Page 60 - CJJanuary2026

2026 ACDA Midwestern Region Conference February 25-28, 2026 Milwaukee, Wisconsin

Interest Sessions
In t er est S essions

Appropriation or Collaboration? Choir as a Mirror:
Programming World Music Reflect and Celebrate Student Identities

Are you interested in programming world music What if deeper musical engagement starts by un-
repertoire but unsure how to select and teach pieces derstanding who your students are beyond the notes
while avoiding cultural appropriation? In this session, they sing? This session explores centering identity for-
we will discuss concepts of authenticity, cultural va- mation—the ongoing, dynamic process through which
lidity, appropriation, and collaboration as they relate individuals come to understand, define, and express
to world music repertoire in the choral ensemble. The who they are. Affirming identity builds trust, celebrates
presenter will introduce a checklist for selecting choral individuality, and encourages rich, expressive ensem-
arrangements of world music pieces and a brainstorm- ble singing. Participants will learn research-backed
ing worksheet for how to teach and rehearse world approaches and methods to create spaces that sup-
music for choirs based on research and practitioner port healthy identity formation and will leave with a
articles. Participants will use the checklist to evaluate comprehensive toolkit of practices such as expansive,
sample octavos for cultural validity, cultural bias, and inclusive language, thoughtful rehearsal design, and
practicality. Participants will then discuss how to intro- meaningful repertoire curation that promote student
duce and rehearse sample pieces with their ensembles engagement and retention. Reimagine musical excel-
in ways that engage cultural collaboration and avoid lence and transform your space into one where every
cultural appropriation. voice is truly heard and valued.

Austin Norrid is assistant professor of Leah Wyman shapes emerging musicians
instruction for choral music education at as a graduate instructor of conducting
The Ohio University, where he conducts and choral/vocal pedagogy at the Uni-
Bella Voce (SSAA) and Choral Union versity of Missouri-Kansas City. She
(SATB) and teaches coursework in music earned degrees from the University of
education and choral conducting. While completing Washington and Manhattan School of Music and di-
his PhD in music education at Pennsylvania State Uni- rected nine ensembles of diverse voicings during her
versity, Norrid served as interim director of Essence of graduate studies. Wyman’s doctoral research explores
Joy. His research focuses on inclusion and belonging for conscious choral pedagogy, an innovative framework
LGBTQ and multilingual music students and music blending cognitive science, interpersonal growth, and
educators. He has presented research and professional social awareness to foster transformative choral experi-
development sessions at state and national conferences ences. Wyman has conducted and presented at South-
and has guest lectured at universities across the United western ACDA Region and ACDA state conferences in
States on topics including multilingual learners, world Missouri and Washington. With over a decade leading
music pedagogy, and empathy in choral ensembles. community and church music, she has spearheaded
landmark projects like the Ohio premiere of Joshua
Clausen’s Requiem: For Victims of American Mass Shootings
with the Fairmount Choir.

Cee E. Adamson (she/they/Mx.) stands
as a beacon of versatility and excellence,
seamlessly weaving together her roles as
an opera singer, voice teacher, choral di-

58 CHORAL JOURNAL January 2026 Volume 66 Number 5