Excellence and Inclusion Drive a University Choral Program

Dr. Francis Cathlina could boil down his leadership and teaching philosophy to two words: excellence and inclusion. As Director of Choral Activities at the University of Memphis in Tennessee, he is known for his infectious energy. “In everything that I strive to do as a leader and for the program that I lead, it is to create an impeccable sense of excellence,” says Cathlina.

He oversees four choirs, one of which was added back to the program during his five years at Memphis. “I always tell students: If you are a musician, nurse, librarian or in any other profession, I want you to achieve and strive for excellence in what you do.”

As for inclusion, Cathlina, who was recognized as a 2026 Yamaha “40 Under 40” music educator, himself provides a strong example. He is Vietnamese-American and often wears traditional Vietnamese formalwear at concerts. Under his leadership, the number of minorities in the choral program has doubled, and the program overall has grown about two times in size. His choir students include music majors as well as students enrolled in other majors like nursing and business, who want to sing as an artistic outlet.

“As a Vietnamese instructor and a gay man, I strive for inclusion so that students from all walks of life feel like there’s a space for them,” he says.

His Teaching Philosophy’s Four Pillars

Cathlina identifies four key pillars of his teaching philosophy and style: 1) vulnerability as a prerequisite for learning, 2) singer engagement and accountability, 3) transparent structures that support student ownership and 4) leadership development.

This philosophy, along with his program’s success, has gained Cathlina respect from colleagues he has worked with throughout his career.

“Francis’ teaching style is remarkable because he balances high standards with genuine empathy and inclusivity,” says Dr. Paulina Villarreal, who worked with Cathlina at the University of Memphis before being named an Assistant Professor of Voice at the Jacobs School of Music at Indiana University Bloomington.

“He creates an environment where every student feels seen, heard and supported, while still maintaining clear expectations for excellence and discipline,” says Villarreal, who herself was honored as a Yamaha “40 Under 40” in 2024.

“What stands out most is his ability to adapt his teaching to meet students where they are, without ever lowering the bar. His students know they are expected to work hard, grow as musicians and contribute meaningfully to the ensemble,” she continues.

Pillar #1: Vulnerability

Cathlina intentionally creates rehearsal environments where students feel safe to express curiosity, where “wrong answers are welcome,” he explains. This gives students permission to experiment, which leads them to engage more deeply with music.

“What is really important to me as a teacher is creating ‘psychological safety,’” Cathlina says. “What that means is students feel comfortable enough to explore, collaborate, inquire and question — and do all the things required of learning.”

Cathlina grew up in an environment where instrumental music conductors were very strict, but he wants his students to feel more comfortable with exploring music and sometimes getting things wrong, while still excelling as musicians. He encourages students to collaborate and learn from and teach each other, as well as learning from him.

For example, Cathlina might ask a question like, “What do you think this line of text means?” He then instructs music students to turn to the person seated next to them and discuss. Then he asks students to share something brilliant that their neighbors said.

“It creates a connection between them and their neighbor. They think: ‘What did my neighbor say and how can I lift them up?’” Cathlina says. “People aren’t as worried about what people think. Right now, students are afraid of being wrong, and you simply cannot learn in that environment.”

The questions students ask each other, Cathlina says, are meant to foster critical thinking and to connect them with the “music of the heart” — the kind of music with emotional depth in the performance.

Pillar #2: Engagement and Accountability

Cathlina wants his students to take an active role in rehearsal through discussion, sectional leadership and musical decision-making. This engagement fosters responsibility for both individual preparation and ensemble artistry, he says.

In the UofM University Singers, the institution’s flagship SATB choir, each section has two section leaders, who lead their groups in a weekly one-hour sectional that is separate from their rehearsal time with Cathlina. “This is a great example of student ownership of the music, without me in front of them,” he says. “This challenges them to think about the music — how do we shape the music? The section leaders schedule the practices and run them on their own time outside of rehearsal.”

And in the classroom, “Students are not passive recipients of learning; I don’t just sit there and talk at them,” he explains.

Cathlina wants his students to get into a state of “flow,” a concept that describes becoming completely immersed in the music and losing track of time. “Flow is achieved when you look at your watch and say, ‘Has it already been an hour?’” he says. “ To create a sense of flow, you must give clear goals and consistent feedback.”

Pillar #3: Transparency

Every week, Cathlina gives his ensembles a weekly plan that outlines the rehearsal schedule, priorities, sectional goals and upcoming events, which helps keep students organized and on top of things. “I create a weekly plan, so they know what we’re doing every minute … and so it’s very clear to the students,” says Cathlina.

At the end of the semester, singers participate in reflective one-on-one meetings with Cathlina. Students are asked to consider the work they did that semester, what they learned and how they grew as human beings. Then, they are asked to suggest a grade for themselves based on the syllabus, and explain how they came up with that grade. Not everyone thinks they deserve an A; some students will admit that they missed too many classes and only deserve a C. Others, despite missing five classes, still think they should get an A.

Cathlina considers the circumstances of a student’s absences, and he shows them compassion when they make their case. “I inject subjectivity and humanity,” he says. “What did the student have going on this semester? It allows for me to infuse the final grade with perspective.”

Pillar #4: Leadership Development

In his curriculum for graduate students — both master’s and doctoral students — Cathlina leads a program that offers experiences in conducting lessons, seminar instruction, literature study and practicum experience to prepare them for collegiate leadership.

“My job is to develop eventual leaders in the field,” Cathlina says. “Undergrads don’t have any teaching experience; I’m teaching them the basics of how to be a teacher. With graduate students, some want to be professors, while others want to run community choirs. I am constantly working with them to develop their skills aimed at their career goals.”

Cathlina wants future conductors he trains to study historical scholarship, learn about music from different cultures and refine their choral technique. “An effective conductor is not just somebody who has a beautiful gesture, but who can lead in a wholehearted way,” Cathlina says. “I am building scholars who will do research and further the choral conducting field. You must understand where the field came from, so you can contribute to it moving forward.”

Mentorship and Musical Growth

Villarreal says that many of Cathlina’s students go on to secure full-time teaching positions in academia, which speaks to the quality of his mentorship and instruction.

“Students leave Francis’ program not only as stronger musicians, but as stronger people,” she says. “Beyond musical growth, he is exceptional at building culture within his ensembles. His students genuinely support one another, and there is a strong sense of collective purpose and teamwork rather than individual competition. That kind of environment has a lasting impact.”

Villarreal calls Cathlina “a gift to the choral community, both as an educator and a leader.”