Month: December 2024

2024 comes to a close this week! What a ride its been. This episode features highlights of YOUR favorite episodes of the year, as well as a preview of a new Choralosophy Community blog advocating for a possibly new way of viewing “Merit” and “Rigor” in music education.

The top episode of the year was my coverage, with the brave help of Michal Dawson Connor, of the debacle that unfolded at All Saints Episcopal in Pasadena. “Excluded in the Name of Inclusion” was a difficult, but necessary conversation, and was even covered on one of the world’s biggest podcasts “Blocked and Reported.”

The next episode falls into the category of “Free PD” that you should turn in to your school district if you are a teacher. This episode built our vocabulary around concepts related to choral intonation and sound building. James Jordan helped us kick off our new GIA/Walton series with a bang! Next up, in the third spot was another show that generated a healthy amount of controversy. It stemmed from an article written in the Choral Journal advocating for the removal of Sight Singing from All State Choir assessments. I disagreed with the suggestion vehemently, and invited the author, Dr. Marshaun Hyman to join me and Dr. Chantae Pittman in a good faith discussion. Some common ground was found, but I am not sure any minds were changed.

Rounding out the top 10 episodes in terms of total listens/views was a fantastic example of the diversity of topics explored on this show. From nuanced discussions of the ways diversity impacts our music making environments, to practical ideas for music classrooms explained and demonstrated, to vocal pedagogy gems, to the adolescent boys AND girls changing voices and brain development of musicians.

• Chukwuebuka Ezeakacha on ways to make the music of Africa accessible to choirs of the West, while maintaining authenticity.
• Anita Collins of “Bigger Better Brains” with a summary of the research on neurological benefits of music learning, and why choir gets left out of that research.
• David Jones joins me to share a jam packed episode on vocal pedagogy focusing on exercises and warm ups that are helpful for beginning AND advanced singers.
• Then, a pair of episodes really climbed the download latter this fall that were generated from within my classroom. One walked the audience through the process I have developed for assessing a new music reader’s appropriate “level” for reading music alone. The other is a peak in to my choral warm ups!
• Rounding out the top 10, and I swear I am not making this up…are TWO episodes on the adolescent changing voice. Both Bridget Sweet and Martin Ashley are experts in this area and offer masterful explanations of the things we should know and consider when caring for developing young singers.

Tune in, and have your thinking stimulated and challenged. Then, weigh in yourself with your related ideas and experiences on Facebook in the Choralosophers group or over on choralosophy.substack.com Also, don’t forget to grab a reading rope for your classroom wall from the shop! Music Reading Rope

Be Sure to Find Choralosophy on TikTok!

For future rehearsal clips, find me on TikTok, Insta and FB!

New Blog on Choralosophy Community!

Below is an excerpt. Read the rest for FREE at Choralosophy.Substack.com

We don’t have to choose between rigor and accessibility, and we don’t have to choose between evaluating something as “great” or “excellent” and valuing every rung of the music making skill ladder.

In music education, we have long embraced the belief that success hinges solely on talent and hard work. According to this view, if a student is talented and diligent, they will inevitably achieve success—whether by joining an All-State ensemble, securing a college scholarship, or pursuing a distinguished performing career. This framework, which has produced many remarkable musicians from diverse backgrounds, seems to be the ultimate formula for success.

However, this perspective has always overlooked a crucial element: luck. Factors such as geographic location, financial resources, race, gender, and access to quality instruction play a significant role in determining outcomes. While raising awareness of these disparities has gained traction in recent years, I believe we need to address an essential aspect that is often neglected.

We must acknowledge two key truths:

1) No perfect meritocratic system exists: It is a fallacy to believe that every choir audition, or job application, or college admissions form is perfectly selecting for the “objectively” best person for each position. So, of course, this would also extend out to societal level structures. Some may simplify this phenomenon by shrugging their shoulders and saying “life isn’t fair.” There is a time and a place for this shoulder shrugging. Sometimes we have to shrug to preserve our sanity. But, in my view there is NO appropriate time for that type of disengagement from inequities to lead us to create a mythology in our minds about “the perfect meritocratic system.”

2) Merit itself, and how to measure it, is not the problem. Many argue that because not everyone has equal access to rigorous music education, we should evaluate students based on different criteria. Indeed, we lack a universal standard for what constitutes a “great” musician, and differing opinions on this can be beneficial. In fact, I would argue that it is the fact that such a question would generate multiple answers, that makes this such an important topic for educators to discuss.

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Fads like “learning styles,” “restorative justice,” “inquiry based learning” and more, versus Cognitive Load Theory, Explicit Instruction etc. Marcie Samayoa’s experience as an ESL/immigrant student has shaped her view on teaching at risk American kids.

in this episode, I’m joined by Marcie Samayoa—a dedicated chemistry teacher and passionate advocate for evidence-based education.

We tackle some of the biggest debates in modern teaching, starting with one myth we’ve all heard: learning styles. Are you a “visual learner”? An “auditory learner”? Turns out, science doesn’t back that up. Marcie and I break down why this myth still lingers and explore what actually works in the classroom, from explicit instruction to cognitive load theory.

But we don’t stop there. We dive into real struggles teachers face every day—burnout, moral injury, and the overwhelming pressure to implement new methods without proper support. Marcie shares her frustration: Why are foundational skills like cognitive load and explicit instruction self-taught instead of core training for educators?

We also discuss balancing inquiry-based learning with strong fundamentals—something that resonates in both science and music. Whether it’s balancing chemical equations or teaching a choir to sight-read, we agree: students need clear, structured guidance before they can truly explore.

Finally, we hit on a tough question: Is prioritizing social-emotional learning over academics helping or hurting our students? Marcie and I discuss how teachers can support students and stay focused on their academic success—without burning out or overstepping their roles.

Tune in, and have your thinking stimulated and challenged. Then, weigh in yourself with your related ideas and experiences on Facebook in the Choralosophers group or over on choralosophy.substack.com Also, don’t forget to grab a reading rope for your classroom wall from the shop! Music Reading Rope

Be Sure to Find Choralosophy on TikTok!

For future rehearsal clips, find me on TikTok, Insta and FB!

Marcie Samayoa began her teaching journey at UCLA, where she earned a B.S. in Biology with a minor in Science Education in 2015. She started teaching as an intern in 2016 and went on to complete her teaching credential at CSUN in 2018. Currently, she is finalizing her National Board Certification while teaching high school Chemistry.

Over the course of her nine years in the classroom, Marcie has encountered many students who feel intimidated by science before they even begin. Comments like “Science is not my thing” are common among her students, and similar sentiments often arise from friends pursuing healthcare careers who claim, “I can’t be a doctor. Science is too difficult.”

These statements resonate deeply with Marcie, as they remind her of her own struggles at UCLA. Despite spending long hours in the library, she initially faced challenges on exams. It was then that she realized hard work alone wasn’t enough—she needed to study smarter. Through research, she discovered cognitive science techniques that transformed her approach to learning. This shift not only helped her overcome academic hurdles but also earned her a spot on the Dean’s Honors List by her senior year.

Now, Marcie is passionate about helping students overcome their fear of science, guiding them toward strategies that build confidence and success in the subject.

@SciInTheMaking on X

@scientistsinthemaking.com on BlueSky

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The “Classical” or Concert Music tradition has traditionally relied on a nobility or an institution for funding. This is a challenge in our modern world that has seen such a massive boom of popular and commercial genres, that reject this model. Where does that leave us today?

I sit down with Samuel Andreyev—a brilliant composer, educator, YouTube and Podcast host, and one of the most insightful voices on the state of music and the arts today.

We’re diving headfirst into a big question: has American pop music—jazz, blues, rock, and film scores—overshadowed classical traditions so much that icons like Leonard Bernstein could never emerge again? Samuel and I explore how the overwhelming dominance of pop culture has made it harder than ever for classical music to capture mainstream attention in the U.S., leaving it to fight for survival in niche spaces.

But that’s just the beginning. Samuel shares his fascinating journey from studying at the Paris Conservatory to becoming a French citizen and a digital content creator, where his unique insights now inspire students and composers around the world. We talk about the internet’s double-edged sword—how it creates opportunities for artists but also floods the market with distractions, making it harder than ever to stand out.

We also tackle the big challenges of music education: how to keep classical music relevant, why today’s musicians need to be as entrepreneurial as they are talented, and the dangers of relying too much on outdated institutions or academic pathways.

Tune in, and have your thinking stimulated and challenged. Then, weigh in yourself with your related ideas and experiences on Facebook in the Choralosophers group or over on choralosophy.substack.com Also, don’t forget to grab a reading rope for your classroom wall from the shop! Music Reading Rope

Be Sure to Find Choralosophy on TikTok!

For future rehearsal clips, find me on TikTok, Insta and FB!

Musicworks magazine has said of Samuel Andreyev: ‘the music’s tautness conceals profound eccentricity: wild colouristic imagination and quick, perverse wit come together in dramatic shifts of hue.’ Born in Kincardine, Canada in 1981, Andreyev studied composition with Allain Gaussin and Frédéric Durieux in Paris, and rose to prominence in the 2010s when he was awarded the Henri Dutilleux Prize (for ‘Night Division’), was named artist-in-residence at the Casa de Velázquez in Madrid, and was given the opportunity to record his first portrait disc at Radio France. Since then, his chamber, orchestral, vocal and solo works have been performed, recorded and broadcast throughout the world. Major works include the violin concerto ‘Trois pierres à ne pas jeter’, written for Max Haft and Ensemble Contrechamps; the chamber orchestra piece ‘Contingency Icons’, written for the Nouvel Ensemble Moderne; and the two cantatas, Iridescent Notation (on poems by Tom Raworth) and In Glow of Like Seclusion (on poems by J. H. Prynne), written for Ukho Ensemble (Kyiv) and Ensemble Proton Bern, respectively. In addition, his music has been featured on concert tours in Canada, the USA, Mexico and Japan.

Also a highly sought-after teacher, commentator on music and public speaker, Samuel Andreyev’s YouTube channel, which features videos about composition as well as interviews with prominent musical figures, has become a fixture of the music world, viewed by millions. In addition, he presents programs on music for BBC Radio 3.

Andreyev has taught at the Haute Ecole de Musique de Genève, the Hochschule für Musik Freiburg and the Strasbourg Center of the University of Syracuse, and he has given masterclasses in countless conservatories and universities around the world. Constantly in demand as a teacher, he maintains a full schedule of private students. He is currently Vice-President of the Music Council of the Fondation Prince Pierre (Monaco).

Nearly all of Samuel Andreyev’s works have been commercially recorded, with four portrait discs released so far and many recordings of individual works available from various labels. A multidimensional artist, he has published several books of poetry and maintains an active practice as a photographer.

He has made France his home since 2003 and currently lives in Strasbourg. His scores are published by Edition Impronta (Mannheim).

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One of the core functions of a choir director or vocal music educator is to teach people to love and understand their voice. This episode is the latest addition to the Choralosophy Vocal Pedagogy Suite.

Voice teacher David Jones joins me this week to discuss some tips, approaches and even some exercises and language to try in your rehearsals with singers of ALL ages. In today’s episode, we have the privilege of hearing from David, a dedicated vocal pedagogue who began his journey as a high school singer in choirs. David shares his experiences studying under renowned vocal teachers like Alan Lindquest and emphasizes the vital balance of vocal registration to avoid strain, keeping the voice healthy.

We’ll delve into the concept of “perfect attack” or coordinated onset, which is crucial for both young singers and adults. David explains how a coordinated onset leads to better breath support and control. We spend a lot of time discussing ways to help singers release tension allowing for freely legato singing.

Demonstrations and descriptions of several exercises that were new to me, had me excited to try some new ones in my class! As we discussed teaching beginning singers, David emphasized the importance of establishing good habits early on and shared his unique methods, like various tension transfer exercises.

I also really enjoyed our discussion toward the end about “technique phobia” and the concern that technical perfection often gets associated with dry or emotionless performance. Spoiler alert: it doesn’t have to!

Tune in, and have your thinking stimulated and challenged. Then, weigh in yourself with your related ideas and experiences on Facebook in the Choralosophers group or over on choralosophy.substack.com Also, don’t forget to grab a reading rope for your classroom wall from the shop! Music Reading Rope

Be Sure to Find Choralosophy on TikTok!

For future rehearsal clips, find me on TikTok, Insta and FB!

David L. Jones has developed an international career as author, vocal pedagogue, and teacher of singers and teachers in Europe and the U.S., having worked as guest faculty at Universities and Conservatories. His website, and his professional Facebook page, The David Jones Voice Studio, contain articles based on the concepts of Italian School with the Swedish influence. His writing reflects common issues and concerns that answer questions for both vocal instructor and vocal student.

A graduate of Texas Christian University, Mr. Jones later continued vocal research at the University of North Texas. He has also conducted scientific research at the Groningen University Hospital (Groningen, The Netherlands) and has been guest faculty at the Laboratoire de la voix voice clinic in Paris. Through his association with the medical profession (and the vocal medical research of Dr. Barbara Mathis) he has had opportunity to learn and experience how Old World vocal concepts, frequently in conjunction with voice therapy, can be therapeutic in resolving many voice disorders. He also works with professional singers referred by laryngologist Dr. Benjamin Asher in New York.

David L Jones studied the concepts of the Italian School with the Swedish influence with internationally known vocal pedagogue Allan R. Lindquest (1891-1984), who was a charter member of NATS and the American Academy of Teachers of Singing. It was through that study- period with Lindquest that David Jones learned the concepts of Lindquest’s teachers, who included Enrico Caruso, Mme. Haldis Ingebjard-Isene (last teacher of Kirsten Flagstad), Joseph Hislop (last teacher of Bjoerling), Maestro Rosati (teacher of Gigli) and Mme. Paola Novikova. As invited guest faculty at the Operahögskolan / Stockholm, David Jones had the opportunity to share the concepts that his teacher Allan Lindquest studied in Stockholm in 1938 and 1939.

In 1983, Mr. Jones studied with Dixie Neill, instructor of Ben Hepner, and later with Evelyn Reynolds, whose instructors included Lola Fletcher (student of Herbert Witherspoon), tenor Hollis Arment, William Vennard, author of Singing: The Mechanism and the Technique, and Ralph Erolle, instructor of the well-known American soprano Arleen Auger.

David Jones has trained singers performing at such opera houses and festivals as the Metropolitan Opera, New York City Opera, San Francisco Opera, Chicago Lyric Opera, Berlin Staatsoper, Vienna Staatsoper, Opera North U.K., the Royal Opera House / Covent Garden, the Glyndebourne Opera Festival, Salzburg Festival, and L’Opera Bastille in Paris.

David Jones book, “A Modern Guide to Old World Singing” was released in September / 2017. His upcoming book, “A Modern Guide to Old World Vocalization” will be released next year.

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