It’shardtobelievethatinjustafewshortdayswewillgatherinAlbuquerqueforthe2026Southwestern Region Conference of the American Choral Directors Association After months (really years) of planning, dreaming,programming,andprayingoverdetails,it’salmosttime
There’s something special about the moment just before a conference begins The emails slow down (slightly),theprogramsare printed,theflightsarebooked,andwestarttofeelthatmixofanticipationand gratitude. I am deeply thankful for those of you who are able to attend.Your investment of time, energy, andresourcesspeaksvolumesaboutyourcommitmenttoyourstudents,yoursingers,andtothechoralart inourregion.
I’m also keenly aware that not everyone who loves SWACDA can be with us in Albuquerque this year. Schedules, budgets, family needs, and the daily demands of our work sometimes make it impossible. If that’syou,pleaseknowthis:youmatterjustasmuchtothisorganizationasthosewhowillwalkthrough theconferencedoors.
Fromthebeginningofmytermaspresident,oneofmydeepesthopeshasbeentohelpSWACDAfeelmore connected and relevant all year long, not just every two years when we gather for a regional conference. That’s why we ’ ve worked intentionally by creating a bi-monthly magazine, to increase communication through Facebook and Instagram, and to share more stories of the incredible work happening across our sevenstates Myhopehasbeenthatwhetheryou’reinarehearsalhall,asanctuary,aclassroom,oryourcar betweenschools,youfeelpartofsomethinglarger;avibrant,supportivechoralcommunity
Connection doesn’t only happen in convention centers It happens when you read an article in the magazinethatsparksanewidea.IthappenswhenaFacebookpostcelebratesacolleague’shonorchoirora programthatmovedanaudience.IthappenswhenanInstagramreelremindsyouthatyou’renotalonein thedailyjoysandchallengesofthiswork.
As we head into Albuquerque, I’m excited for the music we’ll hear, the conversations in hallways, and the renewed sense of purpose that always follows time spent together. But I’m equally excited about what continues after we all return home, the sustained relationships, the shared resources, and the ongoing dialoguethatmakeSWACDAstrong.
Thankyouforbeingpartofthiscommunity.Whetheryouarejoiningusinpersonorconnectingfromafar, YOU ARE SWACDA. And my hope, now and always, is that you feel supported, inspired, and deeply connectedthroughouttheyear
Christine Guter from the University of California Long Beach is a formidable force in the vocal jazz world. Her group PST (Pacific Standard Time) and many of her honor ensembles have won DownBeat Awards, PST has been invited to sing at the National Jazz Educator’s Network Conferences, and she has been invited to conduct/clinician honors groups aroundthecountry.
Withallofthatinmind,mosteducatorssimplywanttowatchherteachandseehowshegleansamazingperformances. Philosophy speaks to actions and actions into results. Let’s hear what she has to say about behind the scenes teaching and bringing a group ' s potential to fruition, before we attend the 2026 SWACDA Jazz Honor Ensemble performance in Albuquerque(3/6Friday,KimoTheater,7:00p).
Tellusalittlebitaboutyourself.
I'mfromMichigan,Igrewupinaveryruralarea.Wehadalittlehobbyfarm,soitwasahumblebeginning. I went to a very small high school where our band director had gone to Berkeley College of Music. I was reallyluckywiththeteacherswhoinspiredmeinthisreallysmallcommunity.SoIstartedplaying.Iwas theonlypersonwhoplayedpianowellenoughtoplayinthejazzband.Ididn'tknowwhatIwasdoing,but I played. I sang in choir and got the leads in the musicals.There was not a lot of competition, but it also gavemesomereallycoolexperiencesasakid,andIdecidedIwantedtogointomusic
Teachingwasnotonmylist,honestly ButIdidn'tknowwhatexactlyIwoulddo Ijustknewitwasgoing tobemusic Istartedout,“I'mgonnabeasinger,andI'llteachtomakemoney”Butthenduringmystudent teaching I thought, “Ooh, I think I'm kind of good at this This is kind of fun, actually” And so I just kept sayingyestoopportunitiesthatwouldcomeuporcreatedopportunitiesmyself.Ijustdidn'tknowwhat“it” was.Isaidyestothingsthatpeopleaskedmetodo,andjustbyfollowingallofthosedifferentpaths,Iam now living my dream.You know, I'm singing on film sessions andTV things and backgrounds for famous people'salbums.IhavemyownjazztriothatIgigwithandIgettotraveltheworld.Ihaveafantastic,one ofthetop,jazzvoiceprogramsinthecountryatthisfull-timeuniversityjobandIgettotraveltodoclinic gigs.Thisisit,youknow,thisisgreat. ButIdidn'tknowituntilIgothere.
Whatareyourpassionsbeyondvocaljazzandmusic?
Idon'tthinkofmyselfasjustavocaljazzperson.IknowtherearealotofvocaljazzgeeksoutthereandI am certainly in that school, too.When it's done well, there is nothing more thrilling in my opinion. But I think more of myself as just a really well-rounded musician who does a lot of different styles I was in musical theater in high school I got a degree in classical voice and music education, on a classical voice scholarship IsanginarockbandwhenIwasincollegetopaymyrent Mymaster'sdegreeisinjazz I've kind of done a little bit of everything and I'm really grateful for the training I'm grateful for that because themorewellroundedyouare,themoremarketableyouare
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Outside of music, I love being in nature. Number one. Forest over the beach. Growing up I spent so much timeoutsidethatIjustlovenatureandanimals.IfIweren'tamusician,Iwouldeitherbeaparkrangeror probablyworkwithanimalsinsomeway. Ilovegardening.
IjustgotintothatduringCOVID.Ilikecooking.Ilikelearningthings.I'mthirstyforknowledgeandnonmusic things because I do that all the time. I'm super into sci fi and I love listening to NPR and hearing stories,likeontheMothRadioHour.
I want to pick charts that are around a medium to medium-advanced level, and an easy one, because we don'twantthemtoallbechallenging
I want a variety of styles, like a swing, a ballad, something Latin, something more contemporary like Pat Metheny, and maybe a closer that's more pop oriented Those are my usual go-tos, so that they get a wide range of styles and I can talk about what each one requires. I can teach concepts. Like grooves.What is a sambagroove?
Ifthey'restudents,Ihavetobemindful.SometimesIhavetochooseeasierliteraturebecauseoftheband. Are there logistical things you like to be worked out before you arrive (other than students knowing their parts)?
I think the primary goal, for any ensemble that I'm in front of, is learning. It's not the performance. It's aboutwhatyouaregoingtolearnandwhatyoucanlearn.Ihaveareallyhighlevelofexpectationbecause Ibelievethatstudentswillshoottothelevelthatyouset.Yousetthebar,andtheywillgoonlytothatbar. SoI'mnotgoingtotreatthemlike,“You'rejustcollegestudents,soyoucanonlydothis.”or,“Oh,you'rejust high school students.” There is no bar for those levels. I'm going to treat them like professionals and I'm goingtoexpectthattheywillsoundlikeprofessionals.I'mgoingtohelpthemgetthereorgetasfarasthey can.
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Iftheyaren'tdoingsomething,likeiftheyaren'tcuttingoffoncountthreeoriftheyaren'tcrescendoingin thisplaceItoldthemtocrescendo,thenit'smyfaultbecauseIletithappenoverandoveragain Ifwehave to stop and do it many times, they'll get it.They may get frustrated because they're not fond of stopping, butthey’lldoit.SoIthinkwithsettingahighlevelofexpectationIammakingsureI'mtheonewho'sthe gatekeeper.IhavetomakesurethattheyaredoingwhatI'maskingthemtodo.Ifthey'renot,it'smyfault.
I want them to experience the amazing bonding that comes through working on something as a group, having a short amount of time to do it, and then achieving the goal. There's nothing that brings people togetherlikethatexperience.
I want them to grow musically and emotionally through artistry.With an understanding that our job as musiciansistomakepeoplefeelsomething,wetalkaboutourgreaterpurpose.So,whatISthemission…to getuponstage,becool,lookcool,andgetapplauseortomakepeoplefeelsomething?IsittoGETorisitto GIVE?
If we ' re in the space of “I am wanting to give,” then we ' re all on this greater mission to heal the world. I knowthatsoundsalittle‘Kumbaya,’butyouknowwhat?
That's a fact I think people may talk about that in choral music, or other art forms or genres But for me, musicismusic Thegoalisthesame Thisvocaljazzensemblethinghappenstobemymediumfordoingit So when an audience goes to a performance and sees a group that makes them feel something, it is impactful Thenitcanbelike,“Oh,wow,Ihadnoideathatthatmusiccoulddothattome”Maybeitwould helpthemturnacorner.Also,itmaynotbeinthemessageofthesong,butthemusicitself.Itcanbelike Bobby McFerron’s The Garden, or another chart that doesn't have lyrics. That performance can still be impactfulandmakepeoplefeelsomething.And,youknow,itcanbedone.
When they first arrive is when they're most attentive and they're most focused. After we introduce ourselvestothegroup,Iwanttogetthemsingingassoonashumanlypossible.Singingthroughthesongs all the way through kind of gets them loosened up. They get a little confidence and they're feeling good about things. I’m going in knowing they have heard the music and I know ahead of time what the more difficultchartswillbe.
Ifourfirstrehearsalisintheafternoon,Iusuallydon'tevendoawarmup.Werunthrougheverysongall the way through. Boom, boom, boom, boom, boom. Now I know where they are. “Great, let's go back and rehearse” I won't start from the beginning of a chart, I will say, “Take out this really hard samba and let's startatthesolisection”
Foragroupwithashortrehearsaltime,Ihavetopickmybattlesasfaraswhatthemostimportantthings are What are my musical priorities, how far can I get with each one, and what things musically am I willing to let go? Because if I'm constantly nitpicking all the way up until the performance, they're not gonnabeconfident.Butaretheysingingwithheart?
How do you run final rehearsals with the group? Anything special before sound check that is a routine?Goalsatsoundcheck?
Confidence
Help them feel good about where they are, embracing where they are, even if it's ultimately not exactly whereIwantedthemtogetto Acknowledgingtheirgrowthandlookingatwhattheycandotodaythatis differentfromtwodaysago
Reminding them what the goal is.To uplift, inspire and heal the world… to put good into the world. If we canrememberthatmissionandweareconfidentinthesongswe'veworkedontogether,then,“Wecando this.
Directing a vocal jazz ensemble that is impactful, educational, and meaningful to both performers and audience members is so much more than just “the show.” It’s about cultivating a sound, a style, and an artisticvisionthatinspires.
It's like a nuts and bolts session. I like to play videos of some ensembles, and then talk about how to get them from point A to point B The ensemble doesn't make the repertoire, the repertoire makes the ensemble So, priorities and considerations in choosing repertoire are primo We will talk about my philosophyontheartformofjazz It'snotjustfluffmusic
Intherapidlyshiftinglandscapeofeducationaltechnology,musiceducatorsmayunderstandablyquestion whether increased digital integration serves the goals of the choral classroom. Students already spend a substantial portion of their day engaged with screens, and ensemble settings often provide a rare opportunity for focused, embodied, and collaborative artistic work. Yet technology need not stand in opposition to these values When used with intention, digital tools can support musical growth while preservingthechoralspaceasonecenteredonpresence,connection,andartistry Whileaccesstodevices, learning management systems, and district-supported platforms varies widely from school to school, the strategiesoutlinedherearedesignedtobeadaptablewithinanyexistingtechnologyframework Effective technology use in a performance-based music classroom should serve one of two purposes: molding musicianshiporsavingsanity Thisarticleoutlinespracticalstrategiesforintegratingtechnologyintoboth instructional routines and organizational systems in ways that foster student independence and musical developmentwhilealsoincreasingefficiencyinplanning,communication,andprogrammanagement.
Provide students with a consistent way to record and evaluate their own singing. To make self-recording effective, pair it with a clear listening rubric. Students need guidance on what to listen for: tone quality, vowel consistency, pitch accuracy, diction, phrasing, or rhythmic precision. Without structure, recordings becomeuncomfortableratherthaninstructive.Manystudentsinitiallyresisthearingthemselvesandmay saytheysound“bad.”Explainingthatthisreactionisrootedinperceptioncanhelp.Whilesinging,students hear their voice internally through bone conduction; when listening back, they hear it externally. The mismatchbetweenexpectationandrealityisofteninterpretedaspoorsoundratherthansimplyunfamiliar sound Normalizing this experience reduces anxiety and builds buy-in Require students to identify strengths in addition to areas for growth This reinforces accurate self-perception and builds confidence alongsidecriticallisteningskills
Recordings can also serve practical ensemble purposes.When many students audition for the same solo, preliminaryrecordedauditionsallowthedirectortonarrowthefieldbeforeliveauditions.Finalauditions should still take place in front of the ensemble.These moments build performance resilience and provide valuable opportunities to teach audience etiquette, peer support, and professionalism within the group. From an instructional standpoint, recordings offer targeted assessment. Rather than reviewing every submission, focus on students who need additional support. Listening strategically allows the director to diagnose whether challenges stem from skill gaps, practice habits, or confidence, and to respond with specificinterventions.
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Finally, when recordings are submitted through a digital platform, they become documented evidence of studentgrowth.Thisarchivecanbeusefulforparentcommunicationandformeetingsrelatedtoacademic supportplans,providingconcreteexamplesofprogressovertime.
PracticeTracks–UsedStrategically
One of a director’s primary responsibilities is removing barriers that prevent students from being successful Inmostchoralprograms,abilitylevelsvarywidely Somestudentsmaybenewtochoir,others maycomefrominstrumentalbackgrounds,andsomemayhaveyearsofchoralexperience Practicetracks can be valuable tools for supporting this range of learners, particularly for students who are motivated to preparemusicindependentlyathomeorforindividualeventssuchashonorchoirauditions
To use practice tracks effectively, consider varying the level of support. Partial tracks can be especially beneficial.Provideonlystartingpitches,dronetones,orrhythmicaccompanimentratherthanafullysung model.Anothereffectivestrategyisofferingtracksthatincludeallvoicepartsexceptthesinger’sown.This requires students to maintain their line independently while listening across the ensemble texture, strengthening both audiation and active listening skills. When used strategically, practice tracks help students take ownership of their learning while reinforcing, rather than replacing, the musical skills developedinrehearsal
VisualFeedbackforTechnique
Visual feedback accelerates learning and is especially helpful for students who process information best through visual cues. For singers who struggle with pitch matching, real-time pitch analysis tools provide immediate, objective feedback. Seeing whether a pitch is accurate, sharp, or flat helps students connect physical sensation with sound, making adjustments more concrete. These tools also support ensemble instruction.Visual displays can demonstrate differences in vibrato width and control, reinforcing that the goal is not eliminating vibrato but learning to adjust it to suit stylistic needs. Developing this flexibility leadstomoreexpressive,stylisticallyappropriatesinging.
Videomodelingisanothereffectivestrategy.Playingrecordingsofstrongensemblesorskilledsoloistscan reinforce sound concepts and performance standards. Short, targeted clips can clarify specific techniques, whileanatomicalvideos,includingMRIfootageofsingers,helpstudentsunderstandhowthetongue,soft palate, and resonating spaces shape tone. Pairing these visuals with simple physical gestures can strengthenkinestheticunderstanding.
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Live visual feedback can further increase ensemble awareness. Occasionally projecting a camera view of thechoirallowsstudentstoseeposture,alignment,andfacialengagementfromtheaudienceperspective, oftenresultinginimmediateimprovementinphysicalpresenceandexpression
Consistent,positivecommunicationwithfamiliesisimportantbutoftendifficulttomaintain Automation canmakethisprocessfasterandmoresustainable.UsingGoogleFormswiththeFormPublisheradd-onis one efficient approach. A short form with prompts about a student’s effort or progress can be completed quickly, and Form Publisher automatically transfers responses into a template, generates a polished PDF, and emails it to families. This removes formatting barriers and makes regular positive feedback far more manageable.Thesamesystemcanalsobeadaptedfornewslettersorprogramupdates.
For large-group communication, text-based platforms such as Remind101 often reach families more effectivelythanemailandallowscheduledreminders.Asalways,confirmthatanytoolalignswithdistrict policiesregardingstudentdataandcommunication.
RehearsalPlanningEfficiency
Developing strong templates paired with simple, unformatted data can significantly streamline daily rehearsal planning One effective approach is linking Google Sheets directly to Google Slides, allowing lessonplancontenttopopulateapresentationautomatically
Regardless of the platform used, incorporating visible timers into rehearsal displays can improve pacing andstudentfocus.Timingactivitiessuchassolfègework,independentpracticeonchallengingpassages,or section-basedtaskscreatesclearexpectations,increasesengagement,andhelpskeeprehearsalsontrack.
It is also helpful to include a random student name selector within the rehearsal setup. Randomized selection supports individualized assessment, encourages consistent preparation, and maintains student attention.Manylearningmanagementsystemsnowofferbuilt-intoolsforthispurpose.GoogleClassroom, in particular, has introduced several helpful updates over the past year, including a random student selector Ifyouhaven’tdonesoalready,explorethesenewfeatures,astheycanmeaningfullysupportboth instructionandefficiency
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Assessment&GradingTools
As discussed earlier, shifting assessments to digital formats can significantly reduce workload over time. One of the lasting instructional benefits of the COVID-19 pandemic has been the rapid development and expansion of learning management systems. Most schools and districts now operate within some form of LMS,creatingconsistentinfrastructurefordigitalsubmission,feedback,anddatacollection
Formusicliteracyassessment,providingstudentswithindividualaccountsonSight-ReadingFactoryisan effectiveoption Whenpurchasedinbulk,accountsarerelativelyinexpensive($3peraccount)andprovide access for an entire school year With the addition of automatic grading, standards-based assessment of sight-singingandear-trainingfundamentalscanbeimplementedefficientlyandconsistently.
For vocal performance assessments, recording verbal feedback is often more efficient than typing comments. Live audio feedback allows for clearer, more specific responses while significantly reducing gradingtime.Studentsalsobenefitfromhearingtone,emphasis,andmusicallanguagethatcanbedifficult toconveyinwriting.
Designing a simple, well-aligned digital rubric for vocal assessments further streamlines the process. Keeping this rubric digitized and easily accessible across devices allows for quick, consistent feedback duringrehearsals,sectionals,orindependentassessments.
Comprehensive organizational systems can significantly reduce stress throughout the year I have found CutTime to be an effective tool for inventory, music library, and financial management, and its built-in fundraisingfeaturesmakeitaworthwhileinvestmentformanyprograms Thatsaid,similaroutcomescan beachievedonasmallerscaleusingwell-designedspreadsheets
Eachyear,studentscompleteadetailedinformationformthatfeedsintowhatIrefertoasa“MasterList”. This includes basic information such as name and birthday, as well as logistical details like lunch period and participation in other ensembles. While some of this information may not seem immediately necessary, experience has shown that needs often arise unexpectedly. The Master List has evolved significantlyovertimeasnewchallengeshaverevealedwhichdataaremostuseful.Forexample,knowing students’ lunch schedules became essential when coordinating meals for competitions, and identifying students who also participate in band helps anticipate conflicts during audition or performance dates. Collectingthisinformationproactivelysavestimeandpreventslast-minutescrambling.
WhileCutTimemanagesmymusiclibraryanduniforminventory,addingdedicatedtabsorsheetswithina Master List spreadsheet can serve the same purpose. Centralizing this information allows for quick referenceandeasierupdates
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Toreducetheburdenofverifyingrostersandregistrationlists,considershiftingresponsibilitytostudents Posting a list in your learning management system and requiring students to confirm whether their informationiscorrect,ortoemailcorrectionsifitisnot,increasesaccountabilityandminimizesfollow-up work. When cross-referencing lists is necessary, accessibility tools such as text-to-speech can be surprisinglyeffective.Havingonelistreadaloudwhilevisuallycheckinganotherhelpscatchdiscrepancies quicklyandreducesmentalfatigue.
Article3sitsdownwithKevinPalu,oneofthemindsbehindezComp,asystemthatgrewoutoftwovery familiarheadaches,slowhandcheckedmathandendlesslyretypingthesameinformationforeverysingle event.What began as PaluTabulations, a set of spreadsheets that simply did the math, has grown into a full platform that connects to Showchoir.com, supports multiple scoring approaches like Ordinal Consensus, Condorcet, Sum of Ranks, and Raw Points, and helps hosts manage schedules, volunteers, student jobs, critiques, and reports in one place.We will look at how ezComp tackles offline judging, auto transcribed audio, tie breaks, and real world problem solving on contest day, and how Kevin thinks about lettingeducationalgoalsdrivethechoiceofscoringmodelratherthantheotherwayaround.
A ezCompgrewoutoftworealheadaches:slow,hand-checkedmathandtheconstantretypingofthesame info for every event It started as Palu Tabulations, simple spreadsheet tools that did the math, then summary sheets for directors, then support for multiple scoring methods based on a host’s educational goals.Inparallel,wesawthatdirectorsandjudgeskeptresubmittingthesamedetailstoeverycompetition. Since Showchoir.com already held much of that history, ezComp formed to cut the repetition. The two streams merged into one platform that handles scoring, scheduling, volunteers, student jobs, and more, all inoneplace.
Arrow’stheoremremindsusnosystemisperfect,soweleantowardOrdinalConsensusbecauseitreflects panel agreement Ties are broken by honoring judge rankings first, then, only if needed, looking at raw points.Thegoalistofindthegroupmostofthepanelplacedhigher,nottheoneboostedbyasinglelarge number.
Judgescantypenotesorrecordaudio,andhostsdecidewhendirectorsseethem,rightafteraperformance orafterawards Audioisauto-transcribedwithclickabletimestampsthatjumptotheexactmomentinthe recording Directors can stream or download from the portal once released Recording is flexible, use a phone, a laptop mic, or a USB mic, and for best clarity we recommend a directional microphone, although anymicwillwork
Everythinglivesinoneplatform,schedules,judgeassignments,volunteers,quickeditswhenthingschange, and post-event reports. Support runs through our portal, and when needed we jump on calls or texts. On show day, a founder is on standby in the portal, by phone, by text, or in the event chat.Tools are built so hostscanmakechangesthemselves,withhelpclosebyiftheywantit.
Oncethejudgescreenloads,itworksofflineatfullcapacity.Iftheconnectiondropsmid-recordingorwhile entering scores, nothing is lost. Data stays on the device and syncs as soon as the internet returns. Recordings can be downloaded to the device even while offline.We encourage dedicatedWi-Fi for judges, andwehavesafetynetsinplaceforthemomentswhenitmisbehaves.
Talking with Kevin, it becomes clear that ezComp did not drop out of the sky as a fully formed piece of software,itgrewoutofrealSaturdayproblemsthateverydirectorandtabroomveteranrecognizes From pullinghistoricaldatastraightfromShowchoircom,tobuildingschedulesandstudentjoblists,tohandling different scoring models without forcing everyone into a single template, ezComp reflects years of tweakingthesamespreadsheetsuntiltheyfinallyneededasturdierhome Theresultisasystemthatfeels lesslikeamysteriousprogramandmorelikeaveryorganizedcontesthostwhonevergetstiredandnever losesatabulationsheetbehindthetrophies.
AsweclosethischapterwithKevin,wenowhavetwoverydifferentbutequallyintentionalapproacheson the table, Carmen Forte and ezComp, each built by people who live inside this activity and care deeply aboutitseducationalimpact.StaytunedforthefinalinstallmentclosingoutthisShowChoirScoring Spotlight!
InMemoriam
KathyJoPhillips,ofRepublic,MO,passedawaypeacefullywithherlovingfamilybyherside,onFebruary 13, 2026, at the age of 76 She was born in Lubbock, TX, on July 09, 1949, to Robert and Elizabeth “Katherine”(Brewer)Grantham KathygraduatedfromAurora(MO)HighSchool,withtheclassof1967 ShegraduatedfromSouthwestBaptistUniversity,receivingabachelor’sdegreeinmusiceducation,and graduated from Southwest Missouri State University (MSU), receiving her master’s in music education. KathybeganworkingfortheRepublicR-1Schoold DistrictinAugust1971,andinDecemberofthatsameyear,shemarriedRaymondPhillips.Thisunionwas blessedwithtwosons,NicholasandChristopher.Kathywasanamazingmusician,mentor,educator,friend, wifeandmother
Kathydidnotjustteach,sheinstilledaloveofmusicintodecadesofchildren,openingupherhomefor childrentolearn,topractice,andtofindaplaceofloveandacceptance.Kathyworkedforatotalof54years with Republic R-1 School District, with her students consistently receiving superior ratings at music festivals.Theyalsomade threeappearances atCarnegieHall.Manyformerstudentshavefollowedinher footsteps,becomingmusiceducators Her legacycontinueson
ShewasanactivememberofPhiDeltaKappa,NAfME/MMEA,ACDA/MCDA.ShewasselectedasMCDA “South Central District Director of theYear” in 2002. She served in multiple terms for both SCMMEA PresidentandSCMMEAVocalVice-President.Forseventeenyears,Kathywasthedistrictfestivalmanager for MSHSAA district and had served as a MSHSAA rules interpreter for nineteen Kathy served The SpringfieldBoys’ChoirasSecretaryoftheBoardofDirectors,administratingtheirChoralFestivalforeight yearsandservedatermasPresidentoftheBoard.Kathyhasjudgedandservedasaclinicianformany clinicsandMSHSAASolo/SmallEnsembleandLargeEnsemblefestivalsandhaspresentedworkshopson sight-readingattwoMCDAconventions.
In 2009, Kathy was named the MO recipient of the National Federation of Activities Association’s Award,“TeacheroftheYear” KathysatonacommitteetoestablishnewguidelinesfortheMSHSAA Festival sight reading She was inducted into the MMEA Hall of Fame, and in July of 2017, she was presented with the prestigious MCDA Luther T. Spayde award, for her long-standing commitment to choralmusiceducationinMO.ShewasactiveinKiwanisanddidmuchoftheplanning,organizingand judgingofthebands,floatsandotherparticipantsintheRepublicChristmasParade,evenservingasGrand Marshallformanyofthoseyears.
