Page 66 - CJJanuary2026

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

In t er est S essions
Interest Sessions

The Intersections of Gospel Más Que Ritmo:
and European Choral Traditions Heart and Heritage of Latinx Choral Music

This session will explore the dynamic intersections This session explores the rich diversity of Latinx
between gospel music and European choral traditions vocal music and how it reflects the many voices, cul-
through the lens of gospel composers Isaac Cates, Di- tures, and stories within Latinx communities. What
ane L. White-Clayton, and Raymond Wise. Choral makes Latinx music Latinx? Is it language, rhythm,
directors will be provided with pedagogical insight or the history behind it? We’ll examine the defining
and repertoire suggestions that are both stylistically influences—Indigenous, African, European, and con-
authentic and accessible to ensembles trained in tradi- temporary—and how they blend into a living tradition.
tional Western art music. Participants will engage with From folk songs to modern Latinx composers working
annotated score excerpts, conductor’s analysis charts, within classical forms, this session highlights how mu-
and performance recordings to examine how gospel’s sic expresses unique identities and shared experienc-
oral tradition, rhythmic drive, and expressive spiritual- es. Participants will gain practical tools for teaching
ity can harmonize with the structural clarity, counter- this repertoire, including Spanish diction, rhythmic
point, and vocal balance of European choral works. By feel, culturally responsive rehearsal strategies, and
engaging both traditions, we discover deeper connec- approaches to oral tradition. Together, we’ll sing and
tions across race, history, and musical lineage, honoring move, embracing the vibrant rhythms and emotion-
gospel not as “other” but as part of our shared choral al vitality central to Latinx expression. Attendees will
heritage. leave with rehearsal-ready resources, historical and cul-
tural context, and curated repertoire lists suitable for
Bryon Black II is an active choral conduc- varied ages and ensembles.
tor and composer. He currently serves as
an assistant professor of music and direc- Eric D. Reyes is a Mexican American
tor of choirs at DePauw University. He conductor who was born and raised in
received his DMA in choral conducting Southern California. Reyes is assistant
from the University of South Carolina. His research of professor of music and director of choral
the intersections between gospel music and European activities at Hope College, where he leads
choral traditions provides choral conductors with ac- ensembles such as the Chapel Choir, College Chorus,
cessible repertoire and pedagogy for approaching gos- and VERITAS. He also founded ¡Canto!, a program
pel music. Black’s compositions have been performed supporting high school Latinx vocalists. Reyes holds an
by several collegiate, church, and community ensem- MM and DMA in choral conducting from the Univer-
bles. This includes a live concert album, In the Spirit! sity of Michigan. He is grateful for the support of his
An Encounter with Spirituals, featuring original choral ar- wife, soprano Jennie Judd Reyes, and his mentors.
rangements of spirituals by himself and Durrell LeG-
rair. Black resides in Indianapolis, IN, with his wife,
Briannah.
Redefining Community:
Choral Music at the Margins

What does “community” choir really mean? This
session invites choral leaders to rethink inclusivity by

64 CHORAL JOURNAL January 2026 Volume 66 Number 5