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2022 ACDA Southwestern Region Conference

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Interest Sessionsessions
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terthought, these moments are ripe
All the Colors on Our Palette: Are We Together?
opportunities to direct the emotion-
Exploring Sound-Based al trajectory and meaning of a pro-
Repertoire Selection Together is about more than gram. Transitions emphasize, add,
rhythm. Together means that lead- contrast, bring order, and give con-
Thanks to online access and a rise ers and learners have shared objec- text to our work. This session seeks
in self-publishing platforms, we are tives, a clear understanding of the to explore parameters for consider-
able to bring more repertoire from task at hand, and eff ective com- ation. Topics will include strategies
around the world into our rehears- munication (verbal and gestural) to in planning, methodology for imple-
al space. But how do we equip our realize short- and long-term goals. mentation, and examples of applica-
singers with the skillset and sensi- Christopher Aspaas will provide a tion. This session will most readily
tivity they need to switch between successful model for these concepts apply to conductors of the second-
foreign-language dictions? How do as well as tools for long-term growth. ary and collegiate levels.

we build flexibility into our ensem- Be sure to bring some videos of your
ble’s timbral palette? How do we conducting! Kristina Caswell Mac-
approach unfamiliar sonic territories Mullen serves as associ-
with respect and responsibility? This Christopher Aspaas ate professor of choral
session explores avenues for igniting serves as director of conducting at the Uni-
the ensemble’s sonic creativity. In choral activities and versity of North Texas,
addition, we look at how we might associate professor of where she conducts the University
address issues of tokenism, appro- music at TCU. At TCU, Singers, Kalandra, and instructs
priation, and inequity through a Aspaas leads the Concert Chorale, students in the areas of conducting
sound-based repertoire selection. TCU’s flagship mixed ensemble, as and choral pedagogy. MacMullen

well as the Frog Corps, TCU’s pre- has conducted all-state and honors
Charlotte Botha is the mier tenor-bass vocal ensemble. He choirs throughout the United States.
director of choral ac- also teaches basic coursework and She has presented and co-presented
tivities at Hamilton oversees the graduate choral con- interest sessions at state, regional,
College in Clinton, ducting program. His travels as a national, and international confer-
NY, where she con- guest conductor, clinician, adjudica- ences. She is a graduate of Michi-
ducts the College Choir and the tor, and lecturer have taken him to gan State University and Texas Tech
Hamilton Voices choregie ensemble. more than half of the United States, University.
She teaches music theory and social Canada, Germany, South Korea,
justice musicology. During her cho- China, and the Sultanate of Oman.
ral conducting DMA at the Univer-
sity of North Texas, she served as Body, Mind, and Spirit:
conductor of the Women’s Chorus, Artistry Uninterrupted: Unifying Health
assistant conductor of the Universi- for Conductors
ty Singers, and assistant conductor Purposeful Transitions
of the Dallas Symphony Chorus. in Performance
Botha’s MM is from Nelson Mande- It is no secret that music educa-
la University, and her BM is from the The advent of concept-driven tors are pulled in an array of direc-
University of Pretoria. programming invites all conductors tions, oftentimes left with little time
to reimagine the role of transition to take care of themselves. So, what
within a program. Instead of an af- are the inherent risks of leading en-

CHORAL JOURNAL January 2022 Volume 62 Number 5 99