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FromthePresident’sPen
R&RResource
BeOurGuest
StateoftheState
ItTakesaVillage
HonorChoirConductors
TimeCapsule
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,formanyofyou,therobesandperformanceattireareallcollected,possiblyevensenttothecleaners, and you ’ ve had an opportunity to look back over the last school year or season of singing.Was it all you hopeditwouldbe? Wereyouabletofindnewwaystoconnectwithyoursingers? Didyouaccomplishthe goalsyouhadsetforthfortheyear?Didyoustriveforperfectionorreachalevelofexcellence?
Perfection and excellence are often mistaken for the same goal, but they are fundamentally different in approach, mindset, and impact. Understanding the distinction can make a meaningful difference in how wepursuesuccessandfulfillment
Perfection is the pursuit of a flawless outcome a standard that leaves no room for mistakes or imperfections. It is rigid, unforgiving, and often fueled by fear of failure or judgment. Perfectionists may delay starting tasks, become overly self-critical, or avoid challenges entirely to protect themselves from falling short. Because perfection is rarely, if ever, attainable, it can lead to frustration, burnout, and a constantsenseofinadequacy.
Excellence, by contrast, is about striving to do your best, continually improving, and setting high but realistic standards. It embraces mistakes as part of growth and values effort, discipline, and learning. Excellenceisnotaboutbeingflawless it’saboutbeingcommitted,resilient,andconsistent.Itisprocessfocused,encouragingindividualstotakeprideinprogressratherthanobsessovertheendresult Choosingexcellenceoverperfectionleadstogreatersatisfaction,confidence,andlong-termachievement.It fostersahealthymindsetthatvaluesgrowthoverunattainableideals.
A hallmark of a truly meaningful singing experience is inspiring singers to continue pursuing music beyond their time together.While conductors often focus on the immediate musical activities at hand in ourrehearsalsandperformances,wecanalsofosteraloveofmusicthatextendsbeyondourtimetogether.
BuildingConfidence
In music ensembles, conductor-teachers are uniquely positioned to encourage and build their singers’ confidence,whichtransferstootherareasoftheirlives.Inchoralrehearsal,wecancreateanenvironment where singers feel safe to explore: to take risks and try new things without fear of embarrassment or failure.Bycreatingasupportiverehearsalspace–oneinwhichsingerscanmakemistakeswhilealsobeing guided forward with engaging and educational rehearsal strategies – we can empower them reach their goalswhilealsobuildingtheirconfidence Acknowledgingthatmistakesanderrorsarepartofthelearning process both normalizes healthy risk-taking and creates an environment where singers feel comfortable expressingtheirartistry.Singerswholearninthistypeofenvironmentmaybemoreinclinedtoboldlyseek out new singing experiences in the future, equipped with the knowledge that the mistakes they might makealongthewayarepartofthejourneyandthattheyhavethetoolstoovercomechallenges.
DevelopingMusicalIndependence
Inanidealchoralsetting,wewouldeachteachsingerswhomeetatregularintervalsthroughouttheweek All of our singers would arrive with years of contextual music literacy skill-building, ready to continue developing their individual musicianship. They would have consistently advanced their skills over long periodsoftimeandbepreparedtoexploremorechallengingrepertoire.
However,therealworldoftendoesnotallowforsuchamusicalparadise Whilesomeprogramsdoprovide consistent and long-term learning opportunities, many conductor-teachers do not have access to this type ofteachingmodel.Instead,choirrehearsalsoccuratirregularintervals,infrequently,forlimitedperiods,or onlypartoftheyear.
In these situations, it may be challenging to incorporate music literacy while focusing on preparations for concerts and performances Still, when confronted by challenging rehearsal constraints, we as conductors can provide singers with as musical an experience as possible by infusing elements of music literacy into ourteaching.Encouragingsingerstovisuallytrackthemelodywithpromptslike,“Doestheintervalgoup,
R&R Resource
Youth&StudentActivities
Continued
down, or stay the same?” helps them connect the musical notation with the sounds they hear. Another strategyistoisolateamelodyfromthepieceandasksingerstoidentifythatsamemelodyasitreappears orchangesthroughoutthepiece Withthisstrategy,weareteachingsomebasicelementsofscoreanalysis and encouraging singers to decode the music in a different way. Introductory strategies like these can be easytoincorporateduringshortrehearsalperiodsandtheyoftenreapoutsizedrewards.Bytrainingsingers to connect what they are seeing and hearing, we are facilitating critical skills to prepare singers to participateinensemblesbeyondtheircurrentexperiences
FacilitatingTransitions
Everyone has experienced some sort of transition in their lives Life changes can be some of the hardest aspectsofourhumanexperience Duringthesetransitions(graduatingfrommiddleschooltohighschool, going to college/university, or moving to a home in a new city, state, or even country), singers sometimes missthechancetomakemusic.
As conductor-teachers, we can play a critical role in encouraging our singers’ musical continuity by facilitating connections to help them successfully navigate times of transitions. After my first year teachinghighschool,formersingersoftensharedhowmuchtheymissedsingingtogetheraftergraduation. IaskedmyselfhowImighthelpfacilitatetheirtransitionsotheycouldcontinueexploringtheirartistry At theendofeachschoolyearandattheirrequest,Iinvitedsingerswhowereinterestedincontinuingtosing tosharetheirname,plansaftergraduation,andcontactinformation.Iusedthisinformationtoreachoutto directorsattheircollegeorothercommunity-basedensembles,bridgingnewconnectionstoencouragethe studentstocontinuesinging
Conclusion
Many of us were drawn into this field because of personal experiences with beautiful community-based music-making. When I ask people who inspired them to first participate in music, oftentimes it was a conductor-teacherwhohelpedthemtoseethevalueintheirpresencewithintheensembleandempowered themtoexploretheirartistrybothwithinandbeyondthatfirstexperience.Asconductors,wearecalledto provideandfacilitatethosesameexperiences foroursingersbothduringourrehearsalsandlongafterour timetogetherhasended.
Be Our Guest
AHealthyFuture Dr.RyanSullivan
Among the many much-needed conversations in choral music about Diversity, Equity, Inclusion, and Access,I’vefoundmyselfthinkingsomuchaboutsustainabilityinourprofession:mentally,emotionally, andphysically.Accessibilityshouldneverbeabarriertoacareerinconducting.Amongthemanythings we ’vebecomeawareofinthelastfiveyearsisjusthowconnectedphysicalandmentalhealthcanbe.In those same years, I have watched passionate directors I admire become hampered by injury, pain, and even(dis)abilityrelatedtotheircalling--sacrificingtheirbodiesandwell-beingonthealtaroftheirjob. Hasyourroleasaconductoreveraffectedyourhealthandwellness?
Lately, I’ve been learning about issues related to conductor health that have prompted many rich conversations with colleagues across the country. It has been revealing to learn how many conductors dealwithinjuries(shoulders,back,feet,wrists,etc.),andthatmostofthemdon’tfeelempoweredtoask their employers for work-related protections, compensation, etc.When they do ask, they’re usually met withrejection
It’stimeforustoputourheadstogethertosolvethisproblem.Notonlyareperformingartshealthissues relevant now, but we must create a healthy atmosphere for future generations of conductors. This happens through conversations with local colleagues, educating employers, and collective bargaining. AdvocacyisbeginningtotakeplaceinpartsofACDAandotherconductingorganizations.Theseefforts willgainmoremomentumthroughourdemandforasafeandsupportedworkingenvironment
Take short physical breaks (15 minutes) every couple of hours without standing, conducting, or using your voice Frequency of breaks may be more important than shortening the total work day
Place a padded mat in the location where you most frequently stand to reduce strain on your ankles,knees,andhips.
BeOurGuest Continued
Bytakingsmall,proactivestepswehonorbothourartandourbodies.Truechangecomeswhenweliftour voices together: sharing our needs with administrators and supervisors, educating peers, and supporting policies that prioritize our well-being. Workplace health should be as fundamental to our profession as musical excellence When we advocate for healthy rehearsal spaces, fair compensation for injuries, and a culturethatvalueslongevityoverburnout,currentandfutureconductorscanleadwithpassion,creativity, andresilience freetodevotethemselvestothepeopleandmusicwelove.
StateoftheState-Colorado JaniceVlachos,President
FindingOurVoice: COACDA’s2025SummerConference
The Colorado chapter of the American Choral Directors Association (COACDA) is thrilled to announce our 2025 Summer Conference, themed FindingYourVoice.
Thisyear’sconferencebuildsupontheenergyandenthusiasmoflastsummer’sinspiringgathering,where wehadtheprivilegeoflearningfromesteemedjazzeducatorJohnStafford.Manyparticipantssharedtheir initial apprehension about teaching jazz but through a collaborative approach, John and I created a jazz choircomprisedofconferenceattendeeswhowereeagertolearn.Overtwodays,Johntreatedthemashis ownensemble,guidingthemthroughahands-onexplorationofjazzstyles,techniques,andpedagogy.
Theresponsewasoverwhelminglypositive Attendeeslefttheconferencenotonlywithqualityrepertoire theycouldimmediatelybringintotheirclassrooms,butwithrenewedconfidenceinteachingjazz andin singingagain.Manysharedhowpowerfulitwastosimplybeinachoirthemselves,experiencingmusicas a singer, colleague, and learner. John's extraordinary leadership made this possible, and we continue to recommendhimwholeheartedlytoanyorganizationhopingtomakejazzmoreaccessible.
We are thrilled that Dr. JulieYu will serve as our guest clinician for 2025.When presented with the idea, sherespondedwithhercharacteristicwarmth:“I’mupforanything andIthinkthatsoundsamazing!”Dr. Yu,joinedbyfiveofColorado’soutstandingcollegiateconductors,willguideusthroughadiversearrayof choralliterature repertoireyoucanbringdirectlyintoschool,community,andworshipsettings
In a world that is often confusing, where it's easy to feel isolated or unsure, we want to help people find theirownvoice asconductors,asteachers,andasartists.Howdowechoosemusicthatmeetsoursingers where they are? How do we stay energized when programs across Colorado are being cut due to funding issues?Thesearethequestionswehopetoexploretogether
Without our conference team, there is no way that the conference could happen. There is an incredible team working to make sure that our membership has a wonderful experience in Albuquerque. Over the next months,youwillhavetheopportunitytomeetthepeoplewhoareworkingto make this happen.These individuals are working full-time in their own jobs andvolunteeringtheirservicetoACDA/SWACDA.
Julie Yu Conducting Masterclass Chair
Dr. Julie Yu (She/Her/Hers) is Professor of Music and Director of Choral Studies at the Wanda L. Bass SchoolofMusicatOklahomaCityUniversityandtheArtisticDirectorofCanterburyVoices.
She holds a Bachelor of Music degree in Music Education from the University of Central Oklahoma, a Master of Music degree in Choral Conducting from Oklahoma State University, and a Doctor of Musical ArtsdegreeinChoralConductingfromtheUniversityofNorthTexas BeforejoiningOCUandCanterbury Voices,shetaughtatNormanNorthHighSchoolinOklahoma,SanJoséStateUniversity,andKansasState University
She has given presentations and conducted, and/or her choirs have performed for state and regional conferences of the American Choral Directors Association, National Association for Music Education, DoDEA Europe Honors Music Festival, and the European Music Educators Association. She is a past president of the Southwestern Region of the American Choral Directors Association and served as an InternationalConductingExchangeFellowtoKenya.
John McDonald College Fair Coordinator
John McDonald is a conductor, educator, and innovator in the choral arts. He is the Director of Choirs and Vocal Studies atWashington University in St. Louis and conducts Cantus, the tenor-bass ensemble of the St.LouisChildren’sChoirs.In2023,hefoundedContinuumVocalEnsemble,aprofessionalchoirdedicated topresentinginnovativerepertoireinunconventionalvenues.Underhisleadership,Continuumhasearned acclaim for its artistry and immersive performances in unique spaces like the 21c Museum Hotel and the St.LouisArtMuseum.
Arecognizedleaderinthechoralcommunity,JohnchairstheCommunicationandEducationCommitteefor the American Choral Directors Association (ACDA) and serves on the National Collegiate Choral Organization’s National Board. In 2023, he was one of six conductors selected for ACDA’s International Conductors Exchange Program with Germany. A sought-after guest conductor and clinician, he has led workshopsandmasterclassesacrosstheUS andEurope,inspiringfuturechoralmusicians
JohnholdsdegreesfromtheUniversityofMissouri-KansasCityConservatory,EastCarolinaUniversity,and Middle Tennessee State University His work continues to shape the choral landscape through dynamic leadership,compellingprogramming,andacommitmenttofosteringartisticexcellence
Carla Oliver Hospitality Chair
Carla Oliver is the retired Director of Choral Activities and Music Department Chair from Lee’s Summit HighSchool,Lee’sSummitMO.Afterherretirement,sheservedasChoralDirectoratCalvaryBibleCollege andMidAmericaNazareneUniversity
Carla has served as the KC Metro District President, the Missouri Choral Directors Association State SecretaryandtheVocalVicePresidentoftheMissouriMusicEducatorsAssociation Shehasservedasthe RepertoireandStandardsChairforHighSchoolMusicfortheMissouriChoralDirectorsandasCoordinator forthe9/10MissouriAllStateHonorChoir.ShehasalsoservedasHospitalityandSpecialEventsChairfor ACDAconventionsinKansasCity(twice),St Louis,andOklahomaCity
Carla has received the Outstanding Area Choral Directors Association, the Outstanding Missouri Music EducatorAwardfromMSHAA,andtheLutherTSpaydeAward,alifetimeachievementrecognition.Mrs. OliverhasalsoreceivedtheDistinguishedAlumniAwardfromCentralMissouriStateUniversity Bothshe andherhusbandJamesreceivedtheMissouriMusicEducatorsAssociation’sHallofFameAwardin2021.
Willie Grega is past president of Missouri Choral Directors Association and for 19 years served the organization as Exhibit Coordinator. In his 33 year career in Music Education, he taught Middle School, Junior High School, High School, and University levels. Choirs under his direction performed at conferences of the Missouri Music Educators Association and ACDA Southwest Division. In retirement Gregaisanactiverealestateinvestor,developer,andlicensedrealestateagent.
