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choral education

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

Why Music Education Matters to Me

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The March 2015 issue of Choral Journal features an article titled “Why Music Education Matters to Me” by Kelsey Wickerham. You can read it in its entirety online at acda.org/choraljournal. Click “Search Archives” and choose March 2015 from the dropdown menu.
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A “3,” another “3,” and a “4.” It was in that succession that I read the scores given to my choir at UIL Concert and Sight Reading my junior year of high school.

Average…average…below average.

My tears flowed freely as I stared into the faces of the girls in my section while delivering the news. They went from expectant to disappointed when the first number fell from my lips. It were as if someone put weights into each word, coming down as crushing blows on their spirits. We did not look our conductor in the eye when he told us how proud he was of us in class the next day. We could not bear to look at our black binders. We could not accept the fact that despite our hard work—hours that must have added up to days in additional rehearsals for our music—three people delivered scores to us below our expectations.

Not superior…not even excellent…but average.

During the first semester of my senior year, I had enrolled myself in World Religions. The teacher was a man whom I deeply admired, the sole reason for me taking the course.

I remember the very first day of class he had a question projected from the overhead. We were to ponder it throughout the whole semester. It read: “Is it the journey that matters, or is it the destination?”

The question resonated throughout my entire being. Though it had been months since what had been perceived failure at UIL, it left behind an aftertaste that never dissipated. My disappointment with the destination caused me to forget all about the journey, and just how beautiful and meaningful and life changing of an experience it was for all of those involved. The hours that made up days of extra rehearsals were moments in our lives that shaped us as so much more than musicians.

We grew into people, forging friendships with our peers and laying a solid foundation for all future students who would be preparing for UIL through that program. On our journey, we made music. Beautiful music that echoed through our tiny choir room and down the halls of the music building. Inspiring music that kept us coming to each and every rehearsal, ready to create.

The destination in 2012 was not what we wanted it to look like, but it was not permanent either. While it took me five months to realize this, it shaped many of the philosophies I now hold as a future choir director. Straight “1s” do not mean a choir is more talented. It does not mean they worked harder or smarter or longer. The scores given at choral competitions are objective and based on one performance. The judges never see the breakthrough moments. They do not know from where a song is being sung.

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Read the rest of this article (and more!) in the March 2015 issue of Choral Journal, available online at acda.org.

Was Anybody Listening? A Teacher Looks Back

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By Debbie Aurelius-Muir

This particular day began as every day had. It was Thursday. Not that that made a difference. Every day started the same. The bell rang at 8:22 a.m. and by 8:25 a.m. my special education class arrived. There were 14 students and one aide. I often struggled with it. I never intended to be a special education teacher. These middle school children had varied emotional, physical, and intellectual challenges. Every time I thought I understood their limitations, they would surprise me. Conversely, there were many times when I was sure I had the perfect amount of challenge to the lesson plan, only to discover that I had missed the mark completely.

I started class signing and singing “Do Re Mi” from The Sound of Music. The students were always very excited to show that they had mastered the Curwen hand signs for the major scale. (I should mention that because of age requirements, I had most of these special education students every day for five years. They entered sixth grade at 11 years of age, but were not promoted to high school until they were16 years of age).

One of my most enigmatic students had a disability called “Dandy Walker Syndrome.” Dandy Walker Syndrome manifested itself in this student with limited speech, limited intellectual development, limited physical strength, and limited mobility. We will call him “Robert.” I watched Robert grow from a skinny little eleven year old barely four feet tall to a strong-willed adolescent approaching six feet in stature. He didn’t have great control of his limbs. He walked to music class by using a walker that let its owner pull down a shelf that allowed a quick sitting break in the middle of the trip. He had difficulties keeping his eyes focused in one direction. His eyes often darted left and right as if he was frantically trying to record everything for the future. His speech was very hard to understand. It appeared as if his tongue muscles didn’t cooperate any better than his leg muscles. He had lots of volume but he couldn’t articulate words. He had a very small vocabulary, as well. I don’t recall ever hearing him singing with the class.  He sat and looked around.

Robert never made eye contact with me. I greeted him every day, as I greeted all of the students, but I usually never got a response. As Robert matured, he became angry. Maybe he felt some resentment at his limitations. I don’t know. He really couldn’t communicate very well, so there was no way of knowing. Now that he was getting older, he would shout out expletives and disrupt the class. He would throw himself on the floor. He would spit at other students. He would hit other students. If he was handed an instrument, he might throw it down. I used to question if he should even be in there. I didn’t think he was benefiting from the class and he was making it difficult for the other students to learn. Was he even listening? Was I even an effective teacher for special needs students? I wasn’t the special education teacher in the family, my sister was. I didn’t want to teach in the special education field, I really didn’t have any training. And to top it all off, I have to confess that on certain days, in that class, I did not display my finest teaching.

But as we all know, in teaching and in life, every day is a new day. You get up and you tell yourself that you have a chance to make this a great day. I would pray for strength, courage, and love for my students.

As I said, this day began like any other day. Robert, his aide, and the other students filed in. We sang and signed “Do Re Mi” and our other songs and enjoyed our activities. At the end of class, the students began to leave. Robert and his aide started to leave. But Robert wouldn’t leave. He slid his walker right up to me. He stopped his six-foot skinny frame right in front of me. He reached out to touch my dangly earrings. I felt like the girl in the gorilla cage being told, ”Don’t make any sudden moves; it frightens them!” My mind began to race with fear: What was he going to do? Is he going to yank out my earring? Is he going to hit me? Is he going to pull my hair? Is he going to spit on me? He got about two inches from my face and looked right into my eyes. While keeping one hand on the walker, and gently touching my dangly earring, he sang perfectly in tune and perfectly pronounced the solfege syllables “sol-mi-do.”

The aide and I looked at each other as our jaws dropped and our eyes welled up with tears. We were speechless! I didn’t know he could sing. I certainly didn’t think he had been paying attention. Of all the phrases he could sing to me, he sings a perfectly phonated, perfectly articulated, and perfectly in tune descending major triad? I didn’t know what to say. As I was wiping the tears from my cheeks, I realized that he had been listening!

I taught Robert for another two years. I never saw that kind of engagement again. But I knew he was listening.

So it is with all of our students. Whether they’re “special needs” students or “typical” students, you never know what they hear. You never know what they will remember, you never know what they will learn from you. You are charged with being their representative for music and for good. It is the greatest job on earth and an important responsibility. Rise to the challenge. Don’t squander a moment. And don’t worry, they are listening!

Debbie Aurelius-Muir is a retired general music, choral music, and music methods teacher in who taught in both Champaign-Urbana and Bloomington-Normal, Illinois. She spent thirty years teaching music to students from kindergarten through college and currently supervises music student teachers through Illinois State University.

Reflections from a First-Year Educator, by Christina Nelson

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At the time of writing this, I have not yet completed my first full year of teaching. However, I have already learned a lot in the first semester. I arrived at my school mid-year and was both nervous and excited. My day consisted of five classes; 7th and 8th grade beginning tenor/bass choir; two 7th grade beginning soprano/alto classes (that would combine during performances); 8th grade intermediate soprano/alto choir; and 9th grade concert choir (SATB). I wanted to make beautiful music, teach students about vocal technique, and develop a strong and positive culture in each class. Little did I realize the impact that the previous sentence would have on my teaching when I stated and thought about my goals in that order.

Christina Nelson

While at the ACDA national conference in Kansas City I participated in a session entitled Developing Community Through the Choral Rehearsal, led by Randall Bradley of Baylor University. He said something that made me change the way I had been teaching: “Use music to make people instead of people to make music” [emphasis mine]. I realized at that moment that I had been so busy thinking about the technical aspects of choral music and education, I had forgotten why I fell in love with this beautiful and intimate art in the first place, and the real reason I wanted to become a choir director. I realized that I was trying to teach my junior high kids as advanced high school or collegiate students and that was obviously not working. When I returned home after conference, I began consciously treating music more as a tool and stepping out of my “college student mode.” I was reminded that while music is certainly important, so are my kids as human beings. I started doing “Circle Time” with my classes and spent a few moments with my classes asking my students to “Tell Me Something Good” about their day or weekend.

One day, when my 7th grade girls came in upset with each other for something, I asked each student to compliment someone else in the class. We went around the circle and students raised their hands to compliment others. Afterward, the girls were getting along and rehearsal ran more smoothly. A few days later, a student shared some rough things that had been happening at home and started crying. Before I could say anything, another girl raised her hand saying, “Ms. Nelson, can we compliment each other today?” The other girls voiced their agreement and of course I said yes. As they complimented this girl and told her how amazing she was and why (when we compliment, we go beyond appearances), I realized that my 7th graders loved complimenting each other and that brought tears to my eyes. Over the next few days, I realized that each class was coming to thoroughly enjoy complimenting each other when their initial reactions had not been quite as enthusiastic.

Not only do our students need to see that we are human, we need to remember that they are also humans who have a lot going on their lives as well. By taking the time to build relationships during rehearsals, my students and I grew closer as a team and they became excited to be with each other. Our rehearsals became more productive and we ended up performing some tough repertoire at our final concert in June. Sure, there were rough days, but what educator doesn’t have rough days? And how often is it a rough day versus a rough few minutes or a rough class period? The trick is to focus on the positive moments. Allow those moments to propel you forward: To see their eyes light up when they conquer a difficult passage, when a student who walked into class upset leaves with a smile on their face, or when the entire class leaves the room singing and doesn’t stop till they are almost to their next class. These are just a few of the positive moments that I have experienced. Of the many things I have learned in six months of teaching, using music as a tool to build relationships is at the top of the list.

“Use music to make people instead of people to make music.”

Christina Ruth Nelson graduated from Pacific Lutheran University (PLU) in December 2018 with a bachelor of music education degree, with a concentration in secondary choral education. She completed her studies under the direction of Dr. Richard Nance and Dr. Brian Galante and also served as assistant conductor of PLU’s advanced soprano/alto ensemble, University Singers, during her senior year. She completed her student teaching at Graham-Kapowsin High School with Mr. Jason Saunders and has recently finished her first semester of teaching at Stahl Junior High School in Puyallup, WA.

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