Page 31 - CJAug25

The Choir as Garden
A Dynamic, Singer-Centered

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

Approach to Choral Leadership

though individual growth is vital, the ensemble is more namically into an interdependent whole.
than the sum of its parts. This third value illuminates Further, in the Garden Model, singers’ diverse
how singers function as a greater whole. Interestingly, strengths coalesce into unity, not conformity. Each dis-
plant ecosystems’ ability to function collectively and in- tinct individual is cared for simply because they are
terdependently offers a deeper understanding of how part of the choral ecosystem, and none is asked to di- Jennif er Hutton
choral ensembles can thrive. minish their strengths by aiming to look, think, or act
Scientists have discovered that plants use complex like another. As singers work to unify tone, vowels,
underground networks to transmit helpful messages diction, dynamics, or phrasing, they attune carefully
to other plants. Through garden soil, tomato plants to all fellow ensemble members, creating community
attacked by pests send biological signals that protect organically as they “learn from, listen to, and feel at
neighboring plants. In forest ecosystems, trees use one with other singers.” In this inclusive, humane,
34
38
communication networks to share nutrients and chem- and dynamic model of an ensemble, as scholar Sean
ical messages that benefit others. Even more remark- Powell wrote, “embracing difference” becomes part of Today’s choral educators often articulate goals members can lose positive rewards of group sing-
35
ably, trees’ messages help not just those of the same spe- “true solidarity.” 39 that prioritize positive relational experiences for ing that leaders ostensibly intend to foster.
cies, but a variety of trees and plants. That is, plants singers. Many educators strive to foster positive This article presents a metaphor of the choir as
36
protect others not simply because they are genetically experiences of belonging, relationship-building, a garden to help educators align their practices
related but rather because they share the same ecosys- Complexities and Challenges and community. Such goals reflect a relational, with the relational, singer-centered values they
tem. Gardens and forests act as collective, interdepen- The Garden Model as an approach to choral music person-centered approach that values singers’ often hold. The Garden Model frames teach-
dent superorganisms in which plants share resources, making holds inherent challenges. The model prompts experiences as much as (or more than) the music er-conductors as cultivators of conditions that
communicate cooperatively, and work in concert to choral leaders to reflect on important values and re- they present. Despite choral leaders’ intentions, allow singers to develop and grow. When indi-
benefit others. In many ways, plants in an ecosystem make ingrained habits. Enacting new practices in this singers’ experiences do not always reflect the viduals’ varied growth is fostered, singers can be
operate as one. context can feel destabilizing, uncomfortable, or risky. relational, person-centered values that leaders emboldened to function as an interdependent
How do these findings apply to choral ensembles? Leaders, along with singers, must cope with the uncer- espouse. Researchers have identified barriers to ecosystem that is more than the sum of its parts.
Researchers have found that groups of singers, too, tainty involved in reflection and change. singers’ positive experiences including require- The first part of the article situates the model
operate as interdependent superorganisms. Physically, Structural conditions can act as barriers to change.
when humans sing together, their breath rates, heart For example, many choral environments are built on ments that singers mold themselves to a con- in the context of my own experience as a leader
rates, and movements align. Psychologically, singers re- competitive selection processes including auditions, ductor’s musical vision and the use of repetitive working with a new group.
port powerful experiences of togetherness, synchrony, scholarships, solo opportunities, and tiered ensemble rehearsal techniques focused on technical perfec-
and oneness during singing. In such moments, many structures that rank singers against others. By assigning tion. When teacher-conductors prioritize musical
singers feel an intangible connection to something larg- differential value to individual musicians, these selec- results more than singers’ experiences, ensemble
er than themselves. United in collective experiences, tive processes contradict the Garden Model notion that
singers can sense that the choir is greater than the sum all voices should be recognized, nurtured, and valued
of its parts and that one singer’s experience is connect- equally.
ed to the experience of all. The Garden Model’s third Garden Model values are also challenging to enact
37
value encourages the cultivation of space for singers to when, as in many professional ensembles, the core mis-
grow into experiences as an interdependent collective. sion is to exemplify musical perfection. As discussed
above, consistently prioritizing conductors’ expertise
Three Values: A Holistic Approach over singers’ experiences works against the Garden
Taken together, the three Garden Model values en- Model’s singer-centered ideals. Yet conductor-focused
courage a holistic approach to ensemble music making. approaches centered on technical excellence, efficien-
Values 1 and 2 honor individual singers’ strengths and cy, and the leader’s predetermined vision might be
actively uncover their unique contributions. Value 3 ar- strongly ingrained in a leader’s habits or an institution’s
ticulates how diverse individual strengths can coalesce traditions, even in educational and community settings
to form a greater collective. A fertile groundwork based where technical perfection is not explicitly articulated
on individual assets supports singers as they grow dy- as the primary goal.

CHORAL JOURNAL August 2025 Volume 66 Number 1 29