Episode 98: You Are Your Story with Brent Morden, Michelle Pollino and Angel Eduardo


A New Initiative from a New Organization: FAIR in the Arts is a program from the Foundation Against Intolerance and Racism

We have to think about group identity and immutable characteristics, and how they shape our experience as humans in the world. We can’t ignore those things. But they are not the only things. We need to have a conversation about what we LEAD with in these conversations. Do we lead with the things we can’t choose about ourselves, or do lead with our common humanity. To me, it’s a question of seeing the human across from in our classrooms, our teacher’s lounges, or even on social media as complex and deeper than their appearance. My recent ChoralNet blog goes addresses this as well.

It is not enough to attack injustice. We have to cultivate justice. This STARTS with patience, humility and grace.

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Episode 98
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On the Choralosophy Podcast I have spent a good deal of time and energy discussing the topic of “identity” in the arts, through a special category called “Choral Music: A Human Art Form” and how differing philosophies impact how the topic is discussed. In my view, there are major problems in the world stemming from philosophical illiteracy. Namely, what seems to be a lack of awareness that there are different ways to discuss societal problems, and how to move competently between them. As leaders of diverse groups, I see this is a non-optional skill for choral directors. We need to recognize that the centering of one’s immutable characteristics as the primary feature of one’s identity, is but one of many philosophies of finding or describing the “self.” Some find identity most strongly with their culture, nationality, religion, profession, school of thought, or even with the rejection of group identity itself. And that’s ok.

Episode 96: “Real Men” Sing? with Braeden Ayres


Dr. Braeden Ayres is a teacher, conductor and composer with a passion point related to concepts of masculinity in choral music. What stereotypes are we stuck too, what challenges to we face when discussing it, and what are the best ways to engage young adolescent boys in our school choral programs? We discussed some of the findings from his dissertation research on this topic as well as brainstorming ways to recruit and retain boys, without pandering to pre-conceived ideas of masculinity. Join us for this important discussion, and add your own thoughts on the Choralosophers Facebook page.

Episode 96
Braeden Ayres

Find Braeden

The best sight singing tool on the market. A must have for any band/choir or orchestra teacher and their students. In class and at home tools to build their literacy at their own pace. Enter “choralosophy” at checkout to get 10% off every time you renew at http://www.sightreadingfactory.com

Dr. Braeden Ayres (“Bray-den Airz”) is a composer, conductor, and music educator who believes that music and singing are for all people. Dr. Ayres currently teaches music at Black Hawk College in Moline, Illinois, and is the choir director at First Christian Church in Macomb, Illinois. As an artist, teacher, and conductor, his mission is to empower people, explore the human experience, and celebrate the human voice as a tool for self-expression. As a composer, his works vary widely in style, with pieces written especially for changing voices, high school choirs, and collegiate, community, and professional ensembles. Dr. Ayres frequently writes original texts for his work as well.

Dr. Ayres’s music has been performed at national and state-level ACDA honor choirs, all-states, and at local choir concerts across the United States. His music is published with MusicSpoke, Carl Fischer, Hal Leonard Music, and Augsburg Fortress. In 2021, he was named the winner of the “Emily Crocker Emerging Composer Competition,” sponsored by the Texas Choral Director’s Association and Hal Leonard Music. Dr. Ayres holds a Ph.D. in Choral Music Education from Florida State University, where his doctoral dissertation studied the history and repertoire of choral compositions for changing male voices. Dr. Ayres also holds a Master’s Degree in Choral Conducting from the University of Northern Colorado and a Bachelor’s in Music Education from Baylor University.

A look back to a related topic. “A Voice in Transition” with Theo Wren

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Before completing his doctorate, Dr. Ayres served on the vocal faculty at Discovery Canyon Campus in Colorado Springs, Colorado, teaching 6-12 grade students with a team of exceptional educators. In his time at DCC, the campus’s choral program tripled to over 500 students; over 100 singers were accepted into various Middle School All-State, High School All-State, and ACDA National Honor Choirs; and the Performing Arts Department was a finalist for the “Thomas S. Crawford Team of the Year Award.” Dr. Ayres also served as the Assistant Artistic Director of “Out Loud: The Colorado Springs Men’s Chorus” and was an inaugural board member of the Colorado Middle School All-State Choir. Dr. Ayres is proud to bring his passion for education into his work as a composer and choral clinician.

Episode 94: Singing High, Singing “Us” with Patrick Dailey

Patrick Dailey

An episode inspired by the Oxford Handbook of Vocal Studies by Dr. Alisha Jones called “Singing High: Black Countertenors and Gendered Sound in Gospel Performance.” The article dropped into my email box and I immediately thought, THIS is a podcast. I was so right. Patrick’s story is not only fascinating, but his experience is emblematic of the intersectional concept. Namely, that Patrick’s race AND sexuality impact the way audiences receive him. The perceptions constantly swaying between “singing high like a woman” to presenting as the “Good Baptist Man.” You also appreciate the in depth discussion of the history of music in the Black Church in America. Join me for this enlightening conversation as Patrick shares his story, and reflects on the article.

The fact of the matter is that you are already gonna present something—even if it
is in the classical audience—you are already gonna present something to them
that might be foreign to them already. You don’t wanna turn them off at the very

Patrick Dailey (Quoted in the paper by Dr. Jones)
Episode 94
Celebrating Black History Month

Patrick Dailey has been described as possessing “a powerful and elegant countertenor voice” (Los Angeles Daily News) and a “VOCAL STANDOUT” (Boston Classical Review). His artistry was identified early through the national NAACP ACT-SO Competition (2005 and 2006), the NFAA ARTS, and Grady-Rayam Prize In Sacred Music of the Negro Spiritual Scholarship Foundation. Dailey made his professional operatic debut with Opera Saratoga as the first countertenor member of the company’s Young Artist program and was the first countertenor invited to Opera New Jersey’s Victoria J. Mastrobuono Emerging Artist program. Operatic repertoire includes Oberon in Britten’s A Midsummer Night’s Dream, Nerone in Monteverdi’s L’incoronazione di Poppea, and Belize in Eötvös’ Angels in America. He performs regularly with Harlem Opera Theater, ALIAS Chamber Ensemble, Memphis Symphony Orchestra, and has appeared with the Mid-Atlantic Symphony Orchestra, the Fayetteville Symphony Orchestra (NC), Soulful Symphony, Arkansas Philharmonic Orchestra, and Baltimore Symphony Orchestra. On January 19, 2009, Mr. Dailey sang a featured duet with Aretha Franklin as the finale for the annual Let Freedom Ring Celebration at the John F. Kennedy Center for the Performing Arts. Additionally, he has been a featured artist with Cook, Dixon, and Young (formally Three Mo’ Tenors) since 2012. 

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Mr. Dailey his west coast operatic debut as Satirino in Cavalli’s La Calisto with Pacific Opera Project of Los Angeles in 2014. The following year, he debuted with Opera Memphis in their historic first production of Purcell’s Dido and Aeneas and ‪won first place in Opera Ebony’‬s 1st Benjamin Matthews Vocal Competition. Later that year, Mr. Dailey performed the opening invocation for the ‪2015 Trumpet Awards in Atlanta, GA, ‬the invitation of Trumpet Foundation founder/CEO and Civil Right legend, Xernona Clayton. 

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In the summers of 2015 and 2016, Mr. Dailey was a young artist with the American Bach Soloists. Soon after he sang the world premiere Frederick Douglas: The Making of an American Prophet composed by Grammy Award winning country songwriter Marcus Hummon and debuted with the Memphis Symphony Orchestra under the baton of Robert Moody. Additionally in 2016, Mr. Dailey made international debuts in the UK and Brazilian premieres of Hasse’s Marc’Antonio e Cleopatra with the Woodhouse Opera Festival and Il Festival de Ópera Barroca de Belo Horizonte and he made his Subculture NYC debut at the invitation of Tony Award winning composer Jason Robert Brown as a part of Brown’s broadway cabaret residency. In the spring of 2017, he debuted with Opera Louisiane as Telemaco in Michael Borowitz’s world premiere jazz-gospel orchestration of Monteverdi’s Il ritorno d’Ulisse in patria and debuted with the Grand Rapids Symphony singing Bernstein’s Chichester Psalms under the baton of Michael Christie. Soon after, Mr. Dailey returned to the U.K. that fall for the international premiere of Soosan Lolavar’s I.D. Please in the Tete a Tete New Opera Festival in London. In the fall of 2018, he sang the role of Mini-B/Boris the Boar in the world premiere of Dan Visconti and Cerise Jacobs’s Permadeath: A Video Game Opera with White Snakes Projects in Boston, MA to great acclaim. Mr. Dailey became the first countertenor to appear with Shreveport Opera singing Kyle in Robert Paterson’s Three Way: Masquerade in 2019. The remainder of his 2018/2019 season included debuts and appearances with the Austin Baroque Orchestra the IRIS Orchestra of Memphis, TN, Music By Women Festival, and Boston Early Music Festival. Since then, Mr. Dailey made debuts with the Chicago Philharmonic and Missouri Symphony, was a featured soloist at the 2020 ACDA Southern Regional Conference, and debuted at the historic Ryman Auditorium.

Find Patrick on Social Media

Mr. Dailey is featured in Fatherhood, a documentary directed by award winning London based director, Ben Gregor, which premiered on FUSE TV in 2019. He is also a featured on recording projects such as the debut album of acclaimed duo and super producers Louis York (Chuck Harmony and Claude Kelly), American Griots (2019), Adrian Dunn’s Redemption Live in Chicago (2020), and the self-titled release from The Aeolians of Oakwood University under the direction of Dr. Jason Max Ferdinand (2020). 

The William Crimm Singers

Growing in his reputation as a scholar, Mr. Dailey was invited to the Center for Black Music Research’s inaugural Black Vocality Symposium in 2013 giving a performative presentation entitled “The Anatomy of the Black Voice: Peculiarities, Challenges, and Regional Differences”. Since that time, he been Artist-in-Residence, masterclass clinician, and guest lecturer at Southern University, Prairie View A&M University, the University of Arkansas, and Vanderbilt University among others. Mr. Dailey was lead soloist and vocal music curator of the official MLK50 Commemoration at the National Civil Rights Museum in 2018 in Memphis, TN. In the fall of 2019, he presented at the inaugural Harry T. Burleigh Week organized by the Burleigh Legacy Alliance of Burleigh’s hometown of Erie, PA and regularly presents lectures and programs in conjunction with the organization. In June 2020, Mr. Dailey curated and presented a virtual clinic and webinar entitled “A Stirring in My Soul: The Negro Spiritual and Social Justice Movements” presented by the National Museum of African American Music. 

Mr. Dailey is a 2012 graduate of Morgan State University and received his master of music from Boston University. He currently serves on the voice faculty of Tennessee State University where he established the Big Blue Opera Initiatives (BBOI) and the annual Harry T. Burleigh Spiritual Festival. Additionally, he is the founding artistic director of the W. Crimm Singers (aka Wakanda Chorale), professional ensemble in residence of BBOI, and is a co-founding member of historically informed progressive, crossover ensemble, Early Music City. 

Mr. Dailey serves on the boards of ALIAS Chamber Ensemble, the International Florence Price Festival, Nashville Rep, and the Artistic Planning Committee of the Nashville Symphony. He also serves as community project curator with Intersection Contemporary Music Ensemble and arts and creative arts coordinator of the NAACP-Nashville Branch. A passionate advocate for Historically Black Colleges and Universities, he is a consultant on HBCU initiatives with Opera America, Early Music America, and New Music USA and is an artist ambassador of the Music Inclusion Coalition. He is on the faculty of the Narnia Festival of Narni, Italy leading a program on African American Concert and Sacred Music, and is the program director of the Nashville Opera- Big Blue HBCU Fellowship, an HBCU initiative of the the company in partnership with TSU. Most recently, Dailey was named to the 2020 class of the Nashville Black 40 Under 40 and he was recognized for Outstanding Service from the Coalition for African Americans in the Performing Arts of Washington, DC. Additionally, he is a 2020 recipient of an Individual Artist Fellowship from the Tennessee Arts Commission.

Mr. Dailey holds membership in the National Association of Negro Musicians, the National Association of Teachers of Singing, and Phi Mu Alpha Sinfonia Fraternity of America, inc

Episode 93: Togetherness Activists with Micah Hendler


The Third Anniversary Episode of the Choralosophy Podcast!

The serendipity of having this episode ready to publish this week, on the third anniversary of the show is incredible. After all, three years ago I was motivated to launch this show because I saw a need stemming from how divided we were becoming as a nation. In the music world, we are more polarized than many due to political alignments and loyalties.

Episode 93

Micah Hendler is the director of the Jerusalem Youth Chorus, whose mission is the bringing together of Palestinian and Jewish children together to make music and make connections. He is also a member of the music team at Braver Angels, which is a non-partisan organization that creates events and content designed to bring Republicans and Democrats together. His entire musical identity has been built around the idea that music CAN bring people together that often think they will never reconcile.

Micah Hendler
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Micah Hendler (Forbes 30 Under 30 for Music) is a musical changemaker working to harness the power in each of our voices to make a difference.

Micah is the Founder and Artistic Director of the Jerusalem Youth Chorus, an Israeli-Palestinian music and dialogue project featured for its innovative musicianship and integrity of purpose and process from the Late Show with Stephen Colbert to the New York Times. Through the co-creation of music and the sharing of stories, the chorus empowers young singers from East and West Jerusalem to speak and sing their truths as they become leaders in their communities and inspire singers and listeners around the world to join them in their work for peace, justice, inclusion, and equality.

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Micah is a Founding Partner of Raise Your Voice Labs, a creative culture transformation company that helps organizations, companies, and communities realign and reengage around a shared vision and build cultures of resilience, adaptability, inclusive leadership, and supportive accountability. In the Lab, any team can unleash their creative and collaborative abilities, as they work together to reimagine what is possible and create a stunningly honest and inspiring video that can serve as a musical north star in their pursuit of that future.

Micah has founded, directed, sung with, or played with dozens of musical ensembles of varying global styles, including the Yale Whiffenpoofs. He has studied Community Singing and CircleSinging with GRAMMY-winning composers Ysaye Barnwell and Roger Treece, and uses these two methodologies and others to open up the concept of what a chorus can do and who should be in it.

Micah has also been involved in dialogue work for more than 15 years and has written and presented in many local and global forums about his work with the Jerusalem Youth Chorus, including sharing the keynote presentation of the East-West Philosophers’ Conference with leading Palestinian intellectual and peacemaker Dr. Sari Nusseibeh, as they explored together how sound can be used as a tool to create shared spaces in Jerusalem.

Micah writes for Forbes.com on music, society, and social change in a global context and serves in volunteer leadership capacities in both the Justice Choir and Braver Angels grassroots movements. He currently lives in Washington, DC.

Episode 88: Music is Inherently Raceless with Theron Jenkins

Episode 88: Theron Jenkins

When discussing how music and education intersects with race, gender and culture, I find that we are often pretty quick to apply reductionist labels to the idea or concept. For example, phrases I have come across too often include “That’s a boy’s song,” or “Choral Music is an inherently white art form,” or “sight reading is a European value in Music Education.”

If we label these things based on their past origins, are we sending unintentional signals to students about who is welcome NOW?

Now, it’s possible I spend too much time reading through comment threads in Facebook groups, but it raises the issue of the unintended consequences for students and educators when they see or hear such blatant essentialism, though often well intended. In the latest addition to my Choral Music: A Human Art Form thread, Theron Jenkins and I discuss this issue in hopes of bringing some alternative discourses to light for the purpose of making choral music more accessible and inviting to people from every background. After all, Choral Music does not inherently have a race, nor is group singing European. Music is INHERENTLY human. From all to all.

Episode 88 audio

Episode 86: All Students DESERVE Music Literacy with Odell Zeigler IV


An Unconventional Approach to the Urban Choral Classroom

I believe one of the biggest goals is getting the students interested in singing choral music before we start trying to operate out of formality. How do we get students interested in something they are not familiar with?

Odell Zeigler IV
Episode 86

Recently, I came across a shining light of logic, compassion and advocacy in the form of a ChoralNet article by Odell Zeigler IV. The article was shared far and wide, and it became clear to me right away that these ideas needed to be amplified on the show. I encourage you to read his short article, linked above, and THEN listen to this episode. I believe that this topic is critically important right now as we continue to grapple with what it really means to move the music education world in a more equitable direction. Are we focused on processes and root causes leading to improved outcomes later? Or are we focused on outcomes now while glossing over the processes? I appreciated Odell’s take as I read with excitement because he brings process solutions to the table, which is what we desperately need. Do you have students that aren’t comfortable using solfege, or singing with certain vowel formants? Don’t give up on them, or worse fall into the trap of “this isn’t for them!” They deserve a rich education, and all of its inherent challenges and opportunities for growth.

Episode 86
Tune in!

He has since dedicated his life to inspiring the next generation of young music educators. As a music teacher himself, he understands the impact his words and actions have on a new class of great musicians and hopes to pass along his empathetic approach to education.

Odell wouldn’t be here if he didn’t live and breathe music, but his true passion lies in building leaders for tomorrow. From every live performance to his work in the classroom, Odell works to move others forward so they can one day do the same.

Episode 82: Are Merit-BasedStandards Racist? With Angel Eduardo


Author of the Newsweek article “Why Calling Merit Racist Erases People of Color.”

One of the raging debates today in education centers around the ways in which we can expand access to fruits of high quality education to more students. And that is a wonderful debate to have, and an important one. However, a troubling strain of that song is the tendency to take the easy path toward equality: Attempts to include by EXCLUDING things. Headlines abound about school districts removing or lowering testing standards, or gifted programs citing the lack of equitable outcomes. In the music world, we talk of eliminating blind auditions or auditions all together. There are TONS of fair criticisms of standardized tests, or audition and screening practices for example, but those are problems that could be addressed to simply make a better, fairer, but still rigorous test. Where is that conversation? What if our focus was “how do I raise more people to the bar?” rather than implying without actually saying “we need to lower the bar or remove it?”

I say this is “taking the easy way out” because it absolves the institutions, and even worse, the politicians that oversee the budgets, of doing the HARD work of finding and solving the true barriers of access allowing more students to benefit from these programs. Cancelling the program is simply easier, leading to an appearance of equality, and makes no one actually better off.

Angel Eduardo

“We need to devise and develop other paths to prosperity, more robust social safety nets, and better education systems. We need to talk about solutions that will truly uplift those being harmed by our meritocratic obsession. But calling merit racist is not the way to do it. Meritocracy is a kind of tyranny, but merit still matters.”

Angel Eduardo

In this episode, my guest, Angel Eduardo takes the argument a step further and says the easy way out also erases the talents and merits of students of color. Giving voice to the often unexpressed concern of how young people might interpret hearing the implication that “the standards might be too high for you. So we are lowering them.” What types of long term impact may that have on the psyche?

Episode 82

Episode 81: Can Auditions be Inclusive? With Kirsten Oberoi


One of the foundational principles of this show is that we, as humans AND as colleagues don’t have to agree about everything. In fact I will take it a step further: we NEED disagreement and dialogue in order to learn and grow. This episode is based on that principle. I recently came across Kirsten Oberoi during a Facebook disagreement and thought it would make a great podcast conversation. The disagreement centered around our philosophies related to choir auditions and what it means for a program to be “people centered.”

There is room in the choral community for all kinds of philosophies.

Chris Munce
Episode 81: Kirsten Oberoi

Kirsten made a splash recently with her new podcast Choral Connectivity and her blog called “No Auditions Ever!” She is making a valuable contribution to the conversation, but I only agreed with about 82.7% of it, so I thought we could chat to hash out some of the disagreements and also find where our common ground lies.

Episode 81
Episode 81 on YouTube!

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Kirsten Oberoi is the Founding Artistic Director of the South Shore Children’s Chorus based out of Quincy, MA – her hometown. Kirsten taught public school for several years – high school in California for two years and middle school in Massachusetts for 5 years. She is now full-time in the non-profit music world at SSCC, as well as the General Manager for the Greater Boston Choral Consortium. Kirsten strongly believes in the mission of people-first music making, and shares this philosophy on her podcast Choral Connectivity.


Episode 78: The Only White Guy in the Room with Maria and Chris


This special episode is something a bit different, in that it is a recap of a shared experience. All the way back on Episode 17, Marques Garrett challenged me to intentionally find an opportunity to be an “only” in the room. I had reflected in that conversation that, as a white guy, I don’t think I’ve ever been the “only one” in a room. “I don’t know what that feels like.” Marques suggested that he thought that might be good for me to experience. I agreed. Then Covid happened and the “live on air” challenge had to be tabled for a bit.

Episode 78

Enter my friend Maria Ellis to the rescue. (Find Maria’s past episode 29 pt. 2) I had seen Maria’s great videos about her church, and thought that as a musician, there was no better way to experience a cultural growth moment than in Maria’s music rich church in St. Louis. So, we set it up! Off to St. Louis I went, and wow did I have a great time. I learned so much! While I can’t know everything there is to know about Maria’s cultural experience in one day, I now have a frame of reference. I real life, shared experience that can put future interactions in a perspective that I did not have before.

Episode 78

Episode 73: Love Supreme with Professor Teodros Kiros


Executive producer and host of the television program African Ascent, W.E.B Du Bois fellow at Harvard, Professor of Philosophy at Berklee College of Music, Author

“I try to argue that they can become better musicians if they become philosophically trained. They will become sensitive to aesthetics in their lives, to the role that art plays in their lives.”

Dr. Teodros Kiros

I feel like I caught lighting in a bottle with this episode. We are all incredibly fortunate to have the chance to absorb wisdom from Professor Teodros Kiros. Dr. Kiros and I discuss the many connections between philosophical training and musical training. I was spellbound many times throughout this conversation hearing about how inseparable music and philosophy SHOULD be. We discuss the common humanity that is unearthed through the sharing of musical and philosophical ideas throughout history, the most scholarly unpacking of cultural appropriation I have yet encountered, as well as Coltrane’s “Love Supreme” and why, with in that one piece of music, we can find a unifying theme for our life and for our music. Don’t miss it.

Episode 73

Podcast Referenced With Cornell West and Glenn Loury

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Professor Kiros Books on Amazon

See more of Professor Kiros’ books on Amazon

Teodros Kiros is considered a leading authority on moral philosophy and a leading voice in African philosophy. He has been a W. E. B. Du Bois Fellow at Harvard University for the past 20 years and has been nominated three times for Berklee’s Distinguished Faculty Award. Kiros is the producer and host of the internationally acclaimed television program African Ascent, which continually gives visibility to Berklee faculty and includes interviews with President Roger H. Brown and Provost Larry Simpson. He is also an essayist for leading websites and has published hundreds of articles in refereed journals and online. He’s also a columnist for leading newspapers.

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The best sight singing tool on the market. A must have for any band/choir or orchestra teacher and their students. In class and at home tools to build their literacy at their own pace. Enter “choralosophy” at checkout to get 10% off every time you renew at http://www.sightreadingfactory.com

Career Highlights· Philosopher and novelist· Has had short stories and an excerpt from his forthcoming novel, Cambridge Days, featured on Bridgeportword.com·

Author and/or editor of 17 books including Towards the Construction of Political Action; Moral Philosophy and Development; Self-Construction and the Formation of Human Values: Truth, Language and Desire; Explorations in African Political Thought; Multiculturalism; Zara Yacob: Rationality of the Human Heart; Philosophical Essays; Ethiopian Discourse; Hirut and Hailu and Other Short Stories; and Cambridge Days; and the forthcoming Self-Definition: A Philosophical Inquiry from the Global South and Global North· W. E. B. Du Bois Fellow at Harvard University·

Executive producer and host of the television program African Ascent· Professor of Africana Philosophy at Harvard UniversityAwards· Winner of the 1999 Michael Harrington Book Award—Author for Self-Construction and the Formation of Human Values: Truth, Language, and DesireEducation

Episode 67 Part 2: Growing Access in a Greenhouse with Vince Peterson


I am very unlikely to to give much credence to a person who is critical of the music education practices of colleagues, if they have nothing better to point to. Criticizing is easy. Building something better is hard. Show me your program and how your ideas have shown results, then I am more likely to listen. I appreciate what Vince is doing here. His criticism is that the Conservatory is not diverse enough. Ok, I hear you. What do you plan to do about it? Tune in to hear Vince’s idea for a NEW model.

Picking right up from where we left off in part one, Vince and I get our hands dirty discussing what we see as one of many important “paths forward” in improving the way music education, and CONSERVATORY education in particular is delivered in terms of philosophy, entry barriers, technology and everything in between. Don’t miss it.

Episode 67 part 2

Vince Peterson is a respected choral conductor, composer/arranger, and teacher of music in the United States. His 20-year hybrid career spans the worlds of choral music, theater, sacred music, and music education. He has, however, established himself most prominently in the world of choral music, notably having founded the “shape-shifting” vocal ensemble Choral Chameleon in 2008. Under his leadership, Choral Chameleon has premiered more than 150 works since its nascence and has won critical acclaim in The New York Times, Time Out New York, The New York Concert Review, I Care If You Listen, The Examiner, and other publications. In 2015, the ensemble was awarded the prestigious ASCAP/Chorus America Award for Adventurous Programming. In 2017, the group was named the first vocal ensemble artist-in-residence at NYC’s undisputed new music hub, National Sawdust.

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In 2003, Peterson earned the BM in Composition from San Francisco Conservatory of Music under the tutelage of celebrated vocal music composer Conrad Susa. He has also studied composition with David Conte, Elinor Armer, and Philip Lasser. In 2007, he earned a Double MM in Composition and Choral Conducting from Mannes College of Music where he studied under pioneer conductor Mark Shapiro as well as the composer David Loeb. Upon receipt of his Master’s Degree, he was also awarded the singular Music Teacher’s League Award for 2007.
As a prolific arranger, Peterson has received seven commissions to date from the multi-Grammy® Award-winning ensemble Chanticleer, whose YouTube videos of his work have garnered over half a million views. Several of his choral arrangements and original compositions have become staples for choirs across the United States. Distinguished performance venues include Chicago Symphony Hall, San Francisco’s War Memorial Opera House, Bartok National Concert Hall in Budapest, New York’s Metropolitan Museum of Art, and Carnegie Hall, among others.

A recognized thought-leader in the music world, The New York Times called Peterson “authoritative beyond his… years,”and The Brooklyn Eagle praised his work as “a stunning symphony of the spiritual and secular,” while hailing him as a solo performer “with depth and vigor” who “provided a universal context which resonated with his audience.”

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In 2018, Vince Peterson was awarded the Louis Botto Award for Innovative Action and Entrepreneurial Zeal by Chorus America, a lifetime distinction he shares with only sixteen of the most influential choral musicians in the United States.
In addition to his work with Choral Chameleon, Peterson is overjoyed to serve as Artistic Director of Empire City Men’s Chorus, which he has recently ushered through its 25th Anniversary Season.

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Learn More About Vince at His Website

Vince on Insta

Greenhouse Music

Episode 55: Music At the Intersection of Identities with Deborah Stephens


In this conversation, Soprano Deborah Stephens and I engage in an open and raw conversation about many aspects of identity and how it effects our concepts of self as well as how this effects our view of the music world. We hit the hot button topics of our own identities and how we see ourselves, tokenism, stereotypes in musical tastes, blind auditions, appropriation, “who is this music for?” and much more. You won’t want to miss a minute of this one!

Episode 55
Deborah Stephens

Deborah Stephens graduated Magna Cum Laude from the University of Georgia in December 2019 with a Bachelors of Music in Voice Performance. She is currently in a Master of Music in Early Music, Oratorio, & Chamber Ensemble at Yale University. In September 2017, Deborah founded and began to direct VERITAS Vocal Ensemble, a small group of 10 UGA students passionate about choral singing. VERITAS has performed on the UGA Student Spotlight Concert, many faculty and student recitals, and hosted a joint-ensemble benefit concert to support music education. Deborah currently enjoys speaking engagements at universities and on music podcasts, has been featured by Early Music America, and performs with professional choral ensembles such as Kinnara, Coro Vocati, and the Lake Junaluska Singers, and is a sought after freelance soloist.

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Episode 29: Part 4 of “Choral Music: A HUMAN Art Form” with Christopher Harris


Passing the Torch of Representation

In this fourth and final installment of the first Choralosophy Miniseries, Dr. Christopher Harris and I discuss the potential influence of representation on the choral profession and the next generation of students. However, the conversations was quite wide ranging allow us to touch on other topics like cultural influences on music, the universality of music and even rehearsal strategies, including the strategies involving music literacy as well as rote learning. I found Dr. Harris’ take on all of these topics to be uniquely explained and articulated in a way that helped me grow during our conversation. Tune in and I think it will help you too!

Episode 29 part 4

Dr. Christopher H. Harris, native of Fort Worth, Texas, is a music educator, conductor, performer, and choral composer. In August 2017 he joined the faculty at Arkansas Tech University as Director of Choral Studies and Assistant Professor of Music. He received his PhD in Choral Music Education from Florida State University in Tallahassee, FL, his Master’s in Choral Conducting from Ithaca College in Ithaca, NY, and his Bachelor’s in Music Education from Texas Southern University in Houston, TX. Prior to entering graduate school, Harris enjoyed several years of successful public school teaching in Houston, Texas. His choirs received numerous sweepstakes awards at state UIL competition as well as honors to perform with the Bay Area Chorus and an invitation to perform as a demonstration group at the Texas Choral Directors Association Convention.

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Harris is the founder of the Houston Master Singers and has served as the Assistant Director for the Houston Ebony Opera Guild. He is active as an adjudicator and has presented numerous sessions on choral rehearsal techniques at state and regional conventions. He is a published composer with several accolades including winner of both the Eastern and National Divisions of the 2013 National Association for Music Education Composition Competition, and the Grand Prize Winner of the 2016 Ithaca College Choral Composition Competition. His music has been performed internationally by mixed, men’s, and treble choirs of varied ages and abilities. Most recently Harris was honored through the selection of his music for performance by the 2018 Texas All-State Mixed Choir, the 2018 Southwest American Choral Directors Association Men’s Honor Choir, the 2018 Arkansas Intercollegiate Choir, and the 2019 Arkansas All-State Mixed Choir and New York All-State Mixed Choir.

As a performer Christopher has performed as guest baritone soloist for concerts with the Texas Southern University Choir, the Houston Ebony Opera Guild, the Houston Symphony Chorus, the 2013 Owego School District’s Production of Faure’s Requiem, with choirs from Florida State University, and the Tallahassee Community Chorus. Harris was guest soloist with the ATU Symphonic Wind Ensemble for their performance at the Southwestern Division of the College Band Directors National Association Convention in Houston, Texas in March 2018.

Episode 29: Part 3 of “Choral Music: A HUMAN Art Form” with Jazz Rucker


Going on the Equity Journey

In this part of the February series, I invited my friend Jazz Rucker into the studio to discuss a term that has rocketed to the top of education vernacular in recent years. “Equity” is frequently confused with “equality,” but has some very important qualitative differences. Jazz is currently serving as the Equity Chair for the Missouri Music Educators Association, which is a new position in the organization. As a result, Jazz has found himself in a position of inquiry and forging a new path toward an ideal of equity and justice in music education. In this conversation we take a birds eye view of the topic and discuss in depth our thoughts on good ways to get everyone to buy in to this journey.

Episode 29: Part 3

There is so much great space for this discussion. We have to get out of “this way or that way” mentality. I just want people to agree to go on the journey. Whatever that means for you.

Jazz Rucker

Jazz Rucker He recently joined the faculty at Lee’s Summit North High School. He came to LSN from Columbia Public Schools. He began his career as a middle school vocal specialist. He then opened Muriel Williams Battle High School as the Director of the Vocal Arts program which included the launch of the school’s first competitive show choir.  Jazz earned a Bachelor of Science in Music Education from the University of Missouri and is pursuing a Masters of Music Education at the University of Missouri-Kansas City’s Conservatory of Music and Dance. Jazz is grateful for the support of his wife Tara and their two daughters Brynlynn and Berkley.

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Jazz would like to recommend the following books on the topics discussed today:

Teaching with Respect by Stephen Seick

We Got This by Cornelius Minor

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Dare to Lead by Brené Brown

All Students Must Thrive by Tyrone C. Howard

Not Light, But Fire by Matthew R. Kay

How to be and Anti-Racist by Ibram Kendi.

Episode 29: Part 2 of “Choral Music: A HUMAN art Form” with Maria Ellis


“Carving out a place for a Girl Conductor.”

Episode 29: Part 2

In this episode Maria Ellis and I discuss the practical aspects of recruiting across cultural lines for our choirs through the telling of her own story. Maria grew up not knowing that a career as a conductor was possible for her, but through a big dream and a big change of life direction, she began her music degree after 12 years in the business world. Now doing what she loves, she reflects back on the journey and offers us great advice in helping to make sure our students never grow up seeing themselves as limited.

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Maria Ellis

Maria in her own words, “

Music Educator, Choral Conductor,  with over 20 years of choral music experience.  I have been called a Master Educator and a Force of Nature by Dr. Jim Henry, University of Missouri- St. Louis.  I hold a B.M. in Music Education emphasis on Voice (K-12 Certified) Degree from the University of Missouri- St. Louis. 

  I have served as the Arts and Administrative Fellow for The St. Louis Symphony and I currently serve as the Community Engagement Manager for The St. Louis Children’s Choirs.  I am the Founding Conductor of The Sheldon Concert Hall and Art Galleries’ newly formed City of Music All-Star Chorus. 


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Episode 29: Part 1 of “Choral Music: A HUMAN art Form”


“Why does representation in Choral music MATTER?”

Part 1 of Choral Music: a Human Art Form
Listen now here or on your favorite podcast app!

Stay tuned throughout February for my first ever Podcast mini series! Choral Music: A Human Art Form

Part 1: Why does representation in Choral Music matter?
In this first installment, I address the question “Why Does Representation in Classical Music matter?” (or choral music) My answer to this question, and subsequent defense of that answer got me kicked off of a Facebook page. So in this episode, I tell that story. It’s a doozy. My answer was, “Representation matters because music is for ALL. From all to all. It can and should transcend innate characteristics.” It turns out this put me at odds with the moderator who had a “music is not universal” perspective which I have noticed has become more prevalent in the last five years or so. I have a lot problems with this trend though I see it as well-meaning one.

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So, I decided to line up a series of episodes and guests during Black History Month in order to advance the conversations around representation, equity, equality and inclusion of ALL in the most HUMAN of all art forms: Choral Music.

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