2022 Colorado Music Educators Association Conference
Wednesday, January 26, 2022
A Composer’s Inspiration and Preparation Behind the Music
This session will touch on some of the ways I approach writing for an ensemble. Insights into inspiration will lead to discussion about practical concerns involved in writing music: form, tempo, style, key, dynamics, orchestration and articulation/bowing. Musical excerpts will be shown and played (from recordings) to demonstrate certain concepts.
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Beyond Tone
In this interactive workshop, we will explore possibilities for expressive vocal technique strategies you can use in the choral rehearsal. You will learn how to connect vocal technique to the meaning of your repertoire while enhancing camaraderie and vocal independence in the classroom. You will walk away feeling empowered for your own practice and to support your ensembles. (and it will be fun!)
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Colorado Music Adjudication Association Training
This session is for new music teachers who would like to become adjudicators for Large group and Ensembles. We will cover the large groups adjudication forms and policy in the handbook.
Thursday, January 27, 2022
Critical Conversations Through Productive Argumentation
Anthony Trecek-King
The Hartt School, University of Hartford and a Resident Conductor with the Handel and Haydn Society, Associate Professor of Choral Music and Director of Choral Activities
Melanie Trecek-King
Massasoit Community College, Associate Professor of Biology and Science Educator and Communicator, Thinking is PowerDemystifying Jazz Harmony
Kirk Marcy
Edmonds College, Clinician and adjudicator for choral and jazz festivals throughout the country.Looking to dive deeper into the content of the session? Check out these supporting materials:
Estill Voice Training Structures and the Choral Rehearsal: Part 1
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Using Jazz Warmups as Ear Training Exercises
David Von Kampen
University of Nebraska, Lecturer of music theory and literature and teaches a variety of music courses and directs the Jazz SingersThe Silent Canon - Repertoire by Composers of African Descent
Anthony Trecek-King
The Hartt School, University of Hartford and a Resident Conductor with the Handel and Haydn Society, Associate Professor of Choral Music and Director of Choral ActivitiesA workshop on Singing Spirituals - History and Performance Practice
Native American Music into the General and Choral Music Classrooms
This presentation will include an introduction to Native American music, culture, differentiation, and history from tribes in the United States, as well as lesson plan ideas, songs, and resources for implementing Indigenous music into the general or choral music space. The audience will also receive critical insight into the lives of First Nations students, and how teachers can make these students feel validated in their classrooms in any age group.
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Friday, January 28, 2022
The Silent Canon - Repertoire by Composers of African Descent (Part 2)
Anthony Trecek-King
The Hartt School, University of Hartford and a Resident Conductor with the Handel and Haydn Society, Associate Professor of Choral Music and Director of Choral ActivitiesA workshop on Singing Spirituals - History and Performance Practice
The Elephant, The Rider, And The Aliens That Didn't Come
Melanie Trecek-King
Massasoit Community College, Associate Professor of Biology and Science Educator and Communicator, Thinking is PowerWhy do discussions seem to quickly descend into ideological fights? Why don’t facts change people’s minds? And what will you do when the aliens don’t save you? This session will explore the answers to these questions to help you and your ensembles have more productive and meaningful conversations.
Tune it or Die: Just intonation for any ensemble
This clinic will demonstrate the differences between equal tempered tuning versus just intonation, how and when to use both, and demonstrate why the overtone series is critical knowledge to help your ensemble tune well.
Exploring Timbre in Jazz Singing: Strategies for the Vocal Jazz E
Vocal jazz repertoire provides exciting opportunities for exploring a range of vocal timbres in both ensemble singing and solo singing. In this session, we will explore the tools available to singers and directors for achieving a variety of timbres through the shaping of the vocal tract. Through live and recorded audio demonstrations, we will listen to and discuss differences in both acoustical sound and amplified sound resulting from vowel modifications and other changes to resonating spaces.
Empowering Treble and Women’s Ensembles and Taking Our Programs Forward
In this session, I will discuss ways in which conductors can use treble and women's choirs not only as a place for making music, but also as a place in which singers can be validated and empowered. We will discuss program structure, repertoire selection, developing leadership skills, and other strategies for building up and embracing singers in women’s and treble ensembles. Treble and women's choirs have historically been viewed as the least prestigious ensembles in a given choir program. A number of scholars have highlighted that singers in treble and women's choirs have often felt inferior and undervalued in choral programs, which can have lifelong impacts on singers’ views of their musical and personal self-worth. It is our mission to combat these negative stereotypes through the work that can be done in women’s and treble choirs.
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Saturday, January 29, 2022
Live Audio 101 for Vocal and Instrumental Music
Whether mic'ing a single voice, giving that jazz soloist the extra little push, or amplifying a Marching Band, knowing the ins and outs of your sound system will save you time, and result in a better experience for everyone. In this session, we'll dive into the basics of running sound so your next program can really pop! This crash course will cover how to identify your equipment and get it physically set up, how to choose microphones and gear for your application, and how to achieve a nice, natural sound through sound check.
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Stick With It: Baton Technique for the Choral Conductor
Brian C. Murray
University of Wyoming, Associate Director of Choral Activities and Assistant Professor of MusicConducting with a baton affords conductors with another tool for gestural communication with their choirs. However, many choral conductors completely avoid using a baton. Conducting with (or without) a baton should be a decision based on various musical and personal factors, not the result of uncomfortability or unfamiliarity. Whether you're out of practice or confident in your stick technique, let’s examine some basic elements of choral conducting with a baton.
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