Distinguished Speakers Series

This site houses the archives of the University of Arizona Choral Studies Distinguished Speakers Series, begun in the fall of 2020. The series features content-area specialists, each of which presents a thirty- to fifty-minute lecture on historical or contemporary repertoire composed by under-represented populations, or relevant movements and traditions not typically included in the choral curriculum. The purpose is to intentionally create a more inclusive and diverse course of study, with these composers and movements embedded in the primary curriculum of choral literature. When possible, content-area specialists are from the same populations as the topic on which they are presenting.

The speakers also may recommend listening, scores and readings that students can examine. These lectures are free and available to everyone – they may be used in courses, for extra-curricular activities, for professional development or for personal edification. It is hoped that these lectures also will generate interest in more scholarship on these composers and topics. This project was started by Dr. Elizabeth Schauer.

In addition, since January 2021, the series now features an additional tier of lectures, presented by current students and alumni/ae of the University of Arizona Graduate Choral Program.  

The University of Arizona Choral Studies Distinguished Speakers Series has been made possible in part by support from the University of Arizona College of Fine Arts Committee for Diversity and the University of Arizona College of Fine Arts Dean’s Fund For Excellence.

2020-2021 Distinguished Speakers Series Cohort

Ahmed Anzaldúa is a Mexican choral conductor, classical pianist, and music educator of Egyptian descent. He is the director and founder of Border CrosSing, an organization dedicated to integrating historically-segregated audiences, repertoire, and musicians through the performance of choral music. He will present on Latin American Baroque Choral Music (lecture forthcoming).

Dr. Coreen Duffy is the Director of Choral Activities at the University of Montana and a published composer. A specialist in Jewish choral music, Dr. Duffy has presented nationally and also founded the Second Avenue Jewish Chorale of South Florida, which has been featured on the ACDA Florida Conference and the North American Jewish Choral Festival in New York. She will present on 19th century Jewish liturgical music.

Dr. David Morrow is the Director of the Morehouse College Glee Club, the Wendell P. Whalum Community Chorus, Artistic Director and Conductor of the Atlanta Singers, and co-Directs the Morehouse-Spleman Chorus. Dr. Morrow is a member of Metropolitan Atlanta Musicians Association, past president of the National Association of Negro Musicians, and serves on the Board of Directors of the Intercollegiate Men’s Choruses, Inc. He will present on the African American Oral Tradition (lecture forthcoming).

Candace Smith is the founder of Concerto delle Dame (1978-89), specialist in music composed by women, and founder of Cappella Artemisia, dedicated to early music from Italian convents. She also publishes this repertoire under the name of Artemisia Editions. She will present a lecture on the female composers associated with the Italian convents in the late Renaissance and early Baroque.

2020-2021 Lectures

Ahmed Anzaldúa

Latin American Baroque Choral Music

Ahmed Anzaldúa is a Mexican choral conductor, classical pianist, and music educator of Egyptian descent.  He is an active musician, performing in Mexico and the United States frequently as a soloist and conductor with choirs, orchestras, in recitals, and as a collaborative pianist.  He currently lives in the city of Minneapolis, Minnesota, and is the director and founder of Border CrosSing, an organization dedicated to integrating historically segregated audiences, repertoire and musicians through the performance of choral music.  He is also a co-editor of the Justice Choir songbook and Director of Music Ministries at Unity Church–Unitarian.

Recommended Reading

  • Music in Cuba (1523-1900)
    Alejo Carpentier and Ethel S. Cohen
    The Musical Quarterly
    Vol. 33, No. 3 (Jul., 1947), pp. 365-380
    Published by: Oxford University Press

David Morrow

African American Spiritual: From the Folk Tradition to the Arranged Spiritual

Dr. David Morrow, a native of Rochester, NY, was valedictorian of his Morehouse College class, holds a Master of Music degree from the University of Michigan and a Doctor of Musical Arts degree from the University of Cincinnati College Conservatory of Music.  He is a long-time faculty member at Morehouse College since 1981 and is currently the Academic Program Director for Music and Theater and Performance majors. He conducts the renowned Morehouse College Glee Club to domestic and world-wide acclaim; most recently in Honduras and Algeria. He also conducts the Wendell P. Whalum Community Chorus and Co-Directs the Morehouse-Spelman Chorus. 

His conducting honors include performances in such widely varying venues as Atlanta’s Symphony Hall with, soprano, Jessye Norman, the national anthem of Superbowl XXVIII with Natalie Cole, the opening and closing ceremonies of the 1996 Atlanta Centennial Olympic Games, on the masterworks series for the Colour of Music Festival in Charleston, South Carolina. With the Morehouse College Glee Club he has conducted at Carnegie Hall, with the Tallahassee Symphony Orchestra, the Charlotte Symphony Orchestra, the Georgia Symphony Orchestra and the Atlanta Symphony Orchestra. 

He is a sought-after choral clinician and lecturer, who serves on the Board of Directors of both the Intercollegiate Men’s Choruses, Inc. and Chorus America, Inc., and serves on the Georgia Council for the Arts. He holds membership in the Metropolitan Atlanta Musicians Association, The National Association of Negro Musicians, Inc., the American Choral Directors Association, the Georgia Music Educators Association, Phi Mu Alpha Sinfonia, and is a “Friend of the Arts” member of Sigma Alpha Iota. His compositions and arrangements are published with Alfred Music Publishers, Oxford Music and GIA music publishers.


Who’ll Join? Arranged by David Morrow 
© 2012 GIA Publications
Used by permission
Available for purchase at GIA Publications, Inc. 

Coreen Duffy

19th century Jewish liturgical music

Coreen Duffy is director of choral activities at the University of Montana School of Music, where she conducts Chamber Chorale and University Choir, teaches conducting, choral methods, and supervises student teachers. Duffy is an active clinician and composer; her works are published by Walton Music, ECS, and Pavane and featured in ACDA sessions.

A specialist in Jewish choral music, Duffy has co-designed special performance/interest/worship sessions dedicated to Jewish repertoire at two National ACDA conferences (“ACDA Shabbat,” 2011; “Jewish Choral Music,” 2013) and has presented on the subject at national and international conferences, including in Hannover, Germany in 2019. Duffy founded a Jewish repertoire ensemble now known as the South Florida Jewish Chorale, which performed under her direction at Florida ACDA; she served two terms as R&R Chair for Ethnic and Multicultural Perspectives for Florida ACDA.

She currently serves as NW ACDA R&R Co-Chair for World Musics and Cultures, as well as NW Division Representative for the NAfME Council for Choral Education, and on the Editorial Board for NCCO’s The Choral Scholar.

Further Reading

Dr. Duffy’s dissertation, including a full bibliography of the sources used for this lecture.

Candace Smith

Renaissance and Baroque Female Composers of the Italian Convents

Candace Smith is the founder of Concerto delle Dame (1978-89), specialist in music composed by women, and founder of Cappella Artemisia, dedicated to early music from Italian convents. She also publishes this repertoire under the name of Artemisia Editions. She will present a lecture on the female composers associated with the Italian convents in the late Renaissance and early Baroque.

Suggested Reading

Read: Craig Monson: Divas in the Convents: Praeludium

Listen: Cantabant sancti (on Cappella Artemisia “Canti nel chiostro” CD)

Bibliography and Discography

  • Kendrick, Robert: Celestial Sirens: Nuns and Their Music in Early Modern Milan (Clarendon, Oxford…1996)
  • Monson, Craig: Disembodied Voices: Music and Culture in an Early Modern Italian Convent  (UC Berkeley, 1996)
  • – – – – – Divas in the Convent: Nuns, Music, and Defiance in Seventeenth-Century, University of Chicago Press, 2012
  • Reardon, Colleen: Holy Concord within Sacred Walls: Nuns and Music in Siena, 1575-1700 (Oxford… 2001)
  • Stras, Laurie. Women and Music in 16th century Ferrara. Cambridge University Press, 2018.
  • Glixon, Jonathan. Mirrors of Heaven or Worldly Theaters? Venetian Nunneries and Their Music. Oxford University Press, 2017.
  • Bowers, Jane (ed.), Women Making Music: the Western art tradition, 1150-1950 (Urbana: U. of Ill. Press, 1986).


All recordings by:

  • Cappella Artemisia
  • Musica Secreta
  • Magnificat (Cozzolani)

Distinguished Student and Alumni/ae Speakers Series

Shekela Wanyama

Undine Smith Moore (Scenes from the Life of a Martyr) and Courtney Bryan (Yet Unheard)

Shekela Wanyama is a DMA student in conducting at the University of Minnesota. Prior to beginning her doctoral studies, Wanyama taught middle and high school choir for 10 years in Minneapolis and Seattle. She currently serves as music director at Mountain Vista Unitarian Universalist Congregation (Tucson). Wanyama previously directed the Treble Glee Club while studying at the University of Arizona and was assistant conductor of the Tucson Masterworks Chorale. She has sung with Border CrosSing, the Minnesota Chorale, The Singers, Seattle Pro Musica, and the Philharmonischer Chor Berlin. Her primary teachers are Kathy Saltzman Romey and Elizabeth Schauer. She holds a Masters degree in choral conducting from Temple University and Bachelor of Music Education degree from the University of Minnesota.

Suggested Reading


  • Courtney Bryan
    • Bryan, Courtney. “”A Time for Everything,” for Chorus: Analysis of a Musical Meditation.” Order No. 3619904, Columbia University, 2014. In ProQuest Dissertations & Theses Global.
    • Fosler-Lussier, Danielle. “Composing the Mediated Self.” In ​Music on the Move​, 151-79. Ann Arbor: University of Michigan Press, 2020. Accessed October 16, 2020. doi:10.3998/mpub.9853855.15.
    • Jess, Tyehimba, and Courtney Bryan. “An Interview With Courtney Bryan.” ​Callaloo 36, no. 3 (2013): 600-07. Accessed October 16, 2020​.
  • Undine Smith Moore
    • Brunelle, Philip. “The Centenary Year of Undine Smith Moore: Dean of Black Women Composers.” ​The Choral Journal​ 44, no. 7 (2004): 39-41. Accessed September 30, 2020​.
    • Harris, Carl. “The Unique World of Undine Smith Moore: Teacher – Composer – Arranger.” ​The Choral Journal​ 16, no. 5 (1976): 6-7. Accessed September 30, 2020.
    • Jones, John Robert Douglass. 1980. “The Choral Works of Undine Smith Moore: A Study of Her Life and Work.” Order No. 8110694, New York University. ProQuest Dissertations & Theses Global.
    • Moore, Undine Smith. Scenes from the Life of a Martyr: (to the memory of Martin Luther King, Jr.). New York: Carl Fischer Music, 1981.
    • Walker-Hill, Helen. From Spirituals to Symphonies: African American Women Composers and Their Music. Westport, Conn.: Greenwood Press, 2002.


  • Courtney Bryan’s website contains links to many of her pieces on Soundcloud.
  • A full performance of ​Yet Unheard​ can be seen on YouTube, with the La Jolla Symphony Orchestra and Chorus.
  • An insightful conversation between Dr. Bryan, Sharan Strange, and Helga Davis can be heard on online. ​
  • Numerous recordings of Undine Smith Moore’s works appear on YouTube or Spotify
  • Special thanks to the Detroit Symphony Orchestra for their permission to use excerpts from ​Scenes from the Life of a Martyr​ in this presentation. The full performance can be viewed online. ​

Nicky Manlove

Considering Matthew Shepard

Nicky Manlove (they/them) is the founding artistic director of THEM Youth Ensemble, an LGBTQ+ and allied youth chorus, and is the director of music at St. Mark’s Presbyterian Church in Tucson, AZ. In their work with THEM Youth Ensemble, Nicky organized the inaugural THEMposium, an annual performing arts festival for LGBTQ+ youth, and co-produced “ROSES: The Past, Present, and Future of Trans Resilience,” a collaborative virtual concert in observance of Trans Day of Resilience 2020.

Nicky is a committed advocate of equity-centered and liberatory choral practice, and supports a number of justice-focused choral initiatives nationally. They are on the leadership team of The Choral Commons, a media platform that provides a space for singing communities to realize the liberatory potential of the ensemble as a site of radical imagining. They also serve on ACDA Western Division’s Diversity, Equity, and Inclusion Taskforce, on the ACDA National Diversity Initiative Committee’s Task Force on Guidance and Resources for the Care of Transgender Singers, and are the Chair of Student Repertoire and Resources for the Arizona ACDA chapter.

Nicky holds a Bachelor of Arts in Interdisciplinary Arts, emphasis in Music from Seattle University, and a Master of Music in Choral Conducting from the University of Arizona, where they studied with Alyssa Cossey and Elizabeth Schauer and served as Assistant Conductor for the University Community Chorus.

Additional Resources

James Higgs

The Life and Music of Marianna von Martines

James Higgs is a DMA student in choral conducting at the University of Arizona Fred Fox School of Music studying with Dr. Elizabeth Schauer. Currently James is pianist and organist at Abounding Grace Lutheran Church in Tucson. As both soloist and collaborative pianist, James has performed throughout Southern California and in Austria, Italy, Poland, and the Czech Republic. James was awarded the John Bloom Choral Scholarship at the University of Arizona and in the past received scholarships to attend Songfest at the Colburn School and Brevard Music Festival as a collaborative pianist where he performed in art song recitals, concerto competitions, and master classes for Martin Katz, Margo Garrett, and Graham Johnson. 

An advocate for new vocal works, James has also performed in master classes of composers Jake Heggie, Ben Moore, and Richard Pearson Thomas. As a soloist, James has appeared in master classes of Sergei Babayan and Daniel Shapiro. Originally from the East Bay in Northern California, James moved to Southern California to attend Chapman University’s Hall-Musco Conservatory of Music where he received his Bachelor of Music in Piano Performance and then a Master of Music in Keyboard Collaborative Arts from University of Southern California’s Thornton School of Music where he studied art song, chamber music, and opera with Dr. Alan Smith. Past teachers include Dr. Ruby Cheng-Goya, Frank Wiens, and Dr. Hye-Young Kim.

Recommended Reading

  • Beer, Anna. “Martines.” In Sounds and Sweet Airs: The Forgotten Women of Classical Music, 127-158. London: Oneworld Publications, 2016.
  • Fremar, Karen Lynn. “The life and selected works of Marianna Martines (1744-1812)”. Ph.D. Dissertation, University of Kansas, 1983.
  • Gjerdingen, Robert O. Music in the Galant Style. New York: Oxford University Press, 2007.
  • Godt, Irving. “Marianna in Vienna: A Martines Chronology.” The Journal of Musicology 16, no. 1 (1998): 136-58.
  • Godt, Irving. “Marianna in Italy: The International Reputation of Marianna Martines (1744-1812).” The Journal of Musicology 13, no. 4 (1995): 538-61.
  • Godt, Irving. Marianna Martines: A Woman Composer in the Vienna of Mozart and Haydn. Edited by John A. Rice. Rochester, NY: University of Rochester Press, 2010.

Recommended Listening

  • Martines, Marianna. Quarta Messa für Soli, Chor, und Orchester. Chorgemeinschaft Kirchendorf, Peter Loosli, cond. Furore: Salto Records International, 2007, compact disc.
  • Martines, Marianna. Marianna Martines: La Tempesta. La Floridiana, Nicoleta Paraschivescu, cond. and harpsichord. Sony Music Entertainment Germany GmbH, 2015, compact disc.
  • Martines, Marianna. Marianna Martines: Il Primo Amore. La Floridiana, Nicoleta Paraschivescu, cond. and harpsichord. Sony Music Entertainment, 2012, compact disc.
  • Salzburger Hofmusik’s performance of the first movement of Martines’s Dixit Dominus conducted by Wolgang Brunner
  • Complete work in addition to other works by Martines will be published by Chandos Records.

Jason A. Dungee

Done Made My Vow – Adolphus C. Hailstork

Conductor, tenor, and music educator, Dr. Jason A. Dungee has degrees from the University of Arizona, Westminster Choir College and Hampton University. Prior to appointments as Director of Choral Studies in South Carolina and Florida, he enjoyed 8 years as a successful high school choral music teacher in Newport News and Williamsburg, Virginia. He was a Conductor Fellow in the 16th Varna International Music Academy in Varna, Bulgaria and in March of 2020, Dungee was Co-Conductor of the first HBCU Tribute Choir for the Southern Division ACDA Conference.

Recently, Dr. Dungee has found success in popular music and entertainment as well.  He was selected for 2 consecutive years to prepare choirs for the southeast leg of HBO’s internationally acclaimed touring production of The Game of Thrones Live Experience, featuring music from the hit TV program.  While in South Carolina, he conducted sold out, critically acclaimed performances as guest conductor of the Charleston Gospel Choir and sang the tenor solo with the London Symphony Orchestra as they premiered Andre Thomas’ Mass.

Dungee’s article “A Pedagogy for Living: Applying Restorative, Anti-Racist Pedagogy to the Choral Classroom” was published in The Choral Journal and has led to him being in demand as a presenter for organizations and Universities across the U.S., including the Florida ACDA, Drexel University, and the Hopewell Valley Chorus.  His research on the music of Dr. Adolphus Hailstork has been presented to several universities, including The University of Arizona and The University of Illinois-Urbana.  

Currently, Dungee is serving as the Director of Choral Studies at The University of North Carolina at Charlotte.


  • Baker, David N., Belt, Lida M., and Hudson, Herman C. The Black Composer Speaks. Metuchen: The Scarecrow Press, Inc., 1978.
  • Banfield, William C. Musical Landscapes in Color: Conversations with Black American Composers. Lanham: The Scarecrow Press, Inc., 2003.
  • Clarke, Colin. “Defining Self: Adolphus Hailstork in Interview.” Fanfare – the Magazine for Serious Record Collectors 36, no. 3 (January 2013): 40-44.
  • Jones, Arthur C. and Jones, Ferdinand. The Triumph of the Soul: Cultural and Psychological Aspects of African American Music, edited by Arthur C. Jones and Ferdinand Jones. Westport: Praeger, 2001.
  • Lomax, Mark Allison II. “The Black Composer: Identity, Invisibility and the Making of a Brand in the Digital Age.” DMA Diss., Ohio State University, 2013.
  • Radano, Ronald, and Bohlman, Philip V. Music and the Racial Imagination. Chicago: The University of Chicago Press, 2000.