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Silver Linings: Reflecting on What We Do for Our Singers

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By Jeanne Wohlgumuth

Finding a silver lining in a year that has been riddled with disappointments and life-changing events would seems to be daunting and virtually impossible. However, when given the opportunity to reflect on the past year, I find that there are many silver linings that have emerged from a somewhat horrendous situation.

Silver Lining #1 – In-Person Rehearsals/No COVID Transmission

New World Singers, the elite performing ensemble of the Columbus Children’s Choir (CCC), has been holding in-person rehearsals since September. There were many changes that had to occur to make this possible. These included smaller ensemble sizes, 6 ft. social distancing, opening all windows and doors (yes, even during the cold Ohio winter), turning off the HVAC system, purchasing Conway CADR HEPA Air Purifiers for each rehearsal room, taking temperatures and wearing masks, changing rehearsal rooms after 30 minutes, and fogging rehearsal room with isopropyl alcohol and letting them sit empty for 20-30 minutes.

While at first these changes felt very confining and restrictive the benefits have been innumerable. Most importantly, our organization has had NO transmission of COVID within our ensembles. We have now welcomed back all five of our ensembles and continue to maintain no COVID spread!

Silver Lining #2 – Musicianship

One of the biggest silver linings has been the opportunity for our singers to grow as strong, independent musicians. We have always made musicianship and literacy a major component of our choral program, but this year we have been able to closely monitor the growth and development of each singer, giving more time for individual assessment and immediate and transformational feedback. An increase in musicianship has likely helped to foster other outcomes including confidence which is highlighted in the next segment.

Silver Lining #3 – Confidence

From a singer’s perspective: This new arrangement has placed “more responsibility on my part in the ensemble because it comprises fewer people than in the whole choir—more ownership! Not many people I can rely on now, so I have to be stronger as a singer.” – Deanna

Silver Lining #4 – Commitment

While the majority of our singers (78 out of 86 singers) attend in-person rehearsal, there are some singers who, because of health issues, chose to attend rehearsal via zoom. These singers have pledged their commitment to their ensemble. They take their role in the ensemble seriously, always finding a quiet place in their home where they can fully engage in the rehearsal.

From a parent’s perspective: This serves as “a reminder of why my children are in CCC. Not for the uniforms. Not for the performances (although we do miss them). Not for the trips (although the disappointment still stings). They are CCC singers because they love to make music. They love to sing. They love to be surrounded by others who love to sing. Strip everything else away. They show up to sing.” – Molly

Silver Lining #5 – Few to no missed rehearsals

The use of Zoom has made absences from rehearsal virtually disappear. It has provided a way for singers who are ill to still be present during rehearsals. Singers who are traveling log on and participate from their cars, hotel rooms, parks, and so on.

Silver Lining #6 – Camaraderie/Relationships

Because of our smaller ensembles, singers have built relationships and a deeper esprit de corps. They have become more familiar with other members of the ensemble whom they might not have known very well. Their friend “bubble” has grown to include everyone in their ensemble.

From a singer’s perspective: “Since there are fewer people in each ensemble, we talk to everyone and we have become a lot closer. In the full choir everyone had their established friends and would not talk much to those outside of their circle.” – Izzy

Silver Lining #7 – Everyone Matters

It is hard for singers to imagine that 1 voice in a choir of 86 singers matters. In our smaller ensembles the singers are realizing the importance of every voice. They are realizing that a missing voice creates a different sounding ensemble. A singer who does not listen and strive to match unified vowels creates difficulty in tuning, and a lack of focus or concentration creates a frustrating and unproductive rehearsal for all.

In closing, I would like to highlight two poignant comments, the first from a singer and the second from a parent.

“This choir has taught me that even through tough times, music is the uniting force that uplifts the world. It definitely uplifts my mood with every rehearsal.” – Rhea

“We know that music has the power to heal, and I believe the students really got to experience that in depth this year through Columbus Children’s Choir. While so many students struggled being out of school or being in school only part time most of the year, thanks to your hard work our singers were still able to join together to create beautiful music. Although choir looked a bit different this year, it has allowed some sense of normalcy. The choir has provided something for the singers to look forward to every week. The rehearsals have allowed the children time to take a break from the bleakness of the past year; while in rehearsal their focus is solely on making music, allowing an escape from any depression or stress caused by the uncertainty brought on by the pandemic. It has been a wonderful time for them to feel free, alive, and productive. I am confident that the Columbus Children’s Choir has saved more than one life this year.” – Annette

While we all look to a future where we can freely sing, rehearse, and perform again, it is important to not dwell on the negative, but try and find the “silver lining” in all that we do for our singers. The Columbus Children’s Choir will continue to sing . . . we will continue to share our human spirit through our voices and our music as it is vitally important to our society and to the well-being of humanity.

Throughout her forty-year career, Jeanne Wohlgamuth has been a tireless advocate for children at all levels from kindergarten through collegiate. She recently retired from Dublin Jerome High School as Director of Choirs and Performing Arts Chair and currently serves as the Artistic Director of the Columbus Children’s Choir where she oversees the artistic vision of the organization and directs New World Singers, the top performing ensemble, and Una Voce. She was just elected president-elect of the Ohio Choral Directors Association.

Silver Linings: Three Snapshots from the Past Year

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By Carol Earnhardt

Virtual Rehearsals, Concert, and After Party

Last August, in 2020, the board members of my community choir, the Heart of Triad Choral Society (Kernersville, North Carolina), looked at me like I was crazy when I told them I wanted to have weekly rehearsals on Zoom and give a live “virtual” concert in December. But, we did it! We met once a week, rehearsed some great music, played many games, and laughed . . . a LOT. We were joined by new members from Texas, Florida, and Canada! It was the coolest thing to have singers from outside our little North Carolina town join us each week for rehearsals – something that would not have happened had we been in person.

On a December night, we all watched the concert together on a Zoom webinar application and on Facebook live. At last count, the concert has been seen by nearly 4,000 people – with many audience members from outside the United States. We’ve NEVER had an audience that large. We had an after-party on Zoom following the performance – a great idea! We drank wine, sang Christmas carols, told jokes, and bragged about the concert. Comments made at that party, emails I received the entire month of December, and cards that were sent in the mail confirmed what I knew all along – the concert was wonderful . . . but it was the weekly rehearsals that brought great light to a time of deep darkness.

Choral Lifelines Continue to Be Important

Last week, I had an hour-long conversation with one of my choir students – a senior who was failing multiple classes and had completely stopped attending classes on Zoom. “Lillie” had been my student since she was a freshman. She was a bright, energetic, friendly girl . . . before COVID. I made a phone call to her that day to find out what was going on with her since I had not seen her in two weeks.

This was not the first time I had called her this year about her sporadic attendance, but I was extremely concerned this time because of her failing grades in classes she needed to graduate. “Lillie” poured her heart out to me. She was depressed. In our conversation, she told me that I was the only adult with whom she could be honest. By the end of the conversation, we had a plan to help her catch up in her required classes, and I am happy to say that she is back on the path to graduate in June. The relationships we build with our choir members through music are strong. These relationships have been critical in helping students adjust to their new reality and in keeping them engaged in learning.

A Virtual Coffee House for Students and Parents

We all have tried to make this year semi-normal for our students. In September, the arts department at my school held our first “virtual” coffee house. Students were assigned a theme based on one of the tenets of social-emotional learning. Some themes included “To Walk in Another Person’s Shoes,” “Who I Am,” and “A Year in Reflection: Lessons I’ve Learned in Quarantine.” Visual art, dance, theater, band, and chorus students recorded performances based on the theme of the month – many of the students created original works for their performance. Once a month, all the students and parents would gather on Zoom to enjoy the performances and socialize over a cup of coffee (or cocoa). The monthly departmental meetings have been a hit. This idea is a “silver lining” tradition that we will continue long after the pandemic is over.

Carol Earnhardt has been the director of choral activities at Robert B. Glenn High School since 1998 and has served as the artistic director for the Heart of the Triad Choral Society, a community choir in Kernersville, North Carolina, since 2016.

Silver Linings: Connections in Choir During Hybrid Learning

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A few months ago ACDA began soliciting and sharing “silver lining” reflections from our members. We have enjoyed them so much, we decided to share them in a wider way on ChoralNet. Have you experienced a silver lining during the course of this challenging year? Please email a draft to for consideration in this series.

By Edward Norris

Teaching choral music in a hybrid model: How do I do that? How do I make this work? How will I feel? How will the kids feel? Will we be productive? These are some of the questions that made our hearts race in September when this journey began.

For all of us, the 2020-21 school year will certainly be one to remember. It has been a year filled with struggle, loss, civil and political unrest, depression, anxiety, and uncertainty. Our students’ minds are saturated with images of negativity each and every day due to the current world that we live in. When I stepped back into the choral room at Glen Cove High School in September, I vowed to have our program be a beacon of light in their lives; a place where they could forget what is going on in the world, even if it were only for 45 minutes a day. I let go of a lot that I had focused on in the past musically, and decided that the theme of this year would be connection.

I know that sounds pretty silly since on most days, I have anywhere from two to ten kids in front of me and everyone else on Google Meet, but that was my thought nonetheless. I decided to focus on what we have, as opposed to what we have lost. Yes, we have lost things like in-person rehearsals, lessons, concerts and trips, but we still have the ability to connect through music and make a difference in each other’s lives.

For much of my career, my students have talked about how our choir family has made a difference in their lives. I would beam with pride knowing that our group gave them a safe space to be who they are while appreciating some of the world’s finest choral music. I’ve always known how much I adore my students, but it wasn’t until March of 2020 that I truly learned what the choir meant to both myself and to them! During quarantine I realized that this upcoming year would be about fostering and maintaining the connections we have to one another within our choir family.

This year I have talked to my students about “stopping to smell the musical roses.” Yes, we still rehearse choral music, we still sight-read, we still learn good choral and vocal technique, but without the pressure of preparing for performances. I am able to dive very deep into things that I normally wouldn’t have as much time to do. For example, we have been talking a lot about music theory in choir. I often talk about theory during my rehearsals but this year I am really able to go into great depth about the chord structure of a piece or phrase or, perhaps, how the alto II’s have the 9th of the chord, which has to be treated differently. This has given the singers a greater understanding of the music that we sing. Another thing that I have been able to do is work quite a bit on text analysis whether it be poetry or the text to a piece of music. We have taken text and really gotten into the meaning of each section and, once again, it has given the singers great comprehension of how to interpret . . . we have to tell the story! Spending the extra time with this aspect of music making will surely pay dividends for years to come.

I know what you are thinking. Where is the “connection” piece you were talking about? All of the “stopping to smell the musical roses” is great, but how do we connect over Google Meet? How do we connect the kids who are in person to the kids who are at home? For me, the answer has been simple; just talk to them, have a conversation. Take the time to find out how they are, how they are handling all of this, and let them know that you will be there for them every step of the way. Early on in the school year I showed my choirs a video of my dear friend Dr. Jason Max Ferdinand and the Aeolians of Oakwood University doing a virtual performance of Robert T. Gibson’s “We Shall Overcome.” The in-person students cried, the virtual students cried, I cried. It was a moment. We were connected! We were apart, but we were doing the same thing and feeling the same feelings at the same time.

My colleague at Glen Cove and I work very closely with one another and a mission that we take on each and every day is to connect to every single student, be it in-person or online and we have noticed that it makes a difference. Maybe it’s a little story, a comment on their dog that’s on their lap, a comment about their LED lights on their ceiling (boy am I tired of seeing LED lights), a comment about their favorite sports team, a comment about how great that student did in their virtual lesson. With each comment comes a smile or a wave from them. So many of them tell us that it makes a difference to them, and equally as important; it makes a difference to us! It makes us feel closer to them!

A few weeks ago, I was taking virtual attendance and said “Hey Kevin, it is so great to see you with us today!” He unmuted and responded “Hey Mr. Norris, thank you for being so cheery today. I need it because I am having a really tough time mentally and emotionally.” I couldn’t let that comment go. I had to talk to him, but I couldn’t pull him into the hallway, as he was a virtual student. So, I talked to Kevin and the entire class about how it’s okay to feel these feelings and the best thing that you can do is talk about it. We talked about how the choir is a safe space and that’s why Kevin chose to say what he said. With Kevin and the group, I shared some of my personal struggles since the pandemic started, as well as with the civil unrest that has been happening. The chat was filled with comments to pick Kevin up, as well as students saying how grateful they were to be in class that day to hear what they heard. I received several emails from students (and their parents) about how that particular session struck a chord and made a difference with themselves or with their child.

This year, it’s not about perfect intonation and phrasing. It is not about having a fantastic concert. For me and for my students it is about connecting with one another and doing our very best to impact each other’s lives. It is about continuing to learn great choral music, but taking time to smile and laugh each day. I would like to leave you with this video: it is the BYU singers directed by Andrew Crane performing Elaine Hagenberg’s “Alleluia.” Together with our students, we can stay connected and make music in the midst of all of this.

Stay safe my friends.

Edward Norris is the director of choral music at Glen Cove High School (Glen Cove, New York) where he conducts the 75-voice mixed chorus and the 40-voice Select Chorale. He also teaches music theory and AP music theory. Outside of Glen Cove, he is an adjunct professor at Long Island University Post Campus and at the Aaron Copland School of Music (Queens College). Ed serves as the Division V Choral Vice President for the Nassau Music Educators Association and is a proud member of the New York State School Music Association and the American Choral Directors Association. Lastly, Ed was a contributing author of Dr. Jason Max Ferdinand’s book Teaching with Heart.

Silver Linings: Purpose and Service

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A few months ago ACDA began soliciting and sharing “silver lining” reflections from our members. We have enjoyed them so much, we decided to share them in a wider way on ChoralNet. Have you experienced a silver lining during the course of this challenging year? Please email a draft to for consideration in this series.

By Lulu Mwangi Mupfumbu

2020 was destined to be one of the best years for our music department yet. We busied ourselves with preparations for performances at the ACDA Eastern Region Conference, Carnegie Hall, and a summer tour to France/Belgium for the World Choir Games! However, COVID-19 happened and we went into a lockdown. Our spirits were crushed . . . and we were suddenly thrown into a world of virtual learning. How could there possibly be a silver lining in this?

In search of meaning and coping mechanisms for the sudden loss that came with our new reality, the students turned to what they know and do often. Service. The music department accepted the call to start a campaign to raise funds for an impoverished community in Diepsloot, South Africa, that we had formed bonds with when we visited in 2018. The funds raised enabled several individuals to receive a month’s worth of groceries at a time when their community was a COVID hotspot.

Another service opportunity came in the fall when we were able to participate in a virtual choir collaboration with bass-baritone Wintley Phipps and his foundation, the U.S. Dream Academy, an entity that provides enrichment programs for at risk youth. For the last five years we have held a music mentorship program at Takoma Academy for the Dream Academy students, in which our students have served as music mentors to the Dream Academy students and ultimately perform side by side at their annual gala. The students of both institutions were pleased to be able to collaborate even in a virtual space. These activities gave our music students a sense of purpose and relevance in the absence of live experiences.

Despite being fully virtual, we have 63 of our 200 students enrolled in choir.  This is significant win because initially there was a very real fear of students not enrolling in virtual music classes. With the pressure of preparing two to three performances a month off the table this year, we have taken time to dig deeper into aspects like sight reading, proper singing/playing technique, and collaborations with other institutions. Virtual performance has provided an opportunity for students to be able to better self-assess, work for individual mastery of technique and repertoire, and build confidence. The students have taken a more intentional approach to practicing and learning music. This has been true of both new and experienced singers alike and will certainly be a benefit to hang on to when we are able to perform together again.

The strength, resilience, and adaptability of the human spirit is evident in how our students have taken on this new normal. Not every day is perfect, but we press on, one day at a time. We are choosing progress over perfection, process over product. We are focused on grace, kindness, and the other virtues that will help to preserve a genuine love for music and hope for a better tomorrow.

Lulu Mwangi Mupfumbu is a Maryland ACDA member and serves as Fine Arts Department Chair & Director of Choirs and Orchestra at the Takoma Academy (Takoma Park, Maryland).

The Elephant in the Shower: Four Seasoned Music Educators Share the Same Concern

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By Stuart Hunt

Among the necessary, and at the same time, egregious choices in which education (choral education in particular) presently finds itself, perhaps we have (necessarily) focused on the immediate, and, at our own peril, not looked far enough down the road.  In our research, nowhere can we find this particular topic being significantly discussed. It affects all of the planning and “putting together” choral conductors do, with or without pandemic and curriculum adjustments. Following are some planning areas we need to attend to.

Recruitment

Consider the methods and means you “normally” employ to demonstrate to your incoming students for next year or in the next few years. Usually, we

  • perform concerts for them
  • invite them to our concerts
  • send them printed or email information
  • talk with colleagues about the students or singers they have and, perhaps, who they might recommend even if they are not currently singing
  • other strategies
  • lots of other strategies

So…waddawegonnado? 

  • Do we actually know who we will have in our choirs when rehearsals resume?
  • Do we know when we could hold auditions or enrollments? 
  • Can we engage with counselors or parents (if private school choirs)? 
  • If you conduct church or adult private or children’s’ choirs, what are your plans and what resources will you need?

Perhaps we’d better discuss this – as a profession.

The Four

Long-time conductor, composer, administrator, and publisher Kenneth Kraintz (ChoirMix.com) shares his concern:

“I have come to the realization that not all public schools (districts) in America are created equal. This is a very broad statement and one that can almost be taken for granted. However, there are some glaring similarities that make outstanding music programs regardless of location.  A dedicated, knowledgeable instructor, supportive administration and parents, access to a wide variety of students, an adequate budget and good facilities all add up to a successful, high quality music program. 

“Another glaring similarity is how quality music programs are quickly damaged, dismantled or done away with entirely. I’ve observed that it takes several years of consistent, quality instruction to build a strong music program. But it only takes one year (or less) to destroy what had gone on before. We are now facing one of those “years” that could potentially ruin quality music programs throughout the entire country. 

“Having gone through nearly a year of dealing with the COVID-19 pandemic, we have an idea of what we have to endure before we can resume regular classroom routines. When we are finally able to return to face-to-face classroom activities and rehearsals, what will we have left?  I sincerely wish we could just pick up where we left off and recent times would become a distant memory soon forgotten. However, I just don’t believe there is any possibility of that happening.

“When we do return to our schools, administrators will be faced with some very interesting scenarios. First will be a diminished budget because of the stress individual states will have gone through. Lost tax revenues, closed businesses, mass unemployment and strained parental support will all have a negative effect. It could easily be several years before these factors begin moderation. As we have known for decade after decade, when there is a financial crisis of any sort facing public schools, the “arts” are first to suffer the consequences. This is something we live with and quite frankly it has made us work harder and become more accountable.

“The COVID-19 pandemic and all its negative consequences could not have been imagined just a few short months ago. It is my fear that the aftermath of the pandemic, coupled with decreased revenue and expanded curricular demands in our schools could possibly be the death knell for many fine music programs nationwide. 

“Second, any sign of weakness (like falling enrollment) could mean music teachers assigned to other areas of the curriculum, part-time contacts or even total music program elimination. With the rise of STEM and increased graduation requirements, secondary curricula are already stretched to the max. I strongly believe that now is the time to begin a rigorous plan of recruitment to ensure the continuation of our quality music programs.

“Third, recruitment for music programs is like food to the body, without it, you will shrivel and die. Quality music programs in our schools don’t just appear overnight. They are planned, nurtured and developed into a living entity. What keeps them alive is an active recruitment regimen that is maintained over a period of time. Because of the pandemic, this regimen has been interrupted and will need radical intervention to get back on course.

“Therefore, I strongly suggest that anything we do at this time to bolster interest, enrollment and participation in our music groups will have an immense impact on the future of our standing in the curriculum when this disruption ends. A positive, proactive approach is needed to ensure our music programs survive and flourish in the future.”

Steve Stevens, founder and conductor of the Columbia Choirs, is one of the most experienced conductors of community-based children’s choirs in the United States (https://columbiachoirs.org/). He posits:

“There is no question that the online choir experience for singers, conductors and accompanists pales drastically when compared to in-person rehearsals and performances. However, to survive and thrive through this we must forge ahead and adjust to this new, temporary reality and not give-in to the pressures to suspend rehearsals until medical authorities feel it is safe once again. What we do through this unfortunate situation will determine what our future holds or doesn’t hold.

“Why do we exist? What do we do beyond preparing for performance? This new, temporary reality of not meeting in person brings our purpose clearer focus   This causes us to do a gut-check about who we are as choral educators. What are the needs of the singers we are mentoring? Are we leaning toward mentoring singer-performers or singer-musicians? Is the content of our online sessions able to hold our singers’ interest and inspire them to come back each time?

“I believe the best thing to ensure the continuance and growth of your community-based choirs (children, youth, adult) is to keep rehearsing and adjust our approach; inspire your current singers by continuing to forge ahead with more compact (1 hr.?) rehearsal sessions online using Zoom or your choice of platform. Our singers need the social interaction to continue building choir relationships and community. Use “singer profiles” where each week a designated singer uses a form designed to guide sharing his/her personal profile. This is for the purpose of getting to know each other and to find out what we have in common. In your online rehearsal sessions, you can use screen sharing for a variety of purposes; to continue to offer sight-singing melodies, sight-reading rhythms, use Kahoot as a fun way to reinforce what they are learning. In addition, add brief components in breakout sessions for section rehearsals and for instruction in composition, music history, mystery recordings, guided listening using a listening journal, guest seminars on vocal technique, and so on.

“In short, we can

  • use focused content and a positive approach to inspire your current singers to want to continue and to invite their friends to join you
  • auditions can be done online, too
  • beef-up your website content to enthuse prospective members to want to join your choir in the future
  • enhance your online presence…your website/webpage. Everything prospective members see (photos, graphics, colors), hear (performance recordings, testimonials) and experience is an indication of the quality of the experience you offer

“We must do more than hang-in-there! Let’s use this set-back as an opportunity to enhance our skills as a mentor-educator and add even more substantive content to our rehearsal sessions.”

Erik Ronning, of Western Washington University and the University of Washington, is also the 2018 winner of Stanwood, Washington’s Community Man of the Year award. He is in year 26 of conducting choirs at Stanwood High School and his church choir, as well as musicals.

“It goes without saying that these times are challenging for choral music programs, yet the arts are more important than ever. We indeed need to hang on and do our best with our circumstances in the here and now, but we also need to have our eyes on the post-COVID-19 landscape.

“Recruitment is the lifeblood of a choral music program. Many of the opportunities that we usually have to reach out to prospective students are not available at this time. However, there are many areas we can still be active to keep our programs strong. As we strive to recruit kids and remind administrators that are programs are essential, here are a few things to consider:

  • Be a presence at your school in the ways you still can. Drop in to the office, even if you mostly run your online work from home. Stop by to talk with your administration and tell them how you are creatively handling your program.
  • Continue to create content, or at least send out archived recordings. Our communities are starved for current events. I have found such a strong response to anything new that we send out.
  • Our current students are almost always our best recruiters. Connect younger siblings to your program. Ask your students about who is not currently involved with the program that should be. Bring these conversations to the kids for their ideas.
  • Connect with the broader community. If you’re doing any virtual choir work, find a piece that you might be able to reach out to do with your school singers, alumni, community, and/or church choirs. Then be sure as many people get hold of that material as possible.

“There is no substitute for having that freshman tenor standing next to the senior in class, but we can still need to find ways to reach out to that freshman in the ways that we still can. Blessings on your endeavors.”

Stuart Hunt (ToolsforConductors.com), now in his fiftieth year conducting public and private choirs, is passionate about music literacy and helping colleagues:

“As conductors, we expend enormous amounts of energy planning and detailing a list of important tasks and skills to provide and present choirs of artistic musicians who touch the hearts and souls of our audiences. Every presentation represents an invitation to others to join in our artistry and fun. Without significant technical expenditures of time and money, those presentations are on hold.  It is critical we, as a profession, become proactive and craft cogent approaches to bridge this gap. Failure to realize the repercussions and failure to plan could easily engender truly drastic results in the short and long term. I do hope I am proved wrong, but many of our colleagues recognize that it is entirely possible that choirs may not sing together until September 2021. We all hope to move up the calendar start, but it may prove difficult to imagine starting in, perhaps, March or April, or what we would do at that stage.

“Fast-forward to September 2021:

  • Who is in rehearsal?
  • Who should be in rehearsal?
  • What is the skill level of those in rehearsal?
  • What level of music can they sing?

“Scary? As the picture becomes more real, we should be solving this together, because, well, no one will solve it for us.

To that end, our colleagues at Northwest ACDA (6 western states) have created an interactive web spot: https://www.nwacda.org/nn-discussionpost.

Please visit the site, offer concerns, solutions and comments.  We can and must solve recruitment challenges together. Students win, we win.

Prescient Questions

Regarding those who might desire to sing, we will wonder about their

  • previous choral experience         
  • ability to match pitch
  • ability to read
  • age or class year (freshman, sophomore, etc.)
  • part (for balance)
  • Tech skills to handle online rehearsing and part learning
  • digital equipment (computers, smart phones, microphones, earphones)

What might be your

  • seasonal plans?
  • concert plans (or no concerts)?
  • schools plan: Where will counselors and administration stand regarding support and solutions?

For your consideration: If we do not find / posit solutions, we tacitly give those solutions to others in the educational chain, and, likely, we may not be pleased at all with the outcomes. Therefore, it is our desire to make a point of contact available for interactive problem solving and ideas, as well as for further problems to consider. This is, we believe, already late and a significant cause for concern.

May we invite all to join in discussion? By collaborative communication and problem solving, we will, as a profession, have solutions to recommend to administrators, boards, and recruits. This challenge faces all those who depend on reaching new potential members.

Respectfully,
Kenneth Kraintz, Steve Stevens, Erik Ronning, and Stuart Hunt

A Practical Guide for Hosting Guest Artists

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By Rebecca Lord

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Although we are unable to sing together freely during this perilous time, opportunities to collaborate virtually around the world are skyrocketing! The world is literally at our fingertips and there are extraordinary experiences to be had making new connections and building bridges across continents and cultures, as well as finding new treasures in our own backyards.

One exciting new tool for easily building such bridges is The Guest Artist Directory. This living database provides easy access to scores of artists willing to make guest appearances for ensembles, music classes, and other events. Included are conductors, composers, vocalists, instrumentalists, music-technology professionals, and others involved in the performing arts. Artists hail from numerous countries around the world and offer widely varying areas of expertise.

In an effort to facilitate success in new collaborations, artists from the directory have offered practical suggestions, resources, and guidance for those hosting visits. Composer, conductor and concert pianist Mark Hayes gives voice to the mission of goodwill in these efforts. “How can I best make this a valuable experience for the participants? I imagine many singers are depressed because of isolation. If I can encourage unity and kindness and build community, I will feel like I have made a difference.”

TECH FIRST: SET UP FOR SUCCESS

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Before booking virtual guest artist visits, make sure you have a tech set-up that will work well. “Please test technology in advance so time isn’t wasted… during the session… [and have] a backup plan!” advises Dr. Jami Lercher, professor of choral music education at Baldwin Wallace University. Also take into account that guest artists will have a range of comfort levels with technology. While some will be experts, others may need clear instructions and basic help.

Set-up Tips for Hosts:  As the most crucial connection will be between host and guest artist, the host set-up needs to be high quality and reliable. A microphone will enhance sound quality and an ethernet connection is strongly recommended. If Zoom is being used, settings will need to be modified. Zoom is defaulted to optimize speaking sound, and sustained sounds are cut off or otherwise adversely affected. Follow these instructions to modify settings for singing/music, provided by Carol Jacobe, conductor of The Jazzuits and instructor of voice at Le Moyne College. Ms. Jacobe also recommends these video instructions. Additional tech suggestions can be found on Virtual Choir Rehearsals by Gala Choruses and in “Cyber Solutions for Quarantined Choirs: A Guide to Virtual Rehearsals and Performances” by Rebecca Lord.

THE INITIAL CONTACT

Advance Notice: While some artists are okay with last-minute requests, most prefer advance notice. When possible, reach out well in advance and check each artist’s entry on the directory for specific timelines.

Drafting the Invitation: Use the requested form of contact (e.g., e-mail or website). Several artists mentioned they do no regularly check messages on Facebook or other social-media platforms. Be sure to find and use the artist’s correct title. 

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Artists were asked, “What information is helpful for you to receive when you are initially contacted to make a guest visit?” Following are key suggestions they offered:

  • Basic details of the visit: the organization name & location, ensemble/class type, age if relevant, number of participants, date & time, time zone, and whether or not there is flexibility in scheduling (flexibility is best, when possible).
  • Tech details: options for connecting virtually (e.g., Zoom, cleanfeed.net, JamKazam, etc.) “There are many new ways to connect now, so having an understanding of what’s possible with each person’s technology would greatly help to plan for the best success of the session,” notes David Sabella, two-term president of the New York Singing Teachers Association and faculty member of Fordham University’s Summer Music Theatre Intensive.
  • An introduction to you and your ensemble/class: Briefly share facts and interesting details that will help the clinician get a feel for your organization. Co-Director of Choral Activities at East Tennessee State University Dr. Alan Stevens suggests including “skill level of ensemble, basic level of musical knowledge for the majority of the group, recent performances, rehearsal schedule (how often), and most importantly… type of music (genre/style) typically perform[ed].” Other suggestions include the history or mission of the group, strengths and weaknesses of the ensemble, curriculum, special concerns or protocols, and any relevant points about you as the conductor/teacher.
  • Purpose for the visit: Artists want to know why they have been invited and how they can contribute to your ensemble/class. Share your reason(s) for inviting them and relevant goals or ideas for working with your ensemble. For example, if the artist is a composer, has your choir performed one of their works? Or is there a specific technique or area of expertise you are hoping they will share? Dr. Jason Paulk, director of choral activities at Eastern New Mexico University offers, “If you haven’t fleshed out details of what you’d like to present to your ensemble, that’s o.k. too…include the clinician in the discussion. Perhaps they can help you clarify your goals and an approach to accomplishing it most effectively.”
  • Financial Situation:  Artists request up front transparency in this area, particularly in contacting guest artists who have not adopted a policy of free visits during the pandemic. “Available budget for honorarium or fee is important to know because some…. will negotiate based on the financial situation,” Dr. Paulk notes.  “Be completely transparent and open with your request. If you have no budget, say so up front. If you have only $100, say so up front.” When travel becomes safe again, artists being invited for in-person visits will need further details. For example, Artistic Director and Principal Conductor of Arizona Cantilena Chorale Dr. David Thye suggests, “does my visit include airfare, mileage reimbursement, hotel stay, meals, etc.?”
  • Recording Plans: If you hope to record the visit for any reason, this needs to be communicated and details worked out.

Here is a fictitious sample invitation letter, drafted by Dr. Kenneth Lord, dean of the College of Business, Eastern Michigan University.

ADDITIONAL COMMUNICATION TIPS:

  • “Please respond to emails promptly, within 24 or in some cases 48 hours” (Dr. Joshua Fishbein, adjunct music theory faculty, The Peabody Institute of Johns Hopkins University and Towson University).
  • “Communicate… clearly and follow through on everything you promise” (Dr. Andrew Megill, director of choral activities, University of Illinois).
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  • Lack of communication is the worst. Respond to emails, texts, etc. If it’s onsite, provide clear communication about schedule, location, breaks, food, and housing if applicable. If it’s online, be clear about schedule, who will be on the meeting, etc.“ (Dr. Alan Stevens).
  • “If you make an initial contact and I respond, please let me know that you got my response even if you decide you are no longer interested” (Robbin Marcus, ATI certified teacher of the Alexander Technique).
  • “Email is great for the initial contact, but then it’s important to talk by phone to better understand each unique situation” (Robbin Marcus).
  • “Try not to be overly specific, allow us to share different perspectives” (Dr. Alan Stevens).
  • “Do check SPAM as often messages from out of the organization get sidelined (this goes for guest artists, too!)” (Dr. Jami Lercher).
  • “I’m a busy musician and it’s helpful to me to get a reminder from my host” (Arietha Lockhart, professional soprano soloist and music education specialist). Send a friendly, “looking forward to our visit next Tuesday” type of message.

DETAILS TO WORK OUT WITH THE ARTIST:

Once an artist has agreed to discuss a possible visit, here are next steps:

  • Determine Format and Content: Setting up the content of the visit may be more art than science, as artists greatly vary in their preferences and areas of expertise. Be sure to thoroughly review the artist’s posted information, and then be ready to dialogue with openness. Some artists will come with ready-made presentations. Others will want to brainstorm with you. Approaches can include: master class, lecture/presentation, colloquium, performance & discussion by the visiting artist, clinic or workshop, individual or group instruction, performance and adjudication, Q&A, casual conversation.
  • Share Hopes & Goals for your Ensemble/Class: Sharing specific thoughts about your singers can benefit the artist and the participants in maximizing their time together. Composer, arranger and publisher Dr. Earlene Rentz asks, “How I can support the teacher in terms of encouraging students?” Dr. David Thye suggests the following: “I just need to know what the host’s ultimate desire is for my visit?  Growth?   Inspiration?  Refinement?  New and/or specific concepts?  Mastery?  Competition or performance attainment?”
  • Solidifying Tech Plans: Be sure to discuss all tech plans and how you will approach hosting (e.g., having an assistant monitor questions via chat and choosing individuals to unmute).  If the artist has any specific tech requests, address these. If the artist is interested, it can be helpful to have “a walk-through of your online platform” in advance, suggests Amber Nicole Dilger, k-12 music educator and member of the Actor’s Equity Association. “Different schools/classes/teachers might choose different settings, so it’s always helpful to know what to expect at each new engagement.”
  • Paperwork, Payment & Recording: Check with the artist and your organization to ensure all needed paperwork is taken care of. Common items include: a contract, financial paperwork, permission and waivers for recordings, or an agreement not to record.  As this may be new territory for some, Mark Hayes suggests,  “I prefer to use a simple contract that details what I am committing to, any fee involved and payment expectations, length and date of event and a general outline of what will happen.” Ms. Dilger notes that “many public school systems have a variety of paperwork/background checks that need to happen before the workshop, even online workshops,” adding that “it is so helpful to have access to this paperwork in advance.”
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  • Prepare/share any materials needed. If the visit will include work or discussion of repertoire, it is helpful to send pdf files of the music in advance, suggests Dr. Galen Darrough, director of choral activities at the University of Northern Colorado. If the format will be discussion and/or Q&A-based, find out if the artist would like access to questions in advance, and have students/singers submit these.
  • Ask the artist if there are ways you can best prepare your class/ensemble for their visit.  Then follow through!

PREPARING FOR THE VISIT

Now that the details of the visit are arranged, you and your ensemble/class can prepare to maximize your time with the guest artist. Here are some tips:

  • Homework: Review bio and provided links, websites, and other information you can find about the artist. If possible, watch or listen to performance or other material and discuss.
  • Promote: Help create excitement about the visit and encourage openness. “Prepared students, excitement about learning something new and a positive host set the stage for success by a guest artist!” explains Robbin Marcus. She suggests assigning students to read and write about the topic(s) that will be addressed in advance “to pique their interest.”
  • Instruct: Provide attendees with instructions on procedures and decorum (e.g., no snacking, wandering around or other distracting behaviors on screen; appropriate attire and backgrounds, no black screens; no recording; how Q&A’s or other participation will work).
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  • Encourage Positivity: Mark Hayes mentions, “A choir is a family in so many ways, so unity and kindness are values that need to be intentionally cultivated,” Mark Hayes explains.  “I’m not trying to turn this into a ‘Kumbaya’ moment 🤓 but if I heard singers affirming, complimenting and lifting each other during the time, that would be a positive result.”
  • Organize: If singers will be performing or otherwise participating in an organized fashion, share a detailed plan with them. Also solidify your tech plan. Moderation of conversation (reading chats, vetting questions, unmuting individuals) and tech needs will need to be taken care of on your end and not left to the guest artist. An assistant (can be a choir member) is highly recommended to help.
  • Prepare Questions: Spend some time with your ensemble/class generating questions in advance. Artists suggest open-ended questions rather than yes/no questions. “Encourage big questions,” suggests Dr. David Fryling, director of choral activities at Hofstra University and founding conductor and artistic director of eVoco Voice Collective. “Encourage curiosity outside of the confines of music theory, history, or choir techniques.” Explore the artist’s story, his or her background and career start, artistic inspirations, key moments in life that led to this path of artistry, advice, greatest achievements, failures and coping strategies. “Please avoid overtly personal questions,” adds Dr. Tish Oney, performing artist, author and composer.  Here are sample questions.

GRACIOUS HOSTING:

A Good Start: Be sure to “arrive” early, make sure everything is running smoothly, and be ready to welcome your guest when s/he arrives. When the event begins, warmly welcome your guest, share introductory comments about her or his accomplishments, and encourage positivity and openness through word and example. Composer and pianist Kyle Pederson adds,  “I think it’s awesome when a host … establishes a baseline about why we’re having this conversation… what they hope it will accomplish, and does so with some positive energy.”

Successful Leadership Throughout: Enjoy these suggestions!

  • “It’s helpful when the host is actively involved. Redirect questions that are obviously not helpful for the artist to address (‘we’ll talk about this in a rehearsal later, but let’s take another question right now.’)… If the artist mentions something that the ensemble has no reference to, jump in and help them to understand the conversation. Do NOT be afraid to be actively involved in guiding the conversation, but also avoid cutting off the artist” (Dr. Alan Stevens).
  • “Please have students introduce themselves when speaking/asking questions” (Dr. Jami Lercher).
  • “I love when teachers ask questions, especially if I have said something to their students that is different than what they are accustomed to… it’s good for students to hear adults learning new things as well. I’d prefer that any serious disagreements happen privately“ (Robbin Marcus).
  • “Be open! Let the guest artist work with your ensemble and try things that you may not agree with initially. You can always ‘go back’ when the guest artist leaves, but let her/him try something new. You never know, you might like it!” (Dr. Alan Stevens).
  • “Inclusiveness, positivity and openness are always better than competition. I want everyone to feel better for having experienced the event if possible” (Mark Hayes).
  • “If an event is online, please ensure that the majority of ensemble members are on camera so the artist is not talking to an empty grid. Be willing to let the conversation take a different direction than you had originally anticipated, especially if it’s guided by ensemble member questions” (Dr. Alan Stevens).
  • “It would be good to know specific skills of some students who might be writing music, performing in elite groups (jazz/Celtic/etc.)” (Dr. Earlene Rentz).
  • “I prefer that the host take… the lead if difficult issues arise” (Dr. Ronnie Oliver, associate director of choral activities at the Manhattan School of Music and artistic director and conductor of EnsembleNYC).
  • “If using Zoom, muting participants’ sound while I’m talking would be helpful. In some cases turning off people’s videos are necessary if they are distracting by their behavior. It might depend on the age of the singers” (Mark Hayes).
  • “I definitely appreciate when the host can keep an eye on the group, especially large groups of younger students.  Disabling chatting between students during the presentation is helpful, and having the host manage any direct messages is a big help.  It is also a big help if the host can manage the chat-submitted questions and be the one who curates and then verbally asks the questions” (Amber Nicole Dilger).
  • “Great hosts are open, gracious, and skilled listeners” (Dr. Tish Oney).

Things to Avoid:

  • “Anything negative, combative, or disrespectful” (Dr. Ronnie Oliver).
  • “If the discussion got political, religiously polarizing or disrespectful, I would not return“ (Mark Hayes).
  • “Last minute changes can… be disruptive” (Dr. Joshua Fishbein).
  • “I would like for my visit to be all positive. No need for negative statements about anyone or anything… It takes all of us being our ‘best selves’… in order to make choral music ‘happen’ artistically so that the ‘dots and sticks’ are lifted from the page and find their way into the hearts” (Dr. Earlene Rentz).

Wrap-up: Be sure bring things to a close in a gracious and timely fashion and leave yourself a couple of minutes to express gratitude to the guest artist on behalf of all attendees. Applause or a group visual thank you or thumbs up from the attendees is a lovely gesture.

FOLLOW UP, GIVE BACK & PAY IT FORWARD!

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Follow Up: Dr. Jason Paulk offers this wonderful advice: “If you have agreed on a payment, try to send a check expediently. Also, a note telling the speaker something you appreciated about the presentation. It means more than you’ll ever know!”

Give Back: The ACDA leadership and Guest Artist Directory Manager Rebecca Lord are eager to hear of your experiences! Please take a moment to e-mail with stories or comments about your guest-artist experiences!

Pay it Forward: Consider joining the Guest Artist Directory yourself, or recommending artists you have worked with to your colleagues!

In recent years, Rebecca Lord has served on the choral/vocal faculty of Brigham Young University-Idaho and as Associate Director of Choral Activities at the University of California, Los Angeles, where she earned MM and DMA degrees under the tutelage of Donald Neuen.  She also served as Chorus Master for Arizona Musicfest and Assistant Conductor for the Hour of Power choir. She has a background as a professional violinist, soprano, dancer, and actress. Dr. Lord is temporarily teaching part-time, as she is enjoying being a new mother.

REFERENCES

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