Easily the most frequent request I get from the audience is for more teaching examples, rehearsal videos, samples, demonstrations etc. I have decided to stop dragging my feet about this and start creating more of this type of content. Due to the type of media it requires, I will be posting most of this on TikTok and Instagram. But in this episode, I have gathered some audio from some recent rehearsals of Lee’s Summit High School’s “Sounds of Summit” that I think might be a good representation of the rehearsal procedures that I have advocated over the last few years. You will hear my high school chamber choir rehearsing David Childs’ “Where Your Barefoot Walks” as well as “My Spirit is Uncaged” by Paul Rardin. Enjoy, and let me know if you have questions or curiosities about the process! Special thanks to our Staff Accompanist RuthAnn Wagoner for being ready to rock on this tough music! Also, please pardon all of my under the breath noises into the mic that I am horrified that you will hear. 🙂
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
In this episode I draw on a few sources, including audience comments to present an advocacy conversation. To make the case for Choral Music classrooms, infrastructure support, and educational priorities. You will see or hear a video I made all the way back in 2012 in response to the popular TV show “Glee,” as well as a video I made in late summer 2020 arguing that my choral classroom was an essential service to my students. You also hear portions of a livestream I did recently in the Choralosophers FB page as well as some audience thoughts about the question, “What IS Choral Music?”
From “So, You’re a Choir Teacher?”
“I may teach the broadest curriculum of any academic subject in school. We study languages, diction, history, music theory, cultural interactions and on and on…You can get a PhD in Choral Music. You can’t get a PhD in football.”
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
We also spend a bit of time keeping you up to speed on excited things happening on Choralosophy! Tune in, and as always, let us know what you think!
The excerpted videos from the episode can be found below.
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Stephen Cox has the honor of being the FIRST band director and educator to appear on the show! His perspective on music education brings some different insights to the big picture so to speak. This created a very productive conversation about the pros and cons of our traditional models of music delivery in schools.
From Stephen:
“There should never be a false dichotomy that pits Western European Classical music traditions and literature against literally every other form of music making.And yet, many organizations, schools, colleges, and musical institutions see other forms of music making as a threat while defending the “supremacy” of Western European Classical music.When jazz programs entered schools some people fought back arguing that it would ruin music education. The same with Mariachi programs, and now the same with popular music programs. When will we learn?”
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
In this episode we discuss the nuances of the large ensemble model common in the United States as the “default” for music education. Can it be simultaneously true that this model is crucial and valuable, but also we don’t give enough institutional space for other systems and curricula? We also discuss the problems with conflating “classical” and “western” with choirs, bands and orchestras. In other words, is it still true that a choir can only sing music from narrow genres? Of course not! Tune in to the end!
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
Stephen T. Cox is the director of bands at the Advanced Learning Academy, Fox Tech, and Cast Tech Schools in San Antonio, TX as of fall 2022. For the previous decade he served as the director of bands at Eastland High School in Eastland, TX A graduate of Howard Payne University, Mr. Cox has been featured in the School Band and Orchestra Magazine’s 50 Directors who make a difference and is the winner of the 2022 Grammy Music Educator Award.
As a speaker he has given clinics on the topics of educational technology, community engagement, small school education and preparing students for majoring in music at the Texas Music Educators Association Convention, Texas Bandmasters Association Convention, the Technology Institute for Music Education, Minnesota Bandmasters Association, and the Midwest Clinic. In his time at Eastland, the high school band has been a consistent UIL sweepstakes band, advanced to state marching contest, won multiple State OPS concert band titles, and performed as a demo group for the Midwest clinic and Texas Bandmasters Association conventions.
Core to his teaching philosophy, Mr. Cox believes that fine arts programs should be integral to their communities, that students should have as much control as possible, and that our ultimate goal is to give students the skills they need to chart their own path in life. Mr. Cox is married to Stephanie Cox, visual art teacher at Thomas Jefferson High School in San Antonio, TX. They have three amazing children, Aubree, Chuck, and Caesar as well as the worlds most stubborn dog, Nellie.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
This week, I am PUMPED to be joined by renowned Psychologist, researcher, author and host of the Psychology Podcast, Dr. Scott Barry Kaufman.
We in the Performing Arts education sphere are in a unique position to have an impact on the whole person in a way that is not accessible to our other teacher colleagues. We offer access to all or many of the “levels” found in Maslow’s hierarchy of needs ALL AT THE SAME TIME. We offer learning, but we also offer safety, love, and in those elusive moments, we offer transcendence. “Musical goosebump moments” occur when our singers feel more than just the music. They feel themselves, connected to each other, and connected to something bigger than the sum of the groups parts.
In this episode Dr. Kaufman shares his own personal choir class origin story in which his choir teacher was critical in changing his academic trajectory. We also discuss one of Scott’s areas of academic expertise: Maslow’s Hierarchy of Needs and how many people misrepresent and misunderstand it.
“It’s time for a more dynamic conceptualization of potential that takes into account each person’s unique package of personal characteristics, dreams, passions, goals, and development. That emphasizes the journey, not the product. That shifts from a single judgement day of standardized and decontextualized testing to an extended period of deeply personal engagement, problem solving, exploration, and revision.”
Visual Version
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
Scott Barry Kaufman is a cognitive scientist and humanistic psychologist exploring intelligence, creativity, and the depths of human potential. He is founder and director of the Center for Human Potential and founder of Self-Actualization Coaching. Dr. Kaufman is interested in using his research, podcast, teaching, and coaching to help all kinds of minds live a creative, fulfilling, and self-actualized life.Dr. Kaufman has has taught at Columbia University, Yale, NYU, the University of Pennsylvania, and elsewhere.
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
Dr. Kaufman received a B.S. in psychology and human computer interaction from Carnegie Mellon, an M. Phil in experimental psychology from the University of Cambridge under a Gates Cambridge Scholarship, and a Ph.D. in cognitive psychology from Yale University. He received his coaching training from Positive Acorn. He is also an Honorary Principal Fellow at the University of Melbourne’s Centre for Wellbeing Science.His early educational experiences made him realize the deep reservoir of untapped potential of students, including bright and creative children who have been diagnosed with a learning disability.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
This week, I am PUMPED to be joined by renowned Psychologist, researcher, author and host of the Psychology Podcast, Dr. Scott Barry Kaufman.
We in the Performing Arts education sphere are in a unique position to have an impact on the whole person in a way that is not accessible to our other teacher colleagues. We offer access to all or many of the “levels” found in Maslow’s hierarchy of needs ALL AT THE SAME TIME. We offer learning, but we also offer safety, love, and in those elusive moments, we offer transcendence. “Musical goosebump moments” occur when our singers feel more than just the music. They feel themselves, connected to each other, and connected to something bigger than the sum of the groups parts.
In this episode Dr. Kaufman shares his own personal choir class origin story in which his choir teacher was critical in changing his academic trajectory. We also discuss one of Scott’s areas of academic expertise: Maslow’s Hierarchy of Needs and how many people misrepresent and misunderstand it.
“It’s time for a more dynamic conceptualization of potential that takes into account each person’s unique package of personal characteristics, dreams, passions, goals, and development. That emphasizes the journey, not the product. That shifts from a single judgement day of standardized and decontextualized testing to an extended period of deeply personal engagement, problem solving, exploration, and revision.”
Visual Version
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
Scott Barry Kaufman is a cognitive scientist and humanistic psychologist exploring intelligence, creativity, and the depths of human potential. He is founder and director of the Center for Human Potential and founder of Self-Actualization Coaching. Dr. Kaufman is interested in using his research, podcast, teaching, and coaching to help all kinds of minds live a creative, fulfilling, and self-actualized life.Dr. Kaufman has has taught at Columbia University, Yale, NYU, the University of Pennsylvania, and elsewhere.
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
Dr. Kaufman received a B.S. in psychology and human computer interaction from Carnegie Mellon, an M. Phil in experimental psychology from the University of Cambridge under a Gates Cambridge Scholarship, and a Ph.D. in cognitive psychology from Yale University. He received his coaching training from Positive Acorn. He is also an Honorary Principal Fellow at the University of Melbourne’s Centre for Wellbeing Science.His early educational experiences made him realize the deep reservoir of untapped potential of students, including bright and creative children who have been diagnosed with a learning disability.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
This episode was a product of a submission on the main page here at Choralosophy.com. The prompt really grabbed me. Guest Joshua Mazur suggested that we need to have a grown up discussion about the way we in Music Education think about and use the word “talent.” I agree.
From Joshua:
“Our society approaches talent and ability in music in a completely unproductive way. I have seen people with very beautiful singing voices forced to sing in choirs despite the fact that they don’t want to, and people with more average singing voices discouraged from doing so despite their strong desire to sing.”
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
Most ordinary people think they’re unworthy of taking part in important music making (read: community and church choruses) because they don’t sound like the people they hear on their recordings. They don’t recognize the effect a musically literate choir of 30 people, despite the “average” nature of their voices, can have on their communities. We can take 12 people with voices no one would pay to hear as soloists and make them into a very good choir. This could be thought of as one of the great “magics” of ensemble music making. The whole CAN be greater than the sum of its parts. And even better, the individual parts can also be made greater in the process. It’s a win-win!
In this episode we discuss the false idea that musical ability is completely innate and fixed, how to combat this idea in our ensembles, as well as concepts from Daniel Coyle’s “The Talent Code,” which is a must read text for any teacher or coach.
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
Joshua L. Mazur is a multi-disciplinary musician from Lakeland, Florida. An award winning singer, he has most recently undertaken the tenor roles of Don Jose in Carmen (Valdosta State University Guest Artist) and the eponymous Phantom of the Opera (Ocala Symphony Orchestra) and was seen previously in such baritone roles as Silvio in Pagliacci (Imperial Symphony Orchestra) and the title role of Gianni Schicchi (Florida Southern College Opera Theater).Mr. Mazur has served Abiding Savior Lutheran Church as Director of Music Ministry & Organist since 2017.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
In addition to his work in ministry, he is the Choirmaster of the Ocala Symphony Orchestra Chorus, Assistant Conductor to Maestro Matthew Wardell and the Ocala Symphony Orchestra, and Adjunct Professor of Studio Voice and Music Theory/Aural Skills at the College of Central Florida, Ocala.Joshua is a prolific composer and arranger, with a catalogue of over 350 works for various solo, ensemble, choral and orchestral ensembles. His works have been performed all over the world at national, and international choral festivals and in such places as Carnegie Hall and in services at the Vatican.
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
He has scored soundtrack music for the films “After Midnight” (2016) and “I Just Called To Say I Love You” (2018). Mr. Mazur holds a Bachelors degree in Voice Performance from Florida Southern College and a Masters degree in Voice Performance and Conducting from the University of Florida. He completed several semesters of doctoral work in Music Composition and received training in Theology through Concordia University CUEnet.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
Recently, David Simmons Wood made a splash by writing an article for Early Music America called “Toward a Rebirth of Renaissance Choral Repertoire.” In the article, David drew attention to what I see as a troubling gap in our collective repertoire and programming trends. Namely, the near disappearance of Polyphony from our performances, classrooms and in the textures of new music explored by living composers. Polyphonic writing provides so many building blocks for the theoretical mind of the musician, but also crucial steps in the development of young singers. So, what is driving this atrophy of access to a foundational piece of our art form? It is a complicated problem! So tune in as David and Chris discuss issues related to classroom challenges, the intimidating expert, the lack of exposure, and even the unintended casualty of our attempts to focus on diversifying repertoire and the push to include more living composers. We also go deep into SOLUTIONS. Ways to get started, resources and benefits of polyphony in school and community ensembles.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
David Simmons Wood (he/him) is the director of K-State’s Early Music Ensembles and is the founder and director of the annual K-State Recorder Workshop. David is also engaged as a faculty member in the Theory, History, and Composition Division.His performing career has included appearances with Dallas Bach Society, The Orchestra of New Spain (Dallas), The New York Baroque Dance Company, The New York State Baroque, Texas Choral Artists, and Fenix de los Ingenios, as well as performances at the Boston, Indianapolis, and Bloomington Early Music Festivals. He was also a founding member of Ishallyn, Ensemble for Early Celtic Music.He holds degrees from Kansas State University (B.M. Voice) and the University of North Texas (M.M. Choral Conducting and Voice), and he studied early music ensemble direction at the Historical Performance Institute at Indiana University’s Jacobs School of Music.
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
His primary emphases have been the sacred vocal music of the 12th to 18th centuries, liturgical reconstruction, and historical pronunciation.David serves as the Programs Director for the Early Music America, the North American service organization for early music and historical performance practice, where he oversees scholarshiips, grants, the annual Young Performers Festival & Emering Artists Showcase, a series of webinars and other video resources, and coordinates social media and email marketing activities.David has also be involved in church music leadership for more than two decades, holdinng the position of Minister of Music at Central Christian Church (DOC), Dallas, TX; and First United Church, Bloomington, IN.
He has also served on the board of the United Church of Christ Musicians Association.David worked in public radio at WFIU, Bloomington, IN. first as an Announcer/Producer (2005-2007), then as Music Director and Program Content Coordinator (2008-2014), and served on the board of the Association of Music Personnel in Public Radio.
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
I am excited to welcome Kenneth Bozeman to the podcast this week to blow your minds! Ken is a voice teacher, author and prominent lecturer presenting all over the world to help teachers of singing understand the importance of the marriage between voice science and the emotive capabilities of the human voice. I have frequently participated in conversations where these two ideas are erroneously set apart from each other. For example, “what’s more important? Vocal technique OR emotional expression or performance?” To me, this has always been a strange question. It is through our understanding of how the voice works, and our ability to pass that along to our students that allows them to have access to the full range of emotional tools that their voice has to offer. In this conversation, Professor Bozeman lays out many useful scientific concepts, exercises and techniques to help us marry the soul to the body so to speak.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
Kenneth Bozeman, author of Practical Vocal Acoustics and Kinesthetic Voice Pedagogy, served as Professor of Music at Lawrence University in Appleton, Wisconsin for 42 years. He was awarded the Van Lawrence Fellowship by the Voice Foundation in 1994 and is on the editorial boards of the NATS Journal of Singing and the Voice Foundation’s Journal of Voice. He was twice a master teacher for the NATS Intern Program and was inducted into the American Academy of Teachers of Singing in 2019. He was honored to be a keynote speaker for the British Voice Association (2021) and the International Congress of Voice Teachers (2022). His work explores the internal acoustic landscape all voices inhabit, describes the inherent relationships of its components, and seeks ways to motivate efficient singing while respecting both physiologic and acoustic realities as well as effective historic pedagogy. He continues to work by mentoring teachers and young professional singers in acoustic pedagogy and presenting lectures and demonstrations for university voice departments and professional voice organizations.
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
Could it be that the new era of “the choral entrepreneur” is what we need to save Choral Music? After the pandemic, we have seen a resurgence of enthusiasm for Choral Music amongst the already initiated. But, program enrollments are down, concert attendance is down, positions have been cut, and conference attendance has not recovered. It could be that we have entered a new era. An era where a Choral resurgence will depend upon people like Ryan Main and shows like this one. Colleagues with the willingness to leave the safety of institutional employment behind and make the case in the community for the value of Choral music. In this episode, Chris and Ryan discuss the various ways in which “entrepreneurship” can manifest itself in Fine Arts spaces. We discuss lessons learned in creating both non-profit and for profit Choral Music centered ventures. It’s time to make the case that “Choral Entrepreneur” doesn’t have to be a dirty word.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
An award winning composer, his compositions are performed internationally and frequently featured at national and regional American Choral Directors Association Conferences, festivals, Carnegie Hall, and other events around the world.
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
Ryan holds a Master of Music in Music Composition and a Master of Music in Music Education from the Peabody Institute at Johns Hopkins University. He holds a Bachelor of Music in Music Composition from the University of Missouri – Kansas City’s Conservatory of Music and Dance.
Ryan is passionate about quality music education for all. He founded and serves as artistic and executive director of the Youth Chorus of Kansas City, a non-profit organization serving youth of all socio-economic and cultural backgrounds throughout the Kansas City metro area.
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
Ryan is a member of the American Choral Directors Association, the Missouri Choral Directors Association, the National Association for Music Education and the American Society of Composers, Authors and Publishers. He currently serves on the National Association for Music Education’s Council on Music Composition.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
Composer Melissa Dunphy believes that artistic expression is inherently connected to the socio-political landscape of the world. Artists often create work that reflects their personal beliefs, experiences, and values. Even when an artist does not intend for their work to be explicitly political, it is influenced by the social and cultural contexts in which it is created.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
Art is a powerful medium that can evoke emotions, challenge norms, and inspire change. Artists have historically used their work to address pressing social issues and spark dialogue. Whether through visual arts, literature, music, or performance, artists can shed light on marginalized voices, challenge oppressive systems, or critique political ideologies. By engaging with these topics, artists inherently engage with politics.
In this conversation, I present some limitations to this axiom, revealing that I don’t necessarily agree that ALL art is unavoidably political, but that in general there is a lot of common ground on our positions on this topic. Where do YOU stand on the statement that “Everything we do as artists is inherently political?” Comment on the Choralosophers FB page or anywhere you see this post.
Raised in a Chinese-Australian family, Melissa Dunphy moved to the USA in 2003 and specializes in composing vocal, political, and theatrical music. She first came to national attention when her large-scale work the Gonzales Cantata was featured in The Wall Street Journal and on The Rachel Maddow Show. Dunphy is the recipient of an Opera America Discovery Grant for Alice Tierney, a new opera commission by Oberlin Conservatory. Recent commissions include works for the BBC Singers, VOCES8, and Cantus. Dunphy is also a Barrymore Award-nominated theater composer and Director of Music Composition for the O’Neill National Puppetry Conference. Dunphy has a Ph.D. in composition from the University of Pennsylvania and a B.M. from West Chester University and teaches at Rutgers University. She lives in Philadelphia with her husband, Matt; the Dunphys are co-hosts of the popular podcast The Boghouse about their adventures in Philadelphia colonial archaeology.
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
Last week, instead of a typical adult getaway for our anniversary, Beth and I attended the National Conference of Braver Angels. From the Mission Statement:
Americans on opposite sides of the political spectrum don’t only disagree on issues — they increasingly dislike one another. This growing partisan animosity is the crisis of our time and threatens our nation. Braver Angels exists to address this challenge.
Braver Angels Mission
For many who have followed this show over the last 4 and a half years, you might notice that this mission is also the mission of the Choralosophy Podcast. I believe that we in Music Education suffer from this affliction as well as the broader society. In many ways, because of the politically homogenous nature of the Education and Performing Arts communities, we have it WORSE than society at large. We are badly in need of a dose of our own Civic Renewal. To this end, I am proud to say that the Choralosophy Podcast is now a part of the Braver Network of organizations and media outlets willing to stand up for the value of bringing everyone to the table to find common ground. As listeners, YOU can join for FREE as part the Choralosophy community.
I see a VERY obvious role for music ensembles to play in this project. The metaphors should be obvious. How many of our choirs, bands, and orchestras bring together people with a true diversity of world views? How intentional are we about creating an environment where ALL of our singers and players are able to bring their WHOLE selves to class or to rehearsal. Ensemble music is one of the biggest sources of opportunity for large numbers of people to gather IN PERSON to unite on a common project. This project of music requires that they set aside their political projects to focus on what they can accomplish TOGETHER.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
The Challenge We Face (From Braver Angels Website)
As we separate into groups that increasingly do not even know, or interact with, people of differing opinions, we lose trust in our institutions, eroding the ability to govern ourselves and lowering the caliber of citizenship. This growing trend coarsens public debate, produces policy gridlock, shrinks our capacity for goodwill, and harms our family and personal relationships. Effective self government depends precisely on what this type of polarization destroys. We believe the American Experiment can survive and thrive for every American who contributes to the effort. Where we go from here is up to us. This is the driving force that fuels our mission.
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
Last week, instead of a typical adult getaway for our anniversary, Beth and I attended the National Conference of Braver Angels. From the Mission Statement:
Americans on opposite sides of the political spectrum don’t only disagree on issues — they increasingly dislike one another. This growing partisan animosity is the crisis of our time and threatens our nation. Braver Angels exists to address this challenge.
Braver Angels Mission
For many who have followed this show over the last 4 and a half years, you might notice that this mission is also the mission of the Choralosophy Podcast. I believe that we in Music Education suffer from this affliction as well as the broader society. In many ways, because of the politically homogenous nature of the Education and Performing Arts communities, we have it WORSE than society at large. We are badly in need of a dose of our own Civic Renewal. To this end, I am proud to say that the Choralosophy Podcast is now a part of the Braver Network of organizations and media outlets willing to stand up for the value of bringing everyone to the table to find common ground. As listeners, YOU can join for FREE as part the Choralosophy community.
I see a VERY obvious role for music ensembles to play in this project. The metaphors should be obvious. How many of our choirs, bands, and orchestras bring together people with a true diversity of world views? How intentional are we about creating an environment where ALL of our singers and players are able to bring their WHOLE selves to class or to rehearsal. Ensemble music is one of the biggest sources of opportunity for large numbers of people to gather IN PERSON to unite on a common project. This project of music requires that they set aside their political projects to focus on what they can accomplish TOGETHER.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
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The Challenge We Face (From Braver Angels Website)
As we separate into groups that increasingly do not even know, or interact with, people of differing opinions, we lose trust in our institutions, eroding the ability to govern ourselves and lowering the caliber of citizenship. This growing trend coarsens public debate, produces policy gridlock, shrinks our capacity for goodwill, and harms our family and personal relationships. Effective self government depends precisely on what this type of polarization destroys. We believe the American Experiment can survive and thrive for every American who contributes to the effort. Where we go from here is up to us. This is the driving force that fuels our mission.
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This week’s episode is a fast paced conversation between myself and members of the “Choralosophers” Facebook page. Choralosophers is one of the most drama free choir director’s groups on the internet, and the desire of the members there to have interesting, and thoughtful conversations about our profession and art form is refreshing and such a great way for me to connect with the Choralosophy audience. I fielded dozens of questions and comments, but the bulk of them were focused on teaching literacy, starting out the school year well, and whether or not some of the “teacher burnout” phenomenon is being MISDIAGNOSED and confused with a concept called “moral injury.” So, tune in and stick around as we chew on some really important topics. And, as always, we welcome YOUR comments and questions in the Choralosophers FB page.
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
The term “moral injury” was first used to describe soldiers’ responses to their actions in war. It represents “perpetrating, failing to prevent, bearing witness to, or learning about acts that transgress deeply held moral beliefs and expectations.” Journalist Diane Silver describes it as “a deep soul wound that pierces a person’s identity, sense of morality, and relationship to society.”
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Most physicians enter medicine following a calling rather than a career path. They go into the field with a desire to help people. Many approach it with almost religious zeal, enduring lost sleep, lost years of young adulthood, huge opportunity costs, family strain, financial instability, disregard for personal health, and a multitude of other challenges. Each hurdle offers a lesson in endurance in the service of one’s goal which, starting in the third year of medical school, is sharply focused on ensuring the best care for one’s patients. Failing to consistently meet patients’ needs has a profound impact on physician wellbeing — this is the crux of consequent moral injury.
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In this week’s episode I welcome John Hughes to discuss the things we wish we had known when we were starting out as teachers and conductors. We discuss the cynicism that develops over the years in many of us, as well as the loss of “awe” when hearing choral music and how to get it back! In one part of the conversation we discuss the importance of separating achievement from self-worth as well as the problem with expecting ourselves and our singers to be perfect. We even get into the practical side, regarding rehearsal planning, and other self management strategies.
“I would offer my younger self—full of ambition, hungry for success and respect, and willing to work hard— these gentle words and encourage him to take a breath or two. The “no excuses” approach may be effective, but it may end up making you miserable inside.” From the Preface of “Letters to a Young Conductor” by John C. Hughes
One of the “elephants in the room” within education discussions related to merit, opportunity and access is the wide range and disparity of challenges that teachers face in creating quality programs within their schools. Mark Bailey believes that music, but most importantly the PEOPLE IN music, changes the lives of those around them. And crucially, that music has the ability to change the soul and trajectory of someone’s life. Sadly, in many places where “other problems” seem so much more pressing, music and other Fine Arts programs fall by the wayside. Leading to quality educators not wanting to teach in the schools that need them the most. Mark has been teaching in Title 1 Schools in the US for much of is fifteen year career and brings a comprehensive plan for success and encourages quality educators to test their mettle in these types of schools. We also discuss the role of music competition as both a motivator and a barrier toward equity in education. Tune in for this challenging, but ultimately optimistic conversation.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
Mr. Mark A. Bailey is proud to be the Director of Choirs at Palo Duro High School of Amarillo ISD in Amarillo, Texas and is a sought after clinician and published researcher. Mr. Bailey’s most recent scholarly work is published in TMEA’s 2018 edition of the Texas Music Educators Research Journal and focuses on poverty and music education. He has recently presented similar research at the annual ACDA International Symposium on Research in Choral Singing. His choirs have recorded and premiered original works for Carl Fischer Music. He is entering his 15th year as a professional music educator. Before coming to Palo Duro, Mr. Bailey was the Director of Choirs at Brazoswood High School. Prior to that, Mr. Bailey was Head of Fine Arts and Director of Choirs at The American School of Kuwait, and Director of Choirs at Atascocita Middle School, La Porte High School, and Houston Christian High School. Choir programs under Mr. Bailey’s direction receive consistent UIL Sweepstakes ratings and top festival honors.
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Mr. Bailey is a graduate of Baylor University (B.M.Ed.) and Texas Tech University (M.M.Ed.) and has studied educational research with Dr. Janice Killian and choral conducting with Dr. Anton Armstrong, Mr. Donald Neuen, Dr. Jeffery Ames, Dr. Donald Bailey, and Dr. Carolyn Cruse. Mr. Bailey has also performed under the direction of world-renowned conductors Paul Salamunovich, Eph Elly, Andre Thomas, and Anton Armstrong. Professional affiliations include Texas Music Educators Association (TMEA), Texas Choral Directors Association (TCDA), American Choral Directors Association (ACDA).
Mr. Bailey is an avid fan of Major League Baseball, and all books Sci-Fi and Mystery. Mr. Bailey’s wife, Hannah, is the Head Librarian at Caprock High School in Amarillo ISD. Mr. and Mrs. Bailey have two young children, Henry and Charlotte. In his spare time, Mr. Bailey enjoys arranging and composing choral works, writing research in education, and playing his favorite game, American Mahjong.
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In May of 2023, American Choral Directors dedicated an issue of their “Choral Journal” to Gender Inequity in Choral Music. The Research Report in this issue was penned by Dr. Melissa Baughman from the University of Oklahoma. In the article, she summarizes the current state of research on the topic of Women in Conducting careers. We learned that most of the existing research in this area exists in the instrumental world as well as learning that the choral world has a concentration of Women in the middle and high school levels with major disparities at the collegiate level. In this episode, Melissa and I dissect the issues that come up in the research related to gender stereotypes, gender bias, as well as the “messy problem” of trying to make improvements of access as well as in our understanding of why the disparities exist in the first place. (Hint: it’s never just ONE thing.) Tune in for this nuanced conversation where we go “beyond the memes” and dig in to the heart of an important issue.
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Dr. Melissa Baughman is an Assistant Professor of Choral Music Education at the University of Oklahoma where she supervises student teachers and instructs undergraduate and graduate courses in choral methods, conducting, and vocal pedagogy. She is dedicated to promoting student wellness and leads a wellness initiative for the OU School of Music called Breathe OUt. She also serves as a co-facilitator for the Music Teacher Health and Wellness Area for Strategic Planning and Action for the Society of Music Teacher Education (SMTE). Prior to joining the faculty at OU, Dr. Baughman taught at Middle Tennessee State University, Central Methodist University (MO), and was the director of middle and high school vocal music in Montpelier, Ohio.
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As a researcher and advocate for wellness and equity in music, Melissa has presented at state, national, and international conferences sponsored by the International Society for Music Education (ISME), the European Association for Music in Schools (EAS), the National Association for Teachers of Singing (NATS), the National Association for Music Education (NAfME), the Society for Music Teacher Education (SMTE), the American Choral Director’s Association (ACDA), the Oklahoma Music Educator’s Association (OkMEA), and the Missouri Music Educator’s Association (MMEA). Her research has been published in the Journal of Music Teacher Education, International Journal of Music Education, Update: Applications of Research in Music Education, Journal of Singing, Choral Journal, and Missouri Journal of Research in Music Education. Her essay, “Nevertheless, She Sings: Empowering Women in Choral Music” is published in the book, Relevance in the Choral Art, edited by Tim Sharp.
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Praised as an “illustrious soprano,” Melissa’s performance highlights include singing the soprano solos for Schubert’s Mass No. 2 in G Major, Haydn’s Kleine Orgelmesse, Vivaldi’s Gloria, Orff’s Carmina Burana, and Mozart’s Vesperae solennes de confessore. She is currently a guest artist with the American chamber choir, Vox Nova, who received The American Prize Ernst Bacon Memorial Award for the Performance of American Music–Community Ensemble Division in 2018. As a graduate student, she received first place in the National Association of Teachers of Singing (NATS) and Missouri Music Teachers Association (MMTA) voice competitions and was named an Emerging Artist at MU. Dr. Baughman earned her PhD in music education with an emphasis on vocal pedagogy and choral conducting and a MM (voice performance) from the University of Missouri. She also earned a bachelor’s degree in music education (magna cum laude) and a master’s degree in education from Bowling Green State University.
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In this special Oxford Series episode, I catch Dr. Zanaida Robles for a conversation about her philosophy as a composer, as well as the way all of her musical and personal identities mingle to create a context for her music making. We discuss the compositional process, including the philosophy she holds related to the “end product” for singers. Namely, the importance of the singers exploring their own communities and connections WHILE also exploring the music. We also bounce ideas back and forth related to composers having to be careful about “over refining” a composition, as well as the music world’s attempt to balance goals of equity with the human need for each composer to be valued based on their OWN music and individual expression. You won’t want to miss this conversation!
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
Dr. Zanaida Stewart Robles is an award-winning Black American female composer, vocalist, and teacher. She is a fierce advocate for diversity and inclusion in music education and performance. Authentic interpersonal connection and relationship-building are core principles of her teaching and performance methods. Born, raised, and educated in Southern California on the unceeded lands of the Gabrielino-Tongva people, she is in demand as a composer, vocalist, clinician and adjudicator for competitions, festivals, and conferences related to choral and solo vocal music.
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What does it mean to be an Omni-American? An Omni-Citizen, or an Omni-Musician? How can Jazz be taught as a metaphor for American culture and democracy? In what ways do our modern conversations about diversity and inclusion badly need to include some Albert Murray in the mix? Greg Thomas joins me this week to discuss this as well as the gaps in our understanding of Jazz as a musical tradition, as well as an intellectual salon of American philosophy and culture. We discuss Greg’s work with the Jazz Leadership Project and the utility of Jazz as a metaphor to help us understand conflict, productivity, racism, culture and so much more.
Albert Murray, an American writer and cultural critic, coined the term “Omni-American” to describe a distinctive American identity that encompasses and celebrates the diverse cultural influences that have shaped the United States. According to Murray, being an Omni-American means recognizing and embracing the intermingling of various ethnic, racial, and cultural backgrounds that have contributed to American society.
Murray argued that the United States is not a melting pot where different cultures blend into a homogeneous whole, but rather a rich tapestry of interconnected and overlapping traditions. He believed that the strength and vitality of American culture come from its ability to absorb and incorporate diverse cultural expressions, creating a dynamic and ever-evolving national identity.
Being an Omni-Musician would mean having a deep understanding and respect for the cultural contexts and historical roots of different musical styles. It would involve studying, collaborating, and learning from musicians representing diverse traditions and backgrounds. By doing so, an Omni-Musician would create a unique and dynamic musical voice that combines and synthesizes various influences.
Greg is CEO of the Jazz Leadership Project, a private company that uses jazz music as a model to enhance leadership success and team excellence. Along with his wife and partner Jewel, the Jazz Leadership Project works with notable firms such as JPMorgan Chase, Verizon, TD Bank, and Google. The leadership blog TuneIntoLeadership.com features their writings.
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Greg has been a professional journalist for over 25 years. As an educator, Greg recently taught a course, “Cultural Intelligence: Transcending Race, Embracing Cosmos,” and co-facilitated a six-month class in 2022, titled “Stepping Up: Wrestling with America’s Past, Reimagining Its Future, Healing Together.”
As a Co-Director of the Omni-American Future Project, Greg co-facilitated a two-day broadcast and awards ceremony, “Combating Racism and Antisemitism Together: Shaping an Omni-American Future” in October 2021, and the second annual event in November 2022, “Straight Ahead: An Omni-American Future, Fighting Bigotry Together.” In Sept. 2022, he co-led a one-day conference, “Resolving the Race-ism Dilemma.” He also serves on the advisory boards of The Consilience Project, and FAIR, the Foundation Against Intolerance and Racism. (Omni-Americans by Albert Murray.)
tuneintoleadership.com
@gregthomas22
@Omni_American_
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Now that the pandemic is officially over, I thought it would be a good time to release this audio I captured back in April of 2021. About 30 of us brave Choralosophers gathered in Atlanta back when NO ONE was doing in person conventions to have a mini choral summit. One of those sessions was led by Emmy Burch and myself about the things that spark us to create, and the fears that hold us back from creating them. At the time this conversation occurred, we were all afraid of what was to come. I find this to be a fascinating time capsule to a time a little over two years ago, in which many of us had nothing else to do other than dream.
You will hear thoughts about the gaps we have between our abundance of choral instructors, and the much needed “choral entrepreneur,” that I think is so crucial to the future of our profession. We will also hear from session attendees about their ideas and fears. Tune in!
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This week, I FINALLY respond to the many requests I got to share my thoughts on the movie “Tár,” starring Cate Blanchett. So, consider this my review of the movie. I talk about the tension in the film between the stereotypes of the “conductor” as a male, power abusing, egomaniac alongside the movie’s portrayal of this character as a woman and as a Lesbian. In addition to an analysis of Marin Alsop’s take on the movie, I discuss the value of these types of inversions in social commentary as well as the interesting dynamic created by a highly competent musician and thinker interacting in the world as kind of a crappy human being. And yes, of course I also break down the “White, male, cis composers just aren’t my thing” scene as well. So tune in and let me know what you think as well!
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In this episode, we are honored to have Dr. Matt Zakreski, a clinical psychologist, joining us to discuss neurodiversity, autism, and gifted children in our classrooms. Dr. Zakreski brings a wealth of knowledge and expertise to our conversation, and we will be delving into various considerations for such kids in education, and in Fine Arts education in particular.
One of the topics we will be exploring is the importance of the arts in helping neurodivergent kids express themselves. As singers and educators, we know firsthand the transformative power of music, and Dr. Zakreski will be sharing his insights on how the arts can provide a safe and nurturing environment for neurodivergent kids to explore their creativity and connect with others.
So, whether you are a music educator, a parent of a neurodivergent child, or simply interested in learning more about the intersection of psychology and the arts, this episode is not to be missed. Let’s dive in!
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Matthew “Dr. Matt” Zakreski, PsyD is a high energy, creative clinical psychologist who utilizes an eclectic approach to meet the specific needs of his neurodivergent clients. He is proud to serve the Gifted community as a consultant, a professor, an author, and a researcher. He has spoken over 200 times all over the world about supporting neurodivergent kids. Dr. Zakreski is a member of Supporting the Emotional Needs of the Gifted (SENG), the National Association for Gifted Children (NAGC), the New Jersey Association for Gifted Children (NJAGC), and Pennsylvania Association for Gifted Education (PAGE). Dr. Zakreski graduated from Widener University’s Institute for Graduate Clinical Psychology (IGCP) in 2016. He is the co-founder of The Neurodiversity Collective.
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In this unique episode of Choralosophy, we are taking it into the future that is now with a very special guest. It’s ChatGPT, a cutting-edge artificial intelligence language model that has been trained to understand and communicate with humans. ChatGPT is here to share its insights on topics relevant to choir directors, including innovative ways to use AI to automate music teacher tasks, as well as answer questions about music theory and educational philosophy.
As teachers and music directors, we are constantly looking for new ways to improve our teaching methods and streamline our workflows. With the advancements in artificial intelligence, we now have access to powerful tools that can help us achieve these goals. ChatGPT is at the forefront of this technology and is ready to share its knowledge and expertise with us.
Whether you are excited about new technology, or the type that is typically pretty skeptical, ChatGPT and programs like will be an unavoidable part of the information landscape. So tune in for this primer.
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Will Shakespeare’s Perfect Choir90’s Will Smith’s Perfect Choir
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In today’s episode, we have a special guest, Jennaya Robison, who is an accomplished conductor, vocalist, and music educator.
In this episode, we delve into the topic of vibrato in choral singing. Dr. Robison would like to advocate for a world where female voices in particular are freer to vibrate in choral singing. Jennaya recently presented with a panel at National ACDA on a session called “Let Vibrate!” in which she and her colleagues urged us to rethink our aesthetic preferences related to vibrato. I asked Jennaya to join me because, as always, I only MOSTLY agreed. 🙂
Throughout the discussion, we explore the technical aspects of choral singing and the role of vibrato in creating a particular sound. We also discuss the importance of individual voice training, the concept of blend and a clash between philosophies that either honor the aesthetics of the past, or discard them due to the injustices of the era.
This episode was recorded in person in our home studio, providing a more intimate and personal conversation about the nuances of choral music. Don’t miss Jennaya Robison on the Choralosophy podcast!
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Dr. Robison is one of the leading choral directors in North America, and is consistently in demand as a clinician both nationally and internationally. She has presented at ACDA and NATS conferences and is a national leader of choral artistry, pedagogy, and innovation. She has held previous positions at Luther College, the University of Arizona, and the University of New Mexico, and has an active performance career as a soprano soloist and chorister.
Dr. Robison is in demand as a conductor, clinician, and soprano throughout the United States. She has conducted orchestras at the University of Arizona, Luther College, and as well as community orchestras in Tucson and Phoenix, Arizona. As a public-school educator, she has taught in Iowa, Wisconsin, and Minnesota.
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As a soprano, she has sung as a soloist with the Grammy award-winning True Concord, Tucson Symphony, Arizona Opera, Scottsdale Arts Orchestra, Scottsdale Symphony, St. Andrews Bach Society, Phoenix Youth Symphony, Tucson Masterworks Chorale, Rochester Choral Arts, and Chamber Orchestra of Albuquerque.
Her primary area of research is in the field of vocal health within the choral ensemble. She has been an invited conductor and clinician at numerous festivals including All State Choirs in Minnesota, Wisconsin, and North Dakota, Wisconsin Middle Level Honors Choirs, Texas Collegiate Women’s Honor Choir, Montreat Music Conference Festival Choir and various regional and state honor choirs in Texas, Nevada, Arizona, Illinois, Iowa, Minnesota, and Wisconsin.
She holds a Doctor of Musical Arts in Choral Conducting from the University of Arizona, Master of Music in conducting and voice from the University of New Mexico, and Bachelor of Arts in music from Luther College. She is the coordinator of Collegiate Repertoire and Standards and director of Student Activities for the North Central chapter of the American Choral Directors Association. Her choral series is published with Pavane Music.
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This week, I am excited to have Melanie Trecek-King as our guest. Melanie is a science educator who specializes in teaching science to non-science majors. In addition to her expertise in the field of science, Melanie is passionate about helping individuals improve their thought processes and metacognition. She is making major waves online with her highly recommended websites ThinkingIsPower.com and the Mental Immunity Project.
Today’s episode will explore the value of improving one’s own thought processes and metacognition. We will dive deep into the concepts of metacognition, critical thinking, and the power of self-reflection. Melanie will share her insights and experiences as an educator, and provide practical advice and strategies that can be applied to any discipline or profession.
Whether you’re a musician, teacher, student, or simply someone who wants to improve their cognitive abilities, this episode is for you. So, sit back, relax, and get ready to explore the fascinating world of metacognition with our guest, Melanie Trecek-King.
Melanie Trecek-King is the creator of Thinking Is Power, an online resource that provides critical thinking education to the general public. She is currently an Associate Professor of Biology at Massasoit Community College, where she teaches a general-education science course designed to equip students with empowering critical thinking, information literacy, and science literacy skills. An active speaker and consultant, Trecek-King loves to share her “teach skills, not facts” approach with other science educators, and help schools and organizations meet their goals through better thinking. Trecek-King is also the Education Director for the Mental Immunity Project and CIRCE (Cognitive Immunology Research Collaborative), which aim to advance and apply the science of mental immunity to inoculate minds against misinformation.
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In this episode, I am thrilled to be joined by guest Jasmine Fripp, a music educator and advocate for cultural sensitivity and anti-racism in music education. Many of us FIRST met Jasmine when she posted a viral letter on Facebook.
We will be discussing the importance of cultural sensitivity within music education, and why it’s crucial for music educators to be aware of the diverse cultural backgrounds of their students AND their colleagues. Jasmine will be sharing her personal experiences and insights on the topic, and will be providing specific examples of how music educators can create a culturally responsive classroom environment.
As music educators, it’s important for us to recognize that music is not a one-size-fits-all experience. Every student brings their own unique cultural background to the classroom, and it’s our job as educators to create an environment that is inclusive and welcoming for all students. So sit back, relax, and join us for this insightful and thought-provoking conversation on “Choralosophy.”
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Jasmine Fripp is a Grammy-nominated music educator and the founder of The Passionate Black Educator, an educational platform that grew out of her passion for empowering educators and providing Black and Brown students with a quality holistic education through music. With seven years of teaching experience in public and charter schools, she has built award-winning choral programs and provided Black and Brown students with various opportunities to excel within and outside the world of music.
As The Passionate Black Educator, Jasmine encourages and empowers music educators of all cultural backgrounds to create student-centered classroom environments that promote anti-racism, culturally responsive pedagogy, and healing-centered teaching. Jasmine’s ability to fuse hip-hop, choral music, student-centered dialogue, and creative teaching strategies have led to her being heavily sought after as a clinician by universities, school districts, and professional organizations Worldwide. Jasmine holds a Bachelor of Music Education with a concentration in Choral Music from Winthrop University and is currently pursuing her master’s degree at Belmont University.
I was recently exploring the recent rise in the use of the word “trauma” to describe the events of our lives. From small inconveniences to major life events, it seems that we are quick to label them as traumatic experiences. However, is this overuse of the term causing us to overlook the true meaning of trauma and its impact on mental health?
In this podcast, we also delve into the concept of anti-fragility, introduced by Nassim Taleb in his book “Antifragile: Things That Gain from Disorder.” This concept suggests that instead of striving for resilience, we should aim for anti-fragility, where we can thrive and benefit from chaos and uncertainty. How can this concept be applied to education, and how can it help students become more resilient and prepared for the challenges of the future? To do this, I have clipped out a fascinating conversation I had years ago with Eric Barnum about this topic.
Join us as we discuss these thought-provoking topics, and their related performing arts off shoots like performance anxiety and the pursuit of best practices. Resources mentioned:
This episode is a pastiche of sorts from several sources. We will start with the introduction from my “Togetherness Activism” live presentation from Colorado in January. In that segment I tell the story of what I have learned about discourse and discussion from starting a show in which I put forward opinions in public for the last four years. Some of those experiences have been gratifying, frustrating, fun and stressful. But in all situations, I have learned SO MUCH, and have actually changed my opinion about many things. One of the things I have learned is how oversimple our understanding of each other can be do to online interactions. During this presentation, I launched a survey to the audience there in person which helped us explore the ways in which we may be diverse BEYOND what is visible. Over the next few weeks, I plugged the survey in choir director groups and got a nice sample of responses. I will discuss those responses here as well. This is a fun and varied discussion that I hope stimulates more discussion!
The problem with “photographic diversity” is that I could give a survey to a group of people who appear to be diverse, but their answers could all be the same. If that’s the case, we lose the studied and time tested value of diversity. When it’s time to have a meeting of the minds, we can’t.
Chris Munce
In some ways, I am thinking of this episode as an important “Where We Are Now” discussion for the beginning of year 5 of Choralosophy Podcasts. So, tune in chew on some ideas!
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Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
In this episode, I have renowned composer and publisher Dan Forrest on the show to talk about the current state of the publishing industry. In addition to his own story about how he got involved in the publishing and composition world, as well as his thoughts about the history of music publishing, the changes due to recent technology and self publishing etc. We even get into our thoughts about ways the system can still be improved including ways to rethink the formula to ensure that composers are fairly compensated, as well as thoughts about whether or not copyright law also needs to change to keep up with the technology. Tune in for this important discussion!
Dan Forrest (b. 1978) has been described as having “an undoubted gift for writing beautiful music….that is truly magical” (NY Concert Review), with works hailed as “magnificent, very cleverly constructed sound sculpture” (Classical Voice), and “superb writing…full of spine-tingling moments” (Salt Lake Tribune). His music has sold millions of copies, has received numerous awards and distinctions, and has become well established in the repertoire of choirs around the world via festivals, recordings, radio/TV broadcasts, and premieres in prominent international venues.
Dan’s work ranges from small choral works to instrumental solo works, wind ensemble works, and extended multi-movement works for chorus and orchestra. His Requiem for the Living (2013) and Jubilate Deo (2016) have become standard choral/orchestral repertoire for ensembles around the world, and his more recent major works LUX: The Dawn From On High (2018) and the breath of life (2020) have also received critical acclaim.
Dan holds a doctorate in composition and a master’s degree in piano performance, and served for several years as a professor and department head (music theory and composition) in higher education. He currently serves as Editor at Beckenhorst Press, Chair of the American Choral Director’s Association Composition Initiatives Committee, and Artist-In-Residence at Mitchell Road Presbyterian Church (Greenville, SC). Details about Dan and his work can be found at www.danforrest.com.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Did you know that boys have fallen behind girls in almost every measurable academic category? Boys are 3-6 times more likely to have an ADHD diagnosis, 3-5 times more likely to be expelled, 2-3 times more likely to die from suicide, and are reporting higher levels of loneliness on average. There are a lot of reasons to be concerned. This episode is for everyone. A relevant discussion for all educators as well as parents, and just people interested in how masculinity and our perceptions of it shape our world. The obvious elephant in the room here is also that there is a small, but vocal school of thought that the category of boy, girl, woman or man, due to their elements that are socially constructed, leading some to not see this issue as critical or existential.
Correction: I referenced “Isaac Reeves” as an author, this should have been Richard Reeves. His book “Of Boys and Men” is highly recommended.
As choir directors, we famously struggle to get boys to keep singing, or even to start singing. Dr. Brendan Kwiatkowski, a researcher specializing in adolescent boys’ relationship to their emotions joins me this week to discuss his findings and the broader science about a crucial educational issue. age 13-15 was the most difficult for boys in feeling “pressured” to appear masculine. Do you see any parallels to WHEN we typically lose the most boys in choir? I do…
I don’t find the term “Toxic Masculinity” helpful because it doesn’t it isn’t nuanced enough to actually describe the issue. I prefer the term “Restricted Masculinity” because the toxic behaviors often come from a a disconnection from our emotions.
Brendan successfully defended his Ph.D. in Education at the University of Edinburgh at the end of 2022. His research spans multiple disciplines (psychology, sociology, and education) and investigated Canadian teenage boys’ emotions, masculinities, and schooling experiences.
He is a mixed-methods researcher and believes very strongly in positive-focused and person-centred research that humanizes and empowers participants, as well as gives “voice” to their lived experiences. He is focused on making academic knowledge accessible for all and on conducting research that is transformative and practically useful for helping people in the real-world.
Before his Ph.D. Brendan was a secondary school teacher near Vancouver, BC for 5 years where he taught psychology, history, biology, and social justice. He received his MA in 2016 in Special Education where he created and co-led a yearlong social-emotional intervention for boys with behavioural needs. He loves teaching and has taught Gender and Education courses at the university level.
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Brendan loves nature, breathwork, cold plunges, quality conversations, and music. He is also a husband and is a father to his three young children
The beautiful challenge is that in vocal music ensemble instruction, every instrument is unique. So unique in fact that an instruction that helps one student sound better can make another sound worse. In the instrumental classroom there are MANY technical instructions that can be delivered in a way that applies to EVERY trombone or every drum in the room. They may even be the same manufacturer! We don’t realistically have time in a choral rehearsal to give customized vocal instruction like a voice teacher can in a one on one setting. In this live presentation, turned podcast, Beth and I discuss and provide suggestions for balancing the need for a solid foundation in vocal pedagogy presented by choral directors to their students with the reality that their isn’t enough time in choir rehearsal to give fully individualized instruction. How can we focus on the universal aspects of singing, and speak in the most efficient and clear ways about the voice?
As always, when you see the LIVE logo, video is recommended. Patreon members are able to access all of my live presentation slides and resources.
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Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Last week, I attended the first national gathering of the American Choral Directors since 2019. I had some incredible experiences, saw incredible choirs, heard wonderful and challenging thoughts presented in PD sessions. In this episode, I will recap my highlights, as well as presenting the highlights of some conference attendees that I interviewed during my takeover of the KI Concerts booth. And of course, as you would expect on the Choralosophy Podcast, I will philosophize a bit about the ideas that heard as well as the MANY conversations that I heard from “people on the street” during the convention. I asked them questions about their convention highlights as well as going back into their rehearsals inspired during a time when “burnout” is high.
You will also hear me reflect on the roll this show serves in the landscape of choral thought development and practices based on these conversations in person with listeners. It was a fantastic convention, and I am excited to share thoughts with you from many colleagues that you won’t hear anywhere else. Special thanks to Connor Doran, Maria Ellis, Johnny Edwards, Raymund Ocampo, Chris Brush, Alan Denney and Jeff Moshur for being brave and sitting down in the hot seat!
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
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From the very beginning of our species, musical communication has been a key component of prosocial, cooperative behaviors, acting as a counterweight to the other, newly evolved human communication system—language. It is about why music continues to be an essential part of human cognitive well-being in the twenty-first century.
In this episode, I am excited to once again, go OUTSIDE of the music education sphere to seek some important and relevant expertise. I invited neuroscientist Dr. Alan Harvey on to give a different perspective on how music and language interact with human evolution. He is well known for a wonderful TED Talk on music and the brain, well as for writing a fascinating book on the evolution of music in the species. (Linked below.) I was fascinated listening to Dr. Harvey lay out the reasons humans may have developed music as a necessary evolutionary adaptation, from a common precursor of our spoken language as well as a way to stimulate the production of oxytocin and much more. “We needed another communication system whose primary role was to bring us together in groups. To drive altruism, cooperation, social interaction, and cooperation. That is why music and dance evolved in parallel with spoken language.”
Born in London, UK. BA and MA from the University of Cambridge, PhD in visual neurophysiology from the Australian National University, Canberra. After time in the USA and at Flinders University in Adelaide, Alan Harvey came to UWA in 1984. He was promoted to Professor in 2001 and in 2016 became an Emeritus Professor. He was for a number of years a member of the WA Reproductive Technology Council, a Board member of the Neurological Council of WA, and a Board Member of the Perron Institute for Neurological and Translational Science. He was Chair of the Perron Scientific Advisory Committee. He has also been a Board Member of the The University Club of Western Australia, and the Perth Symphonic Chorus.
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Research interests
Continued studies on the use of gene therapy, transplantation and other bioengineering technologies in CNS repair, with increasing focus on spinal cord. Harvey has ongoing collaborations with Dr Stuart Hodgetts, Dr Jenny Rodger, Dr Dave Nisbett, Dr Vince Wallace, and Dr A Akari.
Publication by Oxford University Press in 2017 of his book: “Music, Evolution and the Harmony of Souls”, combines Harvey’s neuroscience and music interests. Increasingly working with colleagues on neuroscience/music related topics.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
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This presentation is the second part, or “why” sequel to Episode 135. In that episode, I lay out processes and procedures to build independent literacy skills in a beginning choir. In this presentation, I expanded into the moral and scientific case for centering literacy in our curricula, as well as support for my contention that there are neurologically correct and incorrect ways to teach the reading of ANY language.
Music is a language, just like any other in a really important sense. “Music reading is a complex process involving at least two distinct skills: the reading skill and the mechanical skill (Wolf 1976). From a cognitive perspective, music reading requires several simultaneous processes including coding of visual information, motor responses and visual-motor integration.” -Gudmunsdottir, 2010
Fluent Music Literacy is VERY rare in education in the Western World. I believe this has two main causes. Many vocal and general music teachers don’t believe that it is a crucial part of the curriculum. Many who DO see it as crucial are not empowered with the best possible systems, processes and skills. Video Recommended! The slides are available on Patreon.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
This week, welcome BACK to the show Dr. Marques Garrett, who last appeared in episode 17, “Beyond Elijah Rock,” where many of us were introduced to the concept of “non-idiomatic” music of Black composers. In this episode, part of the “Oxford Series,” Marques returns to celebrate his latest contribution to the growing canon of music by Black composers from around the world. Just last week, Oxford Press published his Anthology, “The Oxford Book of Choral Music by Black Composers.” Tune in to hear us pick up where that conversation left off by discussing the importance of a term like “non-idiomatic” in teaching people that Black musicians cannot be accurate boxed in to genres like spirituals, jazz and gospel.
In addition to discussing the genesis of this project and its contents, we also have a candid conversation LIVE in my home studio about the state of progress in incorporating music of non-white composers into the expanded canon, the danger of possible overcorrection that comes from our continued struggle with terminology that conflates concepts of race with culture, language and nationality, and the growing and profound legacy in choral music of HBCU alumni and much more. Don’t miss it. Video recommended!
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A Virginia native, Marques L. A. Garrett is an Assistant Professor of Music in Choral Activities at the University of Nebraska–Lincoln in the Glenn Korff School of Music. His responsibilities include conducting the auditioned Chamber Singers and non-auditioned University Chorale (soprano-alto) as well as teaching graduate choral literature. Before earning his PhD in Music Education (Choral Conducting) at Florida State University, he was the Director of Choral Activities at Cheyney University of Pennsylvania. Additionally, he holds an MM from the University of North Carolina at Greensboro and a BA from Hampton University.
An active conductor, Dr. Garrett is the artistic director of the Omaha Symphonic Chorus and founding conductor of the Nebraska Festival Singers. He serves as a guest conductor or clinician with school, church, community, and festival/honor choirs throughout the country. In addition to his conducting classes at UNL, he leads conducting workshops at other universities and conferences. His formal conducting studies were with Dr. André J. Thomas, Dr. Carole J. Ott, Dr. Carl G. Harris, Jr., and Mr. Royzell Dillard.
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
A versatile voice that performs both as a baritone and countertenor, Dr. Garrett has sung with several community, church, and university groups as both a chorister and soloist. He was the baritone soloist for the Germantown Concert Chorus’s performance of Haydn’s Missa in Angustiis. His premiere as a countertenor in Dan Forrest’s Jubilate Deo served as the work’s European premiere in Limerick, Ireland. Additionally, he performed the role of Lil Lud in Bernstein’s White House Cantata with the Tallahassee Community Chorus. Currently, he sings with First-Plymouth Congregational Church, Festival Singers of Florida, and the Jason Max Ferdinand Singers.
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Dr. Garrett is an avid composer of choral and solo-vocal music whose compositions have been performed to acclaim by high school all-state, collegiate, and professional choirs including Seraphic Fire and the Oakwood University Aeolians. His music is available through more than ten publishers. He has been commissioned by organizations such as Harvard University and Westminster Choir College. Among his latest commissions is his largest work to date, Dreamland: Tulsa 1921. This collaborative work with librettist Sandra Seaton for tenor-bass chorus, soloists, and chamber orchestra was commissioned by the Turtle Creek Chorale to tell the story of the Greenwood district of Tulsa, Oklahoma.
As a researcher, his most advantageous topic is the non-idiomatic choral music of Black composers. His lectures at state and regional conferences of the American Choral Directors Association and at other local and national venues afford him the opportunity to showcase this underrepresented area of music. He serves as co-editor of the “Out from the Shadows” Series with Gentry Publications.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Dr. Garrett holds membership in the American Choral Directors Association; American Society of Composers, Authors, and Publishers; National Association of Negro Musicians; National Collegiate Choral Organization; and Pi Kappa Lambda. For more information, visit http://www.mlagmusic.com.
Last week I had the incredible honor to headline at CMEA in Colorado Springs. I was able to introduce the A Cappella rehearsal (no piano played while singing, and without hearing the piece first.) This is the first part of my concept that I proposed for my rejected National ACDA session. So I did it here, and want to share it with you all! I had a blast giving this presentation and met an audience brimming with questions. You will see the beginning of the 9th grade year to the end, and then a fast forward to the first day of school in an advanced choir. I will take you through the concepts, the step by step process and what to watch for when implementing this type of literacy system. I hope you find it helpful, or at least thought provoking. As always, you may need to tweak these ideas to make them work for you! Don’t forget to head over to Choralosophers FB page to discuss!
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
YouTube Recommended!
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
When you perform, it’s your job to go out there and save a life.
Deke Sharon
This week, I welcome the “Father of Contemporary A Cappella,” Deke Sharon onto the show. We discuss the origins of the modern “A Cappella” genre as well as the “family tree” of other types of A Cappella vocal music genres and their crucial connections with each other. We also get to hear the story of how the actors in Pitch Perfect learned to sing from scratch in a month! We covered the importance of commercial viability in our art forms as well as the incredible power of group music making to heal political divides, and encourage cooperation. Deke is a compelling story teller, so I KNOW you will want to listen to the end!
Born and still living in San Francisco, California, Deke Sharon has been performing professionally since the age of 8. As a child he toured North America and shared the stage performing in operas with the likes of Pavarotti. Heralded as “The Father of Contemporary A Cappella” this performer, arranger, music producer, author, producer and coach is credited by many as being responsible for the current sound of modern a cappella. While at college, he pioneered the dense vocal-instrumental sound that we today take for granted as the sound of contemporary a cappella.
Deke founded the Contemporary A Cappella Society while in college, and is responsible for creating many seminal a cappella programs, including the CARAs (Contemporary A Cappella Recording Awards), the ICCAs (International Championship of College A Cappella), the BOCAs (Best of College A Cappella Compilations), the first contemporary a cappella conference (the A Cappella Summit), the Contemporary A Cappella League, several professional ensembles including DCappella, as well as the educational residential program Camp A Cappella. He’s a frequent emcee at events, and gives corporate speeches on business lessons from vocal harmony to companies like Google and Facebook.
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
As the founder, director and arranger for the House Jacks for almost 25 years, the original “Rock Band Without Instruments,” Deke shared the stage around the world with countless music legends, including Ray Charles, James Brown, Crosby Stills and Nash, Run DMC, The Temptations, LL Cool J and the Four Tops, and even a performance of the “Monday Night Football Theme” with Hank Williams Jr. in 2011. He is also the vocal orchestrator for and a producer of the Broadway’s first a cappella musical: In Transit (2016), as well as the opening number of Andrew Lloyd Webber’s Unmasked (2019).
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Deke has produced dozens of award winning a cappella albums (including Straight No Chaser, Committed, Nota, Street Corner Symphony and the Tufts Beelzebubs), created a cappella groups for Disneyland and Disneyworld, and frequently tours the world teaching a variety of topics to students and professional singers. His voice can be heard in commercials and video games, including “Just Dance Kids 2.” He is one of only 20 honorary members of the Barbershop Harmony Society since 1938, as well as an honorary member of BYU Vocal Point, and has received CASA’s lifetime achievement award in 2016 and the PT Barnum Award for Excellence from Tufts University in 2017.
Deke has also helped popularize a cappella in the mainstream. He vocally produced five seasons of The Sing Off for NBC in the US as well as international versions in the Netherlands, South Africa and China, and served as music director for Disney+ Best in Snow. He was arranger, on-site music director and vocal producer for all three of Universal’s hit films in the Pitch Perfect franchise. He was featured on camera in Lifetime Television’s Pitch Slapped, coaching the group Stay Tuned and on BBC1’s Pitch Battle as music director and guest judge. 2022 saw him working on two television shows: “Pitch Perfect: Bumper in Berlin” (Peacock) and “Best in Snow” (Disney+).
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
“Whoever is doing the talking is doing the learning.”
Jen York-Barr
In this special car thoughts I will not only DESCRIBE how I use sectionals in rehearsal, I will show you! (Video recommended) I am a big believer in student ownership, and there are few better ways to accomplish this than building a culture of student led sectional work at all levels of choir. EVEN young singers can learn to work independently! Join me as a drive while describing the progression from a beginner’s first introduction to sectionals all the way to the point where they don’t need me anymore.
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www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
Is student teaching a “class?” or a “job?” Does this practice need a revamp in the face of the current teacher shortage? In this episode, I invited Tina Beveridge on to hash out a disagreement. A few months ago, I created a TikTok expressing my opinion that student teachers don’t “deserve” a paycheck. Mostly based on the idea that student teaching is a class, and a crucial final course in the training of teachers. Turning it into a job could potentially create a perverse incentive structure for entering the profession. Dr. Beveridge disagrees and responded with this blog by saying, “First, the internship is not a “class.” Yes, it’s credits they have to register and pay for, and in that respect it’s a “class” but it’s not a class in the respect that we expect them to go in knowing nothing. In fact, we expect them to go in and actually be able to do the full job.”
In keeping with the spirit and ethos of this show, I invited Tina on to discuss because a conversation is MUCH more productive than social media posts. The resulting conversation is proof of that. When the episode is done, please weigh in your thoughts in the comments!
Dr. Beveridge is an Assistant Professor of Music Education at George Mason University. Before entering higher education, Dr. Beveridge spent 17 years teaching music in K-12 public schools and community colleges, and her research on policy, equity and access in music education has been published in Update: Applications of Research in Music Education as well as Arts Education Policy Review.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
Resources Cited in the Episode
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Michigan Future Teacher Fund —you will also see they have proposed legislation to pay mentor teachers (through block grants to districts) to host student teachers, and that there are requirements for how interns can use the money (1 semester tuition at a state university in Michigan is about $7000, the stipend can be up to $9600).
The Elpus and Abril 2019 study —this is free to view for anyone who is a NAfME member (you have to log in to NAfME and then click on the link, the full article should pop up. The statistic I referenced (African American students being less likely to enroll in music as achievement goes up) is “Predictive Margins of Race” just above the discussion section.
Dr. Beveridge wants to issue a correction: In Virginia, student teachers need 300 TOTAL hours. 150 need to be independent teaching.
Is it possible that the over-politicization of classroom education could be contributing in some way to the epidemic of mental health problems amongst teens and young adults? Clinical Psychologist, and child of Egyptian immigrants, Christine Sefein thinks we should not ignore this possibility. The modern vogue for activism that kids are learning focuses on the “systemic,” and actually valorizes victimhood. We are framing things for them within a problematic oppressor vs. oppressed framework. To a young person, when confronted with ideas that present a “really big, really bad” world, these problems can seem so big that they are powerless to confront them. This perpetual victim/hero complex could be leading to nihilism and hopelessness in a generation of students. Christine and I share a candid conversation about the basic principals of Cognitive Behavioral Therapy that are being ignored or even contradicted in education. We discuss building gratitude cultures, the value of anxiety, and understanding the importance of “exposure therapy” when facing even the horror of performance anxiety!
Christine Sefein, LMFT(Licensed Marriage and Family Therapist), specialises in grief and trauma work and has held positions such as Clinical Director of OUR HOUSE Grief Support Center and Clinical Supervisor of the Interpersonal Violence programs at California Lutheran University. She has worked most extensively with grieving adults and children in a variety of communities and settings including dual-diagnoses residential facilities, intensive outpatient treatment, homeless shelters and in private practice. Christine was a full time Teaching Faculty in the Master of Arts in Clinical Psychology program at Antioch University Los Angeles until 2021. She currently works as a diversity training consultant, public speaker, parental rights advocate in K-12 education.
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
2022 was an exciting year on this show! The first solid year of weekly episodes, a wide range of topics. (Only ONE Covid episode, thank God.) We saw lots of growth in the audience, exciting LIVE recordings, and so much more. In this episode, I have curated some of my favorite moments from YOUR 10 favorite episodes:
Each episode is linked below so that you can find each in their fullness.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
www.sightreadingfactory.com is the best literacy tool on the market today. Enter Choralosophy at checkout to get 10% off memberships for you AND your students!
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
In part two of my conversation with ACDA Executive Director Robyn Hilger, we pick up right where we left off last week in Episode 130. I begin by asking Robyn about the ACDA national conventions session line up. We discuss what is there, and what is missing. We move from there into a deep discussion of ACDA’s Diversity Initiatives and how we would measure success or progress. At what point does the intersectionality of our diverse membership simply become “unique individuals” with unique wants and needs? How does a large membership organization respond to this challenge? For example, a recent region conference had all male conductors on the slate. What no one knows is whether or not we had a diverse pool to choose from. This matters because you have to understand the problems in order to solve them.
We discuss this, and the idea that I call “Trickle Down Social Justice.” Are we focused on composers on the program or who conducts at conventions? Or are we focused on the lack of equity in music training of fourth graders? Could this be bias toward what is visible?
There have been times in our history where the opinion of the Executive has really set the trajectory. My job as the executive is to activate the membership. ACDA is not Robyn Hilger. That would be a mistake.
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Robyn Hilger is beginning her second year as executive director of the American Choral Directors Association. A native Oklahoman, Hilger is a classically trained clarinetist. She graduated with high honors in 1999 from Oklahoma City University with a bachelor’s degree in instrumental music education. She earned her master’s degree in school administration from the University of Central Oklahoma and is currently pursuing her doctorate of education in administration and leadership at Southern Nazarene University. She is a National Board-Certified Teacher in early adolescence/young adult music with specialization in band.
The overarching theme of her work is meeting the identified needs of historically marginalized and under-resourced communities. Robyn began her career as the band and strings teacher at Belle Isle Enterprise Middle School, in Oklahoma’s largest urban school district, where she created the fine arts department. In 2006, she was recognized as Oklahoma’s State Teacher of the Year and she served as Oklahoma’s Ambassador of Teaching, traveling more than 20,000 miles delivering some 200 workshops and speeches focused on teaching, advocacy, and education policy.
In 2007, she joined the staff of the Foundation for Oklahoma City Public Schools as the chief programs officer. In 2013, she supported the launch of El Sistema Oklahoma as a volunteer. In 2014, she was asked to join the organization as the executive director. El Sistema Oklahoma facilitates the development of empowered youth who use music to make strong positive change in their lives, their communities, and the world. El Sistema Oklahoma operates every day after-school and is completely free for participating families.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
In 2017, she was named New Fundraiser of the Year by the Association of Fundraising Professionals Oklahoma City Chapter. Robyn also serves on the advisory board for the Oklahoma Youth Orchestras and is a board member for Oklahoma Youth Sing! (formerly known as the Norman Children’s Chorus).
Robyn is a connector of people, organizations, and opportunities. She lives in Oklahoma City with her husband Stephen and their three cats.
To get in touch with Robyn, you can add her on Facebook (@robynhilger or @robynhilgeracda) or email her at executivedirector@acda.org.
The American Choral Directors Association is the largest organization of choral musicians in the world. ACDA sets the tone and direction of choral music in the US and has a major impact on the global choral music community as well. The newly appointed Executive Director of the organization, Robyn Hilger seeks to usher in a new era for the organization, hopefully leading to a bright future for Choral Music. It is my belief that the needs of the community of choral musicians have changed since ACDA’s founding. I also believe that ACDA has a bully pulpit in communicating about and advocating for the direction of the profession. This makes their decisions intimately woven into the lives and livelihoods of their members. In this episode AND the next one, you will hear me discuss the past present and future of choral music in America and how ACDA will help to shape it. I drove all the way from KC to OKC to record in person, which I think was very helpful.
In the first part of this two part interview, we discuss the “purpose” or “reason for being of ACDA,” how changes are made, how conventions are planned, and the importance of member engagement and feedback and much more.
Robyn Hilger is beginning her second year as executive director of the American Choral Directors Association. A native Oklahoman, Hilger is a classically trained clarinetist. She graduated with high honors in 1999 from Oklahoma City University with a bachelor’s degree in instrumental music education. She earned her master’s degree in school administration from the University of Central Oklahoma and is currently pursuing her doctorate of education in administration and leadership at Southern Nazarene University. She is a National Board-Certified Teacher in early adolescence/young adult music with specialization in band.
The overarching theme of her work is meeting the identified needs of historically marginalized and under-resourced communities. Robyn began her career as the band and strings teacher at Belle Isle Enterprise Middle School, in Oklahoma’s largest urban school district, where she created the fine arts department. In 2006, she was recognized as Oklahoma’s State Teacher of the Year and she served as Oklahoma’s Ambassador of Teaching, traveling more than 20,000 miles delivering some 200 workshops and speeches focused on teaching, advocacy, and education policy.
In 2007, she joined the staff of the Foundation for Oklahoma City Public Schools as the chief programs officer. In 2013, she supported the launch of El Sistema Oklahoma as a volunteer. In 2014, she was asked to join the organization as the executive director. El Sistema Oklahoma facilitates the development of empowered youth who use music to make strong positive change in their lives, their communities, and the world. El Sistema Oklahoma operates every day after-school and is completely free for participating families.
In 2017, she was named New Fundraiser of the Year by the Association of Fundraising Professionals Oklahoma City Chapter. Robyn also serves on the advisory board for the Oklahoma Youth Orchestras and is a board member for Oklahoma Youth Sing! (formerly known as the Norman Children’s Chorus).
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Robyn is a connector of people, organizations, and opportunities. She lives in Oklahoma City with her husband Stephen and their three cats.
To get in touch with Robyn, you can add her on Facebook (@robynhilger or @robynhilgeracda) or email her at executivedirector@acda.org.
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There is an often felt, but rarely quantified sense within ensemble music experiences that something truly MAGICAL is happening that changes us profoundly. However, recent scientific discoveries (link to sources below) are adding a more concrete validity to that which experienced musicians already intuitively know. Studies that reveal the physiological and psychological processes of cooperative effort, especially musical collaboration. The implications of these ideas are beginning to shape our very definition of “ensemble,” while providing new understandings of the benefits of group musical expression on the individual. Dr. Gary Seighman joins me to make some truly crucial observations about our art form and the human instrument.
“Presently, topics pertaining to musical perception and creativity are highly popular in neuroscience research. A major development in the field was the proposing of a human mirror neuron system. After the discovery in rhesus monkeys of “mirror neurons” that fire during both action and observation of motor behavior, scientists detected a similar working system in the fronto-parietal region of humans.” -From Gary’s related Choral Journal Article
Gary Seighman is Professor of Music and Director of Choral Activities at Trinity University in San Antonio, TX where he oversees a comprehensive choral program and teaches courses in conducting and music education. Under his direction, Trinity’s choral ensembles have garnered regional and national accolades with invited performances at conferences including TMEA, the College Music Society, the National Collegiate Choral Organization, frequent international touring, and most recently, 3rd place for the 2022 The American Prize Competition as the smallest university in the country among the finalists. Recent professional engagements include Nashville, New York City, Taipei, Vienna, London, and Dublin. Dr. Seighman holds degrees from Westminster Choir College, the University of Oklahoma, and the University of Maryland. His wife, Dr. Jennifer Seighman, is also a choral conductor and they have 2 children, Justin and Gabrielle.
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
One of the oddest things about Vocal Music Education as a profession, is how little we are required to learn in our schooling about the voice. Vocal Pedagogy courses are often the purview of voice performance majors, which is very odd considering how many more students will be impacted with vocal instruction by a person with a Music Ed degree. It is also odd considering that in many schools, vocal instruction is a key component of our course descriptions. Despite this seemingly obvious academic connection, a startlingly low number of music educators have taken any Vocal Ped, very little Voice Science is presented at conventions, and myths and misinformation litter the landscape of discussions and instruction about how the voice works. Dr. Sharon Hansen joins me to discuss this issue candidly, as well as a recounting of her battle getting ACDA to include the “On the Voice” column in the Choral Journal. You will be amazed to hear some of the reasons she was given for NOT including Vocal information in a Choral journal. An important episode that no one should miss.
Dr. Sharon A. Hansen is Professor and Director of Choral Studies, Emerita, at the University of Wisconsin—Milwaukee. Widely known as a conductor and master teacher throughout the United States and in Europe, Hansen has conducted the Romanian National Radio Choir (Bucharest), the Gächinger Kantorei and Bach Collegium-Stuttgart (Germany), the Stockholm (Sweden) Conservatory Chamber Choir, the Moldavian and Oltenian Philharmonic Choirs (Iasì and Craiova, Romania), and the University of Regensburg (Germany) Symphony Orchestra. Ensembles under Hansen’s direction have appeared at state, regional, and national ACDA and NAfME Conferences, and she has served as guest conductor and clinician with all-state, all-regional, and select honor choirs in more than forty states.
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Hansen is the Founder and Music Director Emerita of the Milwaukee Choral Artists, a professional women’s vocal ensemble that left a legacy of some fifty commissioned, premiered, and published new works for treble voices. Hansen authored Helmuth Rilling: Conductor – Teacher, the definitive book on renowned conductor Helmuth Rilling, when she spent sixteen months in Germany singing with Rilling and the Gächinger Chorale. As contributing author for the 2009 book Wisdom, Wit, and Will: Women Choral Conductors on their Art, Hansen’s detailed chapter on the status of collegiate women choral conductors, “Women, Conductors, and the Tenure Process: What’s Up in the Academy?”, was the first such in-depth examination since 1988. She served as a member of the Editorial Board of the American Choral Directors’ Association’s Choral Journal from 1993–2018, where she was Founder and Editor Emerita of the Choral Journal article series “On the Voice,” which she curated for eighteen years. Because of her long-time passion for voice and choral music, she examined the history of voice education in the choral classroom in ACDA’s first 50 years, which is Monograph #18 in ACDA’s monograph series.
Hansen received the Wisconsin Choral Directors Association’s Morris D. Hayes Award, the Milwaukee Civic Music Association’s Excellence in Choral Music Award, and the Milwaukee Symphony Orchestra’s highest meritorious honors for outstanding contributions to the choral art. Prior to her twenty years in Wisconsin, Hansen was Professor of Choral Music at the University of Northern Iowa, and a vocal music teacher in the public schools near Omaha, Nebraska. Now calling Arizona her home, she recently served as lead writer on the Hal Leonard–McGraw-Hill choral textbook series Voices in Concert, and as full-time Interim Director of Music and Arts at Pinnacle Presbyterian Church in Scottsdale. Presently, she serves on the Board of Directors for the Arizona Chapter of the American Choral Directors’ Association, and is the Chorus Conductor for the Arizona Musicfest Symphony Orchestra.
Receive 10% Discount on your orders at http://www.graphitepublishing.com where you will find the works of Jocelyn Hagen, Eric Barnum, Timothy C. Takach, Paul Rudoi and MANY more.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
