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Is Imposter Syndrome Keeping You Away from ACDA Conferences?

February 8, 2020 by From Our Readers Leave a Comment

By Brenda Winkle

Brenda Winkle

Do you sometimes feel that no matter your experience, your educational achievements, and your work ethic, you continue to hope no one finds out that you are, in fact, an imposter? That’s imposter syndrome. Before we go any further, let’s clear up one thing: if you are taking your career seriously enough to be reading articles from your professional organizations, you are not an imposter.

I have experience at all levels and in different kinds of positions. I’ve struggled with imposter syndrome at all of them, except my current position(s). I’ll tell you why in a bit but here is a teaser: it has nothing to do with my jobs. To better explain this, I will share some of my teaching background.

My first year, I taught K-12 vocal/instrumental music along with speech and drama in rural Colorado. The next three years found me in Sturgis, South Dakota, as the director of choral activities at the local high school and I became the South Dakota ACDA state choral chair.

Following my tenure there, I moved to Kansas City. I taught 3rd-8th grade music and choir at a private school for 2 years before I had my daughter. This is where I had the opportunity to teach Eph Ehly’s grandson and meet Eph. A long commute led me closer to home and I accepted a position at what used to be known as Ervin Junior High in Hickman Mills School District in southern Kansas City, where I was the 6th-8th grade choir director.

A family work change moved us to Boise, Idaho. I was planning to be a stay-at-home mom, but I couldn’t give up choirs (and wasn’t very good at being an at-home mom). To keep myself involved in choirs, I volunteered for a local Catholic parish’s children’s chorus while I was between teaching jobs.

A divorce led me back into the job market in a town (Boise) where I knew very few people, and no one in the music or education worlds. Remembering back to the private school in Kansas City, I relied on a letter of recommendation written by Eph Ehly to get a job in the Boise School District, where I’ve spent the last twelve years.

In Boise, I’ve taught high school choir, junior high choir, leadership class, piano class, elementary choir, and all elementary music classes. Most currently, I serve as an elementary music specialist and choir director at an elementary school.

Three years ago, I became the Opera Idaho Children’s Choruses (OICC) director. OICC serves singers ages 3-18 and has three choirs. We have one chorus for kids ages 3 to 1st grade, one chorus for kids in grades 2-5 and an older chorus of singers in grades 6-12. This is a tuition-based community youth chorus program.

The combination of these positions has finally resolved the imposter syndrome I felt. Here’s why.

I was very active in my professional organizations as a high school and junior high choral person. When I moved to the elementary level after becoming a single parent, somehow I felt almost guilty attending ACDA.

I loved my job and working with the little ones, but I worried there wasn’t relevant content for me as an elementary person at ACDA. I had never met an elementary person at ACDA but didn’t know if it was because they weren’t there, because they weren’t openly elementary teachers or if it was because I had been so focused on getting my students situated in their honor choirs I only had the opportunity to focus on other secondary directors. The longer I was away from ACDA, the harder it got to go back.

When I took the job with Opera Idaho, somehow that felt like permission to re-join ACDA. And instantly, I fell back into the fold, even in a different state than where I was before!

Here’s what I know about the people who are part of ACDA. They are teachers who love what they do. ACDA members universally want to help others in this profession. Sometimes this means being a listening ear or even a shoulder to cry on. We protect each other and protect the profession of choral music education. Professionally, the techniques we learn are applicable to any age group. Only the way we describe things changes between the ages. This means the content is ALWAYS relevant no matter what level you teach or where you teach.

In ADCA we build each other up and share our tools. We want to be resources to each other. People LOVE to share ideas, especially teachers. An ACDA conference is a great place to share and acquire new ideas, tips, and tricks. An ACDA conference is a safe place to say, “This isn’t working in my choir. What ideas do you have?”

Worried about making new friends or going alone? I had THE BEST time at ACDA’s national conference! It gave me time to connect with my Idaho ACDA colleagues and friends, meet several of the Northwest Region ACDA members, and I made friends from all over the country. I came home from the conference with new ideas, new friends, new perspectives, and a ton of new music. Most importantly, I came back re-inspired and re-energized to do this important work.

Having taught at all public school levels, I can say with complete confidence, what you do is important and matters. No matter what you teach, your job is challenging. What you do is important. Working in small or large schools, private teacher, not-sure-you-want-to-teach, community or church choirs, all levels, you are welcome at an ACDA conference.

Looking to meet a new friend? Come find me. I feel new to Northwest ACDA and would really like to meet you! I promise you there are other people looking to find a new friend and colleague just like you.

Brenda Winkle is music specialist at White Pine Elementary School, director of Opera Idaho Children’s Choruses, and serves as R&R chair for children’s and community youth choirs for Idaho ACDA and ACDA Northwestern Region.

Filed Under: From Our Readers Tagged With: ACDA National Conference, Choir Directors, educators, Leadership

Reflections from a First-Year Educator, by Christina Nelson

July 16, 2019 by From Our Readers 1 Comment

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.

Are you a choral educator who has something to share? You are invited to write a blog post and submit it to us for publishing consideration. Send a draft to .

Filed Under: Others Tagged With: choral education, educators, middle school, Teaching

A NEW YEAR ~ A NEW HABIT ~ Avoiding vocal fatigue in the classroom

August 14, 2018 by Lynn Swanson Leave a Comment

Educators can be at unusual risk for developing vocal fatigue and hoarseness. Demands of heavy voice use throughout the week is tremendous with little time for the voice to rest and recover.                               

WHAT TO DO ABOUT IT? 

please refer to References at the end of this article for a more exhaustive list of aids for music teachers.

  • Take special care to be well-hydrated. Begin your day with a full glass of water. If you drink a caffeinated drink, do so without over-dosing.
  • Warm up your voice as soon as your feet hit the ground (and you’ve had your water) Please see Teacher Warm Up at the end of this article.
  • Use printed signs or hand gestures for recurring communications.
  • Minimize vocal use to teach the music. Use your keyboard skills or the pianist and section leaders to demonstrate the part.
  • Use amplification during rehearsal.
  • Avoid talking at the end of your breath. Don’t hold your breath before or between words. Practice vocal pacing by taking breaks from talking, both long and short throughout the day. Refraining from talking for even five minutes can make a difference.
  • Provide recordings for your choir members to learn their part.
  • If you are giving a long lecture, get creative with ways to present other than the constant use of your voice.
  • If your voice is fatigued, stop speaking!
  • Avoid loud conversations prompted by loud restaurants, halls and outdoor events.
  • Improve your classroom acoustics: Add acoustic panels to the ceiling and walls and carpeting to the floors. Minimize noise from fans, lights, overhead projectors, and sound coming from other classes. For more specific tips, visit https://acousticalsociety.org/ for the Acoustical Society of America’s Classroom Acoustics booklet.
    • Lombard effect. The Lombard effect will cause one to increase their volume due to increased noise levels in the room. Voices tend to produce a more pressed phonation. Avoid talking over noise whenever possible. Turn off the fan, buzzing lights, computers, etc. when talking.
  • Wear an earplug in at least one ear. It can help your voice avoid speaking too loudly in noisy situations.
  • Use sound makers (whistles, hand claps) to gain students’ attention, rather than a loud voice.
  • Use amplification when teaching to minimize voice overuse

MUST I ALWAYS WARM UP MY VOICE?

YES! Warming up the voice is not just for singing anymore. You should begin with gentle phonation at the start of your day to reinforce healthy habits.

TEACHER WARM UP

  • Begin with various rhythmic patterns using [Sh].
  • Hiss like snake while pulsing from just below the sternum.
  • Hum softly on glissando five-note scales.
  • Lip trill without phonating.
  • Lip trill phonation while on a descending then ascending five-note scales. Move down by semi-tones.
  • Repeat sequence using a syllable such as [mam] with a relaxed jaw.
  • Sing on [ni] on a bright sound by incorporating rabbit teeth.
  • Repeat sequence on [fu] to ensure use of diaphragmatic breathing with a gentle onset.
  • Transition into the head voice by using bird calls: “Kaw-Kaw”; “Cu-roo, Cu-roo” and sliding down through the mixed voice into the chest voice.
  • Gently speak sentences that begin with [m]: Meet me on Monday.
  • Finally, speak everyday phrases using the same easy production. Your goal is to use this easy vocal production throughout the day.

CHEERS TO A YEAR FREE OF VOCAL FATIGUE!

References:

Duke Voice Care Center.  Vocal health information. Retrieved from http://dukevoicecare.org

Daugherty, J. (2012). Vocal health handout. University of Kansas.  Lawrence, KS.

Daugherty, J. (2015). Graduate vocal pedagogy.  Retrieved from http://cmed.faculty.ku.edu

Erickson-Levendoski, E., Sivasankar, M. (2011). Investigating the effects of caffeine on  phonation.  Journal of Voice. 25. (5). E215-E219. Feldenkrais, M. (1949). Body and mature behavior. New York: International Universities Press.

Acoustical Society of America’s Classroom Acoustics booklet. https://acousticalsociety.org/

Feldenkrais, M. (2015) http://www.drweil.com/drw/u/ART00467/Feldenkrais-Method.html

Killer, S.C., Blannin, A. K., Jeukendrup, A. E. (2014). No evidence of dehydration with moderate coffee intake: a counterbalanced cross-over study in a free-living population. PLoS One. 9 (1). e84154. doi:10.1371/journal.pone.0084154

Mathis, B.  Exercises for Voice . Retrieved from : http://www.voiceteacher.com/mathis2.html

Opera Pulse.com http://www.operapulse.com/refine-your-craft/guide-to-opera-training/the-rules-of-singing-mythbustersedition/#sthash.ExglJDbE.dpuf

Parillas, D. (n.d.). Vocal hygiene -part 2: hydrate! hydrate! hydrate! why vocal hydration is important to singing. Vocal Brilliance. Retrieved from: http://vocalbrilliance.com/blog/vocal-hygiene-part-2-hydrate-hydrate-hydrate-why-hydration-is-important-to-singing

Thurman, L. & Welch, G. (eds.). (2000). bodymind & voice. foundation of voice education. (Revised ed.). (Vols. 1-3).The VoiceCareNetwork.

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Filed Under: Developing Voices, Others Tagged With: educators, hoarseness, vocal fatigue

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