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Repertoire & Resources

between classes and campuses, which can contribute to sic majors seeking out a second ensemble, and particu-
late arrivals to rehearsal. Tubiolo’s approach is to wel- larly music education majors preparing to teach. The
come late-comers with applause, acknowledging their combination of music majors and non-majors can cre-
efforts to attend rehearsal and welcoming them into the ate an additional layer of complexity in terms of group
space. At the choir’s second weekly rehearsal, which identity.
often conflicts with students’ STEM courses, Tubiolo Tubiolo explains that cultivating a distinct ensemble
rehearses another set of music. This keeps instructional identity is essential for recruitment, visibility, and stu-
momentum high and maximizes everyone’s time, she dent enjoyment in the all-campus choir. It is a disservice
explains. If students miss a rehearsal, she provides am- to the students if they are perceived as the “B-Team”
ple online resources and opportunities for extra help. or “same but worse” than more advanced choirs. En-
Aaron Peisner agrees that flexibility with attendance semble identity begins with honoring the time and
is important with his all-campus choir. In his work at a effort these students are taking to be in the choir, she
beach-side campus, he has sometimes observed a more explains. Student leadership is another powerful tool
carefree approach to class attendance. Continuity and to fortifying group identity. For Tubiolo, the more she
re-enrollment from semester to semester have also been shares leadership with the students and accompanist,
challenging. His answer is to design instruction around the more the group’s identity can rise.
student’s motivations for singing. He has noticed that Peisner is focusing his post-pandemic rebuilding
skill building is satisfying for students, so he takes time efforts on establishing a unique identity for the Uni-
to review music fundamentals in class such as score versity Chorale, which was previously viewed as the
marking strategies. Focusing on skill development is “filler choir” for major works. He takes time to do non-
empowering, he notes, and helps students to see them- musical activities with the group, such as team-building
selves as essential contributors to the ensemble’s growth games and a scavenger hunt where students write a
and sustainability. choir mission statement together. Culture recruits stu-
Both of these educators work to reduce barriers to dents, he asserts.
entry into the all-campus choir. Tubiolo accepts all stu-
dents who complete an official choral audition into the Engaging and Meaningful Repertoire
choir. She also holds open rehearsals for the first week Tubiolo seeks to connect repertoire choices directly
of classes so prospective students can observe the en- to the students in the ensemble. She starts each semes-
semble in action. Peisner runs “voice placement hear- ter with a form where students can identify their musi-
ings,” rather than auditions. Changing the name is im- cal interests, languages spoken, cultural traditions, or
portant, he explains. Students are making a big effort to artistic talents. She often includes poetry and instru-
seek us out and share their talent. Keeping the audition mental music in her programming and finds that stu-
low key and exploratory sets a positive tone for their dents enjoy an interdisciplinary approach. In choosing
choral experiences. repertoire, she is sensitive to the diverse faith traditions
that are represented within the choir and tends to avoid
Cultivating a Distinctive Identity overemphasizing sacred repertoire.
Collegiate choral programs are traditionally hierar- Peisner often seeks out SAB literature for his all-
chical in design. The top ensemble is likely is an au- campus choir, and has found a trove of potential rep-
ditioned mixed choir that is highly visible on campus ertoire in the Georgian and Balkan choral traditions.
and beyond. Other beginning-level or mid-level cho- Much of the SAB repertoire is better suited to middle
ral ensembles may be auditioned or non-auditioned school choirs, he laments. For the all-campus collegiate
and generally have fewer performing opportunities. setting, he is seeking music that feels artistically rich but
This framework can mean that all-campus choirs are has lighter musicianship demands.
a catch-all group, lacking a unique identity or perfor- Locating suitable literature for the all-campus choir
mance agenda. All-campus choirs may also attract mu- is an ever-present challenge. This June, collegiate col-

42 CHORAL JOURNAL November/December 2024 Volume 65 Number 4