# data[].attributes.headline
How is choir a place for Just, Equitable, and Inclusive Education?

# data[].attributes.subject
How is choir a place for Just, Equitable, and Inclusive Education?

# data[].attributes.body
For me, Keona Borntreger, choir has been a place where people from all backgrounds, stories, cultures, etc. can join together and create art in a safe space that is non-judgmental and all inclusive. This padlet will include multiple ways in which I think a choir director can include all students, as well as articles about how choir was a place for one to belong and feel a part of something. Thank you for visiting this padlet.

# data[].attributes.body
This article is a wonderful read to see how important choir can be to those who come from every background. Bennett talks about her experience being in a "mixed ability choir" and what that entails.

# data[].attributes.attachment_link.title
A Place in the Choir | Canadian Education Association (CEA)

# data[].attributes.attachment_link.description
Last year I had the good fortune to participate in a play called The Book of Judith. My role was tiny - I was part of the back-up choir - but the experience was eye-opening. The play is about one man's encounter with Judith Snow, an accomplished writer, artist and advocate who has quadriplegia.

# data[].attributes.body
Being all inclusive within your classroom can start with something as simple as what posters you're hanging on your wall. Whether that is the solfege (do-re-mi) hand signs, a Safe Space poster, or a tolerance poster. This website has been acknowledge as having wonderful posters for teachers who want to promote this type of classroom environment.

# data[].attributes.attachment_link.description
The One World posters featured in Teaching Tolerance magazine are a reader favorite, which is why we're making them available for download. Print these 11" x 17" posters at school or your local office supply store and post them in your classroom to inspire students and teachers alike.

# data[].attributes.body
When considering programming for a choir, understand that yes - for literature purposes you must include Mozart, Brahms, Hadyn, etc.; however, you have the whole world at your fingertips. For example, you can have a piece from almost any culture, in any genre, and in any language. For my class of Music 354 (Public School Materials) at Cal State Fullerton, we had to make 6 programs for different levels of choir and different criteria. I have included two that I think have grasp the concept of being all inclusive and multicultural.

# data[].attributes.body
This was my Program 2 from the course of MUS 354. My requirement was to make a set-program all from pieces that are from the Choral Public Domain Library (CPDL). I decided to make the theme be "A Universal Language" by making each set from pieces all in one language. This would be easy to do with any language as well as using octavos that you buy and not from CPDL.

# data[].attributes.attachment_link.title
Program 2 Set Intermediate HS Womens Choir

# data[].attributes.body
This video is an example of circle singing as well as incorporating different cultures. Bobby McFerrin is well known for a lot of his contributions to the music world, especially the vocal area. This video is of Bobby McFerrin & The Kuumba Singers doing a traditional circle song.

# data[].attributes.attachment_link.title
Bobby McFerrin & The Kuumba Singers: Circle Song (trad.)

# data[].attributes.body
Circle singing is a wonderful way to teach students how to sing in a certain scale, key, or mode, as well as improvisation. It also provides a wonderful way to easily allow students to show their leadership abilities as well as make them feel like they are contributing to the group. Here is an article that explains what circle singing is and how to utilize it within the choral classroom as well as its benefits.

# data[].attributes.attachment_link.provider_name
National Association for Music Education (NAfME)

# data[].attributes.attachment_link.readable_text
Let's play a quick game of word association: when you hear (or read) the word "improvisation," what immediately comes to mind? Is it the members of an improv comedy troupe, building hilarious sketches from a single activating idea? Is it the saxophonist in a jazz combo taking her turn to "solo," or the mandolin player in a bluegrass band stringing together "licks" during the break between the chorus and the next verse?

We could be wrong, but we're willing to guess that the first thing you think of in relationship to improvisation isn't a traditional choral rehearsal. Choral music teachers lead students in important, powerful music-making and skill-building experiences each day-developing vocal technique, studying and interpreting texts, refining sight-singing ability, listening across the ensemble, and learning to make musical moments come alive together-but, to this point, improvisation may not exactly have been our "bread and butter." But we're also willing to bet that choral classrooms could easily become lively, active spaces for improvisation, as long as teachers and students have the right tools.

What could choral improvisation look like?

We look to famous singer, composer, conductor, and improviser Bobby McFerrin as a model. With his ensemble Voicestra, McFerrin has developed a technique called "circle singing" that engages singers in the co-creation of improvised, layer-based "circle songs." This video from YouTube shows McFerrin and Voicestra at work:

Although McFerrin and the members of Voicestra are experienced professionals, and their work is outstanding, is there any reason this kind of creative practice couldn't find its way into our choral classrooms?

Improvisation can be scary for musicians who haven't experienced a tremendous amount of it; the ideas of "just making something up" or "staying in the changes" can be intimidating for those of us who are used to having all the information laid out in the score in front of us.

The great thing about circle singing is the way it uses brief, ostinato-like layers as the basic "building blocks" of improvisation, giving teachers and students just enough structure to help them know how to begin, but just enough leeway to allow them to open up and be creative.

Our session will explore the basic fundamentals and "compositional technique" of circle singing, but we'll also focus carefully on how to take what Bobby McFerrin and Voicestra do so expertly and adapt it for "real" classrooms with "real" students. We've recently worked with a local high school choral program on some circle singing activities, and we've learned some exciting things through these "experiments" that we're looking forward to sharing at the conference.

Students who emerged as leaders during the circle singing weren't necessarily the same ones who typically assume leadership roles during rehearsal.

In particular, we've learned that students are not only excited about this "fresh take" on choral singing; they're also quite good at it-from the newest beginner to the most seasoned veteran. Strikingly, one of the teachers with which we worked pointed out that the students who emerged as leaders during the circle singing weren't necessarily the same ones who typically assume leadership roles during rehearsal, suggesting that incorporating practices like these might help even more students "find their voice" in the choral classroom.

We're both novice teachers of circle singing, and we can certainly affirm that it (a) involves quite a different skill set from the one we employ when we're in "rehearsal mode," and (b) requires a little bit of practice before it's completely comfortable. But we're thrilled to imagine the ways that this creative practice could enliven choral rehearsal spaces-and the way that the benefits of this improvisational activity can "transfer" to all the other important aspects of the choral art.

We can't wait to share what we're learning with you, and we look forward to seeing you in Nashville! (Read a followup article on Stuart's and Joshua's sessions and videos of circle singing.)
About the authors: Stuart Chapman Hill is a Ph.D. candidate in the College of Music at Michigan State University, where he studies music education and choral conducting. He is also a member of the choral faculty of the Governor's School of North Carolina (East campus). His scholarly interests include music teacher identity, the teaching and learning of songwriting, and connections between neuroscience and music pedagogy. Stuart is a choral composer whose works are published by Hinshaw Music as well as an active guest conductor/clinician with upcoming engagements in Michigan and North Carolina. Joshua Palkki is completing a Ph.D in music education (choral conducting cognate) at Michigan State University. He taught middle and high school choral music in Maryland and California and holds degrees from Ball State University and a master's degree in choral conducting from Northern Arizona University. Joshua has a keen interest in LGBTQAI+ issues in music education, choral teacher education, middle school choral music, and music education and social justice. He will conduct the Nevada Middle School All-State Choir in 2016.
Stuart and Joshua will be presenting on their topic "Using Circle Singing to Enliven Choral Creativity" at the 2015 NAfME National In-Service Conference this month in Nashville, TN! Register today!

Join us for more than 300 innovative professional development sessions, nightly entertainment, extraordinary performances from across the country, a wild time at the Give a Note Extravaganza, and tons of networking opportunities with over 3,000+ other music educators! Learn more and register today: http://bit.ly/Nafville2015. And follow the hashtag #Nafville2015!

Brendan McAloon, Marketing and Events Coordinator, October 7, 2015. © National Association for Music Education ( NAfME.org).

# data[].attributes.attachment_link.title
Using Circle Singing to Enliven Choral Creativity - National Association for Music Education (NAfME)

# data[].attributes.attachment_link.description
Let's play a quick game of word association: when you hear (or read) the word "improvisation," what immediately comes to mind? Is it the members of an improv comedy troupe, building hilarious sketches from a single activating idea?

# data[].attributes.body
This video shows how schools in Saskatoon embrace each language and culture their students embrace and promote pride within the students from where they come friend. It is a great way to celebrate diversity.

# data[].attributes.attachment_link.description
With over 30 different cultures that now call Saskatoon home, students from the city's language schools came together to celebrate and spread awareness about their unique heritage with the community.

# data[].attributes.body
Our field of music in a choral setting involves almost every language under the sun. Try to educate students on more than one language, and don't just limit it to the "standard" of the literature that includes Italian, Latin, German, and French. Obviously, you would not be a good choir director if you did not use literature from those languages; however, expand your knowledge and the student's knowledge by including other languages. Student appreciating singing in their first language, so if you have any students that do not have English as their first language, try to incorporate their primary language into the repertoire. Also, utilize these students by allowing them to teach their peers the correct pronunciation instead of you leading it. Allow students to be leaders in these aspects and really be proud of their background and culture which they identify with.

# data[].attributes.body
This was my third program from that MUS 354 course. I did a set program again, but this time I included folk songs from different cultures with a variety of different languages, and it included two different middle school choirs.

# data[].attributes.body
Within your classroom, you will want to really educate students on how choir is part of the performing arts and include other means of arts in the classroom. One way to do this is use students to be the accompaniment of pieces, such as a guitar, drum, tambourine, string quartet, flute, etc. If you notice that a student is good with a musical instrument, try to find a piece in which that student could partake in by showing their musical abilities. Also, try to utilize dances whether contemporary, ballet, or folk to be with your music. This is an easy way to collaborate with other departments at your institution and get students to really be involved and passionate.

# data[].attributes.body
The Kodaly Method is a teaching method that helps choral directors teach music from kindergarten through senior year of high school with different methods that include kinesthetic, visual, and oral means of learning. This article, is a great beginning place to learn how to teach music in an abstract way with different pictures depicted, hand signs, etc. It is a wonderful read to make sure your beginning music students all can grasp a concept, and it provides not just one form of teaching. One can get Kodaly certified at several places around the country. There are three levels to complete before one can be completely Kodaly certified. I would recommend any new music teacher to try to take these courses or research Kodaly by themselves.

# data[].attributes.attachment_link.readable_text
This week's article is on: Teaching Methods (Part One of Three)The Kodaly Method
by: MusicStaff.com Teacher Lounge Editor, Deborah Jeter

Have you been looking for a method to focus on your student's singing voice?

If the answer to the question above is yes, then the Kodaly Method is for you. Zoltan Kodaly developed a way of educating young children through the singing of the native mother tongue folk songs. Doesn't sound too different with just that being said, but the differences lie within the internal workings. The Kodaly Method uses a sequence for teaching music, that is child developmental. More on that later.
Right now... allow me to introduce you to Zoltan Kodaly.

Kodaly (born on December 16, 1882, in Kecskemét, Hungary and died, March 6, 1967, in Budapest), was a prominent composer and authority on Hungarian folk music. He was also important as an educator, not only of composers but also of teachers and, through his students, contributed heavily to the spread of musical education in Hungary. He was a chorister in his youth at Nagyszombat (now Trnava), Czech., where he wrote his first compositions. In 1902, he studied composition in Budapest. He toured his country in his first quest for folk-song sources in the year before his graduation from Budapest University with a thesis (1906) on the structure of Hungarian folk song. After studying for a short time in Paris with the composer-organist Charles Widor, he became teacher of theory and composition at the Budapest Academy of Music (1907-41).

First off, let me say that in order to give a complete overview of the Kodaly Method would take more than just this article to accomplish. I hope to give you enough information on the advantages of using the Kodaly Method for teaching music, so that you will continue your learning through the resource books that I listed at the bottom of this article. Here are some of the key elements used in the Kodaly method.

Hand signals are used to show tonal relationships.

Hand signs are used in order for the singer to "visualize" what the note or tone is doing. Is it going up? Is it going down? You see, when we play instruments, it is quite evident what pitches we are playing because we can see what our fingers are doing. We have this advantage because the instrument is outside of out body. However, with the singer, the instrument is inside. So, the use of hand signs, as shown below, can be very advantageous, especially to the "beginner". NOTE: These hand signs were not invented by Kodaly, but rather incorporated by him because of the validity of their use.

The moveable "do" is practiced.

The moveable "do" system is utilized through the use of the "do" clef. The "do" clef is simply a sign that is placed whereever the tonic of each scale is. In other words, the beginning student need not be concerned that "g" is the starting pitch in G Major, until they are "ready" to have that information. It keeps things simpler for the beginner. G in G Major would simply be called "do". Using a fixed "do" system is always called middle C, "do".

The musical material emphasized is the mother-tongue folksong.

The mother tongue songs are the songs that are concentrated first. Mother tongue meaning, the child's native music or the music (folk songs) of his or her country.

The Kodaly Method breaks down the learning of music into a series of concepts (or components); Then applies a sequential learning process to each one. This sequential learning process follows the natural developmental pattern used in learning a language, which is, aural, written, and then read.

1. Aural - oral - kinesthetic

2. Written - pictoral - abstract

3. Read - recognized

The First Concept:

Steady beat is the first concept taught in level one. Notice that I say "level" and not grade. Kodaly is a concept that is non-graded. This makes the teaching of the most fundamental concepts applicable even to "beginners" of music education in highschool and beyond. The sequence of the concepts stay the same, but the material used to teach these concepts are age appropriate and left up to the discretion of the teacher.

A great deal of emphasis is placed on using the pentatonic scale in the beginning. One of the great advantages of using the pentatonic scale is that the notes represent all of the intervals that are needed in singing in an extended range as the voice develops but will not put unnecessary strain on the inexperienced singer. Another wonderful advantage of singing pentatonic songs are because instruments are easily incorporated for improvisational purposes. Any tone played in a pentatonic scale will blend (or sound "right") with the singer's pentatonic song.

A great site with a huge selection of pentatonic songs is located at: Beth's Music Notes

Eventually, from the use of Kodaly sequencing, the student will be familiar with all musical forms of song, such as the aria, madrigal songs, cantatas, symphonic and operas.
The Melodic Sequence:
Here is an example of the melodic sequences for teaching sightreading.
NOTE: The first interval taught using the Kodaly Method, is the falling minor third. (derivative from many children's songs, such as 'tattle-tail', and 'rain, rain, go away')

This example demonstrates the use of pictures and hand signals which help the student better understand the overall concept of sight reading.

Solfege or "Curwen" handsigns are used as a way to visualize the
pitches being sung:

The Kodaly Method was not invented by Kodaly, but is a system of music education which was evolved in the Hungarian schools under his inspiration and guidance.

The Musical Objectives of Kodaly musical training may be listed as to develop the ability of all children to:

Sing, play, and move from memory, a large number of traditional folksongs of the mother tongue.

Perform, listen to, and analyze the great art music of the world.

Achieve mastery of musical skills, such as musical reading and writing, singing and part-singing.

Improvise and compose, using their known musical vocabulary at each developmental level.

I have used the Kodaly Concept/Method/Philosophy ever since I was a student teacher. My cooperating teacher was a Kodaly Master so I had a wonderful start. Over the last twenty years, I have taught using Kodaly and Orff with a mixture of Dalcroze. In general, my students exhibit a tremendous increase in musicality when I use Kodaly's sequenced applications. I hope you will take the time to investigate
its possibilities with your own students. You may find students understanding and mastering musical concepts more quickly and singing more beautifully than you ever imagined.
Quote: If there is something to be gained and very little to loose, then by all means, TRY! - W. Clements Stone
Related Internet Links

Zoltán Kodály Wiki Page
Information about Kodály. Includes a list of his compositions, an essay about his impact on musical education, and links to institutions, organizations, and a bibliography devoted to Kodály.

Additional Links
Kodaly Institute
American Kodaly Institute
Kodaly Music Institute

Resource Books on Kodaly
Kodaly Today: A Cognitive Approach to Elementary Music Education
the Kodaly Method I: Comprehensive Music Education

# data[].attributes.attachment_link.title
Teaching Methods: The Kodaly Method - MusicStaff.com

# data[].attributes.attachment_link.description
This week's article is on: Teaching Methods (Part One of Three)The Kodaly Method by: MusicStaff.com Teacher Lounge Editor, Deborah Jeter Have you been looking for a method to focus on your student's singing voice? If the answer to the question above is yes, then the Kodaly Method is for you.

# data[].attributes.headline
The Use of World Music in High School Choral Classrooms

# data[].attributes.subject
The Use of World Music in High School Choral Classrooms

# data[].attributes.body
In 2012, Stefanie L. Cash wrote a Graduate Dissertation for Florida State University on implementing diverse world music within the choral classroom. This dissertation provides great research and strategies to apply world music within your course of a high school choir. It is a very nice read that is packed with helpful ideas for the new choir director.

# data[].attributes.headline
Students with Disabilities & how to accommodate:

# data[].attributes.subject
Students with Disabilities & how to accommodate:

# data[].attributes.body
+ADD/ADHD:
-Utilize the Solfegge hand signals to help them learn how to read music. Combining the action, concept, and visual aid will help students make a connection to the material.
-Be patient and allow creativity to flow, but also make sure that you monitor course time between free time.
-Set up rules ahead of time, and do not sway away from them. Be consistent.
+Speech Impediments:
-Sometimes it is easier for people to sing rather than talk normally. My friend Paul from the CSUF Concert Choir has a stutter, which makes it nearly impossible for him to hold a conversation. Dr. Peterson recruited him for choir, and he is now a music major because when he sings he is able to break the cycle of stuttering and can eloquently portray his thoughts and feelings.
-As a choir director, you are there to help students explore their voice and what it is capable of doing. Be patient with these students and try to accommodate as best you can.
+Visual Impairments:
-In the CSUF Concert Choir, Cristiana Jones, is an active member and graduated as a music major. Cristina is completely blind, but she is still able to read music and is better musically than some of the students who are not visually impaired.
-There are devices/software that can turn music into braille for the blind to be able to record and read the music. One example of this would be Dancing Dots by GOODFEEL.

# data[].attributes.body
Choir is considered part of the performing arts. Not a lot of people discuss how sometimes the performing arts is just assumed to be a safe space; however, Joshua Palkki, a Ph.D music education and choral conducting student from Michigan State University, points out in this slideshow that we still need to discuss the LGBTQ+ community and actively try to promote a safe space environment even though it is already assumed to be one.

# data[].attributes.headline
Deciphering IEP’S-What They Mean for Music Educators

# data[].attributes.subject
Deciphering IEP’S-What They Mean for Music Educators

# data[].attributes.body
Accommodating IEPs are different in the choral classroom setting is a bit different than in the standard core course classroom. This article/discussion forum talks about how to accommodate IEPs in the musical classroom setting and what an IEP means in regards to music educators.

# data[].attributes.attachment_link.readable_text
Deciphering IEP'S-What They Mean for Music Educators

If you think you can or you think you can't, either way, you will be right."- Henry Ford

Another session I attended at PMEA 2011 was entitled "IEP'S and What Do They Mean to Music Teachers" presented by Carol Burgman of Pace School. As most educators would agree IEP's can be a daunting document to have to sift through and follow. This is especially true for music educators as we often think there is not much valuable information for us in a student's IEP. Through this session I learned what exactly an IEP contains, what parts of an IEP are most useful for music educators, and how can music teachers best include special education students in their classrooms. Hopefully this blog post will help music educators (especially newer teachers) know which parts of a students IEP is the most important and give ideas for how to help these students succeed in the music classroom.

What is an IEP?

IEP= Individualized Educational Plan

An IEP starts by the student being identified by a teacher, administrator, or principal

It is a document that specifies a year-long comprehensive educational program designed for an individual student to help them succeed

The IEP drives the educational process and the IEP mandates must be done in the time frame allotted and described in the document

An IEP is a legally binding document between the educational system, teachers, school therapists, and the parent or guardian

The document can be challenged through a legal procedure known as due process

It is usually written by the special education teacher, but the regular classroom teacher bears primary responsibility

Must be re-written yearly by a specific team

Rarely mentions music class except indirectly as an opportunity for inclusion

Includes academic or behavioral goals. Some of which may apply to the student's entire program (including music class)

An IEP contains specifically designed modifications that are useful for all the students teachers. Modifications listed as "throughout the school day", or "at all times during student attendance" apply to the music classroom.

What Matters to the Music Educator

Communication Plan- describes the students communication needs. This sections specifies the challenges and interventions for the student. It will state if the student has an alternative reading plan

Positive Behavioral Support Plan- an accompanying document that supports the IEP if the student has specific behavioral issues. It specifies triggers, the student's process when in crisis, methods to intervene, and recovery information

Present Levels of Achievement and Function- gives specifics of the student's academic abilities, strength, weaknesses, and overall function of the student.

Goals and Objectives- Review this section to determine your role in assisting with objectives implementation

SDI (Specially Designed Instruction)- Special methods or modifications to help the child. Modifications indicated as constant or cross-curricular are your responsibility

It is important to read the IEP because there is a lot that we can learn about the student that may help us better serve them even though it doesn't specifically mention music

The special education classroom teacher or resource room should be your contact for specific information on adapting activities

Tips for Successful Inclusion

Treat all students with utmost respect no matter of their disability or ability level

Keep your focus on the objective- functional inclusion

Modifications should be simple and transferable

Present your lessons in a structured, well-organized, appropriately paced manner. Allow enough time for students to respond

Remember to consider your sub-skills and prerequisite skills when students struggle. Back up and then move forward

Make sure your classroom expectations, rules and consequences are clear and concise

Keep expectations high and allow students to rise to the occasion. NEVER settle and use the excuse that they have an IEP so they can't do it

Think outside the box, be creative, and think quickly on your feet

Remain positive!!

Where is Music Education Highlights Heading?

Unfortunately due to job searching, starting to substitute teach and a recent death in my family I have been unable to post as much as I would like. Hopefully over the next few weeks I will be able to post more regularly again. After I finish a few more PMEA recap posts I will begin a new series on Music Education Highlights. I am planning on starting a series of posts covering the job search process, application process, interview process, common interview questions, applying for substitute teaching, and tips to succeed as a substitute.

If you have any suggestions for posts that you would like to see at Music Education Highlights please let me know. Also if you would like to write a guest post please contact me. I am always looking for post suggestions and new voices!

# data[].attributes.attachment_link.title
Deciphering IEP'S-What They Mean for Music Educators

# data[].attributes.attachment_link.description
If you think you can or you think you can't, either way, you will be right."- Henry Ford Another session I attended at PMEA 2011 was entitled "IEP'S and What Do They Mean to Music Teachers" presented by Carol Burgman of Pace School. As most educators would agree IEP's can be a daunting document to...

# data[].attributes.body
This choir is to promote unity and create wonderful music. This ensemble is something you could introduce to your students.

# data[].attributes.body
The "Find Your Forte" podcast episode 44 by Ryan Guth discusses how to be an inclusive choir director with Angie Broeker, the Director of Choral Activities at the University of St. Thomas. This podcast is very insightful and is such a good listen for music educators on all levels.

# data[].attributes.attachment_link.readable_text
Listen

Bio

Angela Broeker is Director of Choral Activities at the University of St. Thomas where she conducts the Chamber Singers, Concert Choir, and Festival Choir and teaches graduate and undergraduate courses in choral conducting, choral literature and choral pedagogy. Since arriving at the University of St. Thomas in 1999, Dr. Broeker's choirs have performed at national, regional, and state conventions of the American Choral Director's Association and have toured extensively in Europe and South America.

In addition to her university responsibilities, Dr. Broeker presents for national, regional, and state conventions of the American Choral Directors Association, the National Association for Music Education, the Organization of American Kodály Educators, and the American Orff-Schulwerk Association. She serves as guest conductor for numerous honor choirs including the ACDA National Children's Honor Choir in 2015, honor choirs at the Eastern, Southern, Southwest, North Central and Central Division ACDA regional conferences, National Honor Choirs at numerous OAKE conferences, and all-state choirs in more than 40 states. International conducting engagements include honor choirs in Tokyo, Hong Kong, Seoul, and the United Arab Emirates.

Dr. Broeker received her D.M.A. degree from the University of Oklahoma and her M.M. and B.M.E. degrees from Indiana University. Her research interests include authentic, respectful performance of music from diverse cultures as well as the exploration of varied vocal colors that are possible with this repertoire. Recently, she's presented keynote speeches around the themes of community and inclusion within the choral experience. She served as guest editor of the April 2006 Choral Journal and has written articles for the Choral Journal in 2011, 2008, and 2006. Other publications include the July 2000 Music Educators Journal, the NAfME Spotlight on Teaching Chorus, as well as many local and regional music publications. The book she coauthored with Mary Goetze and Ruth Boshkoff, Educating Young Singers, is published with GIA. She lives in St. Paul, Minnesota, USA with her dog and her husband-composer, Jay.

Show Notes

Today, you'll hear my interview with Angela (Angie) Broeker, Director or Choral Activities at the University of St. Thomas in St. Paul, Minnesota.
Introduction
If someone were to ask Angie to describe what it is she "does", she'd say "I walk into a room of people and we use music to express our commonality."

"I view the choral experience as one of expressing our humanity together," she adds.
Musical upbringing -
Angie started playing the organ at 9 years old. While accompanying the choir in middle school, she developed a love for choral singing and began to really think about the particulars of choral music. After high school, she decided to major in music education. She auditioned for the organ department at Indiana University but didn't get accepted. (Listen to hear more about what happened next in Angie's college journey.)
A moment in time when things didn't go as planned for Angie
At age 29, Angie left her doctoral program because she didn't think she wanted to "do music" anymore. She had earned her bachelor's degree and taught at a middle school in Houston, Texas. She then got her masters and started her doctoral work, but it was at this point in life that she began to search for other things and question her path. So she took a step back and worked at United Way for a year and spent her days with others who spent time trying to come up with creative ways to help people. But she missed making music. (Listen to hear more about Angie's journey back to music.)
What advice would Angie give someone who would like to create a more inclusive program for their next concert?
Angie strives to include everyone and everyone's music into her choral repertoire. "I focus on the students who are in my choral rehearsal," she explains. "I hope to educate them musically, socially, and as human beings."

In creating a program, Angie says that she sets her intentions and then starts looking at YouTube clips, searches choral competitions and festivals, etc. to locate interesting new repertoire. While searching, she considers what it is that she wants to bring to her students, and then her creative muses lead to pieces that work well together. It's that "aha! experience" that she loves, Angie explains.
What is Angie most excited about now?
"I'm excited about bringing love into a world that feels really divided. It's about providing experiences to students that will give them an opportunity to connect with others that don't look like themselves or believe the same things as they do."
Angie's advice to her younger self
T hroughout your life, there will be nothing more important than your spiritual journey. That has to stay on your front burner. And remember that "you are totally okay." Don't be concerned about so many things.
What makes an outstanding conductor or educator?
Angie believes that the ability to connect with your learners where they are in order to take them forward in their journey is most important. You also need the ability to filter out what works and throw out the stuff that didn't. Furthermore, you should always go into a teaching situation with an attitude of service.
Favorite personal growth book
Radical Acceptance - Tara Brach
Words of encouragement from Angie
Take risks, and realize that nobody has this figured out, Angie says. People who act like they have it figured out really don't. We're all in this together! No one is above anyone else on some proverbial choral hierarchy. Remember to also share your vulnerabilities - it makes the music come alive in a different way.
Connecting with Angie Broeker
You can find Angie on Facebook or connect with her through the University of St. Thomas website.

# data[].attributes.attachment_link.title
Becoming an inclusive choral director, with Angie Broeker - Ryan Guth

# data[].attributes.attachment_link.description
Listen Bio Angela Broeker is Director of Choral Activities at the University of St. Thomas where she conducts the Chamber Singers, Concert Choir, and Festival Choir and teaches graduate and undergraduate courses in choral conducting, choral literature and choral pedagogy. Since arriving at the University of St.

# data[].attributes.body
As a new choral educator, it is important that you know the resources out there for you. Choral Net is a wonderful website that includes forums with discussions involving choral music educators from around the nation/world on almost every topic to discuss. I've seen discussions from repertoire, to how to incorporate other forms of art, to how to accommodate students with IEPs and disabilities, and much more. Also, if you ever need to find a specific piece of repertoire or literature for a specific group, level, etc., you will for sure be able to find it somewhere on this website.

# data[].attributes.attachment_link.title
ChoralNet - The professional networking site for the global online choral community.ChoralNet | ChoralNet

# data[].attributes.attachment_link.description
The professional networking site for the global online choral community.

# data[].attributes.body
The Choral Public Domain Library (CPDL) has a wide variety of music from Mozart and Byrd all the way to new music that unpublished composers will upload. This website, and a public domain, means that all of the music is free of copyright and can be downloaded and printed on the spot. This is a wonderful place to obtain new repertoire and a wide variety at that. My Program 1 that I have posted on here includes all music from CPDL. (The link is the blank looking picture.)

# data[].attributes.body
JW Pepper is a music distribution company for publishers. This website not only is a wonderful site to by octavos for the choir, but there are also discussion forums and blogs regarding a variety of choir. If you are looking for a specific piece for a themed performance, specific level or genre, etc. this website provides very good threads as well as having advanced search settings to make your quest to find music to fit a JEIE environment very easy.

# data[].attributes.attachment_link.description
Delivering music since 1876, J.W. Pepper carries the largest inventory of sheet music for band, orchestra, choir, vocal, and every instrument and ensemble group. All with our 100% Satisfaction Guarantee.