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2026 ACDA Eastern Region Conference February 25-28, 2026 Providence, Rhode Island

Fellow at Yale and current Ecker Fellow in Boston, his kee MEA, which recently fought to restore one hun-
research explores music, race, and “othering” in histor- dred music teacher positions in the Milwaukee public
ical narratives. schools. She served as the diversity initiatives liaison for
the Wisconsin Choral Directors Association and was
Tamara Acosta, the soprano, is a co- named the WCDA Outstanding Young Choral Direc-
founder of ONEcomposer and an assis- tor (2018). She was a Grammy Music Educator finalist
tant professor of voice at Ithaca College (2017) and currently serves as the Presser Foundation’s
and the former interim director of voice Graduate Research Fellow.
studies at Cornell University. She has
performed with Lyric Opera of Chicago, the Santa
Fe Opera, Sarasota Opera, and Opera Theatre of St.
Louis, where she appeared in the world premiere of Ju- Conducting with Style:
dith Weir’s The Vanishing Bridegroom. She holds degrees Envisioning Gesture as Leadership
from the Cleveland Institute of Music (BM) and the
New England Conservatory (MM). We often use our physical conducting gesture to
guide the ensemble and communicate a wide range of
musical ideas. Conducting gesture is one of our most
Circling Up: powerful leadership and rehearsal tools in ensembles.
Collaborative Vocal Improvisation for Choirs Using the repertoire as our guide, this interactive ses-
sion will offer participants a variety of strategies and
Collaborative vocal improvisation provides a space techniques to enhance musical expressivity within the
for choral singers to develop creativity and deepen ensemble. This workshop will provide opportunities to
community within the ensemble. Drawing on the Circle observe, explore, and experience conducting gestures
Singing practices of Bobby McFerrin and Deep Listen- and techniques that enrich the choral experience.
ing philosophy of Pauline Oliveros, this session invites
participants to engage in spontaneous group singing Jennifer Sengin is the Raymond R. Neev-
and envision how to incorporate this inclusive practice el/Missouri Professor of Choral Music and
in their own choral context. Rooted in the aural-oral director of choral studies at the University
tradition, these practices invite directors to coconstruct of Missouri-Kansas City, where she leads
collaborative music alongside choir members, fostering the graduate choral conducting program
a more equitable community through sound. Partici- and conducts the flagship ensemble, Conservatory Sing-
pants will leave with a rich collection of tools, exercises, ers, and the Choral Union. In addition to ensembles,
and resources to guide collaborative vocal improvisa- Sengin teaches graduate choral conducting and choral
tion with their own ensembles. literature. An active guest conductor, clinician, adjudi-
cator, and presenter, Sengin has conducted honor choirs
Erica Breitbarth is a doctoral fellow in throughout the country. Future engagements include
music education at Temple University guest conducting at Carnegie Hall, and all-state and
with a focus in urban education policy. honor choirs in Florida, New York, California, Mis-
She holds degrees in music education sissippi, and Missouri. She has presented sessions and
from the Wheaton Conservatory of Mu- served as a panelist at international, national, regional,
sic (BMEd) and Northwestern University (MMEd). She and state conferences. She sings in the award-winning
served for fourteen years as a high school choir teacher, professional ensemble mirabai.
musical theater director, and Music Department chair
at an international baccalaureate public school. Breit-
barth was the cofounder and president of the Milwau-

CHORAL JOURNAL January 2026 Volume 66 Number 5 29