Jeremiah Selvey is a conductor, teacher, researcher, singer, arranger/composer, and nonprofit founder residing in California. He grew up as a musician in Spain and in the United States. Jeremiah’s musical career has followed an international path with multiple performances and tours in Canada, New Zealand, Australia, Italy, Spain, Venezuela, Mexico, England, Ireland, and Scotland. He is currently a doctoral candidate in choral conducting at the University of Washington and will finish his dissertation this summer.

He has conducted academic choirs at Moody Bible Institute, Emory University, and the University of Washington (2005-2008, 2009-2012). He has conducted multiple community, church, and high school groups in Venezuela, Chicago, Atlanta, Seattle, and the San Francisco Bay Area. Jeremiah has had the privilege of studying with great conducting teachers, including Simon Carrington, Peter Phillips, Jerry Blackstone, Kent Hatteberg, Geoffrey Boers, Giselle Wyers, Robert Harris, and Eric Nelson. 

At the University of Washington (2009-2012), Jeremiah taught the UW Men’s Glee Club and UW Summer Chorale and guest lectured regularly to classes of 400 students. He was a Pre-doctoral Teaching Associate and also assisted in teaching undergraduate and graduate conducting and choral technique courses and served as assistant conductor to the top choral ensembles: University Chorale and University Chamber Singers. His performance with University Chamber Singers of “In Lumine” by Guggenheim-winning composer Huck Hodge was well-received by composer, Chamber Singers, and audience alike.

At Emory University (2006-2008), Jeremiah was instrumental in re-founding the Emory Women's Chorus, which he also conducted. He also co-conducted Emory Mastersingers. As a Graduate Assistant, he assisted with undergraduate music history and a graduate choral repertoire seminar. He also assisted the University Chorus and the Emory Concert Choir.

At Moody Bible Institute (2005-2006), Jeremiah directed the Women's Concert Choir and the Handbell Ensemble, both of which toured twice and recorded a CD. While on faculty at Moody, Jeremiah also assisted the Music Department Chair in coordinating departmental affairs.

Jeremiah champions collaboration and is a strong advocate for new choral compositions. Jeremiah has overseen numerous projects with composers, dancers, visual artists, and community organizations. While at the University of Washington, Jeremiah performed with the UW Women's Chorus as the baritone soloist in "We Have Not Long to Love" by James Blachly, commissioned by the UW Choral Department. The "Brahms Requiem Project" is one of the most consummately collaborative projects Jeremiah has spearheaded. This weekend of performances for the benefit of the community involved collaboration among two conductors, two academic institutions, two religious institutions, Chorosynthesis Singers, and two pianists.

Jeremiah's teaching also exemplifies collaboration. “Never Again…Once More” (summer 2011)—a student-centered production of a re-contextualized drama incorporating dance, acting, and challenging choral repertoire from opera, musical theater, oratorio—serves as an example of Jeremiah’s ability to empower students in a to make contributions to a great artistic cause.

Jeremiah has published research, presented on many topics nationally and regionally, and arranged and composed for college and community choirs. His co-authored research study, "The Effect of Conductor Expressivity on Choral Performance Evaluation," is currently in press with the Bulletin of the Council for Research in Music Education. This research has been presented all over the world, including Greece, and Taiwan. In addition to this publication, Jeremiah recently presented at the national conferences of the National Association for Music Education, Chorus America and the Gay and Lesbian Association of Choruses, as well as the regional conferences of the American Choral Directors Association and the National Association for Music Education on the topics of networking for emerging leaders, vocal coaches for community choruses, transgender voice transitions, and transforming choral culture. Additionally, Jeremiah regularly contributes to the field of choral repertoire by way of tailored compositions and arrangements, commissioned by community and collegiate choirs.

His dissertation is a quantitative experiment using a neutral stimulus to test the effect of conductor expressivity on perceived choral expressivity.

As a singer, Jeremiah has performed as baritone and countertenor soloist in oratorio and choral music in academic and professional settings. In 2007, he performed in England with the Tallis Scholars. Jeremiah is also a beloved vocal coach.

Beyond his academic experience, Jeremiah has directed church and community choirs for more than 15 years. In all of his experience, Jeremiah's leadership is inspirational and his networking builds programs. Under his tenure, the Oakland-East Bay Gay Men's Chorus added 20 new members. Stagebridge Choir--re-established by Jeremiah--grew from 3 to 15 in under 3 months.

Jeremiah served as Guest Conductor of WomenSing in fall 2013 and as Guest Artistic Director of Windy City Performing Arts in fall 2012. During his time in Seattle, Jeremiah's influence was broad. He was a Guest Conductor with Seattle Men's Chorus, where he also served as a vocal coach. He co-directed the summer barbershop programs of the Seattle SeaChordsmen and helped inaugurate their Capture Your Voice Program. Jeremiah was assistant conductor and soloist with the Magnolia Chorale in Seattle.

Jeremiah remains active as a clinician, adjudicator, and private instructor. He is also co-founder and Vice President of Chorosynthesis, a national nonprofit corporation, whose mission is to transform the culture of American choral music by raising awareness of the need for collaboration, sustainability, innovation, and excellence in the choral art.

Truth into emotion. Emotion into music. Music into emotion. Emotion into truth. Done perceptively, this cycle never ends. As a writer and lover of both vocal and instrumental idioms, Daniel Elder (b. 1986) delights in crossing the boundaries of these worlds to create music that speaks outside its niche. Asked of his style, Daniel’s goal is simple: “In my writing I seek to avoid the common focus on 'my voice'—rather I attempt to tap the emotions a poet once put into words, or to tell a story with no words at all through the complex feelings of orchestral color. Through the pursuit of emotion I chase truth. The notes are merely the language.” Emerging from rural Georgia Daniel's music quickly attracted the attention of renowned American choral directors and catapulted him to the international stage within three years of writing his first work. His catalogue is printed by Carus Verlag, Edition Peters, GIA Publications, Hal Leonard, Walton Music, Wingert-Jones Publications, and self-published through J.W. Pepper and SMP Press.

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