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2024 ACDA Northwestern Region Conference January 24-27, 2024 Spokane, Washington

receiving her MME at Murray State University, she Voices in Transition:
returned to Anchorage to teach the choirs at Bartlett Gender Inclusive Choral Voicings
High School. Her research topics include rehearsal ef-
fectiveness, inclusionary practices, and equitable audi- The session will provide choral voicing options to
tion procedures for honor choirs.
meet the needs of both the changing transgender voice
and those of cis-gender singers. As choir directors are
faced with more students who identify as transgender,
Teaching Snowboarders to Teaching Choirs: the need to be able to chose literature that meets those

A Holistic Pedagogical Approach needs is imperative. In addition to existing voicings, op-
tions for adapting scores with a new “flex” part using
guidelines created by Stevie J. Hirner will be included.
Have you ever enjoyed an amazing athletic experi-
ence? A choral rehearsal where suddenly everything Roger Emerson is a professional compos-
clicked for you as a singer? The success of each activity er/arranger and educator. He has taught
hinges on holistic teaching that strives to engage indi- vocal music at all levels but is best known
viduals comprehensively, resulting in personal growth for his arrangements and compositions
and social connection. This interactive session leads of “You Raise Me Up,” “Seasons of
participants through an introductory snowboard lesson Love,” “Shoshone Love Song,” and “Didn’t My Lord
and explores an assessment of indicators to facilitate Deliver Daniel.” He has appeared at numerous ACDA
holistic teaching. Participants receive an indicator in- and NAfME conferences presenting sessions on middle
ventory for singers, created by the presenter, and work school, changing voice, vocal jazz, and popular music.
through strategies to mindfully create intersections of
the cognitive, affective, and psychomotor domains to
empower limitless potential and foster community.
Vocal Jazz in

Christopher Haygood serves as associate the Choral Classroom
director of the Michael and Anne Green-
wood School of Music and associate di- Directing a vocal jazz or contemporary music en-
rector of choral studies at Oklahoma semble can raise a myriad of questions such as, what
State University. Haygood has conducted vocal warmups should be used? What is appropriate
choirs and appeared as a clinician across Europe, Asia, repertoire for an SAB ensemble? What vocal tech-
Australia, New Zealand, and the United States. He has nique is best suited for a ballad, Latin, or swing piece?
published pedagogical resources in the International Bul- Through her doctoral research, Dr. Lara M. Moline
letin of Choral Music, Teaching Music through Performance in has gathered information for the less-familiar to the
Choir, and The Choral Conductor’s Companion. Additionally, well-informed choral conductor in order to aide in the
Haygood is certified by the Professional Ski Instructors process of introducing or maintaining the vocal jazz
of America and American Association of Snowboard ensemble. The information provided will address the
Instructors as a ski and snowboard instructor, with ad- similarities of pedagogy between choral and vocal jazz
ditional certification as a children’s specialist. styles, transition material, repertoire and listening sug-
gestions, and a list of vocal jazz resources.

Lara M. Moline is the assistant professor
of voice and choral music education at
St. Cloud State University. Her disserta-
tion research, “Vocal Jazz in the Choral

CHORAL JOURNAL January 2024 Volume 64 Number 5 27