Being home and reflecting on our SWACDA conference in Albuquerque, my heart is full of gratitude. Conferences like this don’t simply happen on their own, they are created by the energy, generosity, and passionofsomanypeoplewhobelievedeeplyinthepowerofchoralmusicandcommunity.
Ialsowanttoexpressspecialthankstothedirectorswhobroughtsingerstoparticipateinthehonorchoirs. Thepreparation,encouragement,andcountlessrehearsalsthathappenlongbeforestudentseverarriveata conference are a true gift to those singers and to our profession.Your commitment opens doors for young musicianstoexperiencemusic-makingatitsverybest,andtheresultsareinspiringforallofuswhogetto hearthem
Totheconductorsandchoirswhosharedperformancesduringtheconference,thankyouforofferingyour artistryandvulnerability Preparingaperformancetakesmonthsofdedication,andchoosingtosharethat work with colleagues requires both courage and generosity.Your music reminds us why we do this work and renews our own passion for choral singing. A heartfelt thank you also goes to the presenters who shared sessions throughout the conference. By offering your ideas, research, and practical wisdom, you ’ ve helpedallofusgrow.Oneofthemostspecialthingsaboutourprofessionishowwillinglywesharewith oneanother,andyourcontributionshelpstrengthenourentirechoralcommunity.
Finally, I want to express deep appreciation for the entire team that worked tirelessly to make this conference possible. From planning committees to volunteers, from coordinators to behind-the-scenes problem solvers, so many hours of thoughtful preparation went into creating this experience for all of us. Yourdedicationdoesnotgounnoticed,andSWACDAisstrongerbecauseofyourefforts.
Gatherings like this remind us that we are part of something bigger than our individual classrooms and rehearsalhalls Thankyouforbeingpartofthiscommunity,forsharingyourmusic,andforcontinuingthe workofliftingvoicestogether
WithGrattitude,
JonathanD.Owen, SWACDAPresident
Past President’s Corner
SallySchott
Houston2002
Sally Schott, who taught choral music for 39 years, is a university supervisor of student teachers, publisher of music education materials, and consultant Schott is also a TMEA Past StateVocal Chair and Past-President Article reprinted with permission of the author
Mygrandmotherstaughtinone-roomschoolhousesintheearly1900s,andmymothertaughtatotalof44 years, so teaching is in my blood. Like them, I have witnessed huge changes in society and advances in technology dur ing my lifetime. Despite this, I feel an equal kinship with those teachers of the past and with the student teachers I supervise today. There is a wonderful continuity to good teaching that transcendstime,andplace,andsubjectmatter.
Expandingthediscussionofwhatconstitutesgoodteachingtoonethatdefinestheessentialcomponents of an ideal choral program is an interesting challenge.What key elements apply to all performance-based classes? What do students remember long after they have left their music classroom? What did they experience that had a lasting impact? With this in mind, I posted a request on our choir alum Facebook pagethedayIwasinvitedtosubmitthisarticle.Within24hours,theseanswersto“Whatarethehallmarks ofanidealchoralprogram?”wereposted:
One which aggressively pursues a wide variety of challenging music across genres, cultures, and time frames. Thereisemphasisonattentiontodetailandhighartisticstandardsthatstillmakeitapproachableandfunfor allparticipants. CraigStephens,Classof’84
One which doesn’t take itself too seriously! There is passionate pursuit of excellence in bothlife and music. RobinAnderson,Classof’97
Itstartswiththedirector the“CommanderinChief.”Iaminspiredwhensingingforchoraldirectorswhohave passion, enthusiasm, self-discipline, who take time to educate, have the ability to maintain control, are patient, committed to excellence, provide constructive criticism, praise good performance, are great team builders, and liketohavefun! DannyDickson,Classof’75
A choir is a safe place for kids to express the deepest impulses of their hearts and simultaneously impact their worldonesoulatatimewiththeiruntarnishedemotions AnnaBethBrownleeChoate,Classof’91
Acceptance of nothing less than excellence, pushing/guiding us beyond what we believed was possible, making musicpersonalthroughrelationshipswithcomposerssuchasDedeDuson LindaBenner,Classof’81
Led by a knowledgeable choral director with a deep love of content and a strong work ethic; one who cares abouttheirstudentsandisthoughtfulandsincere EileenMiller-Guinon,Classof’93
Family! BrandieGwaltney,Classof’90
SallySchott
High standards, musical literacy, a place where everyone really works as one. The opportunity to learn life skills, how to listen to others, and how to work to get all to a certain level so we as a whole succeed. Myra VillarrealYeretsky,Classof’86
An ideal choral program has a director who requires nothing less than perfection, whose passion for music is contagious, and who inspires greatness in even the most unlikely of students. Amy Higginbotham Burke, Classof’93
A good choral program is inclusive of all students regardless of their vocal aptitude, gives them the tools to develop a working technical knowledge of music, and allows students to use other assets such as dancing, acting, technical, and administrative skills to contribute to performances. Christy Tremont Ankrom, Class of ’ 97
I learned that the higher the level and standards of the group performance, the more individual effort and practicewasneeded.Iamsogratefulforhavingachoirdirectorwhobelievedinmypotentialandneverletme slidebyonlessthanmyfulleffort. LynnBrown,Classof’88
Service to community, standard of excellence, commitment, and camaraderie all that athletics offers, but with theaddedbenefitofartisticexpression MaryJoBjornasDall,Classof’81
Teamwork and work ethic and the occasional pass to go check out the acoustics at CasaOle Teresa Plotts, Classof’93
Drilling music theory gave me a life Period Our minds were opened to the magic of musical elements I fell in lovewithitall It’swhatcausesgoosebumps HollieHewitt,Classof’80
In my chosen vocation, I seek personal formation through musical excellence, meaningful worship, exercising hope, requiring best effort in preparation and presentation, and requiring understanding of teamwork It meanshavingasafeplacetoexpressoneself,aplacetomakemistakesandgrow,aplacetobeacceptedasyou are and make friends, a place to lead and be led When I wonder if what I do matters, I remember how my choral directors have impacted my life, and I am assured what I strive to do does matter Tim Lyles, Class of ’ 92
What can we glean from these reflections? First is the significant role of the teacher Examine the following list To what degree do these qualities describe your own choral directors? Your colleagues? Yourself?
Think of those teachers in the one-room school houses Imagine how critical it was to possess these attributes when facing the challenge of concurrently teaching multiple grade levels The first step in refining and developing these essential qualities is to acknowledge their importance Today, one of the best places to see a demonstration of these characteristics is a master teacher’s elementary music classroom Secondary teachers could benefit greatly from knowing more about what transpires in welltaughtelementaryclasses Itcanbemagical!
Often new teachers are shocked as they come to realize teaching music to large groups of students requiresquiteadifferentskillset beinganoutstandinguniversitystudentdoesnotnecessarilytransfer to being equally outstanding in the classroom At some point, new teachers discover that the pursuit of excellenceasaneducatorwillbealifelongquest
Having an exemplary choral program can become elusive for experienced teachers who are often worn down by the accumulated stress of trying to accomplish their goals Being unappreciated and misunderstoodbythoseinchargeisakeyfactor,asispressurebothfromwithoutandwithin.Comparisons to other programs that operate under different conditions and often with greater resources are prime factors. Honestly, being uncertain about one ’ s goals for the program, or adopting goals that are inappropriateforthestudentsonehasisalsosignificantandcancertainlyleadtoburnout.
The following are some strategies for establishing and maintaining a program that is fulfilling to both teachers and students. Such a program seeks to transcend limitations of facilities, budget, staffing, and scheduling, and puts all students on a steady path to achieve greatness within the context of their abilitiesandcircumstances.
Base decisions on your personal philosophy of music education. A calendar of activities is a direct reflection of this, so proceed with that awareness when planning the year. Broadway musical or major work?Showchoirorvocaljazzormadrigalgroup?Formalconcerts,popshows,communityperformances? Competitionorcollaboration?Prioritiesshouldbefirmlyrootedinessentialbeliefsaboutwhatshouldbe offeredtothestudentsintheprogram.
SallySchott
Continued
Knowtheterritory:learnaboutthecultureoftheschool,themissionofthedistrictasitrelatestofinearts, and the perception of the community. Use that as the foundation for shaping the pro gram. Approach the selection of activities as an opportunity to build bridges of understanding and offer valid and satisfying performance opportunities for your students. Communicate with students, administration, faculty, staff, and parents to foster productive relationships, build support, and create a positive image for the department.
Encouragestudentstoapproacheveryactivitywithasenseofpurpose.Itisassimpleasexplainingwhatis to be done, why it’s being done, and how to do it well, with a clear description of the benefits of satisfactorilycompletingthetask.Withinthispurposefulapproach,buildafoundationofcare,concern,and respect for each and every student. Avoid favoritism and assuming the role of buddy or confidant. If a situationwarrants,referastudentinneedtotheappropriateprofessional.
Assess the status of the program on a regular basis. Seek feedback from students, colleagues, administrators,andboosterstouseinmakinginformeddecisionsaboutwhatisworkingandwhatneedsto be modified. Remember that students appreciate their opinions and their time being valued. Out of considerationforstudents’otherobligationsandpursuits,resistthetemptationtoover-schedule.Designa program that constantly serves the best interests of your students and that is also compatible with establishedprioritiesintheschooldistrictandcommunity.
OurPedagogy
Set attainable goals that offer opportunities for every student to experience tangible growth in skills and understanding. Structure teaching so that each student is challenged, encouraged to improve, and consistently recognized for their efforts. Facilitate a team approach to musical problem-solving through peer-tutoring,student-ledsectionals,andothercollaborativeactivities.
Provide the tools to accomplish those goals by engaging in sequential teaching. Base your planning on thorough, careful score study so that each class session addresses a portion of the precise skills and understanding each piece requires and offers an orderly path to mastery Deconstruct the score and introduce melodic, rhythmic and harmonic challenges separately to accelerate the development of these distinctskills Planfortransfersothatpreviouslyacquiredskillscanbeappliedtonewliterature
Prepare for each class in order to multitask, focusing on delivery of instruction while simultaneously assessingthestudents’responses Familiaritywiththematerialisthekeytomodifyingpacingaccordingto the result of the ongoing assessment Creative repetition is a necessary part of rehearsal, but needless repeats are a sure way to dampen students’ energy and enthusiasm Shape the rehearsal based on your diagnosisofwhatneedstobecorrected,reviewed,andreinforced
Utilizepedagogythatreinforceshowsuccessfulrehearsalsgobeyondmasteringtherepertoirebyaffirming the importance of rigorously seeking constant improvement as musicians Instill the importance of consistenteffortandactiveinvolvement Dialoguewithstudentsabouttheirresponsetothemusic Engage them in problem-solving to deepen their involvement in the rehearsal process Give students ownership andelevatetheirlevelofthoughtandengagementbyvaluingtheirmusicalideas
SallySchott Continued
Make students accountable by frequent, valid assessments of their development of skills and understanding Connect to the elements of performance by testing the following: melodic patterns, rhythmic patterns, hand signing, excerpts of repertoire, score marking, identifying expressive markings in the score, melodic, rhythmic, harmonic dictation Be imaginative by utilizing individual, group, and competitiveteamassessmentstoreinforcelearning
OurRepertoireSelection
Be systematic about teaching music literacy Formulate short-term and long-term plans for skill development Be diligent about finding the most appropriate published materials for each choir, supplementwithyourcustomdrillstailoredtotheirneedsorrelatedtotherepertoire Consistentlyaddress auditoryandkinestheticlearningaswellassingingatsight
Select repertoire according to each choir’s strengths and weaknesses Matching songs that offer the best possibilitiesforlearningandgrowth,enjoymentandinspiration,andattainablechallengesisthesecretto productive rehearsals, engaged students, and successful performances While colleagues can recommend their personal favorites, only you have the information needed to select the most suitable literature Unfortunately, there is no app for this Spending the time it takes to find the most appropriate songs for eachperforminggroupandoccasionisabsolutelyessential
Keeptheopportunitytohavedeep,meaningfulmusicalexperiencesinrehearsalorperformanceasahigh priority. Select texts carefully and be mindful of how the composer set them. Cast aside poorly crafted compositions.Choosequalityrepertoireattheappropriatelevelofdifficultywithpotentialforthetypeof connectionthatenablessingerstorespondexpressivelyandsharetheessenceofthepiecewiththosewho listen.
OurReward
As we consider the reflections of these former students and our own unique experiences as music educators, it’s important to remember the extent of our influence and responsibility. And, while it can be overwhelmingtocomprehendallthatwedo,wemuststayfocusedonandmotivatedbywhywedoit.
Despitetheslingsandarrowsoftentossedateducators,teachingremainsatime-honoredprofessionwith enduring qualities and opportunities to make indelible impressions on young lives.Teaching music offers unique chances to nurture, encourage, inform, and inspire, often in ways difficult to express in words. Nonetheless,whathappensinamusicclassisreal thebenefitsarereflectedinthelivesofourstudents . Acknowledgetheimportanceofpersonalfulfillment,bothforyourselfandforyourstudents.Believeinthe valueofthechoralexperience,andletitshow.Strivingforexcellencewillalwaysbeitsownreward.
Lumen- AbbyBetinis
Voicing:Unison,3-partCanon
ChildrenandCommunityYouth NathanWubbena,R&RChair
Abby Betinis has a gift for writing melodies that feel complex and mature, yet remain very singable She hasseveralwonderfulroundsthatsoundadvancedbutareaccessibleformostchoirs.InLumen,thecanon creates independence and layered interest while still feeling achievable. There are built-in teachable momentsthroughout tone,listening,andensembleawareness Betinisoffersstagingsuggestions,butalso leavesspacefordirectorsandsingerstocreatetheirownapproach.
Anima’amin-PaulCaldwellandSeanIvory
Voicing:Unison(andviolin)
Thissettingprovidesarichopportunitytocultivateunifiedtone,sustainedline,andexpressivephrasingin developing choirs. The violin obbligato adds warmth and emotional depth without overwhelming the singers,andthepiececarriesasenseofbreadthanddignitythatcanelevateayoungensemble’ssound.
Derlindenbaum-FranzSchubert
Voicing:Unison
It’s important to expose students to a variety of literature, and this piece provides an accessible introduction to art song repertoire. Schubert’s melody is beautifully lyrical and naturally supports legato singing. In this arrangement, most of the text is in English, with the final stanza returning to the original German making it a manageable and unintimidating way to introduce students to singing in another language
SparkofLight-AndrewSteffen
Voicing:SSA(alsoavailable:TBB)
I love the opening text: “I am the speeding spark of light, flung by God from the forge of Chaos” It immediatelysetsthetoneforapiecethatmovesforwardwithunrelentingjoy.Thisworksbeautifullyasan openingnumber.It’salsoexcellentforfocusingondiction especiallyhowenergizedconsonantscancreate shimmerandbrillianceintheensemblesound
Repertoire
Mariposacandorosa-JoseAntonioRincon
Voicing:SSA(andguitar)
I’m currently working on this piece with my students, and they absolutely love it especially the opening soundsthatmimicbutterflywings.WhiletheSpanishtextappearssubstantial,repeatedmaterialmakesit more accessible than it first seems The piece offers opportunities to refine rhythmic accuracy and introducestylisticnuancesassociatedwithLatinAmericanrepertoire.
