A week from right now, thousands of choral directors will be enjoying the incredible artistry on display at the 2013 ACDA National Conference. At some point during one of the brilliant concerts, someone will ponder in the depths of their heart just how fortunate they are to be involved in something as powerful and ethereal as choral music. (I certainly will.)
Obviously, Rich McKinney has considered the choral profession from this existential perspective. In his article, “The Singer in Prison,” he ponders the reason we have dedicated ourselves to the choral art.
None of us becomes a choral director by choosing it from a list of careers. We love music, singing, and all the other wonderful facets of this art. We train for the job much of our lives, often starting with membership in a chorus as an elementary student. We move on to sing in more sophisticated choruses in middle and high school, college and beyond. Eventually we find ourselves with our own choir and begin the process of learning how to listen to all those singers.
Most of us have, at the very least, a modicum of vocal talent that, coupled with formal training, gives us effective tools with which to work. We learn not to sing with our choirs. We sometimes struggle with an explanation of how to get the singers to make the sound we desire.
(To access the full article, simply click the highlighted title. For additional articles on a dazzling array of choral topics, visit ChorTeach.)
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