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

exploring music making at the margins of society. considered are: Is this music and the program that
Drawing on the presenter’s experience starting a choir it is a part of relevant? Are we setting our singers up
in a women’s correctional facility, we will examine for success and opportunities to meaningfully engage
how choral music can restore dignity, build connec- with the repertoire we have chosen? Does it cultivate
tion, and foster artistic expression in overlooked spac- their musical and nonmusical skills to serve? This ses-
es. Topics include how to begin a program in a prison sion will provide new national data-based repertoire
or similar setting, suggested musical resources, and selection trends, suggest programming models for
strategies for building trust and access in nontradition- choirs of all abilities, and provide resources to ensure
al ensembles. Participants will also engage in broad- the music we select is diverse in conceit, origin, and
er reflection on access, justice, and belonging in the impact.
choral world. Whether you’re starting something new
or reimagining your current community, this session William McLean is the associate director
offers practical tools and inspiration to expand your of choral activities at Baylor University,
definition of who gets to sing. where he conducts choirs and teaches
courses in conducting and choral litera-
Elena Cressy is a passionate conductor ture. He has served as associate conduc-
and educator pursuing her DMA in cho- tor of the Dallas Symphony Chorus and on the facul-
ral conducting at the University of Iowa. ty of the University of Texas at Arlington. Ensembles
She earned her MM in choral conduct- under his direction have performed at the national
ing from the University of Kansas and ACDA conference and state NAfME conferences. Mc-
holds a degree in music education from Carthage Lean has presented sessions at international, national,
College. Cressy taught elementary music and high and state ACDA and music education conferences on
school choir in Milwaukee and was music and theatre topics of community building, programming, and in-
director at Kettle Moraine School for Arts and Perfor- novative rehearsal strategies. He holds degrees from
mance. At KU, she assisted with several choirs, served the University of North Texas, Baylor University, and
as minister of music at Good Shepherd Lutheran St. Olaf College.
Church, and was associate director of the Lawrence
Children’s Choir. Her work explores the intersection
of choral music and social justice, including founding
a choir at the Women’s Correctional Facility in Tope- Singing by Heart:
ka, KS. She is an active guest conductor and clinician Aural Tradition in the Choral Classroom
known for her vibrant energy and collaborative spirit.

Cultures around the world use the aural tradition
to teach and share songs. While notation and music
Selecting and Programming literacy are essential aspects of our choral classrooms,
Repertoire with Purpose teaching songs through the aural tradition (i.e., “by
heart”) encourages and promotes active listening, fo-
cus, and teaches style and artistry in ways that nota-
At all levels of musical experience, skill, and ma- tion cannot. In this session, participants will learn a
turity, the singers we work with deeply desire to con- variety of songs by rote, hone pedagogy for teaching
nect with the music we assign them to learn. We make aurally, and see how incorporating this music and
great efforts to select pedagogically appropriate reper- pedagogy strengthens our communities and ensem-
toire that will engage singers and audiences. However, bles. Come to this session ready to sing, connect, and
many choral performances just simply don’t connect expand your aural abilities.
with our community. The questions that need to be

CHORAL JOURNAL January 2026 Volume 66 Number 5 65