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The Choir as Garden: A Dynamic, Singer-Centered Approach to Choral Leadership

In reality, most pedagogical approaches are not leaders prioritize technical performance standards
“all or nothing.” As Garnett explained, although the over the singers’ growth and relationship building,
strict discipline in Western choral traditions can pro- singers often experience few positive relational ties to
duce “exclusionary and elitist practices,” the same cho- the group and its members. When singers must con-
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ral traditions reflect a “generally inclusive ethos” that sistently mold their voices to the conductor’s vision of
views singing as universal and beneficial to all. Cho- a predetermined musical product, they lose relational
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ral educators can work through these tensions, Garnett benefits that arise from choral singing.
wrote: “It is possible to negotiate a path through this
contradictory ideological landscape without either di- Positive Effects of Person-Centered Approaches
luting artistic standards or alienating those one would In contrast, researchers suggest that when choral
wish to engage.” Critical analysis of one’s own ped- educators cultivate a welcoming environment for all
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agogy can help educators develop strategies that align ensemble members, they offer space for singers to feel
with their inclusive intent. connected with others as their authentic selves. Ap-
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proaches to choral singing that are collaborative and
Negative Effects of Product-Centered Approaches person-centered can help singers experience rewards
Although some choral contexts, such as professional from agency and growth. Scholar Nana Wolfe-Hill
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ensembles, might unapologetically prioritize a prod- used a feminist pedagogical approach to advocate for
uct-centered approach, choral researchers have identi- an “equalization of power,” wherein singers share
fied disadvantages of product-centered approaches for their own knowledge and express their voice through
singers in a variety of settings. When a group focuses dialogue and community. Choral leaders who facili-
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on replicating the conductor’s vision of a static musi- tate such agency and belonging in choral communities
cal product, choral singers can regularly feel margin- might counteract the unjust marginalization of individ-
alized or taken for granted. Singers in choral settings uals who have been regularly excluded or minoritized,
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have reported feeling judged, evaluated, and excluded making the choral environment a more socially posi-
as conductors ignore their individuality and treat their tive, humane, and equitable space. 26
voices as cogs in a music-making machine. Though When choral educators intentionally choose ap-
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choral leaders might aim to care for singers and their proaches that most effectively support singers’ experi-
voices as they pursue a refined performance product, ences, the positive impact can be profound. The follow-
they sometimes overtax and fatigue singers in their fo- ing section articulates how the Garden Model can help
cused drive toward musical excellence. choral communities realize relational, singer-centered
Further, conductors’ narrow pursuit of technical goals.
perfection through repetitive “microrehearsing” and
persistent corrections of errors can take the joy out
of expressive music making. Leadership approaches The Three Values of the Garden Model
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built on constant cycles of error correction can not only The Garden Model’s three values serve to foster pos-
make singing miserable, they can also devalue singers’ itive, relational experiences for singers. The first two
agency and neglect to develop singers’ independent reflect attention to the value and growth of individual
musical skills. Moreover, competition-based systems ensemble members: 1) Every individual helps create the envi-
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for achieving technical excellence can lead to singers ronment, and 2) Each voice brings qualities to recognize, nurture,
being discouraged, excluded, and disenfranchised. and value. The third value situates the ensemble as an
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Such approaches reflect a view of singers as objects interconnected ecosystem: 3) The ensemble is more than the
through which to achieve a musical goal rather than as sum of its parts. The following sections describe each val-
subjects who shape their own growth. ue and its application to rehearsal contexts.
In addition, with a product-focused approach, re-
lationships can suffer. In choral environments where

26 CHORAL JOURNAL August 2025 Volume 66 Number 1