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

of the campus experience. They are enthusiastic about Myers: The cultural landscape looks so much different
coming to and staying in choir because I show up to than just a few years ago, and this inspires me to stay
their opera performances and non-music related cam- fresh and never rest on my laurels. I am always seek-
pus-based events, I select repertoire that speaks to a di- ing for more ways to let students share their thoughts
versity of human experience, and I check in with them and have more ownership of the choral experience, as
regularly on their academic progress. The fruit of this the top-down conductor-knows-all model no longer
investment often prompts students to spread the word seems relevant. I often delegate in-class ensemble ex-
about joining our upcoming choral activities. periences to choir officers and schedule sectionals to
further provide leadership opportunities to students. I
am continually educating myself on choral literature
How has the cultural landscape shaped your by composers who were historically excluded from the
coursework, including (but not limited to) en- choral canon, and I make sure that the music we sing
sembles, methods, conducting, literature, mu- is representative of a wide variety of backgrounds. I
sic education, etc.? am very specific about repertoire, and I try to ensure
that the themes of each piece feel current to students.
Burk: The single most prominent element of the cul- For example, social justice music feels relevant and
tural landscape for me has been my journey with ac- important from the very beginning, and is very easy
cess, diversity, equity, and inclusion (ADEI). Under- to connect to students’ lives. For works that may not
standing the legacies of race and racism, and how I immediately seem relevant, I try to conceptualize as
am a part of those legacies, has led me to reshape my much as possible to help students connect academical-
teaching across all my academic disciplines. On a fun- ly. In music education courses, we frequently discuss
damental level, I have interrogated my own upbring- equity and access so students are better prepared to
ing and classroom experiences and have tried to better experience real-world classrooms and meet the needs
meet the needs of my students as a result. Among my of every student.
coursework, I teach four ensembles, conducting, and
choral literature. These interrogations have led to a Petite: I no longer assume that my belief in inclusiv-
research-based pedagogy that supports more inclusive, ity results in all my students feeling welcome. I now
thoughtful programming, and a broader perspective realize that overt actions on my part are the only way
that I often discuss with students. to show my students I value each of them. I include
Additionally, this ADEI work has enabled me to pictures and biographies of the composers and poets
better prepare my music education students for the of our repertoire, so my students see aspects of their
classrooms they will lead. Last year, I spent more time identities in the music we are singing—and so they also
rote teaching in my Vocal Methods class. By affirming see that people who are different from them can create
the rote traditions practiced by so many cultural and art that resonates with them. I start my Choral Meth-
ethnic groups in this country, I worked to embrace oth- ods class with the second edition of Teaching with Respect
er modes of learning that will better meet the needs of by Stephen Sieck, hoping his message will influence
my preservice teachers, most of whom will not begin our future discussions and their future decisions. We
their careers in a thriving tradition of music literacy. discuss marginalized voices in music education classes
However, if they can be efficient, effective, and engag- and seek out literature from under-represented popu-
ing rote teachers, they can build the rapport and re- lations. Throughout our discussions and assignments,
spect necessary to introduce those literacy systems. And however, I reiterate that I am not advocating for mem-
I’m still learning myself: all of my ADEI work has led bers of “privileged” demographics to feel a sense of
me to realize how much I still have to learn as a con- guilt, nor am I suggesting that works from the Euro-
ductor and a teacher. pean canon be “canceled.” Since I teach in one of the
many states with Divisive Concepts Laws, I make sure

28 CHORAL JOURNAL September 2025 Volume 66 Number 2