1: Tell us about your current teaching activities and teaching

philosophy

Here at Texas Tech, I am the Conductor of the auditioned treble

chorus called Scarlet Voce and am also the associate conductor
of the auditioned mixed chorus called University choir. I also
teach the choral methods for instrumental music education
majors and co-teach conducting for undergraduate choral majors.
I love teaching about the hands on nature of gesture and
communication, as well as rehearsal technique. As for my
teaching philosophy, it is my belief that teaching flourishes
around intellectual exchange and cultivating a space where
students are encouraged to exercise their musical intuition, so I
implement problem solving among students to facilitate a
communal learning space. As an educator I also believe in
flexibility due to the many different learning styles, so I practice a
variety of techniques that include kinesthetics, modeling,
visual/auditory aids, and hands-on practice. Alongside this,
working at the collegiate level is extremely important for inspiring
future educators and so I model effective teaching sequencing
and scaffolding to equip students with a precise skillset that sets
them up for success within their classroom and rehearsals.

2: Please explain your ideal choral sound and how you strive to
achieve it in rehearsal

I practice viewing the choir as a color palette that I need to

organize, while also getting feedback from the singers. I don’t like
to impose a synthetic sound on a choir, so what I seek to achieve
is a balanced/healthy sound that is unique to the exact choir I am
working with based on types of voices I am working with at that
given time. I voice the choir from light to dark so that the person
you are standing next to is only a shade of difference from your
unique timbre. I don’t want singers sympathetically trying to
exactly match the person next to them, so instead, if the color
palette is organized effectively, then singers can use their unique
sound fully. Then, we can work to achieve different vocal colors
based on the requirements of various styles and time periods. I
enjoy programming repertoire from diverse regions, so then we
can get in touch with that childlike, organic act of simply exploring
vocal sounds together and sharing feedback on how it feels in the
vocal mechanism

3: What strategies do you employ for recruiting and supervising

students from diverse backgrounds?

I myself am an Indigenous first-generation woman, and have

experienced both the beauty and hardship of that journey.
Research shows that first-generation students are much more
likely to suffer from the feeling of not being worthy of a college
education, and that is the hardest facet for a student to navigate. I
believe that feeling of imposter syndrome or not being worthy
stems from the lack of opportunity and outreach that oppressed
and underserved populations experience within their public
education. So my recruitment strategy is doing just that: building
bonds and relationships with smaller, less privileged schools and
serving as a model for those students. Outside of outreach to
public schools, I think visibility is also very important for
recruitment. AT Texas Tech I founded the DEI Council for students
of varying backgrounds to come together to host discussion
panels and also serve for recruitment initiatives to public schools
and across campus and that has shown to be a very helpful
organization.

As a teacher I make sure my students know that they belong in

my classroom, and I will always be a safe person to come to. But
outside of the relationship I strive to have with my students, I also
believe it is important to consistently assess the progress of my
students, and even more importantly, assess the way that I am
teaching so that I can modify my techniques to ensure each
student is having their needs met and that excellence in the
classroom is expansive and accessible to all.

4: Scholarly interest

My scholarly interests align with a passion for reforming the

traditional choral concert. I have done extensive research on the
dichotomy between the popular and classical music industries,
specifically the ways in which they originally diverged from one
another in the late 1800s and the techniques they utilize today to
draw in audiences. Through my research, what I have found is
that the classical music industry greatly lacks utilizing
technological advances in both promotional outreach and
performances. I’ve developed these kinds of concerts with
diverse music within technological and multidisciplinary settings
that speak to modern day audiences and students [Link]
productions I have created using this research have utilized
technology, interpretive dance, visual art, and synesthetic lighting.
Ultimately, I believe this kind of reform and research would benefit
a university by increasing audience attendance and instilling a
collaborative culture that would drive recruitment and
engagement.

5: Collaboration

Collaboration is where I thrive, as I mentioned before about

varying projects I have led for interdisciplinary
concerts…collaboration is at the core of those experiences I put
together. All art speaks to the human experience, and the human
experience is about human connection, or collaboration. I seek to
create projects every chance I get to collaborate with people from
other disciplines. For myself, my life goal is to continually learn
about other people’s art, and appreciate what other creatives do
within their medium.. but also for my students, I think that is the
most valuable thing that can be included in their educational
journey, is that experience to connect and build lifelong
relationships with artists from varying disciplines.

6: Diverse rep

I strongly believe that a conductor must intentionally consider the

voices they are trying to uplift, and if the music they are
programming is doing just that. This means pursuing research on
the composer and posing the question of whether they inherited
the culture that the music embodies, and if not, did the composer
properly acknowledge and pay tribute to the culture that the music
draws from? If the answer is no to both of those questions, I do
not program that music. Instead I seek out diverse composers
that are too often not heard in concerts that write music that
should be exposed and celebrated.

What is your approach to choral methods and conducting?

-high student engagement=high student success
-this prevent classroom management issues
-Developmental Teaching that both teaches novice singers yet
reinforces skills found in advanced singers
-Step 1; empower pitch matching through solfege
-Step 2; pitch independence (rounds, vocal chording)
-Step 3; Rep--re-voicing treble music for SATB

-sequencing=precise instruction-do-specific feedback that utilizes

positive language-do it again
Koday Rehearsal Method
1.​Voice Building
2.​Hardest piece
3.​Woodshed a piece already in the works
4.​Read a new piece
5.​End with favorite piece
What is your vision for working with undergraduate choirs?
-To model pedagogical practices that set a standard for future
educators
-to program diverse repertoire that encompasses a spirit of
inclusivity
-to model and teach healthy vocal technique understanding they
spend the most time with choir

How did you become an educator?

While I don't have direct experience in public schools, I have had the privilege of working
in a private music school for the past four years, which has provided me with valuable
insights into the world of education and working with students. Although the settings
may differ, the core principles of fostering a positive learning environment, nurturing
students' growth, and cultivating their passion for learning remain consistent.

During my time at the music school, I had the opportunity to work closely with students
of various ages and backgrounds, helping them develop their musical abilities while
also instilling discipline, teamwork, and perseverance. Through individual and group
lessons, I witnessed firsthand the transformative power of education and the
importance of tailoring teaching methods to accommodate different learning styles.

Moreover, my experience in the private music school allowed me to collaborate with

other educators, parents, and students to organize recitals and performances. This
involved coordinating schedules, managing logistics, and providing a supportive
environment for students to showcase their talents. These experiences taught me the
significance of effective communication, teamwork, and creating a sense of community
within an educational setting.
While my experience is primarily rooted in the private sector, I have been proactive in
expanding my knowledge of public schools. I have actively researched the challenges
and goals faced by public schools today, including the importance of equal access to
quality education and the need to address diverse student needs. I believe that my
passion for education, my ability to adapt quickly, and my strong interpersonal skills will
enable me to contribute effectively in a public school setting.

I am excited about the prospect of applying my experience from the private music
school, as well as my enthusiasm for education, to make a positive impact on students'
lives in a public school environment. I am confident in my ability to learn quickly,
collaborate effectively, and contribute meaningfully to the education system. Given the
opportunity, I am committed to growing both personally and professionally while
ensuring the success and well-being of the students in a public school setting.

QUESTIONS FOR THEM

I would love to hear about the student body and DEI initiatives
within the SoM

1.​ Can you provide information about the facilities and resources available to the
choir program? This could include rehearsal spaces, performance venues,
access to musical instruments, and technology resources.
2.​ How does the institution support and encourage professional development
opportunities for choir directors? Are there resources available for attending
conferences, workshops, or engaging in ongoing education?
3.​ Can you tell me about the overall vision and goals of the music department or
institution and how the choir program fits into that vision?
TEACHING PHILOSOPHY
four pillars
-Expansive Excellence
-Inclusivity & Diversity (bridge communities and cultures)
-Holistic Development as HUMANS not just musicians
-Student center learning and Developmental Teaching
(collaboration, communal learning thru peer guided problem
solving, balancing learning methods, future educators see
intentional scaffolding and sequencing)

MENTORING STUDENTS
-Help them grow into leaders both in and out of field
-Help idetify strengths and areas for growth and set goals
-I believe in learning through doing, hands-on practice
-Pedagogical training in conducting, developmental strategies,
effective sequencing
-Professional guidance for resume bilding, interview preparation,
grant writing, professional presentations
-Unveil themselves in their leadership, letting students see
humanity

RECRUITMENT
-Campus visibility
-Regional visibility/relationships with educators
-National/international visibility through conventions, tours, and
networking
-Social media (can people see the culture and opportunities we
provide?)
-RETENTION—meeting students’ needs and building
relationships with them, ensuring their success
IDEAL CHORAL SOUND
-Students with me more than voice professors
I practice viewing the choir as a color palette that I need to
organize, while also getting feedback from the singers. I don’t like
to impose a synthetic sound on a choir, so what I seek to achieve
is a balanced/healthy sound that is unique to the exact choir I am
working with based on types of voices I am working with at that
given time. I voice the choir from light to dark so that the person
you are standing next to is only a shade of difference from your
unique timbre. I don’t want singers sympathetically trying to
exactly match the person next to them, so instead, if the color
palette is organized effectively, then singers can use their unique
sound fully. Then, we can work to achieve different vocal colors
based on the requirements of various styles and time periods. I
enjoy programming repertoire from diverse regions, so then we
can get in touch with that childlike, organic act of simply exploring
vocal sounds together and sharing feedback on how it feels in the
vocal mechanism

APPROACH TO TEACHING CHORAL LIT

My approach to teaching choral literature is grounded in the belief
that repertoire serves as both a teaching tool and a vehicle for
artistic expression. I engage students in meaningful exploration of
the music, fostering both their technical skills and their deeper
understanding of the repertoire's historical and cultural contexts.
My approach includes:
1. Contextualizing the Literature: I guide students to examine the
historical, cultural, and social contexts of the works we perform.
For example, when programming early music or choral works by
underrepresented composers, I encourage discussions about the
composers’ lives, the cultural influences on their work, and the
historical significance of the pieces. This enriches the students’
interpretive choices and builds an appreciation for diverse
perspectives.

2. **Focusing on Vocal and Musical Development:** I select

repertoire that challenges students appropriately and allows them
to grow technically and musically. Whether it’s a Renaissance
motet, a Romantic-era choral-orchestral work, or a contemporary
piece, I ensure that students are exposed to a broad, diverse
spectrum of styles, textures, and languages, enhancing their
versatility. Balance and inclusivity is key, there are so many
pieces and composers who have written masterworks that have
been under-taught or not included in the canon

3. **Encouraging Student Ownership:** I involve students in the

process by encouraging them to analyze scores, identify key
musical elements, and articulate their interpretive ideas. This not
only helps them develop critical thinking skills but also instills a
sense of ownership over the repertoire.

4. **Promoting Lifelong Learning:** My ultimate goal is to inspire

students to continue exploring choral literature beyond the
classroom, equipping them with tools to approach new repertoire
independently and thoughtfully throughout their musical careers.
This approach ensures that students develop a profound
appreciation for the repertoire’s depth and diversity.

RESEARCH
My scholarly interests align with a passion for reimagining the
traditional choral concert (which was inspired by TxSt). I have
done extensive research on the dichotomy between the popular
and classical music industries, specifically the ways in which they
originally diverged from one another in the late 1800s and the
techniques they utilize today to draw in audiences. Through my
research, what I have found is that the classical music industry
greatly lacks utilizing technological advances in both promotional
outreach and performances. I’ve developed these kinds of
concerts with diverse music within technological and
multidisciplinary settings that speak to modern day audiences and
students [Link] productions I have created using this research
have utilized technology, interpretive dance, visual art, and
synesthetic lighting. Ultimately, I believe this kind of reform and
research would benefit a university by increasing audience
attendance and instilling a collaborative culture that would drive
recruitment and engagement.
——Indigenous Mexican ancestry, drawing attention to Native
culture and music
—— Historical Performance practice

VISION FOR WORKING WITH UNDERGRAD CHOIRS?

-modeling and teaching healthy vocal production
-To model pedagogical practices that set a standard for future
educators
-to program diverse repertoire that encompasses a spirit of
inclusivity
-World class performances that build upon the reputation and
establish life-long memories for my students

COLLABORATION
Collaboration is where I thrive, as I mentioned before about
varying projects I have led for interdisciplinary
concerts…collaboration is at the core of those experiences I put
together. All art speaks to the human experience, and the human
experience is about human connection, or collaboration. I seek to
create projects every chance I get to collaborate with people from
other disciplines. For myself, my life goal is to continually learn
about other people’s art, and appreciate what other creatives do
within their medium.. but also for my students, I think that is the
most valuable thing that can be included in their educational
journey, is that experience to connect and build lifelong
relationships with artists from varying disciplines.

APPROACH TO CHORAL METHODS?

-high student engagement=high student success
-this prevent classroom management issues
-Developmental Teaching that both teaches novice singers yet
reinforces skills found in advanced singers (pacing, feedback
loop, sequencing)
-Step 1; empower pitch matching through solfege
-Step 2; pitch independence (rounds, vocal chording)
-Step 3; Rep--re-voicing treble music for SATB
-sequencing=precise instruction-do-specific feedback that utilizes
positive language-do it again
Koday Rehearsal Method
Voice Building
Hardest piece
Woodshed a piece already in the works
Read a new piece
End with favorite piece

TEACHING CONDUCTING
-Laban movement (assigning meaning or characterization to
movements that connect to the sounds/meanings found in the
music)
-direct indirect, bound free, sudden sustained, bound free

GREATEST STRENGTH
My biggest strength is that I do not wait for opportunity, I simply
make my own. I have a deep seeded work ethic and when I see a
need, I make sure that it is met. The greatest minds are not those
that take opportunities, but instead create them. An example of
this would be my ensemble Les Ancients, it started from me
seeing a need during my masters degree, which was Texas State
not having an early music ensemble and me needing to
experience more of that repertory to round my knowledge out. So
I found books, did the research myself, surrounded myself with
this music by digging through Spotify and YouTube, recruited
singers, booked the venue and went for it. It turned out to be the
greatest learning experience I could ask for.
QUESTIONS
-Is there mentorship for the tenure-track process?
-What choral ensembles do you anticipate this role working with?
-What support is there for continuing professional development
and research?
-What are areas for growth that you foresee this position aiding
in?
### **Questions from the Dean**

**1. How do you see your role contributing to the university’s goal
of achieving Research 1 (R1) status by 2028?**
**Answer:**
Achieving R1 status requires a commitment to high-impact
research, external funding, and scholarly output, and I am
well-positioned to contribute meaningfully to these efforts within
the arts. My research focuses on underrepresented voices in
choral music, particularly Indigenous composers, which is an
highly overlooked area with the potential for significant impact.

To support the university's R1 aspirations, I would:

- **Engage in Scholarly Output:** My current and future plans
include publishing articles in leading journals such as the *Choral
Journal* and Southwestern Musician. Additionally, I would
continue my clinician work at national and international music
conventions. I also have my interest in developing a sheetmusic
marketplace platform for Indigenous composers
- **Pursue External Funding:** I have experience securing grants,
such as the 2022 Arts in Action Grant and the grant-funded
recording of Sebastián de Vivanco’s *Magnificat a sexti toni.*
Moving forward, I would apply for external funding through
organizations like the National Endowment for the Arts and the
American Choral Directors Association to support research and
creative projects.
- **Collaborate Across Disciplines:** Interdisciplinary research is a
hallmark of R1 institutions, and I have a proven track record of
such work. For instance, my *Little Match Girl Passion* project
where I was the projection mapping artist for TTU Choir. I have
led performances that collaborate with dance departments,
technology companies like Museik, and lighting designers.

Through these efforts, I would not only contribute to the

university’s research output but also raise the profile of the arts as
a critical component of Texas State’s path to R1 status.

---

**2. How would you collaborate with other departments and

contribute to interdisciplinary initiatives?**
**Answer:**
I believe collaboration across disciplines enriches both the arts
and the broader academic community. My approach to
interdisciplinary work involves finding natural points of connection
between music and other fields to create projects that engage
students, faculty, and audiences in meaningful ways.

For example:
- **Interdisciplinary Performances:** At Texas Tech, I collaborated
with visual artists to create a projection mapping element for a
performance of *Little Match Girl Passion,* transforming the
concert into a multimedia experience. At Texas State, I would
seek similar partnerships with the theater, dance, and digital
media departments to create performances that explore the
intersection of movement, sound, and visual art.
- **Collaborative Research:** My research on Indigenous
composers has the potential to connect with departments such as
history, anthropology, and ethnic studies. Collaborating with these
fields could deepen the contextual understanding of my work and
provide opportunities for joint publications, panel discussions, and
conferences.
- **Community Engagement:** I have organized benefit concerts,
such as the multidisciplinary event for Grace Campus Homeless
Shelter, which involved partnerships with local artists and
community organizations. I envision continuing such initiatives at
Texas State, engaging both the campus and the broader Central
Texas community.

Interdisciplinary collaboration not only enhances the educational

experience but also positions Texas State as a leader in
innovative, cross-departmental work.

---

**3. What role do you see for the arts in a university that is striving
to become R1?**
**Answer:**
The arts play an integral role in shaping the intellectual, cultural,
and social fabric of an R1 institution. As Texas State pursues this
status, the arts must be positioned as both a driver of creative
excellence and a bridge to broader community engagement.

- **Research and Innovation:** The arts contribute to an R1

university by generating high-impact research and creative output.
My work, which includes premiering commissioned choral works
and researching underrepresented composers, exemplifies how
artistic endeavors can contribute to a robust research agenda.
- **Recruitment and Retention:** A vibrant arts program is a key
factor in attracting top-tier students and faculty. By fostering a
culture of creativity and collaboration, the arts can serve as a
centerpiece for the university’s appeal.
- **Community Connection:** The arts have the unique ability to
engage diverse audiences, fostering relationships between the
university and the surrounding community. Concerts, exhibitions,
and public lectures showcase the university’s excellence and
position it as a cultural leader.

Ultimately, the arts enhance the university’s reputation, attract

resources, and provide opportunities for innovation, making them
an essential component of Texas State’s path to R1 status.

---

### **Questions from the Director of the School of Music**

**1. How would you approach recruiting and retaining students in

the choral program?**
**Expanded Answer:**
Recruitment and retention are central to the success of any music
program, and my approach emphasizes building meaningful
relationships, creating opportunities for student growth, and
fostering a supportive community.

- **Recruitment:**
- I would cultivate strong relationships with high school choir
directors by offering workshops, clinics, and conducting honor
choirs. My past experience working with public schools in New
Mexico and Texas has shown that these connections are
instrumental in creating a pipeline of enthusiastic students.
- Hosting events such as choral festivals, summer workshopson
campus would give prospective students the chance to
experience the Texas State community firsthand.
- Leveraging social media to showcase our program’s strengths,
including student stories, high-quality performance videos, and
unique opportunities, would broaden our reach to students
outside the immediate region.

- **Retention:**
- I would prioritize building a strong sense of belonging within the
program by fostering collaboration and mentorship among
students. Peer mentorship programs, leadership opportunities,
and regular community-building events would ensure students
feel valued and supported.
- Programming meaningful and challenging repertoire through
culturally responsive methods, as well as providing opportunities
for students to take ownership of their learning (e.g., student-led
ensembles or research projects), would keep them engaged and
invested in their craft.
- Holistic support is critical for retention. I would work closely with
students to balance their academic, personal, and musical
growth, connecting them with resources to ensure they thrive in
all areas of their lives.

By focusing on relationships, opportunities, and community, I

would ensure that Texas State attracts and retains talented
students who are passionate about their choral experience.
---

**2. What innovative ideas do you have for building the program’s
national reputation?**
**Expanded Answer:**
Building a national reputation requires a combination of artistic
excellence, innovative programming, and strategic visibility. Some
initiatives I would pursue include:

- **Commissioning New Works:** Establishing Texas State as a

leader in new music by commissioning and premiering works from
diverse composers, particularly those from underrepresented
backgrounds. These premieres could gain national attention and
set the program apart as a hub for innovation.
- **Performance at National Conferences:** Actively pursuing
opportunities for our ensembles to perform at ACDA, NCCO, and
TMEA conferences. These high-profile performances would
showcase the program’s excellence to the broader choral
community.
- **Professional Recordings and Media Presence:** Producing
high-quality recordings of our ensembles for distribution on
streaming platforms, as well as maintaining a robust social media
presence, would expand our reach and highlight the program’s
achievements to audiences nationwide.
- **Interdisciplinary Projects:** Developing unique collaborations
with other departments, such as digital media or dance, would
create groundbreaking performances that attract attention from
both the arts and academic communities.
These initiatives would position Texas State as a leader in
creativity, collaboration, and excellence, elevating its reputation
on the national stage.

---

### **Questions from the Hiring Committee**

**1. How would you integrate diversity, equity, and inclusion into
your programming and teaching?**
**Expanded Answer:**
Diversity, equity, and inclusion (DEI) are central to my teaching
and programming philosophy. I strive to create an environment
where all students feel represented, valued, and empowered.

- **Programming:** I would prioritize selecting repertoire that

reflects the diversity of the choral tradition, including works by
composers from underrepresented backgrounds, such as
Indigenous and Latina composers. This approach ensures
students gain a broader understanding of the choral canon while
also experiencing music that resonates with their own identities.
- **Inclusive Teaching Practices:** I would create a classroom
environment where every student feels seen and supported. This
includes using culturally responsive teaching methods, providing
accommodations as needed, and fostering open dialogue about
representation in music.
- **Professional Development:** I would encourage students to
think critically about DEI in their own careers, equipping them with
the tools to build inclusive programs as future educators and
musicians.
By integrating DEI into every aspect of my work, I aim to ensure
that Texas State’s choral program reflects the values of equity and
inclusion at its core.