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February 16-19, 2022 Chicago, Illinois

with our singers. Rather than the and live demonstrations to show MM from University of Michigan

conductor supplying a single, top- quick, effective, and healthy ways and a BM from Florida Internation-
down interpretation, leading singers to develop a wider and more fl exi- al University.
through the right discussion struc- ble catalog of timbres for your choir.
ture can give students more creative This presentation is geared toward
agency. Drawing from practices in the needs of high school, collegiate,
culturally responsive teaching and community, and church choir direc- Digital Audio Workstations:
communally devised theater, this ses- tors along with private voice teach- The Next Great Frontier

sion offers strategies for helping sing- ers and coaches.
ers connect their personal narrative Teaching our students how to use
to choral texts and bridging individ- Kimberly Dunn Adams digital audio workstations in the cho-
ual and group interpretations. is the director of cho- ral classroom is the next great fron-
ral activities at Western tier in the fi eld of choral music edu-
Margaret Winchell Michigan University, cation. This presentation will outline
is a music educator where she directs Uni- several ways to incorporate Digi-
and choral conductor. versity Chorale, Anima, Collegiate tal Audio Workstations, including
Originally from Hous- Singers, and Grand Chorus. She Soundtrap, Bandlab, and Logic Pro
ton, Texas, Winchell also directs the graduate program into everyday choral rehearsals. The
has taught high school in Illinois for in choral conducting and teaches session will outline the basics on how
five years and is currently pursuing associated classes. Adams’s choirs to import sound fi les, record and edit

an MM at Western Michigan Uni- have received top prizes in nation- multitrack projects, export projects
versity. Outside of the music class- al and international competitions, to share with families, and modify
room, she has worked as a teaching and invitations to perform at choral existing content including vocal fi l-
artist at the Goodman Theatre in conventions. She holds undergradu- ters, panning, and MIDI patches.
Chicago. Winchell strives to facili- ate degrees from Oberlin College &
tate interdisciplinary connections, Conservatory and graduate degrees David Haas is the
especially between music and the- from the Yale School of Music and founder and artistic di-
ater. the University of Wisconsin-Madi- rector of Vocal Artists
son. of Iowa, director of
choral activities at West
Rhea Olivaccé is a clas- High School in Iowa City, director
Choral Tone Hacks – sically trained soprano of music at St. Stephen’s Lutheran
Using Techniques from the based in Kalamazoo, Church, and a PhD student in music

Private Studio to Create Distinct MI, celebrated for her education at the University of Iowa
interpretation of lyric with a research interest in audience
and Diverse Choral Timbres soprano roles by Puccini, Mozart, engagement. At West High, Haas di-
Tchaikovsky, and Mascagni. She has rects Bass Choir, Treble Choir, and
Performing choral works in a va- performed with Des Moines Met- Iowa City West Singers. Haas holds
riety of styles often requires dras- ro Opera, Sarasota Opera, Opera a BM from Luther College in Dec-

tically different vocal timbres and Western Reserve, and Skylight Mu- orah, Iowa, and an MM from the
techniques, and teaching a variety sic Theatre, among others. She is a Florida State University.
of tonal styles in a healthful and ef- sought-after master class clinician
ficient way can be a daunting task. and recitalist specializing in African

This presentation will use musical America Art Songs and Negro Spir-
examples, audience participation, ituals. Olivaccé holds a DMA and

CHORAL JOURNAL January 2022 Volume 62 Number 5 45