Contemporary A Cappella - Leia Browning Show Choir - Michael Shimp
World Music & Cultures - Eduardo Garcia-Novelli
Tenor/Bass Choirs - Reginal Wright
Soprano/Alto Choirs - Tanner Oglesby
FromthePresident’sPen
While most of my teaching was spent in the high school choral classroom, I did teach various levels throughout mycareer,includingelementarygeneralmusic,jr.highchoir,musicappreciationandpianoclasses.Afterretiring frompublicschoolin2018,Ihavetaughtpreschoolmusic,beenauniversityadjunct,andaccompaniedinacollege voicestudio.
Throughout my teaching career, I was also involved in church music I was the choir accompanist at an AssembliesofGodchurch,music/choirdirector/organistforboth UnitedMethodistandUnitedChurchofChrist congregations,andamcurrentlyahighschoolaccompanistandachurchorganistforaLutheranChurch(ELCA).
I have asked both past-presidents and R&R Chairs to share some of their favorite choral pieces throughout the year,soIthoughtI’dshareafewofmyfavoritepiecesthatIhavetaught/conductedinthepast.Ihopethatyou willfindthelisthelpful.
IsatdowntotalkwithChrisMaunuthismonth,aformerColoradocolleaguewhomIgotto know more when our choirs sang one of his pieces in 2021; we had a wonderful conversation Chrisisakindandgenuineperson,andhadsomegreatthoughtstosharethat canapplytoanyrehearsalspace Iinviteandencourageyoutotakethetimetolistentothe fullconversationontheSWACDAYouTubechannel(comingsoon)-you’llbeabletogain somemoreinsightintohisthoughtsandlistentodeeperdivesonthetopics;thequestions andanswersbelowhavebeenshortenedwithminoreditsforbrevityandclarity
I’m one year into my role as Artistic Director of the Pacific Youth Choir. It’s a program that serves students in Kindergarten through 12th grade in Portland, Oregon. Before that, I taught 17 years of high school choir at Arvada WestHighSchool,justoutsideoftheDenvermetroarea.Oneyearbeforethat,Itaughtmiddleschoolchoir.Igrewup inareallysmalltowninSouthDakota-I had12peopleinmygraduatingclass.
That’ssuchahugequestion.IthinkprobablythefirstonewaswhenIwasinhighschool.Iparticipatedinchoirand band, but it was not an experience that most people have…my experience was minimal. I participated in the South DakotaAll-StateChorus,andmyclinicianwasDr.EdieCopely,itwasalife-changingmomentwhenIrealizedwhat the possibilities are with choral music - it was inspirational…you can go down the list of various people that have inspired me since then on multiple times in my life, but I think we all go back to those early stages and think: if it weren’tforthispersonorsituation,whatwouldIbedoingnow?
I think, for me, it comes down to vulnerability and authenticity. You can’t just say: “These are the three steps to creatingavulnerableandauthenticcultureinyourclassroom.”ButIthinkitcomesdowntobeingabletomodelthat for your students. Early in my career, I remember going to conferences and coming back and trying to be different. Afteraboutadecade,IfinallystartedleaningintowhoIam-that’sthepointinmycareerwheremystudentsstarted to buy in more to me. When students see someone being authentic on the podium, they can pick up on it. That doesn’t necessarily mean wearing your heart on your sleeve, though that can be part of it. I think everything gets builtoutfromthatpoint,becausestudentsneedtofeelsafeandcomfortableforlearningtotakeplace.
IthinkitwasBreneBrownthatsaid“comparisonisthethiefofjoy.”Ithinkwe’reallkindofwiredthatwayaswe’ve evolved…but if you allow it to debilitate yourself as a conductor, that’s where you really get into trouble. The comparisonitself,ifyoucancompartmentalizeit,andmaybelearnandbeinspiredbyit,Idon’tthinkthat’satotally badthing.ButwhenIlookbackatmycareer,Ithinkmyfirst10,11,12yearsIletmyselfbenegativelyinfluencedby that.
Even as a public school teacher, I viewed music-making as the path to building that connection, though I know somepeoplearesogreatatdoingthoseteam-buildingexercises.Wedothisthingtogether,weworkhardonthis thing together, and there's this underlying comfortability and culture and bond that starts to happen. I think the ultimatethingistime
Taking time when you need it; sometimes it’s more valuable not to sing and just to be together I’ve never been afraidtodothat-whocaresiftheperformanceisaweekaway?Ifsomethinghardhappens,thechoirroomisasafe placetoexpresstheirfeelings,andotherteachers(intheschool)oftendon’ttakethetimetodothat.
ArvadaWestisa “regularschool”withawideSESrange Inanygivenyear,outof250-300peopleintheprogram, there would be maybe three kids that took private lessons. My master’s degree is in vocal performance; I think approachingitasavoiceclassandjustfocusingonhealthytoneproductionisvaluableforadevelopingsinger.
Arvada West’s auditorium is beautiful and not a super great place to sing, so we would usually find a church in downtownDenverthathadabetteracousticandhavesomeonecomeandrecord.StudentsLOVEDtheexperience ofsinginginadifferentacoustic,andeventhoughIthoughtofitasanotherthingtogetdone,itwasatreatfor themtogetintothatsortofspaceandsing.
AnotherthingI’lladd:don’tfeellikeyouneedtohavesomethingsuperdifficult.Chooserepertoirethatyouknow your kids will be successful at I remember sitting on a CMEA committee listening to audition recordings, and I listenedtoarecordingofaFrenchpieceinunison,andIthinkitwasprobablymyfavoritethingIheardofallthe choirsIlistenedto.Somethingthat’salittlemoresimpleandisdoneartisticallyandwell-thatcangoalongway.
Asacomposer,especiallyatthebeginning,oneoftheimportantaspectsofsuccesswillbeself-promotion. Thisisalsotrueforotherthings,likefindingadditionalopportunitiessuchasconductinghonorchoirsor obtaining a competitive position. What have you done, and what have you learned from those experiences?
Istartedcomposingduringthepandemic;Ididn’tintendforanyonetosingmyworks-itwasanartisticoutletand somethingIcouldstilldo.IgotthefeedbackthatIshouldshareitwithmorepeople,soIstartedsharinglittleclips ofthingsonsocialmediaandcreatedawebsite.It’saninterestingthing,self-promotion-mostpeoplewhodirect choirs operate in an educational space, and I think there’s a certain service element to what we do. If there’s any self-promotion that gets entangled with that, it might not sit well with other people; that’s been a tricky thing to negotiate.Butontheotherhand,ifyoudon’tdoit,nobody’sgoingtoknow.
Same thing with guest conducting - you don’t get an opportunity to do that if people don’t know your work. If you ’rejustinyourclassroomdoinggreatthings,itprobablywon’tgetnoticed.Evenifit’syourbeginningensemble andthey’velearnedtomatchpitchforthefirsttime,Ithinkweshouldembracesharingandupliftingothers'good workinourfield.Sooften,we’retheonlyonesinourbuildingdoingit,andwehaveanopportunityinthismediadrivenworktosharethegoodnessthatwe’realldoing.
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ChrisMaunuisaconductor,educator,andcomposer based in Portland, Oregon. He is the Artistic Director of theacclaimedPacificYouthChoir,AffiliateFacultyatthePortlandStateUniversitySchoolofMusic,andArtistic DirectoroftheprofessionalensembleChoroinSchola.Chrisspent17yearsastheDirectorofChoirsatArvada WestHighSchoolinColorado,leavingalegacyofexpandingtheboundariesofwhatyoungsingerscanachieve.
A four-time GRAMMY® Music Educator of the Year Finalist and a two-time recipient of the CMA® FoundationNationalMusicTeacherofExcellenceAward,Chrisisapassionateadvocateformusiceducation. Choirs under his direction have received national and international recognition, performing at over a dozen conferences, including National and Regional ACDA events. His ensembles have earned the American Prize in ChoralPerformance,theGoldDiplomaattheRiminiInternationalChoralCompetition,andmuchmore.
To contact Chris, or learn more about him and his compositions, you can visit his website: https://www.chrismaunu.com/bio
AstheDirectorofChoralStudiesatFriendsUniversity,oneofmycoreresponsibilitiesis toensurethatourchoralprogramnotonlymeetshighmusicalstandardsbutalsofosters anenvironmentofdeepengagementandenthusiasmamongoursingers.Therepertoire weselectplaysacrucialroleinthisendeavor Repertoireisnotmerelyalistofpiecesto beperformed;itisastrategictoolthatcancaptivate,inspire,andeducateourstudents In this article, I will explore how thoughtfully chosen repertoire can significantly enhance student engagement, foster artistic growth, and build a cohesive choral community.
The relationship between choral repertoire and student engagement is profound and multifaceted. Effective repertoire selection goes beyond musical difficulty or aesthetic value; it involves considering how each piece canserveasacatalystforstudentinvolvement,growth,andconnection.Studentsengagewithlearningthrough various modalities, and music can be a powerful tool for emotional, cognitive, and social development By strategicallyselectingrepertoire,choraldirectorscanalignmusicalchallengeswitheducationalgoals,cultivate adeeperconnectiontothemusic,andenhancetheoverallchoralexperience
AligningRepertoirewithEnsembleGoals
One of the primary considerations in repertoire selection is finding a balance between musical challenge and accessibility. Music that is too complex can lead to frustration, while pieces that are too simple may not fully engage students. Effective learning occurs when students are presented with challenges that are just beyond their current level of competence but still achievable with effort. By selecting pieces that offer appropriate challenges, you ensure that students remain motivated and engaged For example, a well-chosen piece with intricate rhythms or rich harmonies can push students to develop their skills without overwhelming them Exposuretovariousmusicalgenresandstylesisessentialformaintainingstudentinterestandbroadeningtheir musical horizons By including works from different historical periods, cultures, and genres, you can keep rehearsalsdynamicandstimulating.Forinstance,incorporatingcontemporarycompositionsalongsideclassical works allows students to explore a range of musical expressions and techniques, fostering a richer and more variedchoralexperience.
Aligning repertoire with educational objectives ensures that the music selected supports the broader goals of the choral program. For example, if the objective is to improve sight-reading skills, selecting pieces with complexrhythmicpatternsorchallengingkeychangescanbebeneficial.Similarly,ifthefocusisonhistorical understanding, repertoire from different musical eras or cultural contexts can provide valuable learning opportunities Thisalignmentensuresthatrepertoireservesnotonlyasartisticexpressionbutalsoasatoolfor educationaladvancement
CreatingEmotionalandIntellectualConnections
ChoosingRepertoirewithRelevantThemesandMessages
Music that resonates emotionally with students can significantly enhance engagement. Selecting repertoire with themes that reflect students; experiences or address social issues can create a deeper connection to the music.Forinstance,apiecethatexploresthemesofresilienceandhopecaninspirestudentsandfosterasense ofsharedpurpose.Askyourstudentstosharehowtheyconnecttoagivenpieceandwhatthemesstandoutto them.
InvolvingStudentsinRepertoireSelection
Involvingstudentsintherepertoireselectionprocesscanincreasetheirinvestmentandenthusiasm Allowyour students to suggest pieces they are interested in performing. I have students complete digital forms or create Spotify or YouTube playlists to send to me. (This is also a great way to get exposed to repertoire. We should alwaysbeprogramming!)Whenstudentshavearoleinchoosingthemusic,theyaremorelikelytofeelasense ofownershipandcommitment.
Post-performance reflection and feedback sessions are essential for ongoing engagement. Discussing what workedwell,whatcouldbeimproved,andhowtherepertoireimpactedtheirexperiencehelpsstudentsprocess theirperformancesandunderstandtheirgrowth Reflectivepracticesensurethatstudentsremainengagedand motivated by providing opportunities to learn from their experiences Flexibility in repertoire selection is vital to maintain engagement as well If certain pieces or styles are not resonating with your choir, be willing to adjust. Staying responsive to students’ needs and interests ensures the repertoire remains relevant and engaging.OneofthewaysIpracticethisisbyconsideringtheresponsesfrommystudents.WhenIhearthem say,“Dr.Moore,Ilovethispiece!”or“Doc,canyoubringbackthepiecewedidtwoyearsago?”Imakeamental note,andItrytofindsimilarpieces.
ExploringHistoricalandCulturalContext
Providing students with the historical and cultural context of the repertoire can enhance their understanding and appreciation Contextual knowledge helps students connect more deeply with the music Offering backgroundinformationaboutthecomposer,theera,andthepiececanenrichstudents’engagementandfoster amorenuancedinterpretation Thisapproachnotonlydeepenstheirmusicalknowledgebutalsoconnectsthem morepersonallytotherepertoire.
UsingRepertoiretoDevelopMusicalSkills
EnhancingTechnicalSkillsThroughRepertoire
Repertoire can be strategically selected to address specific musical skills. For example, a piece that features challenging vocal techniques or complex rhythms can help develop aspects of vocal performance. These targeted musical challenges can significantly improve technical skills and overall performance quality. By choosing repertoire that aligns with skill development goals, you ensure that rehearsals are engaging and educational
EncouragingExpressivePerformance
Repertoire that demands a wide range of emotions and dynamics encourages expressive performance. Music that requires nuanced interpretation helps students develop their emotional and expressive capabilities. Choosingpiecesthatexploredifferentemotionallandscapescanemboldenstudentstodelveintotheexpressive aspectsoftheirperformance,leadingtoamoreengagingandimpactfulexperience.
IncorporatingCollaborativeOpportunities
Incorporating collaborative elements into the repertoire can enhance engagement by fostering teamwork and interpersonalconnections Collaborativemusic-making,suchasduetsorsmallgroupperformances,encourages studentstoworkcloselywiththeirpeersandbuildasenseofcamaraderie Byselectingrepertoirethatincludes opportunitiesforcollaboration,youcreateamoredynamicandinterconnectedchoralexperience.
IntegratingRepertoirewithPerformanceandOutreach
DesigningMeaningfulConcertPrograms
Designing concert programs that tell a cohesive story or explore a specific theme can enhance student engagement Awell-structuredprogramprovidesasenseofpurposeanddirection,makingtheperformance experience more meaningful for both singers and audiences For example, a concert focused on themes of peaceandreconciliationcanprovideapowerfulcontextfortherepertoireanddeepenstudents’connection totheirperformance.
EngagingwiththeCommunity
Community engagement through outreach performances can give students a sense of purpose and relevance. Performing in local schools, community centers, or at public events allows students to connect with their audience and see the impact of their music on the community. This external engagement reinforcesthevalueoftheirworkandenhancestheiroverallsenseofpurposeandmotivation
AdaptingandEvolvingRepertoireStrategies
MonitoringandAssessingEngagement
Regularly assessing how repertoire choices impact student engagement is crucial for continuous improvement. This can be done through informal observations, surveys, and performance evaluations. Understandinghowdifferentpiecesaffectstudents’motivationandinvolvementallowsformoreinformed repertoiredecisions.
ContinuingProfessionalDevelopment
Ongoing professional development is vital for staying current with new repertoire and trends in choral music Attending workshops, listening to new recordings, and networking with other choral directors can providevaluableinsightsandfreshideasforrepertoireselection.Bycontinuouslyupdatingyourknowledge, youcankeepyourchoralprogramvibrantandengaging.
The strategic use of repertoire is a powerful means of engaging singers in a choral setting. By carefully selecting music that balances challenge with accessibility, celebrates diversity, and connects emotionally and intellectually, choral directors can create a dynamic and inspiring environment. Repertoire not only shapestheartisticqualityofperformancesbutalsoplaysacriticalroleintheoverallexperienceofsingers. Through thoughtful repertoire choices, we can build a vibrant choral community where every voice is valued, and every student is fully engaged If I can be of any help to you, my dear colleagues, please reach out!Whetheryouarewonderingwheretobegin,orifyouwanttofleshoutanidea,itismydesiretobeof serviceasweallworktogethertobetterourprogrammingforourstudentsandaudiences.
eStateoftheState
Colorado JaniceVlasco
ThispastyearIread The Art of Gathering byPriyaParker.Itgotmethinkingaboutconferences:Whydo wego?Sure,wewanttobeinspiredbytheheadliner,wewantnewmusictotakeintothecomingseason, ANDwewanttoseepeopleweknowandlove
Yet, how many of us have gone to a party where we walk in the door and desperately look for someone thatweknow,orsetatimeforhowlongwewillendurethegatheringuntilwecanescapeoutthedoor? Or, we go to a gathering and we spend the time in surface conversation-- “What do you do?”, or, “Where areyoufrom?”--andbythetimeweleave,weareexhaustedyetnotatallfulfilled?Howmanyofusfeel exactlylikethisaboutconferences?
Whenwewereplanningourmostrecentconference,theboardkeptaskingourselves,howcanwemake this gathering meaningful? How can we create a community where people feel connected on a deeper level?Oneoftheboardmemberssaid,“I’vealwayslovedaninspiringheadliner,butwhentheconference isover,IamnotgoingtocalltheheadlinerwhenIamstruggling,Iamgoingtocallmycolleagues”
I truly believe one of the ways to solve this issue is to build a community where people feel seen and supported.Howdoyoudesignaconferencetobuildcommunitywhilealsofocusingonthenutsandbolts peopledesire?EspeciallywhenmanystatesarestrugglingtorebuildafterCovid,howcanwenurtureand supportourcommunitythroughourconference,andbeyond?
I think we can start with larger adjustments Due to unforeseen circumstances, we lost one of our headliners for our summer conference. We still had John Stafford (more on his magic later) and a 90member middle school choir directed by one of our own, Abby Martinez. But, we were down one headliner. We decided that instead of trying to find someone else, we wanted to highlight the amazing educatorsinourstate.Weopenedupapplicationsforsessions,andwehadsomuchparticipationthatwe hadaveryfullevent,despitethelossofaheadliner
And we can address this in the small details, too. Our sessions were enriched through some thoughtful changes. Instead of our presenters being single people, almost all the presenters were teams of people working together. In addition, all of the presentations were interactive, and the set-up of the rooms encouragedpeopletonotjustsitinthesameplaces.Oursocialcoordinatorshaddesignatedlunchplaces whereboardmemberswenttomakesurethatnooneatealone(unlesstheywantedto)
Kevin Padworski, our composition R and R Chair, hosted two sessions featuring the music of Colorado composers Thereadingsessionsinvolvedmultipleleadersandagain,therewasfocusoninteraction,not justplowingthroughpieces.Wehadlongerbreakssothatpeoplehadtimetoconnect,andtheboarddid an excellent job at making sure they made people feel welcome. We asked the silly questions: What albumwouldyoutakeifyouwereonadesertedisland,andwhy?Andtheseriousquestions:Howmany ofyoustrugglewithimpostersyndrome,andwhy?
Weneedtoacknowledgeotherchallengesaboutattendingourconference ThecostoflivinginColorado is quite expensive, so we worked on trying to make the conference affordable. We need to make it possible for our younger teachers to attend without it feeling like financial stress: ACDA is too valuable, and our younger teachers aren’t getting involved as much, and many of them have told me it is due to cost, both at the state and National Level. I believe that if our members believe they are part of a real community, versus showing up just to hear people speak and listen to choirs, they will find a way to budgetmembershipandattendancecosts
So, were we successful this time? I think we were. There will always be room for improvement, but the feedbackthatwereceivedwasincrediblypositive.Peopledidfeelconnected,trulypartofsomething,not justanumber.Ibelievethatisawin.
We as a board will continue to find ways to enrich our conference experiences With your help, we will grow and deepen our community connections, strengthening not just our membership, but our value to ourstudents.
ACDA: What’sMyWhy?
SharonWilkins,Missouri
IwasfirstintroducedtoACDAin1973 SamGordanandRoseMaryOwenswerethe firstearlymembersinthisareaofSouthwestMissouri,andtheyinvitedmetojoin As a new member, I quickly realized the tremendous professional benefits of this specialized organization I was very excited to invite other choral directors also to joinACDA!
In 1974, MCDA sponsored the first All-State Choir. I had been instrumental in requiringauditionsfortheAll-DistrictChoir,soIthoughtthatthoseauditionswere also the perfect time to audition for the All-State Choir. (That is still the procedure now)IsecuredaclassroominEllisHallatthenSouthwestMissouriStatetodisplay ACDAmaterialsforperusalbytheteachersinthe“Teachers'breakroom.”
Inmusiceducation,wehavelongembracedthebeliefthatsuccesshingessolelyontalentandhardwork.According to this view, if a student is talented and diligent, they will inevitably achieve success whether by joining an AllStateensemble,securingacollegescholarship,orpursuingadistinguishedperformingcareer.Thisframework,which has produced many remarkable musicians from diverse backgrounds, seems to be the ultimate formula for success However, this perspective has always overlooked a crucial element: luck Factors such as geographic location, financial resources, race, gender, and access to quality instruction significantly determine outcomes While raising awareness of these disparities has gained traction in recent years, I believe we need to address an essential aspect thatisoftenneglected.
As the host of our profession’s most prominent discussion platform, I frequently review various opinions on music education,rangingfromsocialmediatoacademicresearch.Thecritiqueofthe“meritocracymyth”isprevalent,butI worrythatwemightlosesightoftheissue.
We must acknowledge two key truths: 1) No perfect meritocratic system exists, and 2) Merit itself, and how to measure it, is not the problem. Many argue that because not everyone has equal access to rigorous music education, we should evaluate students based on different criteria Indeed, we lack a universal standard for what constitutesa“great”musician,anddifferingopinionsonthiscanbebeneficial.
Recently, as an example, there have been significant movements to remove or deemphasize music reading assessments from All-State ensembles, college admissions processes, and even from evaluations of pre-service teachers. Despite the challenges of achieving a pure meritocracy, the concept of merit remains crucial. Merit drives thepursuitofexcellenceandisabenchmarkforevaluatingskillsandaccomplishments.Ithelpsidentifyandnurture talent,motivatingstudentstoreachhigherlevelsofachievementandmaintaininghighstandardswithinourvarious artforms
Isabalancebetweenmeritandequitypossible?
To create a more inclusive music education system, we must reconcile merit with principles of equity. This means recognizing and addressing the barriers that hinder full participation. Initiatives such as providing high-quality music education to underprivileged communities, offering scholarships, and developing mentorship programs are essentialforlevelingtheplayingfield.Sucheffortsensurethatmeritreflectstalentandeffortratherthanexternal circumstances.But,thisdoesnotseemtobethepopularapproach.Instead,weseemtonoticedisparityatthehighest levelsofourfieldandconcludethatthisisalsothelocusofthesolution.Idisagree.
This approach, which I call “Trickle Down Social Justice,” attempts to level the playing field only where it is easily visible For most choir directors, this occurs at the top of the hierarchy but fails to address the root causes of inequity The argument for lowering educational standards often comes from a well-intentioned place: that not everyone has had an equal opportunity to learn, so it is unfair to restrict opportunities based on factors beyond a student’scontrol.Instead,itismoreeffectivetoensurethatfoundationalqualityremainsaconstantstandardwhile workingtoaddresstheunderlyingbarriersthatpreventstudentsfromaccessingtheseopportunities.
Maintaining a consistent standard of quality however defined is crucial. This approach allows us to gauge the effectiveness of our profession. If we observe that students' skills have declined or that certain communities are underrepresented, we gain valuable insights into where our efforts should be focused. Simply lowering standards doesnotprovideuswiththiscriticalfeedback Infact,itactivelyhidesthemostimportantinformation:whetheror notwhatwearedoingisworking.
WhilethedreamofapuremeritocracyinmusiceducationmaybeUtopian,theideaofmerititselfisindispensable It isthroughabalancedapproachthatrecognizesbothmeritandtheneedforconstantworkatthe“groundlevel,”that wecanensurethesurvivalandflourishingofthemusiceducationpipeline.Letuscontinuetostriveforexcellence, whilealsoworkingtodismantlethebarriersthathindertruemeritfrombeingrecognizedandrewarded.
FunFactsaboutAlbuquerque
Albuquerque has an excellent system of hospitals, including The Heart Hospital, Carrie Tingley Children’s Hospital, The Albuquerque Regional Medical Center, Lovelace Hospital, Presbyterian Hospital, The Regional VeteransHospital,andTheUNMHospital/MedicalCenter.
Albuquerque utilizes water conservation practices to preserve the city’s undergroundaquiferwatersupply.
The largest lake in the state, Elephant Butte, is 150 miles south of Albuquerque.Ithasmorethan240milesofshorelineandprovidesboating, water skiing, marinas, fishing and other water sports to Albuquerque residents.
Kirtland Air Force Base and Sandia National Laboratories are located on theSEsideoftown.Kirtlandisthe6thlargestAirForceBaseintheUSand Sandia Laboratories is famous for extensive research and development projects.
The UNM Lobos athletic teams have been consistent leaders in college sportsanddrawalargefollowingtotheircompetitionsintheUniversity’s welldesignedfacilities.
