Student Members Reflect on the 2025 ACDA National Conference
by Mark Helms, Membership Chair
For three senior music education majors at the University of Maryland, attending the 2025 ACDA National Conference in Dallas wasn’t just a chance to hear amazing choirs or grab new repertoire ideas. Instead, it was a moment of real connection between what they’re studying, what they’re teaching, and where they’re headed as future choral educators.
All three—Paige Peercy, Kai Daley, and Sydney Black—are currently student teaching and approaching graduation. That meant their experience at the conference wasn’t just theoretical. It was grounded in the real students they’re working with right now, and that changed everything.
“I could almost visualize the rehearsal process.”
For Paige Peercy, the timing couldn’t have been more meaningful: “I had just started student teaching at my high school placement the week before heading to this year’s national ACDA conference—my third ACDA conference overall, and my second national one. Prior to that, I finished eight weeks of student teaching at my elementary placement. Having been in a classroom every day before attending, I found myself appreciating the performances, interest sessions, and resources in ways I hadn’t before.”
What stood out to her most was the artistry behind the scenes: “I appreciated seeing groups that exemplify what my high school placement strives for in every rehearsal. I could almost visualize the intentional rehearsal process behind the polished performances on stage, which is something I couldn’t have fully understood last year.” She also left with practical ideas she could use immediately: “I made sure to attend interest sessions that directly pertained to the repertoire my high school choirs are currently performing, knowing the information would be immediately applicable.”
And, as someone who’s not singing during this semester of student teaching, the conference stirred something deeper. “While I was admiring the conducting and directing during performances, I also noticed myself wishing it was me up there singing. My passion for singing in choir, not only directing it, was reignited and left me wanting to fuel this same inspiration in my high school students.”
“This year… everything feels like it has fuller potential.”
For Kai Daley, attending ACDA this year brought a different kind of clarity. “This year’s ACDA felt life-changing to me—not because it was better than the other ACDA conferences I have attended, but because everything this time feels like it has a fuller potential to be applicable.”
With elementary and secondary placements both under her belt, Kai approached concerts and sessions with a sharper lens. “I went to more reading sessions about elementary and children’s choir music, because those are the places I am more likely to find myself in. It was really fun to see which of the pieces I heard at this conference would have worked at the elementary school I was working with, which were too easy, and which were too hard. Elementary choir has always been my weakest level of choral music, so I used this conference to really build that portion of my repertoire.”
That mindset extended to each performance: “This year, more than any other, I have been listening for what my real choirs can do, not what the choirs I want to eventually have can do. One of my professors has consistently told us to think about our five-year plan for our choir program. As a summer project, I think I’m going to try to put together a five-year plan, using some of the repertoire I heard this year, some repertoire I already know, and some that I am excited to discover.”
“Now there was a real choir...with real learning needs.”
Sydney Black’s takeaway centered on how much her perspective has changed in just a few years of membership in ACDA. “For one reason or another, I wasn’t exposed to a whole lot of well-known choral repertoire in my high school choral experience. Which is fine. It did, however, mean that when insert professor name referenced literally any piece, my classmates went, ‘yup, I know it,’ and I said, ‘uhh…?’”
But three ACDA conferences later, things feel different. “Now, not only was I listening to repertoire selections for my preferences and some hypothetical choir, but there was a real choir (multiple, in fact) of real students with real learning needs to be considered when hearing repertoire. This was, in my experience, the most grounding and energizing piece of Dallas because it contextualized everything that floated in a nebulous cloud of fictional choral classrooms before.”
Sydney also presented a co-authored research poster at the conference, diving deep into representations of love in the lyrics of commonly performed repertoire. “The lyrics of choral music are intensely important because by asking a choir to sing them, you are asking your students to speak aloud the messages that they share… It’s just one more facet of repertoire selection and the importance of the choices that choral directors get to make, and because of this, it was particularly meaningful to share this work at this particular conference.”
From nebulous ideas to practical applications
What connects all three of these students’ reflections is a shared shift: ACDA isn’t just about great concerts and inspiration anymore—it’s about applying what they see and hear directly to the classrooms they’re already leading. Whether it’s building a practical repertoire list, modeling conducting gestures, sharing videos with students, or planning long-term goals, Paige, Kai, and Sydney are all taking the next step: moving from learners to leaders. And in the process, they’re already helping shape the future of our choral community.
High School Choir Spotlight – March 2024
Prince George’s County
What an exciting year for choral music in PGCPS! A remarkable 67 high school students and 71 middle school students were selected for the 2024-2025 PGCPS Honors Chorus, showcasing the incredible talent and dedication of young singers across the county. Leading the way in musical collaboration, the Thomas G. Pullen (TGP) Singers have set a new standard by featuring middle school students accompanying and performing together. At their Winter Concert, they delivered a stunning performance of the first movement of Antonio Vivaldi's Gloria alongside the TGP Chamber Orchestra—an inspiring moment of artistry and teamwork!
Watch their performance here. Bravo to these outstanding musicians!
The Laurel High School Choir has had an incredible few months, sharing their talents and dedication with the community through performances at the Laurel Towne Center Christmas Tree Lighting, Hughes Memorial UMC, Emmanuel UMC, and the MLK Day of Service at Laurel City Hall. Their excellence is reflected in the 22 students selected for the PGCPS Honors Chorus and the 10 students who earned spots in the Maryland All-State Chorus. Under the leadership of Mr. Kevin Lewis, Sr.—a National Board Certified Teacher (NBCT) candidate, Tenor-Bass Demonstration Chorus Manager for the 2024 MMEA Fall Conference, and MCEA President-Elect candidate—the choir continues to inspire and uplift through music. Their recent performance at the Black History Program at the Laurel Multi-Service Center further showcased their commitment to both artistry and community engagement. Bravo to these outstanding students and their dedicated director!
Howard County
The 2nd Annual HCPSS Gospel Choir Festival
The festival on Friday, February 7, 2025, brought together talented HCPSS students in grades 8-12 for a powerful day of music, culture, and community. They worked and performed at the Jim Rouse Theatre at Wilde Lake High School.
Coordinated by Howard High School Choral Director Ms. Carrie Hall, and sponsored by the Howard County Center of African-American Culture, this incredible event was led by some of the DMV’s top Gospel music educators—including this year’s outstanding musical director, Brandon Booth from ConneXions: A Community Based Arts School in Baltimore. Participants engaged in inspiring workshops, meaningful rehearsals, and an electrifying final concert performance!
Adding to the power of the event, we were also joined by the St. John Baptist Church Sacred Arts Ensemble, led by Dr. Rev. Antone Caldwell, whose incredible artistry and spirit made the experience even more unforgettable. To close out the festival in a truly special moment, HCPSS staff members joined the students on the final piece. This event was an inclusive opportunity for all interested students (not just those enrolled in choir!) to explore the history, culture, and style of African-American Gospel music while experiencing the pure joy of making music together.
Congratulations to the student musicians, Ms. Carrie Hall, the Howard County Center of African-American Culture, the St. John Baptist Church Sacred Arts Ensemble, HCPSS staff members, and everyone who brought this festival to life.
Beyond SATB:
Choral music in worship has long relied on SATB voicing, but shifting ensemble dynamics invite us to explore fresh approaches. In Beyond SATB, Frank J. Van Atta highlights how choirs can adapt and thrive with creative voicing strategies.
Options for Dynamic Voicing in Music in Worship
Frank J. Van Atta, DC/MD ACDA Worship in Music Chair
While many would prefer to forget the impact 2020 had on choirs, the effects of the pandemic on the choral art have been profound. Although individual conductors may have felt this experience differently, anecdotal evidence suggests those working with primarily volunteer choirs have yet to see numbers rebound in the way one might have hoped. Rather than bemoan the lack of a particular voice part or discuss how things might have been done differently half a decade ago, the present moment provides a great opportunity to reconsider how current resources are utilized.
Conventional SATB settings have long been the standard for choirs, not only in the context of worship but across the Western Art tradition. While this format provides a solid foundation for vocal harmony and is widely recognized, the evolving landscape of worship music invites creativity and exploration of alternative voicing techniques. Although many contemporary compositions feature dynamic or unconventional voicings, this practice stretches back to the very foundations of music, providing rich and often undiscovered treasures in the choral repertoire.
Before diving into repertoire, it is critical to understand the ever-changing human voice. Research from vocal pedagogues such as Richard Miller, Barbara Doscher, and Janice Chapman suggests that, while the change is most profound during puberty, the voice changes distinctly every seven to ten years. Dr. Lynne Gackle outlines this in her conversation at the Choral Conductors Colloquium which is available on YouTube. As choral ensembles grow and change, conductors must seek opportunities to empower their ensembles by looking beyond the SATB lens while still creating impactful musical experiences.
Singing in Unison: In perhaps the most overlooked realm of dynamic voicing, unison singing provides many pedagogical benefits for a choral ensemble, beyond serving simply as repertoire. Chant is perhaps the most common form of unison singing in the context of music in worship and can be found at the center of many of the world’s major religions. Without harmonic context, ensembles can center focus on rhythm, unity of tone, and expressiveness. In a world of constant noise, excellent unison singing can be impactful and effective in creating effect in a service.
Resources to consider: The Magic of Hebrew Chant (Gold); Free download of the Liber Usualis; Salamu aleikum: Music of the Muslim World (ed. André de Quadros)
Call and Response: Found in a myriad of music around the globe, call-and-response music effectively features particularly strong singers on the call and either the choir or the full congregation in the response. By no means exclusive to the sacred context, this style of voicing is commonly found in the gospel tradition in the United States. Call-and-response singing also offers the opportunity to incorporate contemplative worship styles such as Taize into services such as evensong or compline.
Resources to consider: Music that Makes Community; The Justice Choir Songbook; Beth’s Notes of Call and Response pieces; Carnegie Hall Music Educators Toolbox
Alternative Voicing: Perhaps the most straightforward way to tackle the confines of SATB singing is to think beyond the lens of four-part harmony. Contemporary published music will often refer to music outside the SATB realm as “equal” or “flexible” voices yet composers have been writing outside of the confines of Western Art musical conventions for hundreds of years. Composers as early as Byrd, Monteverdi, and Palestrina were writing for ATB, AB, TB, and any other combination of voices imaginable. Similarly, genres such as Gospel music regularly feature SAT voicings in which all of the changed voices sing on the lowest line. For choirs accustomed to singing four-part music, most may never even notice the change in voicing.
Resources to consider: How to search the Choral Public Domain Library (CPDL) by voicing; JW Pepper three-part mixed sheet music; Genre walker to find scores for specific voicing on the International Music Score Library Project (IMSLP);
While music in SATB voicing remains a vital staple of the choral art, exploring dynamic options can significantly enrich the experience for listeners and singers alike. From unison singing and call-and-response structures to alternative voicings and non-Western styles, each alternative offers unique benefits that promote engagement and connection. As worship leaders and musicians continue to innovate and respond to the diverse needs of their communities, embracing these voicing options can lead to more vibrant and meaningful expressions of faith through music. These lists are by no means comprehensive but rather intended as an opportunity to think beyond the limitations of pre-pandemic ensembles. It is through the experience of creating meaningful and impactful music that ensembles can grow and sustain excellence for many years to come.