What do you think about this time of year? Being grateful? Having a few days off from the job? Turkey dinners?Mincemeatpies?Leftovers?Christmasdecorationsalreadyinthestores?Feelinginahurrytoget towinterbreak?
Ioftenthinkoffamilyandgoingtobigfamilygatheringsatthehomesofmyauntsanduncles.Therewas lotsofgreatfun,games,playingalldaywithmycousins,andsomeawesomefood.Mymomandhersisters were pretty incredible cooks. It seemed that everyone sort of had their annual assignment for what they weretobring.Manyofthedishesweremadeusingrecipesfollowedmeticulously,andtherewereprobably somemade“byguessandbygolly,”asmygrandmotherusedtosay.
Could teaching/conducting be somewhat like cooking? We have an end product that we want to achieve. We hope that the audience will enjoy the finished product, and we hope that the singers will not only enjoytheprocessbutalsobemixedandblendedtomakethebestandmostbeautifulsoundpossible Many conductors have a prescribed way of getting the most from their singers and stick to that routine to the letter.Otherschangethingsupforeachsong,eachconcert,oreachyear.
WhenImovedintomyfirstapartmentaftergettingmyfirstteachingjob,mymomputtogetherabunchof recipesformeinasmallmetalrecipebox.Someweremyfavoritefoodsfromgrowingup,andsomewere familyrecipesshewaspassingon.Shehadhandwrittenonsomeofthecards,andothersweretypewritten on the old Royale manual we had at home. Mixed in with all of the recipes in the box was a “recipe for a HappyHome.”Ithangsinourkitchenwiththreeotherhandwrittenrecipes.Iknow.Somewillthinkitis reallysweet,andotherswillprobablythinkit’salittlecorny Maybeitisalittlebitofboth
But what if we could take this recipe, with a little “by guess and by golly,” and apply it to our homes, our friendships,andourclassrooms?Wouldtheworldbeabetterplace?Wouldoursingersfeelsafeandcared for?Wouldwefeellessanxietyandstress?
In this interview, Reginal Wright speaks with Dr Jonathan Palant, Director of Choral ActivitiesattheUniversityofTexasDallasandleaderoftheDallasStreetChoirandCredo We discuss the evolution of Dr Palant's work on the "Brothers, Sing On" choral series, which has now expanded into "The Jonathan Palant Series," a comprehensive resource for choraldirectors,nowseveralyearsin,addingfourtosixtitlesayearwithexpandedoptions formixedchoirs,SAT,andSABvoicings,involvingarangeofcomposers.
JP:Theinspirationcamefromayoungfemaleconductorwhohadjustgraduatedfromcollegeandstarted her first job with a high school choir. She came to me asking for resources on how to work with a TenorBass Choir questions about programming, standing formations, and differentiating first and second tenors.Therewasaclearneed,asnoresourcesexistedthatIcouldpointherto.So,Istartedwriting,asking myself,Whatdoesoneneedtoknowtostart?
The resulting book is a basic guide, covering topics from positioning students on risers to tips for the changing voice, repertoire recommendations, and guidance on choir touring and fundraising. The series eventuallyevolvedaswestartedpublishingmusicthatcomplementedwhatthebookteaches.We’renow several years in, adding four to six titles a year with expanded options for mixed choirs, SAT, and SAB voicings,involvingarangeofcomposers.
RW: How did your personal experience with Tenor-Bass Choirs influence the "Brothers, Sing On" project?
JP:MyfirstchoirwasactuallytheUniversityofMichiganMen’sGleeClub,andmuchofmyphilosophyon choral ensemble comes from that experience. It taught me about more than just beautiful singing it instilled qualities of camaraderie, musical excellence, and tradition. These are principles I carry into my teaching,conducting,andnowthisseries.Iaimfortherepertoiretoofferyoungsingersachancetobuild trust,sharestories,andexperiencethatspecialconnectionwefindinachoirsetting.
RW: Are you available for coaching and clinics for directors wanting to improve their skills with Tenor-Basschoirs?
JP:Absolutely.It’sprobablymyfavoritethingtodo.Ilearnsomuchfromworkingwithotherdirectorsand seeingthenextgenerationofconductorsinaction.Astheconceptofmalechoirscontinuestoevolve,I’ve evenconsideredasecondeditionofthebooktoincludemoreinclusivelanguageandresources,suchasfor trans and changing voices. We’ve renamed the series from "Brothers, Sing On" to "The Jonathan Palant Series"tobemoreinclusiveofallvocalsettingfromTTBBtoSABandSATB.
JP:Everysituationisunique,andmymissionistoprovideaspacewheresingersfeelbraveenoughtobe authentic."Safespace"isatermwehearalot,butIprefera"bravespace,"whichencouragessingerstotake risks. Whether it’s digging into a powerful text or singing a challenging phrase, I want to provide an environmentwheresingersfeelconfidentenoughtoexploreandexpress.
RW: I believe that being vulnerable is the gateway to musical fulfillment creating an environmentwhereit’ssafetoopenupandletgo.
JP:Exactly,thoughvulnerabilityisoftenmisunderstoodastimidness It’snotaboutbeingtimid;it’sabout being fearless enough to make bold choices My work with the Dallas Street Choir has taught me that vulnerability often leads to the most powerful musical moments. When singers let go of inhibition, they cancreatesomethingtrulyremarkable.
JP:Initially,theseriestargetedhighschoolTenor-Basschoirs.Ilookedforpiecesthatwerebothaccessible and engaging, like pieces that pair sections harmonically to build confidence. Repertoire in the series is designedsothatyoungsingersaren’tintimidatedbydifficultscores;it’sstructuredtograduallybuildskills andmusicalunderstanding
JP: I strive for diversity, not only in musical styles but also in the voices of the composers themselves. We’ve been seeing more submissions from women and composers from underrepresented backgrounds, which is fantastic. I’m looking for pieces that have educational value and emotional depth works that speaktosocialchange,resilience,andhistory.Whetherit’satextaboutovercomingobstaclesorreflecting onsignificanthistoricalmoments,weaimtocurateacollectionthatresonatesonmultiplelevels.
JP:Thegreatestjoyiscreatinglifelongloversofmusic.Whensingerstellmetheyenjoyedapiece,orwhen a conductor uses our repertoire as a lasting resource rather than a one-time read-through, I know we ’ ve succeeded.
JP:Serveyoursingersandchoosemusicthatresonateswiththem.Makebeautifulmusic,allowsingersto find their unique sound, and do your research on the repertoire you select. This ensures a meaningful experienceforboththesingersandtheaudience
JP: You can find it on HalLeonard.com by searching "Palant." From there, you can explore the entire collectionandchoosepiecesthroughyourpreferredmusicprovider.
Conclusion
The Jonathan Palant Series has become a vital resource for choral conductors, providing accessible, wellcrafted music and guidance that meets the unique needs of Tenor-Bass ensembles. Dr. Palant’s commitmenttoinclusivity,pedagogicalsoundness,andfosteringbraveryinsingershasmadethisseriesa beloved tool for educators. Through his work, Dr. Palant not only addresses gaps in choral resources but alsocultivatesacommunitywhereallvoicesareencouragedtosingauthentically.
BuildingaChoralCommunity
When I first started teaching, I encountered some of the common issues we all face: lack of administrative support, classroom management challenges, student ownership and buy-in, poor funding, etc At first, I took it personally How could these students, parents, and administrators notunderstandthevalueofmusiceducation,especiallyperformingensembles?Tome,choirwas everything.Tomoststudents,parents,andadministrators,itwasjustanotherclassduringtheday, with a couple of performances each year. There was obvious potential for the program to be successful, but something was missing. Towards the end of my first year, I took some time to sit down and outline the “dream” choral program. Though everyone ’ s “dream” is unique, there are some common threads that link all successful choral programs, and I found that each of these threadsstartwithbuildingacommunityculture.Afterall,dreamsthatoftencometofruitionare dreams that are shared I can’t emphasize this phase of the process enough If you haven’t taken the time to write down some goals for your program, do it! If you don’t know where to start, ask yourstudents Youmaybeinspiredbytheirresponses
OnceIhadmyidealchoralprogramoutlined,Igottowork Everyaction,bigandsmall,affectsacommunity,andso much of what you already do can be modified to positively impact your long-term goals In this article, I’ll share some ideas for community building in three areas: classroom community, school community, and community-atlarge. As you explore these ideas, don’t feel the need to implement all of them in one school year. Start slowly, perfectyourprocess,andthenaddon.Changetakestime,butit’sworththeinvestment.
ClassroomCommunity
1) Consider adding community features to your choir area Thriving communities have programs in place to help those in need, and your choir space is no different Having experienced poverty growing up, I have always been awareofthestrugglessomeofmystudentsfaceoutsideofschool OneofthefirststepsItooktowardsaclassroom communitywastocreateanS.O.S.station,andI’msoproudofhowithasevolvedovertheyears.S.O.S.standsfor “StudentOpportunityStation.”Everydayinmyclass,studentshavethe“opportunity”tobegreatbytakingcareof their basic needs. It started as pencils, tissues, and erasers, and now it has evolved to feminine products, hair ties, deodorant, cleaning wipes, disposable toothbrushes, etc. See “Community-at-Large” for ways you can fund this project.
3)Giveyourstudentstheopportunitytocreatetheirowngoals.Youmaydecidetodoprogram-widegoalsorchoirspecific goals. Either way, students will struggle to own what they don’t create themselves. Let them start with theirowndreams!
4)Allowstudentstocreatetheirownproceduresandaccountabilitymeasures.Thisisthe“how”.Howarewegoing to achieve our goals? This will also make room for you to remain the positive force in the room instead of the policingforce.
5) Model the behavior you would like from your own administrator/supervisor I often hear complaints about administratorsdeliveringmandateswithnoexplanationordoingthingsjustbecausethat’sthewaythey’vealways beendone.Icompletelyagreethatit’sfrustrating,andit’sfrustratingtoourstudentswhenwedothesametothem. Ofcourse,thedynamicsofateacher-administratorrelationshipandteacher-studentrelationshiparedifferent,but all relationships are worthy of transparency, honesty, and vulnerability. When issues arise, solve them with your studentsinsteadofforthem.
6) Be proactive instead of reactive. Though there are many scenarios in a choral setting where your proactive groundworkwillsaveyouheartache,let’stalkabouteveryone’sfavoriteactivity…soloauditions!First,youhaveto outline the process that works for you; solo auditions will look a little different for everybody, depending on the age group and your preferred approach. I do solo auditions in front of the entire ensemble. Students will have to perform the solo in front of the ensemble and a full audience at the concert, so the audition process can be an effective way to simulate that situation Before every solo audition, I facilitate a brief discussion with the group about etiquette in auditions We all agree that it takes a great deal of bravery to audition, and we celebrate everyone who goes for it. We also understand that there will always be someone who doesn’t get the solo, and that’sokay.Howwerespondisimportant,though. Disappointmentcanbeprocessedwithouttearingothersdown andhurtingtheteam.Thesecrucialconversationssetthetoneforconflictinyourcommunity.Yes,theytaketime, buttheywillsaveyoutimeinthelongrun.
7) Find ways for student leaders to be incorporated into everyday routines. Students could lead stretches, a warmup, or even an aural dictation exercise, but this doesn’t have to be the only way you give students the opportunity to take ownership Last year, we started a “choir crew ” Any student in the program can elect to join the “choir crew ” Remind101, and I send out a message when I need help with tasks like setting up for a concert They log their service hours, and we consider those hours when choosing some of our scholarship recipients for choir camp at the end of the year. This is a great way to recognize students who are taking ownership of the programandwhoexhibitpositivecharactertraits,regardlessoftheirmusicalability.
8) Incorporate fun! Fun looks different for everyone and it can be something small or something big. It doesn’t matterhowtalentedyourensembleis;everybodywantstoloosenup.Itkeepsourenginesrunningsmoothly.Fun couldbeassimpleasasillymirror-medanceduringstretchesatthebeginningofclass.Itcouldalsobeasbigasa choir bingo night or some other event. My co-director, Lisa Hatfield, and I coordinated with our booster club to reserveanauditoriumatourlocaltheaterforourkidstoseeaprivatescreeningoftheWickedpremiere Thekids are paying for their own tickets (it cost us nothing), but there is something about a private screening of a movie musical with choir kids that makes the situation unique and memorable! Don’t happen upon fun in your community;beintentionalaboutit.
9) Be YOU. Do not try to reinvent who you are after watching that talented clinician at your state honor choir clinic. Borrow strategies, of course, but know who you are and own it. Bring “ you ” to your community every day. Realrecognizesreal,andkidsrespondtoauthenticity.So,whoareyou?Whatnichehobbydoyoulike?Didyour kid do something funny the night before? Teachers are inherently good storytellers, and your students connect with you when you share your stories. These moments aren’t a waste of time; they’re valuable social-emotional learningandclassroommanagementtools
SchoolCommunity
1)Shareyoursuccess!Ifyourschoolhasanewsletter,socialmedia,morningannouncements,etc,youcanstartby simply sharing your successes. These successes don’t have to be monumental or over the top–success for one program may look different than that of another. In addition to sharing things campus-wide, make sure to share successeswithanadministratordirectly.
2) Use the language of an administrator when communicating with them. A huge part of advocacy is finding commonlanguage.Startwithinterchangeablephrasesthatmakesensetonon-musicians.Asanexample,instead of requesting funding for “sheet music,” request funding for “instructional supplies.” It’s not always that the administratordoesn’tknoworcareaboutwhatsheetmusicis Sometimes,it’ssimplythatthereisn’tabudgetunit for “sheet music”, and the administrator needs to know that sheet music is our version of a textbook or instructionalsupplies Ifyouarewantingtorequestfundingfora“bigticketitem”,suchasnewrisers,startwitha briefproposalthatincludesastudent-centeredrationaleandsomepricingoptions.Administratorsarebusypeople just like us, and from my experience, they respond best when they’re presented with well-thought-out options ratherthancomplaints.
3) Wear your school motto, tagline, catchphrase, mission, and vision OUT! My district’s mission is “to create opportunitiesforpersonalandacademicsuccess”.Icanassureyouthatexactphrasehasbeenusedinmorethan one proposal for funding or out-of-state travel. It illustrates that you understand how your choral program is an integralpartofthebiggerpicture.
5) One year, after our state choral festival, I had my choir students nominate school professionals who they felt “ saw ” them and were invested in their choir endeavors. This could be teachers who attended concerts or even a counselor who consistently asked how performances went. Once we had a list of names, we went to those employeesandaskedthemtosigntheirnamesonthebackofourplaque,alongwiththenamesofchoirstudents,in recognition of their support for the choir program. We even gave them “honorary choir member” certificates to displayintheirrooms.Weneedeverybody.Teachers,counselors,custodians,younameit.Justlikeourclassroom community,everyoneplaysavitalroleinthesuccessofthewhole.
6)Thispastyear,westartedafacultychoir!Assupportforchoirhasgrown,I’mhonoredtosaythatwehaveahigh attendance rate from school employees at our concerts. Last year, our entire district admin office attended our spring concert. These colleagues would say, “I used to be in choir” or “I sing in my church choir”, and my gears startedturning…Whatbetterwaytodisplaytheimportanceofwhatwedothantohavemycolleaguesexperience it?Wehadafacultychoirofabout80peopleperformatourback-to-schoolkickoffinfrontofabout1,000+district employees.Itwasahitandsharedalloversocialmedia!
2)Startaparentorganizationorboosterclubthatcanhelpwithorganizingsupportforthechoralprogram.Before startingourchoirboosterclub,Inoticedthatparentsofourmarchingbandstudentswerehelpingwithsomany things!Iwasfortunateenoughtomodelourboostercluboffofourverysuccessfulbandboosterclub.Thisincluded bylaws that were agreed upon by parents, myself, and our building-level principal. Today, our booster club raises thousandsofdollarsinfundsforvoicelessonsandchoircampscholarships,andtheyevensponsorchoirfamilies (anonymously)whomaybeexperiencingfoodinsecurity.
3)Reachouttobusinessesforsupportorsponsorship.Thiswouldbetheperfecttaskforyourboosterclubtodoon an annual basis, but you could also take advantage of local business support by simply sending a letter to a few activelocalbusinessesdetailingspecificfundraisinggoalsorneedsfortheyear.
Thoughtheseideasarefocusedonbuildingyourindividualcommunity,don’tforgetthevalueofyourprofessional community! Being an active member of ACDA–attending conferences, utilizing resources, connecting with other choraldirectors–issuchavalidatingandhelpfulexperience.Ican’tclaimcreditforeverythinginthisarticle.These arejustthethingsthatstuckwithme!Iguaranteethatanyissueyoucanthinkofhasbeenfacedbyanotherchoral directorwhowouldbewillingtohelpyouthroughit.I,personally,don’thavealltheanswers,butIwillalwaysdo mybesttohelpacolleague.Pleasereachoutifyouhaveanyquestions. toglesby@bryantschools.org
THECHALLENGEOFSELECTINGGLOBALCHORALMUSIC
Iloveattendingmusicconventions/conferencesforavarietyofreasons,andoneofthoseis the chance to learn new and exciting choral repertoire. In my book, the convention was a successifIcancheckmarkaboxbecauseIfoundatleastonequalitychoralwork.Awork thatcallsmyattentionand,therefore,thatIwouldliketoincludeinfutureteachingand/or programming It is a great feeling, one that inspires me to study the work and share my newfoundtreasurewiththeworld
Luckily,Ihavediscoveredmanyworksinthisway.Likemostchoraldirectors,Ialsolookatcountlessnewly published pieces that, unfortunately, for one reason or another, don’t find a place in my choral literature selections.Occasionally,Ihavefoundnewworksthatcallmyattention,butratherinquiteadifferentway.
Ourglobal21st-centurymusicworldfindsusinanindisputablemulticulturalscene,wheremusiciansexpress a deep interest in getting to know, studying, and performing works from other cultures. However, as wonderful as this wish is, the task at hand is challenging and requires true openness of mind and heart. A friendly warning: it is easy to fall into the trap of conforming to what we think music from other cultures should be. In this line of thought, it may be common to make decisions about style, instrumentation, harmonization,interpretation,language,etc.,basedonouropinionaspeoplewholiveintheUnitedStatesin the21stcenturyandwhocarryaparticularculturalbaggage.Indoingthis,weputourselvesinapositionof superiority,aplacefromwhichwegiveourselvestherighttomakedecisionsthatwereneverinourdomainin thefirstplace.
Otherthanwithoriginalrepertoirefromdifferentcultures,Ioftenfinditdifficulttodistinguishbetweenan honest, artful, and respectful recreation of a specific style from an exercise of rather pitiful and surely questionablemusicpublishermarketingstrategy.Basicprinciplesofauthenticityareoftenviolatedinthese situations, and as music educators, I hope we all feel equipped to distinguish what could be an innocent interest in offering a cultural filter from something genuine: a work of art that truly represents a specific culture.
As a young director at a SWACDA Conference in Kansas City, I found myself sitting in the balcony of the Folly Theatre watching a performance by a Women’s Choir from Seoul, Korea. As a recent college graduate, I listened intently to the group and the precision of the performance. After all, my college training was all about the technicalelementsneededtomakeasuccessfulpresentationofapiece Thisgroupcheckedalloftheboxes Their intonation was flawless; each onset, each consonant, and each phrase was meticulously executed It was like watchinganarmymarchinstep Itwas,inaword,perfect IwasIMPRESSED
As the performance concluded, the crowd of choral directors stood with tremendous applause. It was clear that every member of the crowd knew what it took to have a group of humans sing that precisely. As the applause continued, you could hear the directors murmur, “The most articulate choir I have ever heard,” “What skill and technique,” and “Amazing.” When the applause finally faded, the director turned to the audience, addressing us for the first time and hesitantly announced that the choir would now perform an encore just for our group that they had just recently begun to work on…a setting of “Amazing Grace.” As they started, it was like the group became a different ensemble There was no longer a “military-like” precision to each entrance The performance wastheopposite:emotional,real,andvulnerable Therewasnothingexceptionalaboutthearrangementeither It wassimple,withasoloistdoingherverybesttosingasongnotinhernativetonguesurroundedbyanacapella accompaniment.Inthatmoment,theyconnectedtheirculturetoasongknowntoeveryoneinthetheater.Itwas soexpressive,notnearlyaspreciseastheirpreviousofferings,butITWASMOVING.ItwasMAGIC.
AsIsithere,aveteraneducatorofover20years,Istillthinkaboutthatconcert Canyouthinkofoneinyourown life? How can we create for an audience an experience like that? How do I train my choir to connect with the music they are performing and move past the notes on the page instead of the emotion behind the music? We have so many strategies for teaching notes and rhythms, etc. We have solfege for pitch mastery, we have takadimi.Weaudiate,wediscussbalance,blend,onset,posture,and dynamics.Trulynoneofthisgetstotheheartofwhatwedo.
HowdowecreateMAGIC?
So,Iaskedthemagicmakers IsatdownwiththeRPChamberSingers(thetopensembleatmyschool)andasked themhowtheyareabletodojustthat IthinktheyprovideagreatinsighttothemindofaHighSchoolagesinger in a group that truly shows emotion on stage Here are a few of their thoughts about what helps them become their“mostmusical”selves:
“Especiallyatthehighschool,mostofyourclassesatschoolyouarethrowninwithrandomkidsfromaroundthe school. In choir, we get to know each other and learn through connections. We are not afraid to show emotion becausewearenotsingingfortheaudience.Wearesingingforeachother.Ithinkalotofchoirssaytheyarea family,butweactuallyhaveactualconversations.”
“We connect as a choir We are able to express ourselves because we can trust that if we open up we won’t be judged”
“I appreciate how you have approached delicate songs that allow us to empathize with other people and understandtheircircumstancesandhowtheyrelatetoours”
“Irememberyousaying:‘thistime,justsinginawaythatmakesthemusicfeelright askforforgiveness not permission Justgoforit’”
Attheendofourconversation,Iaskedthemhowwegottothisplace Whatthingscouldadirectordotoget their singers to where you are? I have included a brief explanation of each activity Before we dive into their suggestions, a disclaimer: the culture of your room matters more than any single activity Anything here will notworkwithoutaclassroombuiltonhonestyandpersonalaccountability
Lightsout:
This one is pretty simple Once you have a piece learned, memorized, and ready to add a “spark,” have your singers close their eyes or turn out the lights You will be amazed by the music that they make without their visionandwithoutaconductor
FormationChanges:
SingasonginaBILLIONdifferentformations.Allowthemtopicktheirspotsorchoosethemrandomly(Ihave been known to pass out a playing card to each singer as they walk in and have them stand next to the same suit).Havethemspecificallysingnexttosomeonetheyhaveneversungwithbefore.
Standrehearsals:
Borrowstandsfromyourbandteacher.Set2singerstoastandandfacethemiddleoftheroominacircle.This rehearsal needs to be when the music is well in hand, but not learned. Allow the singers to make specific musical choices and discuss as you rehearse. Kids BEG to have stand rehearsals and they are among my favoritesaswell.
DailyQuotes:
Istartedthisyearsagoasawaytoengageinconversations.DuringourTechniqueandEfficiencytime(what some call warmups, but let’s be honest…we are really working on our technique and efficiency…there is probablyanotherarticletobewrittenhere)westartedjusthavingsomeonereadaquotefromafamousperson thatIputuponthescreen.Earlyon,thisledtosomestandardconversations,butasIhavebeenstrategicabout the quotes I use during a given time, the quote has become a more and more important part of our day. The levelofvulnerabilityandfrankdiscussionsIseewouldblowyouaway.Itmakesmefeelreallygoodaboutthe next generation. I have also witnessed real changes in my students as humans through the simple act of discussing these truths. In our discussion today a student said it this way: “Our daily quotes set the tone for vulnerability.”
By simply discussing this third line, students begin to understand that they are not just singing words given to theminascore,butinsteadamessagethatsomeonethoughtwasimportantenoughtowritedown.
Movingallthetimeandwithpurpose:
Everyoneofourtechniqueandefficiencyexerciseshasamovementandareason Weshoulddothesameinour music Movingtothepulsewhile“skating”aroundtheroom Showingthephrasebyliftingyourhand,combining thosethingstogether Havethestudentsconductthemselvesonthepiecemirroringyourgesture Somanythings canbedonehere.Useintechniquetime(warmups)andwithinliterature.
ConcertTheming:
Givinga“throughline”toaconcertandallowingthechoirstoseethepurposeforeachelementnotonlyconnects within the choir, but within the program. It is VERY challenging to find music to meet each level of choir, but VERYworthitforanendproductwhereeveryonehascontributedtothefullvisionofaconcert.
What a strange thing it is that we do, my friends We make music on the wind with other humans as our instruments Withoutachoir,wearesimplywavingourhands ThankyoursingersformakingMAGICpossible
STATEOFTHESTATE ARKANSAS
LarryDunn,Presidednt
WarmgreetingsfromthebeautifulstateofArkansas!
My name is Larry Dunn, and it is both an honor and a privilege to serve as the president of the Arkansas Chapter of the American Choral Directors Association (ACDA). Our state has a rich and storied history in choralmusic,andIamtrulygratefulfortheopportunitytocontributetoitsongoinglegacy.
I recently transitioned from my role as Director of Choral Activities and Director of Performing Arts in Magnolia, AR, to the position of Director of Magnet Programs in the Texarkana Arkansas School District. This new role has provided me with invaluable insights into educational leadership at the district level, enhancing my ability to advocate effectively for choral music educators across the state. My passion for choral music education drives me to seek innovative solutions that benefit both our members and the studentsweserve
IampleasedtoreportthattheArkansasACDAisflourishing,thankstothededicationandcommitmentof our state leadership panel. Our team comprises experienced and passionate individuals eager to support our membership in various ways. We believe that serving our members is a profound responsibility, and wearecommittedtofosteringanenvironmentthatnurturesthegrowthanddevelopmentofchoralmusic educatorsthroughoutArkansas.
This year, we are excited to introduce two significant initiatives aimed at enhancing the educational experienceforourmembersandtheirstudents:
First, in November, we will host our Symposium, Volume II: All-State Preparation. This event is designed forhighschoolstudentsstatewidewhohaveearnedtheopportunitytoauditionfortheArkansasAll-State HonorChoirsin2025.Thesymposiumwillprovidetargetedpreparationsessions,equippingdirectorsand students with essential tools and strategies for successfully navigating the audition process. We aim to empower our participants and elevate their performance readiness by focusing on specific skills and techniques
Additionally,inJanuary2025,wewilllaunchacomprehensiveassessmentcoachingprogramfordirectors throughout the state. This initiative will focus on critical areas such as literature selection, assessment processes,andproceduralfamiliarity.Ourgoalistoprovideastructuredframeworkthatsupportsdirectors intheirprofessionaldevelopment,enablingthemtoselectappropriaterepertoireandimplementeffective assessmentstrategiesthathighlightthestrengthsoftheirprograms.
These initiatives will complement our existing programs, including the Arkansas Intercollegiate Choir clinic and concert, which brings together collegiate students and directors in a collaborative honor choir settingduringtheArkansasAll-StateMusicConference.Together,theseofferingscreatearobustnetwork ofsupportandresourcesforchoraleducatorsatalllevels.
As we move forward, I want to emphasize that the Arkansas ACDA is committed to embracing the dynamic changes within our educational landscape We recognize the need for diverse opportunities and experiences that not only benefit our members but also contribute to the overall vitality of choral music educationinArkansas Ourunwaveringgoalistostrengthenthecapacityandresilienceofchoralprograms across the state, ensuring that we continue to nurture the next generation of choral musicians and educators.
After 13 years in Norman, he was recruited by First United Methodist Church in Dallas as Director of Music, with performancesincludingnotablessuchasDaveBrubeckandmembersoftheDallasSymphonyOrchestra.WhileinDallashe completedandwasawardedhisDoctorateatOU
