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Rising Voices: Perspectives from Early-Career Choral Directors in Higher Education

As we continue to appreciate the work of all colle- correlations with curriculum, recruitment, and com-
giate choral professionals, those newest to the field are munity. Another shared perspective is the intentional-
positioned to develop their own voice in a space that is ity of access, diversity, equity, and inclusion initiatives
constantly evolving—from exploring the effects of social (ADEI) as a crucial role in their approach to program-
norms on choral music and academia, to the impor- ming and student engagement. Each participant also
tance of balancing “tradition” with “innovation.” The acknowledges the work of their own mentors and
programs and ensembles referenced include a spectrum shares how they continue to be inspired by their mas-
of enrollments, student populations, institutional leader- ter-teachers today.
ship, curriculum priorities, and student abilities. While A benefit of surveying directors from across four re-
these experiences are not reflective of all early-career gions of ACDA is recognizing their various approaches
collegiate instructors, continuing to share and learn from and perspectives based on their lived experiences. Each
those at the beginning of their careers in higher educa- director has their own personal and professional con-
tion will help to ensure the sustainability of choral sing- nection with the ideas of culture, legacy, and the future
ing in these spaces. of our field.

Margaret (Maggie) Burk is assistant pro-
fessor of music and director of choral ac- Having recently been a student-performer
tivities at Carthage College in Kenosha, yourself, do you feel the criteria for “good” or
WI, where she directs three of the college’s “successful” choral performances has shifted
five choral ensembles and teaches course- over time?
work in conducting and music education.
Burk: In the past few years (particularly since the pan-
Matthew Myers is associate director of demic, but not exclusively), I have reassessed my own
choral activities at Washington State Uni- criteria for what makes a “successful” performance. I
versity in Pullman, Washington. He con- grew up with incredible models for choral tone, expres-
ducts the Treble Choir and University sivity, finesse, and spirit, and while those choirs, conduc-
Singers, and teaches choral methods, vocal tors, and sound ideals remain guiding lights in my prac-
pedagogy, and conducting. tice, I have sought to reground myself in the humanity
of choral singing. Given that many of us are working
Dominique Petite is the assistant professor with reduced numbers of singers and less-experienced
of choral music education at Kennesaw students, I have challenged myself to recommit to the
State University, GA, where she teaches individuals in front of me: meeting them where they
courses in the music education sequence are, giving them my best effort, and celebrating our col-
and conducts the KSU Treble Choir. lective choral pursuits. Do I still have standards for cho-
ral beauty? Absolutely, and those benchmarks are goals
Khyle Wooten is assistant professor of we will continually strive toward. Now more than ever,
music performance and director of choral though, I think a truly successful choral performance
activities at Ithaca College (NY). As a com- is one where people are transformed by their efforts to
poser, Wooten had a piece commissioned listen and communicate, and I think that kind of suc-
for the 2024 Eastern ACDA Region Stu- cess is measured by relationships rather than standards
dent & Community Honor Choir. of beauty.
Another important part of this reassessment has
All of the directors surveyed discuss the continued been reckoning with my own privilege and upbring-
importance of student-centered learning and admin- ing. I was raised (even if tacitly) to value choral singing
istration (choir officers, section leaders), citing positive marked by certain aesthetic principles: Tenebrae, the

24 CHORAL JOURNAL September 2025 Volume 66 Number 2