In the realm of choral music, the hierarchy of different ensemble types has long been a topic of discussion and contention, especially when analyzing the intricate interplay between treble, mixed, and tenor-bass choirs. In this presentation, we aim to uncover historical biases related to treble choirs, acknowledge both the growth and challenges remaining in contemporary treble ensembles, and provide practical suggestions for choral directors to advocate for treble ensembles. Looking to the Past: After sharing personal experiences witnessing biases against treble ensembles, we will begin a deeper exploration into the historical and sociological context of the prejudices that have relegated treble choirs to a lower status when compared to mixed and tenor-bass ensembles. Looking to the Present: We will examine how our own biases might show up on a small scale and large scale in our own rehearsals and programming. We will share trends in all-state and all-region practices, where the higher scoring students are placed in SATB ensembles rather than SSAA ensembles, despite the typical point discrepancies between soprano/alto and tenor/bass auditionees. Though this hierarchal trend is still reflected in many contemporary practices, we have also seen the rise of professional treble choirs nation-wide. Additionally, we will highlight the music and expertise of present-day choral colleagues who champion repertoire that empowers our treble ensembles to see themselves as more than second-best to mixed ensembles. Looking to the Future: We look towards the future of treble choirs with great excitement. How can we adjust our own practices to better serve our treble singers? Some state and region-level honor choirs have begun to change audition practices to create a more equitable experience for young sopranos and altos. What do these changes mean? How can we adjust our own practices to better serve the treble singers? We hope to offer treble ensemble directors with tangible strategies to uplift treble singers and choirs, including a deep dive into repertoire selection from the past and present. This presentation will provide a comprehensive exploration of the dynamics surrounding treble choirs, urging for a paradigm shift towards equity and diversity within the choral community with actionable suggestions for choral directors teaching in public schools, colleges/universities, and community groups alike. Through historical analysis, present challenges, and future aspirations, we advocate for tangible changes to reshape and uplift all voices for generations to come.
Good Treble: The Case and Place for Treble Choirs
Julianna LoBiondo
University of North Texas
Julianna LoBiondo currently serves as a teaching fellow in the College of Music while pursuing her PhD in Music Education at the University of North Texas. Ms. LoBiondo taught high school chorus in New Jersey public schools before earning her MM in Choral Conducting at Ithaca College. Recent research presentations include the International Symposium on Research in Choral Singing, Desert Skies Symposium, ACDA National Conference, and the Texas Music Educators Association Convention.
J. Christine Le
University of North Texas
J. Christine Le has served as conductor, clinician, adjudicator, and collaborative pianist throughout the United States. She taught chorus in Florida and Louisiana public schools for 9 years. Choirs under Ms. Le’s direction have performed at State, Regional, and National ACDA Conferences. Ms. Le is currently at the University of North Texas, working toward her Doctorate of Musical Arts in Choral Conducting.
