connection
From the President’s Pen
Thank you, Jonathan! R&R
State of the State - Kansas
SWACDA Performances
2010-2026
SWACDA Board (2024-2026)
Jonathan Owen, President/Editor
Joshua Oppenheim, President-elect
Jeffrey Murdock, Past President
Jeff Wall, Treasurer
Margie Camp, Conference Chair
Children’s and Community Youth - Nathan Wubbena
Junior High/Middle School - Cristi Miller
Senior High School - Spencer Wiley
4-Year College and University - Rayvon TJ Moore
2-Year College and University - Tatiana Taylor
Student Activity - Jennifer Sengin
Community Choirs - Andy Waggoner
Music in Worship - Bryan Taylor
Vocal Jazz - Beth Enloe Fritz
Show Choir - Michael Shimp
World Music & Cultures - Eduardo Garcia-Novelli
Tenor/Bass Choirs - Reginal Wright
Soprano/Alto Choirs - Tanner Oglesby
FromthePresident’sPen
I don’t remember if I have shared this before, but I wanted to share a spreadsheet of the music that my choirs performed during my 30 years as a high school choral director. In the beginning year it was somewhat heavy on the sacred side. I don’t apologize, it’s just the way it was. I hope that you can find something useful from this list While there may have been more music worked on in class, the lists will showonlymusicthatwasperformedonaconcertoratafestival.CLICKHERE
The following was shared on social media, but I realize that not every ACDA member is on a platform I hopeyouwillfindthislinkusefulandpossiblyevenbeabletoaddtothelist.Itisthebeginningsofalist of SWACDA composers. Living or deceased. Born, lived in, educated in, worked in, taught in a SWACDA state. CLICKHERE
Margie Camp has also been sharing on social media, a project that I have been working on for a while. A listing of EVERY choir that has performed on a SWACDA conference. I’ve also shared those pages in this publication.Comingsoonwillbea“specialedition”withALLofthosepagesinoneplace.Ihopeyouenjoy it
I believe that every person who has been a SWACDA president, has done the best job that they could, at that time Their time is given to ACDA to create something for the membership My hope is that over the past couple of years, you have felt a deeper connection with our Southwestern Region!!! My team worked hardtohelpourmembershipfeelthattheywerereceivingsomethingfromSWACDA,andnotjustonafour dayperiodinthemiddleofspring.
IAMgratefulfortheopportunitytoserveanorganizationthattrulybelievein,butIamALSOgratefulthat my term has come to an end. I want to wish our new president, Joshua Oppenheim, great success as he steps into leadership, and I hope that many of you will step forward to volunteer to help his team reach theirgoals
Best,
JonathanOwen, SWACDAPresident(outgoing)
AHeartfeltThankYoutoJonathanOwen:
OutgoingSWACDAPresident,2024–2026
FromMargieCamp,onbehalfoftheSWACDAMembership Asthegavelpassesandweclosethechapteronthe2024–2026presidentialterm,themembershipofthe Southwestern American Choral Directors Association pauses to say what so many of us have felt throughoutthesetworemarkableyears:thankyou,Jonathan
JonathanOwenbroughttotheSWACDApresidencysomethingthatis,initsownway,quiterare:an unwaveringcommitmenttomakingeverysinglememberfeelthatthisorganizationtrulybelongstothem. Welcoming,hospitable,anddeeplyinclusive,Jonathandidn'tjustleadSWACDA;heopenedthedoorwider andinvitedeveryonein
Perhapsnothingembodiedthatspiritmorebeautifullythanthe2026SWACDAConferenceinNewMexico, amilestonethatmanymembersmaynothavefullyrealizedtheywerewitnessing.NewMexicowasthe onlystateinourregionthatSWACDAhadnevervisited,andJonathanmadeithismissiontochangethat. UnderthebannerofNewHorizons,hebroughtourmembershiptonewground,literally,andchallengedus tothinkexpansivelyaboutwhoweareandwhatwerepresentasanorganization.
Thattheme,NewHorizons,wasnotsimplyaconferenceslogan.ItbecamethelensthroughwhichJonathan shapedhisentirepresidency.Ontheconcertstage,heextendedourperformanceprogrammingtoinclude non-traditionalensembles,signalingthatSWACDA'sbigtentisbiggerthaneverHereinstatedthebeloved All-ConferenceSingsattheopeningofmanyconcertsessions,agesturethatsaid,simplyandpowerfully, wearebetterwhenwemakemusictogether.Thesewerenotsmalldecisions.Theywereintentionalactsof inclusion,designedtoreflectthefullbreadthofourdiverseandtalentedmembership.
AndthenthereisthegiftthatwillkeepongivinglongafterJonathan'stermhasended:theSouthwestern Connection. This twice-monthly e-newsletter, featuring member articles, repertoire lists, the Past Presidents' Corner, special guest contributions, State of the States updates, membership news, and conferencehighlights,hasbecometheheartbeatofourassociation'scommunication.Jonathanenvisioned it,builtit,andlauncheditasalivingexpressionoftheNewHorizonspresidency:aplacewhereevery cornerofourmembershipcouldfindtheirvoiceandfeelconnectedtosomethinglargerthanthemselves. Jonathan,themembershipofSWACDAthanksyou.Forthemilestraveledandthedoorsopened.Forthe musicmadetogetherandtheconversationsstarted.Forthenewsletterthatlandsinourinboxestwicea monthandremindsusthatwebelongtosomethingmeaningful Youhaveleftthisorganizationmore connected,moreinclusive,andmorealivetoitsownpossibilitiesthanyoufoundit.
Thatisthemarkofexceptionalleadership,anditisyourmarkonSWACDA.
Withdeepgratitudeandwarmapplause,TheMembersofSWACDA
R&R Resource
4-YearCollege&University
RayvonTJMoore,Chair
One of the first surprises many conductors encounter is how quickly a choir’s soun w weeks of focused work can improve vowels, strengthen intonation, clarify rhythms, and create better balancewithintheensemble.Repertoirebeginstotakeshape,andthechoirstartstosoundmorecohesive. Thesechangesaremeasurable,audible,anddeeplysatisfyingforbothsingersandconductors.
Culture,however,operatesonaverydifferenttimeline.
Unlike tone quality or rhythmic precision, culture cannot be rehearsed into existence over the course of a concert cycle It cannot be achieved through a new warm-up sequence, a revised rehearsal strategy, or a carefullycraftedsyllabus Whileachoir’ssoundmayimprovedramaticallywithinasemester,ameaningful culturedevelopsoveryearsratherthanweeks Yetcultureisoftenthemostimportantthingwebuild
When audiences attend a concert, they hear the choir’s sound.What they cannot hear is the environment that produced it.They cannot hear whether students genuinely support one another, whether singers feel valued,whethertrusthasbeenestablished,orwhetherexcellenceisbeingpursuedthroughencouragement rather than fear. The singers, however, know these things. Every rehearsal communicates what matters. Everyinteractionteachesstudentswhatkindofcommunitytheybelongto.Longbeforesingersremember thedetailsofaparticularperformance,theyrememberhowitfelttobepartoftheensemble.Thatfeelingis culture.
Fornewconductors,itisnaturaltofocusonsoundfirst andtheyshould.Musiciansaretrainedtoidentify problems. We enter a rehearsal and immediately notice issues with tone, balance, rhythm, diction, and intonation.Thesearetangibleconcernswithtangiblesolutions.Culture,bycontrast,ishardertodiagnose. Achoirmaysingbeautifullywhilestrugglingwithunhealthyrelationships Anensemblemayperformata highlevelwhileoperatingunderconstanttension
Conversely, a developing choir with modest musical skills may possess extraordinary levels of trust, support, and commitment The challenge for conductors is recognizing that sound and culture are related, but they are not the same thing. One can improve long before the other. Many conductors begin new positions with ambitious visions for their ensembles.They want students to be engaged, rehearsals to be positive, excellence to become the norm, and a strong sense of community to emerge. The mistake is believing these outcomes can be established through a speech at the first rehearsal. Culture is rarely built through grand moments. Instead, it develops through countless ordinary interactions. Students observe howmistakesarehandled,howleaderstreatpeople,whethersingersfeelheard,andwhetherexpectations remainconsistent.
Overtime,theybegintounderstandwhattheensembletrulyvalues.Studentsrarelybelievewhatwesay once;theybelievewhatwedoconsistently.
R&R Resource
4-YearCollege&University continued
Traditionsalsoplayasignificantroleinshapingculture.Everychoirdevelopstraditions,whetherformalor informal.Theymayincludeasharedmealafteraconcert,aseniorreflectionbeforegraduation,aparticular wayofwelcomingnewmembers,oraritualbeforeperformances.Thesepracticescommunicatecontinuity andremindsingersthattheyarejoiningsomethinglargerthanthemselves.Strongchoirculturesareoften sustained not by extraordinary events but by meaningful traditions that connect generations of singers. Yearslater,formerstudentsmayforgetspecificrepertoire,buttheyrarelyforgettraditionsthatmadethem feelconnectedandvalued.
At the heart of every healthy culture is trust. Trust develops slowly. Students need time to determine whetheraconductor’sactionsmatchtheirwords.Theyneedtodiscoverwhethermistakesaresafe,whether standardsarerootedincare,andwhethertheyaregenuinelyrespectedasindividuals.Conductors,inturn, need time to understand their singers Every ensemble carries a history of successes, disappointments, expectations,andexperiences Trustcannotberushed Likeallmeaningfulrelationships,itgrowsthrough consistency
When conductors evaluate progress, they naturally listen for musical improvement Yet some of the most important victories cannot be heard. The shy student who finally participates, the section that learns to solve problems independently, the senior who mentors younger singers, and the ensemble members who begin encouraging one another without being asked these moments rarely appear on concert recordings. Nevertheless,theymayrepresentourmostimportantwork.Yearslater,whenagraduatereturnsandsays, “Choir was where I found my place”; we are reminded that the impact of our work extends far beyond performance.
One of the humbling realities of conducting is that singers come and go. Directors eventually retire. Programsevolveandrepertoirechanges.Whatremainsisculture.Thehealthiestensemblesdevelopvalues that endure beyond individual leaders. Students begin teaching new members how things are done. Expectations become shared rather than enforced. Over time, the culture becomes self-sustaining. At that point,thechoirnolongerdependsentirelyontheconductorforitsidentity;thecommunityitselfbecomes thekeeperofthetradition
In a profession that often celebrates immediate results, culture-building can feel frustratingly slow A conductor can improve a phrase in five minutes, but building trust may take five years A rehearsal can transformapieceofmusic,buttransformingacommunityrequirescountlessrehearsals,conversations,and sharedexperiences.Yetthemostrewardingensemblesarethoseinwhichbothsoundandcultureflourish together.Thesounddrawspeoplein.Theculturekeepsthemthere.
Asconductors,wespendmuchofourliveslisteningforbeautifulsinging,andweshould.Butperhapswe should listen just as carefully for the quieter signs that culture is taking root: kindness, trust, ownership, commitment,andbelonging.Whileachoir’ssoundmayberememberedforaseason,itsculturecanshape livesfordecades.Thatkindofworktakestime,butitisworkworthdoing.
Repertoire
SilverRain-B.E.Boykin
SSA,accompanied OxfordUniversityPress
SSAAChoirs
TannerOglesby,R&RChair
Many contemporary treble works seek to balance accessibility with artistic depth, but “Silver Rain” accomplishesthisparticularlywell.Whilethetechnicaldemandsremainmanageable,thepiecechallenges singers to maintain a consistent tonal core as the harmonic language shifts and expands throughout the work. The melodic writing feels natural and rewarding for young voices, while the rich harmonic palette encourages careful listening and ensemble awareness. Choirs that are ready to move beyond straightforward part-singing without venturing into overly difficult repertoire will find this work to be bothachievableandmusicallysatisfying.
TheOpenHand-SusanLaBarr
SSA,accompanied WaltonMusic
At its heart, “The Open Hand” is a reflection on generosity, compassion, and our responsibility to one another. Rather than relying on dramatic musical effects, LaBarr allows the text to guide the musical journeythroughclearvocallinesandthoughtfullybalancedtextures.Eachsectioncontributesmeaningful material, encouraging singers to remain engaged as independent musicians while maintaining ensemble cohesion.The piece provides an excellent opportunity to develop expressive phrasing and thoughtful text interpretationwhileexploringthemesthatresonatestronglywithyoungsingers.
IAmOutWithLanterns AyrianNorman
SSA,acappella
HeritageMusicPress
The strength of “I Am Out With Lanterns” lies in its ability to create a compelling musical atmosphere through simplicity and restraint. The a cappella setting encourages singers to rely on one another for tuning, balance, and rhythmic stability, making it an effective vehicle for developing ensemble independence. Rather than presenting technical challenges for their own sake, the piece rewards careful attention to tone color, phrase shaping, and textual expression. For directors seeking contemporary a cappella literature that is both accessible and artistically meaningful, this work deserves serious consideration.
SSAAChoirs
Continued
Repertoire
Go!SaidtheStar RyanMain SSA,accompanied EndeavorMusicPublishing
Energy and momentum drive nearly every measure of “Go! Said the Star.”The accompaniment provides a steadysenseofforwardmotionwhilethevocallinesremainhighlysingableandengagingforyoungvoices.
Throughout the work, moments of rhythmic intensity are balanced with more lyrical passages, creating opportunitiestoexplorecontrastandmusicalstorytelling.Thepieceisparticularlyeffectiveforreinforcing rhythmicprecisionandcleardictionwhileofferingsingersaperformanceexperiencethatisbothexciting andrewarding.
ShadowRiver—ElaineHagenberg SSA,accompanied ElaineHagenbergMusic
Hagenberg allows “Shadow River” to unfold patiently, giving singers the opportunity to explore sustained tone production and long-range phrase shaping. The work's expressive power comes not from dramatic technicaldemandsbutfromcarefulattentiontomusicalnuance,balance,andtextcommunication.Asthe piece develops, singers must learn to sustain musical intensity through subtle changes in color and dynamics rather than relying solely on volume. The result is a deeply satisfying performance piece that encouragesartisticgrowthwhileremainingaccessibletoawiderangeoftrebleensembles.
FídiakaiPétra(SnakesandStones)—KaraStacyBedwell
SSA,accompanied ExcelciaMusicPublishing
Directorslookingtoexpandstudents’exposuretointernationalfolktraditionsmayfind“FídiakaiPétra”a valuableadditiontotheirrepertoire.BasedonatraditionalGreektext,thepiececombinesrhythmicvitality with playful musical gestures that immediately capture attention. The accessible vocal writing allows ensembles to focus on stylistic elements such as diction, articulation, and character while still presenting an engaging musical challenge. Its distinctive cultural flavor and energetic spirit make it a refreshing programmingchoiceforconcertorfestivalperformance.
FrozenIn—DaleTrumbore
SSA,Piano&Violin Boosey&Hawkes,Inc
Rather than relying on familiar seasonal imagery, “Frozen In” explores themes of memory, friendship, and humanconnectionthroughthoughtfultextandunderstatedmusicalwriting.Theadditionofviolincreates a chamber-like texture that blends seamlessly with the choir, inviting singers to listen carefully and perform with sensitivity Long phrases and sustained melodic lines encourage the development of breath support and expressive musicianship, while the intimate nature of the work fosters meaningful engagement with the text The result is a contemporary selection that offers both musical substance and emotionaldepth
StateoftheState Kansas
BrandonWade,President
GreetingsfromtheGreatStateofKansas!
Weareexcitedtohostthe2026SummerConventiononthecampusoftheUniversityofKansas,July8–10. Our convention theme, Untapped and Unleashed, is designed to equip educators with practical tools, innovativestrategies,andrenewedinspirationastheypreparefortheupcomingschoolyear.
Thisyear,wehavemadeaconcertedefforttorecruitandencourageparticipationfromemergingeducators. Wearealreadyseeinganincreaseinpre-registrationcomparedtolastyear,andIlookforwardtowatching ourveteraneducatorsbuildmeaningfulconnectionswiththenextgenerationofmusicteachers
Our convention headliners are Dr Brian Winnie and Kurtis Heinrich Dr Winnie specializes in contemporaryvocaltechniquesandtheirimplementationinthechoralclassroom,whileKurtisHeinrichis widely recognized for his expertise in adolescent voice pedagogy and sight-reading instruction We are thrilledtohavetheseoutstandingeducatorssharingtheirknowledgeandexperiencewithus.
WearealsohonoredtowelcometwoexceptionalcliniciansforourHonorChoirs.TheSoprano/AltoHonor Choir will be led by Dr. Jaclyn Normandie, an international conductor, presence mentor, and founder of Modern Conducting Academy and CEO SoundLab. Her work bridges classical conducting, breath science, vocal technique, and somatic awareness, helping performers develop not only sound, but also confidence andpresence.OurTenor/BassHonorChoirclinicianisVictorC.Johnson,SchoolChoralEditorforSing!,the educationalpublishingdivisionofChoristersGuild.Aprolificcomposerandarranger,Victorhasmorethan 450 choral works, vocal solo collections, and keyboard publications currently in print. Kansas is truly fortunatetohostsuchgiftedclinicians.
Iwouldalsoliketoextendaspecialinvitationtocollegestudentspursuingmusiceducation Whether your focus is vocal or instrumental music, convention registration is completely free As an organization, we are committed to investing in the future of music education and helping aspiring educators begin their careers with the resources and connections they need to succeed We invite you to joinusforUntappedandUnleashed,July8–10,attheUniversityofKansas
Welookforwardtolearning,collaborating,andcelebratingmusiceducationtogether.
Sincerely,
BrandonWade KCDAPresident
