Building a Transformative Program: Storytelling Through Repertoire
"I’ve found that the strongest programs are those that elevate artistry, challenge the singers, and leave both performers and listeners changed in some way."
by Chris Maunu
Chris Maunu is a new monthly contributor here in the Choralosophy Community. If you enjoy this piece, be sure to subscribe for his other blogs at chrismaunu.com
As a conductor, one of the most powerful artistic tools we possess is the ability to curate a musical journey—one that resonates not only in sound, but in story, emotion, and purpose. In a time when students’ attention is divided, rehearsal time is limited, and our singers are navigating a complex world, programming thoughtfully is more important than ever. It's not just about selecting great pieces; it’s about creating an arc that draws singers and audience alike into something transformative.
In my work with high school and honor choirs across the country, I’ve found that the strongest programs are those that elevate artistry, challenge the singers, and leave both performers and listeners changed in some way.
Programming with an Arc
We all know the feeling: when a concert moves seamlessly from one piece to the next, weaving a tapestry of emotion and meaning. That’s the goal every time I begin curating a program. The repertoire must not only be individually strong, but also contribute to a larger narrative.
Sometimes that story is thematic—exploring resilience, identity, or joy. Other times, it’s emotional—starting in darkness and moving toward light. Occasionally, the story is abstract or elemental, allowing space for the audience to project their own meaning onto the experience. But the most effective programs, in my experience, balance familiarity with surprise, accessibility with depth, and pedagogy with poetry. They aren't just a collection of songs—they're a journey.
Start with the Why
When I begin planning a program, I always start with the “why.” What do I want my singers and audience to feel, think, or question by the end of the concert? What message do I hope they carry with them?
That vision becomes the guide for repertoire selection. Whether it’s recent themes I’ve incorporated with Pacific Youth Choir like Essence of the Soul or Reflections of Tomorrow, the title itself isn’t just window dressing—it’s an anchor. From there, I look for repertoire that speaks to that core idea in different ways. Some pieces approach it literally; others abstractly or metaphorically.
The Hallmarks of Quality Repertoire
There’s an art to finding music that both moves the heart and teaches the voice. I’m constantly seeking repertoire that checks multiple boxes:
Rich accompaniments that elevate the choral texture rather than simply support it. Whether piano, obbligato, or full orchestra, I want the accompaniment to feel like an equal partner in the storytelling.
Texts that matter. I gravitate toward poetry and prose that say something real—about the human experience, the natural world, or our emotional lives.
Pedagogical value. A piece of music should help singers grow—always. Maybe it builds part independence, develops tone production, or teaches a new language or style. But it should never feel like an exercise—it should feel like music.
A satisfying vocal experience. It has to feel good to sing. Teen voices especially crave repertoire that resonates physically and emotionally.
Mature accessibility. I want my young singers to sound appropriately mature. That means finding music that challenges them artistically without overwhelming them technically.
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Diversity in Repertoire and Voices
As a composer and educator, I’m always striving to include diverse voices in my programming—not for the sake of checking a box, but because it enriches the story. Including composers from different backgrounds and perspectives allows singers to experience the world more fully and invites the audience into a broader human dialogue, even if subconscious at first.
Repertoire That Resonates
Some of the most powerful responses I’ve received from singers come not after the “showstoppers,” but after pieces that cut to the core of our humanity. Pieces with layered texts, evocative harmonic language, and vocal lines that invite vulnerability.
And yes—sometimes it’s one of my own compositions that lands in this way. Writing music for young voices has taught me the value of honesty in text setting and clarity in musical architecture. I write with my own singers in mind: what they feel, what they fear, what they hope. That same compass guides my programming choices.
Accessible Voicing Doesn’t Mean Sacrificing Quality
Among the many pieces I’ve programmed recently, one that has consistently checked those boxes—especially in short-term or younger ensemble settings—is a piece I wrote with these very principles in mind:
As I Journey On (SAB, piano, djembe)
It strikes a needed balance: the voicing is comfortable, especially for developing choirs, but the overall effect is mature, grounded, and emotionally resonant. The poem’s themes of resilience, hope, and belonging feel especially meaningful in a choral context, where we quite literally become part of the “mighty whole.” I programmed it with the Wisconsin Middle Level All State and an International High School Choir Festival, and it resonated deeply with both groups.
The music itself supports strong, expressive singing without being overly complex. A driving piano ostinato and a steady djembe groove create a supportive rhythmic foundation. There’s a sense of constant motion, yet the repeated text patterns offer moments of grounding—motifs that lift the primary melody. It’s a good piece to explore articulation and dynamic nuance while also inviting singers into a deeper emotional space. For directors seeking something that’s both teachable and substantial, this piece quietly checks a lot of boxes.
Once-per-Week Ensembles and Honor Choirs: Short Time, Big Arc
When facing limited rehearsal time, we have to accelerate trust building, community building, and elevation of artistry. In these settings, programming becomes even more crucial. In an honor choir, we don’t have the luxury of 10 weeks—we may only have 10 hours.
I lean toward music that’s immediately compelling—pieces that open space for reflection, connection, and musical buy-in. I often incorporate brief reflection prompts between pieces or movements. Sometimes, a single open-ended question can unlock the emotional depth singers need to make a piece their own.
Final Thoughts: The Music as Mirror
Ultimately, a well-crafted program is a mirror. It reflects who we are, who we’ve been, and who we might become. It reminds singers that their voices have power, that beauty can be found even in complexity, and that music is more than performance—it’s connection.
Let the arc be intentional.
Let the music be meaningful.
And let the story unfold.
Chris is a nationally recognized conductor, composer, and educator, known for his expressive artistry and empowering approach. In demand as a guest conductor and clinician, he regularly leads honor choirs and workshops across the country. His compositions and philosophy reflect a commitment to inspiring the next generation of choral musicians and music educators.
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