’ll admit, during my college years, I knew little about her It was not until I found myself living in Kansas that I began to truly uncover the depth of her remarkable legacy As a native Kansan and a groundbreaking choral conductor, Eva Jessye not only broke barriers but is also one that laid a foundation that has made my own journey in this profession possible
Eva Jessye: A Pioneer in American Choral Music and Cultural Advocacy
Eva Alberta Jessye (January 20, 1895 – February 21, 1992) stands among the most significant figures in the history of American choral music Born in Coffeyville, Kansas, she emerged from modest beginnings to break through entrenched racial and gender barriers, leaving behind a profound legacy as a conductor, composer, educator, and civil rights activist Her life' s work not only reshaped the presentation of African American spirituals, but also enriched broader dialogues about race, music, and cultural preservation
Early Life and Educational Foundations
Jessye ’ s early immersion in African American musical traditions laid the groundwork for her later achievements. Raised by relatives in Kansas, she absorbed oral traditions of spirituals and religious song an inheritance that would underpin her entire career. Highly precocious, she entered Western University in Quindaro at just thirteen, studying poetry, oratory, and choir direction; she earned her teaching certificate from Langston University in 1914, after completing her studies.
Her early forays into teaching at Morgan College (Baltimore) and public schools marked a transition from student to mentor an early indication of Jessye ’ s lifelong commitment to pedagogy and artistic leadership.
Formation of the Eva Jessye Choir
In 1926, Jessye founded the Original Dixie Jubilee Singers in Baltimore, harnessing her dual talents in journalism and chronicling spiritual traditions. Relocating to New York City a year later, she rebranded the ensemble as the Eva Jessye Choir a pioneering Black women-led professional choir. The ensemble quickly gained prominence through radio appearances on NBC, stage performances at the Capitol Theatre, and participation in the film adaptation of Uncle Tom’ s Cabin in 1927. That same year, she published My Spirituals, a collection of hymn-like arrangements interwoven with autobiographical reflections that elevated spirituals to academic and aesthetic recognition.
Breaking Ground in Film and Opera
Jessye ’ s professional breakthrough came in 1929 when King Vidor selected her as choral director for Hallelujah, Hollywood' s first mainstream film featuring an all-Black cast. She insisted her choir receive fair rehearsal pay and protested segregated conditions on set acts emblematic of her unyielding advocacy.
R&R Resource
4-Year University
Continued
Her trailblazing continued with the 1933 Broadway debut of Four Saints in Three Acts by Virgil Thomson and Gertrude Stein. Through her choir’ s involvement, Jessye advanced both musical modernism and racial equity, negotiating explicit rehearsal compensation for her singers a breakthrough in professional recognition. Further cementing her influence, George Gershwin invited her to serve as choral director for Porgy and Bess in 1935 conducting productions worldwide for over three decades
Composer, Arranger, and Cultural Preserver
Beyond conducting, Jessye was a prolific composer Her published works include: My Spirituals (1927), blending song arrangement with life narrative
The Life of Christ in Negro Spirituals (1931)
Paradise Lost and Regained (1934), a folk-style oratorio
The Chronicle of Job (1936)
These works demonstrate her signature approach elevating spirituals as narratively rich and musically resonant, frequently accompanied by orchestral or folk-style arrangements.
Cultural and Civil Rights Engagement
Jessye ’ s artistry was inseparable from her activism. She actively combatted Jim Crow practices, demanding respect and equality for her choir. During the Porgy and Bess tour in Washington, D.C., she joined protests to end segregated audiences achieving landmark integration at the National Theatre in 1936. Additionally, her choir performed at the March on Washington in August 1963, standing alongside Dr. Martin Luther King Jr during his “I Have a Dream” speech a moment that linked her musical leadership with the era ’ s defining civil rights moment
Teaching, Archival Legacy, and
Recognition
In her later years, Jessye devoted herself to education and preservation She held faculty appointments at Pittsburg State University (1979–81) and taught well into her 80s at the University of Michigan (Black).
In recognition of her contributions, she established the Eva Jessye Afro-American Music Collection at the University of Michigan in 1973, preserving her scores, correspondences, photographs, and ephemera. Coretta Scott King lauded the collection as " a rich cultural legacy of America’ s largest ethnic minority. " Her lifelong archival efforts also paid tribute to African American musical heritage.
Scholarly Reception
David Fisher Black’ s 1986 dissertation, The Life and Work of Eva Jessye and Her Contributions to American Music, remains the definitive scholarly work on Jessye, combining interviews, archival research, and performance analysis. More recently, Lynnel Jenkins’ s 2016 DMA dissertation investigates the evolution of her concert programming from 1927 to 1982, while scholars such as Judith Weisenfeld have situated her contributions within religious and cultural frameworks
R&R Resource
Conclusion
4-Year University
Continued
Eva Jessye ’ s career harmonized music and activism, performance and preservation, leadership and education. As the first Black woman to gain international recognition as a professional choral conductor, she elevated spirituals within cultural institutions and challenged racial norms in theater, opera, and film. Through her creative work, teaching, and archival legacy, she left an enduring mark on American musical culture and the civil rights narrative Her story continues to inspire scholars, performers, and advocates, embodying the transformative power of art in social progress
Sources
Black, Donald Fisher. “The Life and Work of Eva Jessye and Her Contributions to American Music. ” Ph.D. Dissertation, University of Michigan, 1986.
“Eva Jessye Collection, 1885-1994 | Pittsburg State University Research | Pittsburg State University Digital Commons. ” Pittstate.edu, 2025, digitalcommons.pittstate.edu/jessye/.
Jenkins, Lynnel. “The Evolution of Eva Jessye ’ s Programming as Evidenced in Her Choral Concert Programs from 1927–1982. ” DMA Diss., University of Arizona, 2016.
Shen, Clara. “Dr. Eva Jessye: Make Way for the Dame. ” The Gershwin Initiative Website, March 2, 2021. Weisenfeld, Judith. Women and Religion in the African Diaspora (2006). Chapter on Jessye.
R&R
Repertoire
TTBBChoirs ReginalWright
RecommendedRepertoireforTenor-BassChoirs:ADiversityofStylesandPedagogicalValue
This list of ten curated works for tenor-bass choirs spans a wide variety of genres, languages, and styles The selections feature traditional, global, sacred, and contemporary works by composers from diverse backgrounds Eachpiecepresentspedagogicalvalueandthoughtfulartistry,suitedtovaryinglevelsofchoraldevelopment
1.Bonk’Abaphandle–arr.MichaelBarrett&MbusoNdlovu
ApowerfulSouthAfricanfreedomsong,thisarrangementisrhythmicallyenergeticandemotionally compelling SunginisiXhosa,itincludescall-and-responsepatternsandtraditionalharmoniesthatinvite singersintovibrantmusicalstorytelling
Whyitworks:Developsrhythmicintegrity,diction,andensembleengagement Level:AdvancedHighSchool/Collegiate
2.ConvidandoEstáLaNoche–arr.EugeneRogers
Afestive17th-centuryvillancicofromMexicobyJuanGarcíadeZéspedes Rogers'arrangement retainsBaroquevitalitywhilehighlightingsyncopateddancerhythmsandantiphonaltextures
Whyitworks:IntroducesLatinBaroquestylewithrhythmicprecisionandarticulation Level:AdvancedHighSchool/Collegiate
3.Sorida–arr.WilliamC.Powell
AtraditionalSwahiligreetingsongarrangedwithrhythmiclayering,vocalpercussion,andspiritedcalland-response Thejoyfulenergymakesitastrongconcertopenerorcloser
Whyitworks:Fostersrhythmicstrengthandensembleunity Level:IntermediatetoAdvancedHighSchool
4.ThePasture–PatrickVu
ThisgentleandlyricalsettingofRobertFrost'spoemusesflowingmelodiclinesandwarm harmonies Itemphasizesexpressivityandnuancedtextdelivery
Whyitworks:Enhancesphraseshaping,dynamiccontrol,andpoeticsensitivity Level:IntermediateHighSchool/Collegiate
5.HowCanIKeepfromSinging–ReginalWright
Alushandemotionalarrangementofthebelovedhymn,blendingtraditionalthemeswithmodernchoral sonorities.Wrightinfusestheworkwithsincerityandrichness.
Whyitworks:Exploreslegatotone,expressivephrasing,anddynamicnuance. Level:AdvancedHighSchool/Collegiate
R&R Repertoire
TTBBChoirs
Continued
6.LongRoad–ĒriksEšenvalds
A deeply introspective piece with expansive harmonic textures and flowing melodies. The emotional contentrequiresmaturetoneandsustainedbreathsupport.
Whyitworks:Idealfortoneblend,breathcontrol,andartisticexpression Level:Collegiate/AdvancedHighSchool
7.LiftUpYourEyestoLight–KylePederson
This uplifting piece incorporates interfaith texts and celebrates light and unity The lyrical lines contrast withvibrantrhythmicsections,providingemotionalandmusicaldepth
Whyitworks:Encouragesemotionalconnectionandrefinedmusicality Level:IntermediatetoAdvancedHighSchool
8.WeAreBlessed–TroyRobertson
A simple and heartfelt piece with folk-inspired melodies and accessible harmonies It highlights gratitude andcommunity
Why it works: Builds tone blend and offers meaningful musical moments for younger or developing singers
Level:MiddleSchool/EarlyHighSchool
9.WalkinJerusalem–arr.RolloDilworth
A gospel-infused spiritual arrangement with syncopation, blues harmonies, and high energy Dilworth’s choralwritingisbothvocallyaccessibleandmusicallyexciting
Whyitworks:Enhancesrhythm,stylisticflair,andstagepresence Level:IntermediatetoAdvancedHighSchool
10.AmazingGrace–RobertT.Gibson
Awarm,modernarrangementoftheclassichymnfeaturingexpressivevoicingandlushharmonicshifts
Whyitworks:Strengthensintonation,phrasing,andemotionalresonance Level:IntermediateHighSchool/CommunityChoir
Theseselectionsoffervarietyintempo,texture,language,andgenre,whilecateringtodifferentensemblelevels Theyserveasbotheffectiveteachingtoolsandinspiringperformancepiecesfortenor-basschoirsofallkinds
Ken Griggs Site Chair
Ken Griggs is in his twenty-second year as a choral director in the Bentonville School District, with nineteen of those years spent at Bentonville High School There, he directs two ninth-grade choirs, as well as the Bella Voce Choir and the Concert Choir. Ken holds a Bachelor of Music Education and a Master of Choral Conducting from the University of Central Arkansas in Conway.
Throughout his extensive career, Ken’ s choirs have consistently earned superior ratings at both regional and state-level choral performance assessments. His ensembles have also had the honor of performing at multiple Arkansas All-State Music Conferences. In recognition of his outstanding contributions to the field, Ken was named Choral Director of the Year for the Northwest Region of Arkansas in both 2010 and 2014
In addition to his responsibilities at Bentonville High School, Ken has made significant contributions to the broader choral community. He has served as Honor Choir Coordinator and Performance Site Chair for the National and Southwestern Divisions of the American Choral Directors Association (ACDA) Conferences He has also held leadership roles as the R&S Chair for Male Chorus for the Arkansas ACDA and the Junior High Section Chair for the Arkansas Choral Directors Association (ArkCDA). Additionally, Ken contributes as a staff member at the Arkansas Choral Connection Choir Camp
Ken is an active member of several professional organizations, including the ACDA, ArkCDA, Arkansas State Teachers Association, Arkansas Educators Association, Association of American Educators, Phi Mu Alpha, and the Symphony of Northwest Arkansas Chorus
DavidRives
AssistantSiteManager
DavidRiveshasbeenthechoirdirectoratBillyRyanHighSchoolinDenton,TXsince2005. PriortoRyan HS, David taught at Heritage High School in Colleyville, TX. A graduate of Tarleton State University in Stephenville,TXandBaylorUniversityinWaco,TX,DavidhasservedTMEA,TCDA,SWACDA,andACDA in various volunteer positions including Assistant Site Chair SWACDA and Equipment Manager for both SWACDAandACDAconventions.
BrianHartman
SiteBackstageVolunteer
Coordinator/Trainer
BrianHartmanhasservedasachoralmusiceducatorfortwenty-fiveyears,currentlyenjoyinghisfifteenth year at Liberty North High School in Liberty, Missouri. Throughout his tenure, Mr. Hartman has participated in performances as a singer, conductor, and adjudicator across the United States and abroad. Mr Hartmanisactiveinmusiceducationorganizations,havingservedinnumerousroleswiththeKansas CityMetroDistrict,MCDA,SWACDA,andMissouriMusicEducatorsAssociation,andiscurrentlyserving asMMEAPastPresidentforthe2024-2026term.
He holds degrees from Wichita State University (BME), University of Missouri-Columbia (MM), and Northwest Missouri State University (EdS). Mr. Hartman is motivated by the journey and the process of creatingaspaceinhisclassroomwhereallfeelwelcome,areseen,heard,andexperiencebelonging.
He credits his family for being his inspiration and support, and relishes every opportunity to spend time withhiswife,Laura, children,CamiandBarrett,andtheirdog,Lloyd.
StateoftheState LeighAnnMcClure,President
July is always an exciting time for us in the Texas Choral Directors community. Much has changed since people in my agegroupbeganourcareers TCDAhaschangedalongwiththe times We are constantly working to make our organization and our convention relevant and even essential for our members.Thisyearisnodifferent.
This year our convention will feature relevant sessions for attendees, including three presented by our headliner, Dr. Amanda Quist, featuring sessions onWomen in Leadership,Voicing the Choir, and Building the Choir: Sound and Spirit. In addition, B.E. Boykin will no doubt enthrall the students in our Middle School/Junior High All-State Choir as will Fred Meads who will conduct the Elementary Honor Choir. Threediverseensembleswillpresentconcertsandwewillgathertoparticipateinanecumenicalservice.
But there is more than convention planning happening in Texas Just as our convention is constantly evolving to meet the needs of our membership, so is our Board of Directors as they seek to support our membership all year long. To that end, I would like to introduce the innovative work of two of our board membersinparticular.
RachelFiorinihastakenournewestboardposition,SpecialProjectandPublicRelationsVice-President,by storm Herconsistentlycreativepostingskeepourmembersabreastofallthehappeningsinourstate If you haven’t checked out @texassings on Instagram or our Facebook page, https://www.facebook.com/texassings, you should! We’re grateful for the way Rachel has shaped this positionandkeptTCDAinfrontofourmembershiponanalmostdailybasis.
As Director of Choral Activities at San Angelo State University, Dr Eric Posada, has, of course, planned offerings to support those in positions similar to his; however, as Vice-President of College and New Professionals, he has inspired us with his passionate vision to actively engage and support those in their first five years in the profession. During our TMEA Convention in February, he held the first “Meet and Greet” for ourTCDA members who fit into this category. He has scheduled another during our upcoming convention as well as sessions particularly geared to these members. More than this, he has created a newsletter for our young professionals to increase their connection to one another as well as our organization IhaveattachedhisfantasticIssue#1
Finally, we are featuring an exciting new source of technology to our members during the conference. If you ’reattendingtheconference,you’llwanttobringyourpersonaltechnologytofullyexperiencewhatthe companythatcreatedthewidelyused“UltimateDrillBook”toourinstrumentalcolleagueshascreatedto supportusduringourchoralrehearsals.
AsTCDA President, I could not be more proud of our entire board and the exciting convention they have planned. Pleasetakeamomenttogotoourwebsite,tcda.net,whereyoucanperusetheentireconvention schedule. It’snottoolate,sopleasejoinusJuly24-26inbeautifulSanAntonio. It’sgoingtobeamazing!!
InMemoriam
JasonLeeBartelsmeyer,ofRolla,MO,passedawaySunday,June29,2025attheageof47
Jason was born on April 29, 1978 in Springfield, MO to Dr. Jerry Donivan Bartelsmeyer and Betty Sue (Black) Bartelsmeyer. He was preceded in death by his father, Jerry Bartelsmeyer; grandparents, Della and LeslieBartelsmeyer,andMaryVirginiaandOthoBlack;anduncles,MaxBlackandEarlStinneford.
JasonwenttocollegeatDruryUniversityandwasamemberoftheLamdaChiAlphafraternity.Hestudied musiceducationatDrurylaterreceivinghismaster’sdegreeatMissouriStateUniversity.
HetaughtmusiceducationintheRollaschooldistrictfrom2001until2024,teachingintheMiddleSchool, Junior High and High School. He was an active member and minister of music at the First United Methodist Church of Rolla. He was also a member of Rolla Men of Song, the Rolla Community Choir and theMissouriChoralDirectorsAssociation.
Jason’spassionsincludedhisstudentsandtheirloveofmusic,hischurch,andlivetheaterperformances He had season tickets to multiple performing arts venues He enjoyed traveling domestically and abroad His favorite sports teams were the St Louis Cardinals, the Kansas City Chiefs and the MizzouTigers He also enjoyedspendingtimewithfamilyandfriends
Jasonwillbegreatlymissedbysurvivingfamilywhichincludes:hismother,BettyBartelsmeyer;abrother, Eric Bartelsmeyer; sister and brother-in-law, Ashley and Robert Montgomery; nieces, Halli Beck (spouse, Cameron Beck), Kayla Thomas (spouse, Denton Thomas), Abigail Montgomery, Megan Montgomery, great nephews,TuckerandLukasThomas;andaunt,CarolStinneford.
AfuneralserviceforJasonL.Bartelsmeyerwas held.onMonday,July7,2025attheFirstUnitedMethodist Church,inRolla.
Inlieuofflowers,memorialdonationsaresuggestedtotheJasonBartelsmeyerMemorialScholarshipFund (locatedatPhelpsCountyBank)ortheFirstUnitedMethodistChurchinRolla.
HonorChoirConductors
