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.
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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.
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.
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.
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
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.
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 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.
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
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:
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.
On this episode Dr. Chantae Pittman joins me in the ongoing conversation surrounding the philosophy of choral music education. Why are we there? What is our function? Just how critical is it that students who complete a term or more in vocal music in school are able to reach some level of music reading proficiency. Dr. Pittman outlines her daily routine in the classroom and describes how literacy fits in for her in the classroom. I have a wonderful opportunity here to bounce my ideas off of an accomplished colleague. Tune in and hear how Chantae’s band background informs her current vocal education background, and more. This episode was fun for me because I learn a lot from speaking with colleagues each week. Tune in and share that benefit!
Dr. Chantae D. Pittman is the Director of Choral Activities at Campbell High School in Smyrna, GA in the Cobb County School District, and adjunct professor at Georgia College and State University. Dr. Pittman is passionate about all forms of music. She is a proud graduate of Tennessee State University having received her Bachelor of Science in Music Education in 2010. She has since earned a Master’s Degree in Music Education at VanderCook College University (Chicago, IL, 2013). In May 2021 Dr. Pittman graduated from The University of Georgia where she completed her Doctorate in Education with an emphasis in Choral Music Education. During her 13-year career in choral music education she has taught students from elementary through high school.
Due to that experience, and her demonstrated commitment to excellence in performance, she is highly respected as a choral clinician, music education consultant, instructor, grant writer, and adjudicator. She is very active as a soprano soloist and choral musician as a member of the Grammy award winning Atlanta Symphony Orchestra Chorus since 2011, and the Atlanta Women’s Chorus since 2020. Having performed with orchestras, choirs, and small vocal ensembles throughout her career as a musician, Dr. Pittman proudly continues to learn, grow, and develop as a musician and pedagogue. She is a proud and active member of the Georgia Music Educators Association (GMEA), National Association for Music Education (NAfME), American Choral Directors Association (ACDA), National Educators Association (NEA), Georgia Association of Educators (GAE), Sigma Alpha Iota, Professional Music Fraternity, Inc., and Zeta Phi Beta Sorority, Inc.
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
Visit stageright.com for top of the line, affordable staging options like risers, acoustical shells and more!
“Who am I being that my children’s eyes are not shining?”
Benjamin Zander
This week I had the honor and privilege visiting with ACDA members in Alabama at their state Conference. We must turn the mirror on ourselves to ensure that we are WORTHY to stand in front of our students. After all, we have some level of control over whether or not we are a part of their school. They have almost none. So I say, it’s on ME to make sure that their experience in my class is enriching, engaging and life affirming. In this discussion, we will discuss the importance of the teacher’s “mind, body and spirit” health. We also discuss the concepts of Anti-Fragility, and Cognitive Distortions that lead to unhappiness and professional ineffectiveness, as well as the wisdom of “The First Days of School” by Harry Wong. This is a jam packed hour full of challenges and ideas for you to consider before you begin your school year. The slides for this presentation 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
Classrooms have become ground zero for the problem of political polarization. What is being taught, who is teaching it, how it’s being taught, how it is funded, etc. Are we teaching Critical Race Theory, or are we not? Should we be? If the Roe v. Wade case comes up, what is the teacher’s posture? These and many questions have become a toxic political football. The problem of this polarization impacts the classroom in a unique way largely because many people on all sides of political conversations do not want their children caught in the middle. As a result, I believe that teachers are morally bound to model curiosity, radical inclusivity of viewpoints, as well as the respect that most easily comes from “trying on each other’s shoes.”
Sadly though, our politicians, teachers unions and professional organizations don’t model this. We are swimming in almost an entirely politically homogeneous pool within the education profession. The problem is that our students AREN’T. It’s time for us to share the pool. I am joined in this talk by author and journalist, and recent TED Talker Mónica Guzmán to discuss why most of our assumptions about the beliefs of others are probably wrong.
We are so divided, we are blinded. Opening our eyes means being less certain, more courageous, and a LOT more curious about the views we don’t want to see.
A “laboratory for friction” is a term Mónica uses to describe the ideal classroom in which the educator has made the radically inclusive decision to intentionally create a space in which students are able to learn from each other through open dialogue and the safety to be the only dissenting voice.
Mónica Guzmán, author of “I Never Thought of It That Way,” is a bridge builder, journalist, and entrepreneur who lives for great conversations sparked by curious questions. She’s director of digital and storytelling at Braver Angels, the nation’s largest cross-partisan grassroots organization working to depolarize America; host of live interview series at Crosscut; and cofounder of the award-winning Seattle newsletter The Evergrey. She was a 2019 fellow at the Henry M. Jackson Foundation, where she studied social and political division, and a 2016 fellow at the Nieman Foundation for Journalism at Harvard University, where she researched how journalists can rethink their roles to better meet the needs of a participatory public. She was named one of the 50 most influential women in Seattle, served twice as a juror for the Pulitzer Prizes, and plays a barbarian named Shadrack in her besties’ Dungeons & Dragons campaign. A Mexican immigrant, Latina, and dual US/Mexico citizen, she lives in Seattle with her husband and two kids and is the proud liberal daughter of conservative parents.
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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
Straight out of the archives! Most of my live presentations are reserved for Patreon Subscribers, but I felt so strongly about the ideas in this presentation, I decided to air it out for everybody. It is my belief that when we talk about building choral programs, or any program for that matter, we do WAY too much playing from behind and not enough building for the long haul. Are the numbers too low? Then surely we have to recruit! Well, we do, but if we are focused every year, every day on RETENTION, then we are saving for a rainy day. We become squirrels storing the nuts.
So, what are the The Missing Elements?
Your overall curriculum
Concert season goals
Team building ethos
Gradual, competent, comfort zone expansion
Now, you’re ready for choosing the right rep… but that’s it’s own podcast
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
Many people think they are speaking truth to power, but they are really just preaching to the choir. This episode deals with the role of political discourse in the lives of all citizens, and educators in particular. The future of education is hanging in the balance right now as I see it, based on the highly charged political rhetoric related to public or state school governance, as well how these issues intersect with “the culture wars.” We can’t afford to oversimplify, or “Meme-ify” issues of Educational Equity, and access for students to high quality education. Micah Horton came in person to the studio, which always makes for an easier conversation. Often times, we buy in to the incentives of social media and signal our positions, rather than actually engaging in conversations about solutions. And sadly, the next generation sees our refusal to engage, and may be modeling it.
Micah Horton is the director of choirs at Olathe North High School and serves as the Director of Worship Music at Second Presbyterian Church in Kansas City. Micah holds a Masters of Music Education from the UMKC Conservatory, where his research focused on Demographics & Perceptions of Racial Diversity in Middle & High School Choir Programs. He also holds Bachelor’s degrees in Music Composition and Psychology from Eastern Nazarene College in Quincy, Massachusetts. As a performer, he has been featured at state & national conventions, and has appeared on numerous recordings as both a vocalist and instrumentalist. He frequently gigs & accompanies on guitar, electric bass, and mandolin. Micah currently sings tenor with Te Deum and with the Tallgrass Chamber Choir. He has served on numerous building, regional, and state-level committees relating to DEI, teacher retention, and choral literature selection/performance practice. From 2017-19, Micah served as the Resource Chair for Multicultural Perspectives for the Missouri Choral Directors Association, and was the 2021 Prelude Award recipient for MCDA. He is a New Jersey native, proud husband & father, and a Philadelphia sports fan.
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
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…
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…
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…
Like many topics in education, we have strains of the same philosophical divides in music education as we do in other areas of education. This week, my guest Dr. Anika Prather is the perfect person to address and offer a bridge to one of those divides. She has a background in both Music Education as well as Theater and Literature. In this episode we discuss educational philosophy related to the “Western Canon” in both literature and in music. Trying to make sense of the various approaches that range from “Classical Education” to the “Decolonize the Classroom” movement. The discussion centers around the idea that both extremes when taken as wholly sufficient philosophies miss some very important aspects of history. Maybe a hybrid approach is needed.
“If we are properly decolonizing education, it should change HOW we teach, not WHAT we teach.”
Dr. Anika Prather
No teacher can teach ALL of the repertoire from all of the cultures, and we shouldn’t lose sleep over it. What matters is that we instill curiosity in our students to go out beyond our classrooms and seek 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
Dr. Anika T. Prather earned her B.A. from Howard University in elementary education. She also has earned several graduate degrees in education from New York University and Howard University. She has a Masters in liberal arts from St. John’s College (Annapolis) and a PhD in English, Theatre and Literacy Education from the University of Maryland (College Park). Her research focus is on building literacy with African American students through engagement in the books of the Canon and self-published her book Living in the Constellation of the Canon: The Lived Experiences of African American Students Reading Great Books Literature recently. She has served as a teacher, supervisor for student teachers, director of education and Head of School. Currently she teaches in the Classics department at Howard University and is the founder of The Living Water School, located in Southern Maryland. The Living Water School is a unique Christian school for independent learners, based on the educational philosophies of Classical Education and the Sudbury Model. She is married to Damon M. Prather an engineer and has an MBA (Wisconsin-Madison). He also serves as the financial manager of the school. She and her husband Damon, have three young children, and they reside in the DC metropolitan area.
Anika is also a performing artist and incorporates, music, drama and storytelling into most of her presentations. She has produced and written the songs for her 2 jazz albums and her music can be heard at https://soundcloud.com/anika_tene .
A hybrid episode! We run the risk of oversimplifying educational concepts, packaging them in seminars and professional development sessions for sale, and actually HARMING students. Or at least not helping them. Educational theories often carry precious little evidence, but we as educators frequently feel ill equipped to question them. Often times these oversimplifications are simply Utopian visions of education. One of the buzzwords that gets this treatment in my view is “Belonging.” I have been reading a book called “Belonging Through a Culture of Dignity” by Cobb and Krownapple. In that journey, as well as in my conversations on the show, in real life, and online it has become clear to me that there are many questions still to be ASKED about this topic before we can even begin to have enough hubris to think we can answer it.
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
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.…
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.…
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…
Dr. Seth Pendergast of Colorado State University joins me to dig through the critical aspects of recruiting and retention. As we are (hopefully) coming out of the COVID-19 pandemic, my sense is that many K-12 choral music educators are looking to grow or rebuild their choral programs. The pandemic often limited singing and many choral music educators may have lost students over the past two years as they were limited in their vocal activities. We now enter a time where we have the opportunity to rethink our programs and their priorities. This also means that we have a high stakes need to get it RIGHT. The reasons that students engage in school music programs, or don’t is very complicated and nuanced. It’s more than having a donut party, and letting them sing their favorite music. We also need to explore and be creative with what music programs can look like in different TYPES of school environments. What does one research based approach say about this topic?
Seth Pendergast is an Assistant Professor of Music Education at Colorado State University where he teaches courses in vocal music education, creativity and technology, graduate music education courses, and choral ensembles. He studies motivation and participation in the music classroom and his most recent scholarship includes publications in the Journal of Research in Music Education, Music Educators Journal, Choral Journal, and Update: Applications of Research in Music Education. In addition to his work as a teacher/scholar, Seth is an active clinician, conductor, and adjudicator. He completed his Ph.D. in Music Education at the University of Utah in 2018.
“The person doing the thinking is the person doing the learning.”
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
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…
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…
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.…
This episode is a milestone. The 100th full length episode of the podcast. Since my wife Beth was the FIRST guest on the show, I thought it would be good to go full circle, and bring her on again!
Being a music teacher is an important job. It is, or should be about SO MUCH more than the “collection and curation of musicians who are already good.” But how often is that our quickest route to career success? In this episode Beth and I take the gloves off and dive into the topic of the ways in which choir directors of all levels, with all of the best intentions, can often say or do things that either do not help singers become better, or even make the singer worse. “Raise the soft palette” when the problem is actually tongue tension. “Blend! when the result is actually just removing resonance so you can no longer hear the problem. “Open your mouth to the size of the 3 Oreos” when every mouth is a different size, and much more.
We also go a bit hard on the problems with ranking, or rating competitions for beginning singers. The systems, often governed by the same organization that governs basketball games in many places, can actually disincentivize quality feedback for singers.
While many of my singing and teaching of singing philosophies and approaches have shifted or changed…some I would completely redo differently if I had the chance…one that hasn’t (and this is a hill that I will die on) is that there is a place in music for EVERYONE.
Sorry Trevor
The unique nature of singing is that 1) we all have a different instrument: everyone’s lung capacity, torso length, pharyngeal shape, tongue size, etc…are all different!! So there is not a one size fits all approach to singing. It is different for everyone. And everyone learns differently! Add that into the mix. Plus every person has to learn how to coordinate their muscles, where to feel resonance, how to learn to resonate effectively and efficiently, and how to adjust this approach when their bodies and hormones are changing. It’s a lot! Plus, 2) unlike starting piano or band where the first time you pick up an instrument is with your teacher (where they can tell you “put this hand here, this finger here…”) in choir, EVERY kid has prior experience in singing/phonation whether that be with the radio, with mom, in another choir, etc…some of these habits are good, some detrimental (don’t get me started on some of the bad singing examples on the radio!). The point being, you are having to redirect those already insulated neural pathways. Retrain those muscles. And this takes time and concerted effort. Some kids give up and don’t want to put forth the effort. I tell my students that learning to sing is like you are renovating a home as opposed to building one from scratch. And some houses need more work than others!
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
Some of my proudest moments in teaching have been the kid whose mom thought he was “tone deaf” and he ended up being able to perform a solo successfully and make concert choir to be with his buddies…the girl who was the only one of her peers who auditioned for an honor choir her sophomore year and didn’t make it, who went on to make All-State choir her senior year…the boy who was so awkward and shy and could barely make a peep who went on to get a full ride scholarship in vocal performance and has had an active adult performance career. Those stories of hard work and perseverance are my favorite. The kid that didn’t think they could or was the underdog who worked their butt off and ended up excelling!!
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.
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.
I did a live episode recently on Teacher Burnout, and another one in December about teacher burnout leading up the Holiday Break, but STUDENT burn out is a thing too. Call it senioritis, or apathy, or “checked out.” Regardless of what you name it, it must be fought intentionally through the culture built in the rehearsal space from day one. So, in the death match between Senioritis and that LAST concert…
Who will win? It is not a lost cause. So, I went for a walk and recorded some thoughts about this phenomenon and how it has changed a bit due to the pandemic and collective trauma of the last two years. One thing that hasn’t changed is that there is no “cure” for end of the year apathy, but the effects can be mitigated by student buy in, leadership and empowerment. Are they pushing to the finish WITH you? Or are they being pushed BY you? The latter will lead to burn out for students and teachers alike.
This episode was recorded while I was walking outside on Spring Break. Please pardon the roosters and trucks. ACDA webinar I mentioned in the episode is linked below.
Emily Williams Burch is back. What makes us tick? Can we be collegial without knowing each other? What was it like for me to traipse around uninvited at Southern Region ACDA? Why do in person conventions matter so much? These and many more questions answered!
A candid and jam-packed conversation between podcast hosts Chris Munce of The Choralosophy Podcast and Emmy Burch of Music (ed) Matters. We both love to chat, especially with each other, so in this conversation we cover everything from using enneagrams to understand motivation and impact our students, getting adventurous and attending other regional conferences, and all that comes with being “better conversation activists.” This one was super fun to record – hope you enjoy! Start the conversation here and finish it on Music Ed Matters!
As promised, here’s the link to the awesome summer camp Chris and Emmy will be at together this summer. Grab a singer and come hang! https://kantoreikc.com/educational-outreach/.
It’s easy to support the podcast world and join the community over at Patreon.com/MusicEdMatters. In addition to bonus video and episode content, members get monthly meet-ups, monthly bonus episodes, special pre-release book content and more! Chris Munce has a dynamite Patreon page as well (and super cool swag), check him out at Patreon.com/Choralosopy.
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.
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.
http://www.ryanmain.com is a great source of Sheetmusic on demand. Enter Choralosophy at checkout for 10% off!
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.
Teachers, this is the episode you want to send to your admin! “Hi, Dr. Principal. I listened do an expert on a podcast that says our new district educational model is not backed by evidence.” I’m sure they will be very excited…
Kristina Mitchell
Dr. Kristina Mitchell is an education researcher who specializes in instructional methodology. She also enjoys challenging the assumptions that many educators and school districts make when it comes to instructional scripture like “Learning Objectives,” and “Learning Styles.” (Both are steeped in mythology!) We get into the weeds of why providing robust evidence for these “Edu-Fads” is nearly impossible. Then we branch into the more general evidence problem in certain types of science, including masking science related to Covid. Somehow we end up on Critical Race Theory…
Kristina Mitchell is an Instructor of Political Science at Texas Tech University. She received her B.A. from the University of North Texas (2006), her M.A. and Ph.D. from the University of Texas at Dallas (2010; 2012). Her research interests include gender and diversity, pedagogical technique, best practices in higher education, and issues in international relations. Her research has appeared in the Journal of World Trade, PS: Political Science & Politics, and the Journal of Political Science Education. She teaches undergraduate courses in research methods, game theory, public policy, international relations, and international political economy.
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 beginning.
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.
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.
YouTube version
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.
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).
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
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.
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 (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.
LIVE conventions are back! I am so excited, because this online thing does not do it for me. So, I was itching to talk to people! So, I traveled with a portable kit to get the opinions and stories of people at the the convention. It was great to talk to college professors, band directors, and choir directors on the convention floor!
Special thanks to all of the guests! Kurtis Heinrich, Kimbery Guilford, Caleb Zustiak, Ian Colemen, Christopher Boemler, Skip Vandelicht, David Schatz, Tom Higgins and Jane Hicklin.
Teaching students to be literate requires teachers who are trained for it.
The episode you have been asking for for over a year is finally here! It is jam packed full of ideas and solutions. The music literacy guru herself, Carol Krueger and I discuss the crisis facing music education that few are talking about. We have a serious scaffolding problem regarding literacy in music education. Carol calls it a “spiral” of concepts that are not being layered on for students consistently. Students are arriving to study music at the collegiate level in startling numbers deficient in rudiments, like pitch matching, pitch memory, keeping a steady beat, a developed sense of audiation, or ability to write down what they hear. Carol even makes me improvise on solfege!
“Many of our students are arriving in college, illiterate in music. They may have sung a ton of songs, but they can’t hear a sound and tell you what they heard, because we didn’t label it for them.”
Carol Krueger
Episode 90
How do we solve this problem? There is not a quick fix. We must start students at the beginning of their music education, scaffolding sounds and LABELS for the sounds from the elementary level. There are many barriers making this difficult for us. But it is so critical. Neurologically, music literacy is the SAME as linguistic literacy, and developing advancing skills in all types of literacy carry lasting benefits that all of our students deserve.
Dr. Krueger formerly served as the Director of Choral Activities at Valdosta State University, Emporia State University, and Florida Southern. She also served as the Associate Director of Choral Activities at the University of South Carolina and the University of Montevallo. A native of Wisconsin, Krueger received her bachelor’s degree in Music Education from the University of Wisconsin-Oshkosh and both an M.M. and D.M.A. in Choral Conducting from the University of Miami.
YouTube Channel
An active clinician, adjudicator and guest conductor, Krueger has most recently conducted festivals and honor choirs at the collegiate, high school and middle school levels in Maryland, Arkansas, South Dakota, North Carolina, Virginia, Wisconsin, Kansas, New York, Louisiana, Mississippi, New Hampshire, Tennessee, Alabama, Florida, Washington, Georgia, South Carolina, North Dakota, Indiana [2021] and Kentucky [2021]. In addition, Dr. Krueger served as the guest conductor of the North-North Central ACDA Middle School Treble Choir (Milwaukee, 2020) of Vivaldi’s Gloria in Carnegie Hall (2010), the Adult Chancel Choir and Chamber Singers at Montreat Presbyterian Association of Musicians Conference (2010), and multiple performances of Epcot’s Candlelight Processional and Massed Choir Program (2005).
Krueger has presented interest sessions at the American Choral Directors National Convention in New York, the OAKE (Kodaly) National Convention in Charlotte, the ACDA Southern Division Conventions in Mobile, Nashville and Louisville, the Southern Division MENC Convention in Charleston, the North Central Division ACDA in Madison, the Eastern Division ACDA in Providence, the Eastern Division NAfME in Hartford, as well as interest sessions or workshops in twenty-eight states (Alabama, Arizona, California, Colorado, Connecticut, Florida, Georgia, Iowa, Illinois, Kansas, Kentucky, Maine, Massachusetts, Minnesota, Mississippi, New Hampshire, New York, North Dakota, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Vermont, Virginia, Wisconsin, and West Virginia), Australia and England. Krueger is also widely recognized for her work with music literacy. Oxford University Press publishes her book, Progressive Sight Singing.
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.
Literacy has value that transcends culture, and does not replace culture
Removing standards for honor choirs doesn’t help students
A well rounded music education can’t achieve all things for all people. Teachers must pick and choose with finite resources.
Teacher morale has reached a crisis point. If you’ve ever felt the crisis or seen the crisis, this episode is for you. In this Livestream episode I got input from some of my Patreon supporters, as well as people listening on Facebook which was fun, and kept the conversation spinning to topics of teacher pay, our attitudes toward our job, the role of having a “good boss” who treats the teacher as the expert and many other “usual suspects” that lead to burnout. In addition, I suggested that we look at two causes that almost no one mentions: Anxiety Contagion and Moral Injury.
Special thanks to Nathan Connell, Jeff Wall, John Sargent and Christopher Boemler for chiming in their ideas via Patreon.
One of the most COMMON questions to pop up, almost weekly, on choir director Facebook groups is “what do I do to help these (usually boys, not always) match pitch?!” It is usually a panic induced, “I’ve tried everything” kind of post. This short episode brings in the expert, Donald Brinegar, choral director, professor and author of the book “Pitch Perfect: a Theory and Practice of Choral Intonation. There is a lot of mythology surrounding this topic, so take 20 minutes and demystify! Tune in for an explanation of Rainbow Ears, Frozen Vocal Folds and audiation with their “young child” voice, and more.
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?
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.
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.
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?
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.
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.
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.
On the Choralosophy Podcast over the last several years, I have presented my thoughts on choral music curriculum in several episodes. From grading policies, to literacy instruction, as well a the philosophy of grading on growth rather than arbitrary standards based grading. I believe that a school choir program can be BOTH incredibly rigorous and open to beginners at the same time. A high school choir CAN achieve college level or beyond literacy skills, a professional rehearsal atmosphere that is fun and engaging, all while remaining productive and continuously striving for excellence. One can accept that “perfection” in all human endeavors does not exist, without abandoning the constant march towards it. Below is an example from the beginning of last school year, where our prior literacy, independence and rigor saved our school year due to the challenges presented by masks, social distancing, and reduced rehearsal time. (Scroll to the bottom for episodes on my literacy method.)
An example of an “advanced” rehearsal in my program. Demonstrating the power of high levels of literacy training prior to 11th-12th grade.
What is Excellence? Who gets to define it?
I do. For my classroom. You do for yours. It’s pretty simple really. The line in the sand that I draw is that everyone has to have some definition of this word, or people will not take the choir seriously. It does not matter if excellence is centered around concepts of intonation, rhythmic precision, resonance and expressive line like mine is, or centered around facial expression, choreography, story telling like a great show choir. The priorities can be completely different and they could both be excellent. Maybe your definition of excellence is centered around the way humans FEEL in your rehearsals. Centered around an informal rubric of community, acceptance and love. That’s ok too. You are an excellent choir when you achieve your choir’s goals. This doesn’t have to be an argument. The tent of choral music is large enough for an infinite number of “Excellence models” but you must choose a definition and strive for it relentlessly.
Grading on Growth
This concept is important in my program because it demonstrates the possible duality between “rigor” and “inclusivity.” I believe that rigorous curricula can be inclusive of all levels of learner if we grade on growth. Put simply, “I don’t care where you start. You can get better, and that’s how you will earn an A.” We have a difficult balance to maintain in school music. We must be a “real class” in the eyes of the community and administration while also accepting students into our programs with WIDELY ranging levels of prior knowledge and skill. I outline my attempt at this balance in the two episodes below.
Episodes 18, 52 and 69 will get you started on a new literacy journey! For episode 69 I highly recommend the video version so you can watch the individual sight singing assessments happen!
Example of work with Sight Reading Factory with 10th grade students. We call this our “intermediate” level class.
Panel discussion featuring three insightful Professors
In this week’s special panel conversation, I am finally responding to what has been a frequent listener suggestion for a podcast topic. A “no BS” discussion on the Choral Grad School decision that weighs so heavily on many of us, sometimes more than once in our careers. So, I invited a group of experts on the topic. Each with experience working with graduate programs as both a student, and as a professor. Doctors André Thomas, Jennaya Robison and Giselle Wyers each gave graciously of their time to this important discussion.
“Why graduate school?”
“Is it right for me?”
“Is it worth the money”
“What do I look for in a grad school, and what will they be looking for in me?”
“What kind of musical chops do I need to have?”
We don’t always give enough credit to people who teach for 30 years in Middle School. So, is there a way to prop those people up where they are, rather than entice them into leaving their job to go get another degree? Listen to the end to hear Dr. Thomas’s thoughts on this. Dr. Wyers and Dr. Robison also give insightful pieces of advice about balancing motherhood and graduate school.
Summer 2021 Presentations on Recruiting are linked below. To listen to the audio of this presentation, you can join the Choralosophy Patreon for 3$ a month
Expertise Cannot Be Earned as a student. We must test our academic ideas in the real world.
I recently had a lot of time to think and reflect while driving home from the convention circuit, so I went LIVE in the Choralsophers FB group to discuss some reactions to audience feedback from the Success Rubrics episode. One of the ideas that drew the most attention, is that the primacy of the “degree” as a success marker may not be the best way for us to structure our professional spaces and organizations. So, with comments coming in to the chat while driving, (do not try this at home, I am a trained professional) I reflected further on this issue. As always, let’s keep the conversation going!
One of the hot items of choral discussion recently has been “Choral Elitism.” I have done episodes on the show about it, Chris Maunu has written some great blogs, and countless comments in Facebook groups deriding it as a problem. This post is intended to approach the topic from a different angle. I think one of the most dysfunctional aspects of Choral Culture is HOW we decide who the “stars” are in our profession. Who gets asked to present, who gets asked to direct the honor choir, and recently, who can muster large movements of the culture via social media buzz. Having a hierarchy in this way is normal and natural, but the rubric with which we choose our “cool kids club” matters. So let’s play a little game and see if we can’t reimagine the rubric.
Consistent excellence in the final musical product. An important caveat here is that we CANNOT reserve ourselves to basing this on the concert. To understand who is doing GREAT work in this area, we need “before and after” recordings or eye witness. This matters because we don’t all have the same singers, feeders, admins etc. So, to me success in “musical excellence” should be available to elementary to professional choirs. Show me how far your singers can come under your leadership!
Consistent management of choral programs that flourish. Do people want to sing for this person consistently and over years? To me, this says volumes about what is going on in that rehearsal space. I know something’s being done masterfully.
Does the director have a track record of better and better music making? The beauty of this one is that it requires a synthesis of #1 and 2. You can’t make steady improvement in the music unless you have a steady stream of excited and eager singers coming into the program.
Is the director an innovator in one or more areas of their teaching practice? Are they dreaming up, implementing and perfecting NEW ways to deliver the choral art form and all of its nuts and bolts to new generations of singers?
Is the director contributing to the body of scholarship? This could take the form of research within academia, the creation of definitive recordings, or even by curating new discussions on various aspects of scholarship for conventions etc.
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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.
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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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
And other silly traps we fall in to due to the nature of our job and its subsequent ego pitfalls. Tune in for this short reflection on the overbearing conductor stereotype. I think it’s possible that we don’t appreciate what constantly having our job evaluated in front of people does to our Psyche…
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In this episode, Dr. Ryan Board of Pepperdine University and I discuss the role we see for Choral Music education in filling the void of psychological and emotional development of young people and adults. The epidemic of the loss of resiliency in young people is well documented. Dr. Board walks us through the work of Psychiatrist M. Scott Peck by finding parallels between his prescriptions for building a healthy mind, and what we ALREADY provide in a high quality choral environment. You will not want to miss this conversation designed to center you with a renewed sense of purpose as we move the profession forward.
“Spiritually evolved people, by virtue of their discipline, mastery and love, are people of extraordinary competence, and in their competence they are called on to serve the world, and in their love they answer the call. They are inevitably, therefore, people of great power, although the world may generally behold them as quite ordinary people, since more often than not they will exercise their power in quiet or even hidden ways. Nonetheless, exercise power they do, and in this exercise they suffer greatly…”
M. Scott Peck
Dr. Ryan Board
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Ryan Board, Director of Choral Activities at Pepperdine University, continues to garner international attention as a conductor, choral artist, teacher, and clinician. In his role as Director of Choral Activities at Pepperdine, Dr. Board directs the Pepperdine Concert Choir and the Pepperdine Chamber Choir and teaches courses in Conducting, Music History, and Music Education. His research interests focus on rhetoric and affections in the sacred vocal music of the Baroque Era.
Dr. Board maintains an active schedule as a professional singer and conductor. For five years he has directed the renowned KC Collegium Vocale and was previously the director of Armonia Early Music Ensemble. He is currently principle conductor for the Prague Choral Festival in association with Prague Proms, and he has recently collaborated with or prepared choirs for Anton Armstrong, Simon Carrington, Joseph Flummerfelt, Andrew Megill, Andre Thomas, The Royal Concert Philharmonic Orchestra, the Daedalus String Quartet, The Kansas City Friends of Chamber Music, Charles Bruffy and the Kansas City Chorale, Jo Jennings, The Jewell Early Music Festival, and The Kansas City Baroque Consortium. He is also an avid conductor of choral-orchestral literature and has conducted works ranging from J.S. Bach’s St. John Passion to Arnold Schoenberg’s A Survivor from Warsaw.
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.
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.”
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!
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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One of my biggest pet peeves in Music Education reform conversations is what I see as an outsized focus on discussion of what is wrong with Music Ed when compared to the amount of time spent suggesting solutions. Contrary to popular belief, criticism by itself doesn’t solve problems. Criticism is easy. Building something better is hard.
We must take the next step. Vince Peterson is taking steps. Often, the most important step is the one we take is an internal one. In this episode we learn how to create our own “Musician’s Credo.” An exercise developed by Vince for his students, that I found to be profound and beyond that of a “philosophy of education.” So, in many ways, as Vince is asking me the questions in his worksheet, I am being psychoanalyzed on my own show! You will hear me engage in this work in real time. I highly recommend listening to Part 1 of this talk, downloading the PDF below, and doing this assignment for yourself.
Then, be sure to tune in to Part 2 next week, as Vince discusses his brainstorm that is “Greenhouse Music” and why he thinks some of the problems with music education, and educator training need real solutions by rethinking the model, the access and the outcomes.
Episode 67 Part 1
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.
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.”
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!
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.
Just a random rant in my car. As performance opportunities dwindled over the last year, we have been quick to rationalize this as a good thing. Maybe because we needed to in order to cope with the loss? Either way, maybe it’s not that simple. Maybe the performances are critical.
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When you do music from a culture that is not your own, it is like you are holding someone else’s dreams and past in your hands.
Janet Galván
In this touching and vulnerable conversation, Dr. Galván and I discuss the very important issue of programming and preparing to perform music from an ever growing number of traditions and cultures. This can be an overwhelming topic to approach in many ways. Partly due to the sheer number of styles and performance practices that exist. None of us can master them all, and that’s ok! Downstream from this problem is whether or not we give ourselves and our colleagues grace when they make mistakes. Do we shame the conductor who presents an inauthentic performance or do offer help and resources?
This episode is structured as a help and a resource. Dr. Galván has done a tremendous amount of work in the trenches on this topic in her storied career. That experience has left her with some very solid practices and procedures for each of us to use when we approach a new style of music to introduce to our ensembles.
Dr. Janet Galván, Director of Choral Activities at Ithaca College, was recognized by her New York colleagues for her contribution to choral music when she received the American Choral Directors Association (ACDA) New York Outstanding Choral Director Award. Dr. Galván was awarded the Ithaca College Faculty Excellence Award for teaching, scholarship, and service in 2018. Galván was presented the 3rd Distinguished Alumni Award in Music Education and Choral Music from the University of North Carolina in 2016.
Sought after as a guest conductor of choral and orchestral ensembles, she has conducted professional and university orchestras including Virtuosi Pragenses, the Madrid Chamber Orchestra, and the Cayuga Chamber Orchestra in choral/orchestral performances. She has conducted national, divisional, and state choruses throughout the United States for ACDA, the National Association for Music Educators (NAfME),and the Organization of American Kodály Educators (OAKE. She has conducted choruses and orchestras in venues such as Carnegie Hall, Boston’s Symphony Hall, Washington’s Constitution Hall, Minneapolis’ Symphony Hall, Pittsburgh’s Heinz Hall, and Nashville’s Schermerhorn Symphony Center. She has conducted her own choral ensembles in Carnegie Hall, Lincoln Center’s Alice Tully Hall, and Avery Fisher Hall as well as in concert halls in Ireland, Italy, the Czech Republic, Austria, Canada, and Spain. Galván was the sixth national honor choir conductor for ACDA, and was the conductor of the North American Children’s Choir which performed annually in Carnegie Hall. She was also a guest conductor for the Mormon Tabernacle Choir.
Galván has been a guest conductor and clinician in the United Kingdom, Ireland, throughout Europe, Canada and in Brazil as well as at national music conferences and the World Symposium on Choral Music. She was on the faculty for the Carnegie Hall Choral Institute, the Transient Glory Symposium and the Oberlin Conducting Institute.
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“To stimulate thinking you must ask questions. The instant you give YOUR philosophy, the thinking stops. What you want is for them to think for themselves.”
Dr. Eph Ehly
It’s difficult to describe the impact that Eph Ehly has had on the choral profession. In fact, it may be impossible to quantify. He has cultivated the passion to teach and conduct in multiple generations of young teachers. He has impacted thousands upon thousands of singers in honor choirs, and in his own choirs. Perhaps I can only illustrate this with an anecdote. He was my teachers in the late 1990s, but also inspired my mother to become choir director while directing the South Dakota All-State choir in the 1970s. He is truly an intergenerational choral legend. Meanwhile, in Idaho, he came to work with my wife’s collegiate ensemble where he inspired Beth to come to Kansas City for her Masters. Where she and I then met! So, when I say I owe this man a lot, I mean a lot.
In this episode, Dr. Ehly and I discuss the changes he has seen in the choral profession over the decades as well as what has stayed the same. We discuss his philosophy of education, and where he sees music fitting into that philosophy. We also discuss the concept of teachers being models of curiosity rather than the source of answers.
Named “one of the most sought-after choral conductors/clinicians” by The American Choral Directors Journal, Eph Ehly is renowned as a conductor, author, and lecturer. Ehly has appeared in 48 states, as well as Canada, Brazil, Japan, Mexico, and several countries throughout Europe, and presented on more than 100 college and university campuses. DCINY’s Maestro Jonathan Griffith—the recent winner of the 2014 American Prize in Conducting—comments: “Dr. Eph Ehly has been a major influence in my life, not only musically but also personally. Much of who I am today as a conductor goes back to the early days of my doctoral studies at the Conservatory of Music at the University of Missouri-Kansas City, and specifically with my daily contact with Dr. Ehly. It is a sincere privilege to honor this wonderful and giving musician and human being.”
After 27 years of service – and conducting over 80 All-State Choirs, and over 600 festival ensembles – Dr. Ehly retired from the Conservatory of Music, University of Missouri-Kansas City. He also served an Interim Professorship at the University of Oklahoma in 2006-07. More than 90 Doctorate and 100 Masters Degree students have graduated under his supervision. He imparts a lifetime of wisdom and expertise in his popular memoir, “Hogey’s Journey,” published by Heritage Press, and Hal Leonard Publishing Company released a series of video master classes which feature Dr. Ehly’s philosophies in conducting and rehearsal techniques. He has received numerous important teaching awards and fellowships.
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A choral musician with a “marathon mindset” would never listen to a choir and think, “well, we’re done. We’ve done all we can do.” The same is true of our lives as teachers/conductors.
Welcome Dr. Emily Williams Burch BACK to the show, but this time IN my home studio. A personal and vulnerable conversation in which Emmy and I discuss the ways in which the process of learning for our students AND for ourselves as teachers/musicians must be viewed as a marathon and not a sprint. You will not want to miss this candid conversation that we hope you will find not only helpful in the classroom for your students, but also for you and your growth as a professional.
Tune in as we discuss negative ways choral directors compare ourselves to each other, the need to appreciate our growth through reflection on where we started, being honest with ourselves about our goals and much more! (Apologies for some technical issues with this episode. It was my first attempt with some new gear. Podcasting is also a marathon!)
When we see and hear the Aeolians perform we impressed by the technical precision. We are in awe of the dynamic range, the tone, the diction and the phrasing. But we are INSPIRED by the emotional buy-in and engagement from the singers in the ensemble. This culture doesn’t happen naturally in choral ensembles. It is taught. It is a an art in and of itself to convince singers to pour their whole selves into each piece of music.
Episode 46
In Dr. Ferdinand’s second appearance on the show (Episode 11) we discuss the philosophy behind his “Teaching With Heart” book that seeks to inject tools into the conductor’s arsenal to address the most important issues of our world. In doing so we do a deep dive into the rehearsal techniques that foster connection to each other through the making of choral music.
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Dr. Weber, in my mind, is one of the legends of the choral profession due to the contribution of her body of work over many years and at all levels of teaching. I find the combination of her high level of music making, along with her experience in classrooms with young kids and everything in between to be a fascinating model to which we can all aspire. I can’t think of a better person to guide us through our thinking about concepts related to ownership and professionalism within our ensembles.
Is it possible for us as conductors to “let go” of some of the control? What would that look like? Could our choirs actually improve by us getting out of the way? How would our egos handle that…? In this refreshing episode Dr. Weber and I tackle these and many more questions. Be sure to tune in!
Dr. Betsy Cook Weber is a Madison Endowed Professor of Music and Director of Choral Studies at the University of Houston Moores School of Music. She teaches a full load of coursework, oversees the large and varied choral area at the Moores School, and is also highly active internationally as a conductor, clinician, adjudicator, and lecturer.
The University of Houston Moores School Concert Chorale, which she directs, has established a reputation as one of the world’s finest collegiate choirs and has been a featured choir at multiple state (2002, 2005, 2008, 2013, 2017) and national conventions (ACDA 2007, 2017, NCCO 2017). Internationally, Chorale has received acclaim at six prestigious competitions, winning or placing in every category in which they were entered. These include the Eisteddfod in Wales, Florilége Vocal in Tours, France, International Chamber Choir Competition in Marktoberdorf, Germany, the Grand Prix of Nations in Magdeburg, Germany, the Bela Bartok International Choral Competition in Hungary, and the European Grand Prix in Arezzo, Italy. Judges’ comments include “de luxe singing, eliciting admiration and gratitude,” “wonderfully elegant and humorous,” “sophisticated choir — expertly prepared and with a finely-tuned corporate ear.” In 2015, Musica mundi, in its ranking of the top 1000 choirs in the world, placed UH Concert Chorale #1 in its age category and #3 among all choirs worldwide.
In addition to her work at the University of Houston, Dr. Weber serves as director of the Houston Symphony Chorus. Under Weber’s leadership, the Houston Symphony Chorus has performed over 200 concerts consisting of repertoire as varied as Brahms’ Ein Deutsches Requiem and Video Games Live. She is privileged to collaborate with some of the world’s best conductors, including Andrés Orozco-Estrada, Jane Glover, Christoph Eschenbach, and Nicholas McKegan. She has led the HSC and HS Chamber Singers on two European tours to the Czech Republic in 2017 and in Poland and Germany in 2019, including a performance at the world-renowned Bachfest in Leipzig.
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In the coming year, in addition to her return to work once again with the Arkansas All-State, Dr. Weber looks forward to engagements in California, the Czech Republic, Hungary, Croatia, and Germany.
Eric Whitacre may be the father of the virtual choir. But could he have ever envisioned what it would become?
In this episode, I have the honor of speaking with the FATHER of the virtual choir. Eric Whitacre. We discuss the origins of his virtual choir “franchise” and his thoughts on watching that concept evolve during the pandemic. I really appreciated his openness in discussing his “behind the memes” persona, as well as the philosophy behind the virtual choir and its community based ecosystem.
“I am ACHING to make music again. I never realized it was my oxygen. Lot’s of people feel this way. When we come out of this, we will enter a golden era of singing. People will cherish and make time for it like we’ve never seen before.”
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For this episode, I sat down (twice… long story) with Paul Smith, co-founder and CEO of VOCES8 and the VOCES8 Foundation while he was in Kansas City. We had a lot of great conversations about the state of music education in the U.K. and the U.S. and the role of VOCES8 and other performing ensembles in sparking a passion for choral music in young singers. The talk ranged from discussions of disparity of music education quality regionally all the way to the interesting differences between the preferred “British” choral sound vs. that preferred by most American Choral Directors.
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Paul Smith is an innovative and creative performer, conductor, composer, an inspirational educator and an empowering public speaker. As co-founder of VOCES8, author of The VOCES8 Method and CEO of the VOCES8 Foundation, his annual programme sees him working globally in prestigious concert venues, festivals, schools and universities.
Paul is passionate about the impact singing and the arts can have in the widest possible context – from academic improvement to social skills and building more cohesive communities. He uses that passion to design and deliver unique, inclusive and uplifting performance projects.
In the 2019-20 season, highlights will include: leading the ‘Singing Brussels’ massed choir project with BOZAR in Brussels; touringhis new album and concert programme titled ‘Reflections’; a series of concerts and workshops at the VOCES8 Centre in the City of London; leading his family concert ‘The Winter House’ programme with the Curtis Institute in Philadelphia; conducting the Orchestra of Avignon in a series of concerts for families and young people; conducting the Orchestre D’Auvergne in a new concert for students; leading the Israeli Vocal Ensemble for a series of concerts in Israel; leading a series of concerts across France with VOCES8 and Apollo5, supported by Vivendi,and concerts and workshops in Germany, the USA, New Zealand and Japan. Paul will be continuing his work at the University of Cambridge in 2019.
The VOCES8 Method, written by Paul, is published by Edition Peters in four languages, and is now being used in thousands of schools in numerous countries around the world. The Method is designed to link specific music-making activities with academic improvement in numeracy, literacy and linguistics.
https://youtu.be/qwyqJoTmPCM – Paul’s new setting of the Nunc Dimittis. There’s a link to the sheet music on the video blurb.
https://youtu.be/kSZubXsjUmI – New arrangement of the Edo Lullaby, a Japanese traditional song. Again, sheet music links are in the video blurb.
I feel like this episode might be PHILOSOPHICALLY the most important episode I have published to date. Eric and I pick up right where I left off in Episode 18 when I claimed that students should lose the net when learning to sight read. The psychological principal at play is Nassim Taleb’s coined term, “Anti-Fragility” referring to systems that require stress in order to improve. What processes in the choral rehearsal can apply the right amount of stress on your singers in order to make them stronger, and better.
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A conductor and composer, Eric William Barnum continues to passionately seek new ground in the choral field. Working with choirs of all kinds, his collaborative leitmotif endeavors to provide intensely meaningful experiences for singers and audiences.
Barnum is currently the Director of Choral Activities at Drake University in Des Moines, Iowa and previously, the Director of Choral Activities at the University of Wisconsin, Oshkosh. He holds a DMA in Choral Conducting from the University of Washington (Seattle, WA), under the direction of Dr. Geoffrey Boers. He has an advanced degree in conducting from Minnesota State University (Mankato, MN), primary study with Dr. David Dickau, as well as BAs in Composition and Vocal Performance from Bemidji State University (Bemidji, MN). He has appeared as a conductor across the United States and the International stage, and has had the opportunity to work with some of the most innovative minds in the choral field.
His voice and vision continues to gain popularity around the globe with performances from choirs Internationally. He composes for choral ensembles of all types, from professional to youth choirs, and has received numerous awards and prestigious grants such as a Bush Foundation Artist Fellowship and a McKnight Foundation Grant. He has also held residencies with such ensembles as Choral Arts (Seattle, WA), Cantus (Trondheim, Norway), The Rose Ensemble (St. Paul, MN), Kantorei (Denver, CO), Magnum Chorum (Minneapolis, MN), Coro Vocal Artists (Tucson, AZ), as well as with many high schools and collegiate choirs.
In this episode we parse our way through a Choral Journal Article from December of 2018 called “What is Written on our Choral Welcome Mats” with the author, Dr. John Perkins of Butler University. In the article, Dr. Perkins seeks to tie the tendency toward valuing a performance standard and competition in choral culture to racial and cultural prioritization. As the reader I found myself bouncing back and forth between agreement and disagreement with the premise. While I do see the pernicious influence of COMPETITIVENESS in choir (ie. choir is NOT a sport…), I do not share his view that this can be tied in any way to race or culture. So, I just HAD to talk to him about this and he graciously accepted the invitation to parse out the particulars in the article. The end result was a civil and productive conversation that left me a greater understanding of his view on this topic. I hope you find it informative.
Be sure to take the time to read the whole article here for context discussed in the episode.
Dr. John Perkins owes his professional career to his loving partner, Emily, and children, Lili Amna, and Noah Ameen. He is the Associate Director of Choral Activities and an Associate Professor of Music at Butler University. Instruction at Butler includes the Butler University Choir (SATB ensemble) and Spectra (SSAA ensemble), Aural Skills I, and Conducting (undergraduate), and Graduate Choral Conducting Seminar. Combining with Nassim Al Saba Choir (United Arab Emirates), Sao Vicente Acapella (Brazil), and five local high school choirs, Dr. Perkins created a transnational course in Spring 2016, entitled “Peacebuilding through Choral Singing.” The course focused on social justice dialogue, relationship-building, and community leadership through choral singing. In the summer of 2019, Dr. Perkins will lead a similar course with partners in Malaysia, entitled “Musicking Futures.” Recently, the Butler University Choir has partnered with Eastern Star Church, Fishers campus, to encourage dialogue between predominantly Black and White communities. He practices choral-dialoguing with his ensembles and in the community as a way to more deeply engage in justice learning.Outside of Butler’s campus, Dr. Perkins is the Director of Music at Castleton United Methodist Church, a Fellow at the Desmond Tutu Center for Peace, Justice, and Global Reconciliation, and an Advisory Board Member for Euro Mediterranean Music Academy (EMMA) for Peace, and a member of the American Choral Directors Association Diversity Initiatives sub-committee.
Before arriving in Indianapolis in Fall of 2014, he taught at the American University of Sharjah in the United Arab Emirates (UAE) from 2008-2014 and developed the country’s first music program in higher education. There, Perkins directed the university’s choral program and founded the Nassim Al Saba Choir, the first Arabic, four-part choir in the Gulf region. The ensemble, aimed at building bridges between Arab and non-Arab countries, performed extensively in the UAE and abroad in New York City, Indonesia, and Jordan.As a guest clinician, Dr. Perkins has been a resident artist and has given conducting masterclasses in the United Arab Emirates, USA, Indonesia, Oman, Lebanon, and the Kingdom of Saudi Arabia. His research and professional contributions include, presentations, articles, and arrangements concerning social justice through choral musicking, Arabic choral music, cross-cultural initiatives, the choral works of Lili Boulanger, music of the Symbolist (Belle Époque) era, conducting technique, and collaborative music projects. Perkins’s new choral-orchestral arrangement of Lili Boulanger’s Psaume 130, Du fond de l’abîme and Arabic choral arrangements have been internationally premiered.
Dr. Perkins has presented at the International Society for Music Education (Azerbaijan), Research in Music Education (United Kingdom), New Directions in Music Education, ACDA statewide and regional conferences, the Lund International Choral Festival (Sweden), Aswatuna Arabic Choral Festival (Jordan), International Symposium on Choral Music (Indonesia), and the International Musicological Conference: Marginal Figures in 20th-century Music (Russian Federation). His research is published in the Bulletin of the Council for Research in Music Education, the Choral Journal and the International Choral Bulletin.Originally hailing from Titusville, New Jersey, Perkins holds a Doctor of Musical Arts degree in choral conducting from the University of Arizona (Tucson), a master’s degree in choral conducting, from Temple University (Philadelphia), and a bachelor’s degree in theory and composition from Westminster Choir College of Rider University (Princeton). He continues to grow through many transformative moments with his students.
In the second part of this episode, I look to Anthony Maglione for insight into this topic from the collegiate perspective.
Anthony J. Maglione- William Jewell College
Conductor/Composer/Tenor Anthony J. Maglione is a graduate of Westminster Choir College of Rider University, East Carolina University, and the University of California, Los Angeles. He is the Director of Choral Studies at William Jewell College where, under his direction, the Concert Choir was Runner Up (2nd Place) for the 2015 American Prize in Choral Performance, College/University Division. In addition to his responsibilities at William Jewell College, he serves as Conductor Emeritus of the Freelance Ensemble Artists of NJ, a symphony orchestra based in Central NJ and is Artist-in-Residence and Choir Master at St. Mary’s Episcopal Church in Kansas City.
An active composer, Anthony’s choral works are growing in popularity and are published on GIA’s “Evoking Sound” choral series. In the last several years his music has appeared at state and national-level conventions, on TV, in video games, and has been recorded on Gothic Records, Albany Records, and Centaur Records. In 2014 and 2015, Anthony was honored as a Semi-Finalist and Finalist (respectively) for the American Prize in Composition, Professional Choral Division and was recently awarded the 2016-2017 William Jewell College Spencer Family Sabbatical, a year-long fully funded sabbatical in order to compose two new large-scale works for choir, soloists and chamber orchestra. Anthony was also been commissioned by the American Guild of Organists for a new cantata which premiered at the AGO National Conference held in Kansas City in 2018. As a tenor, Anthony has appeared with Kansas City Baroque Consortium, Spire Chamber Ensemble and currently performs and records with The Same Stream Choir conducted by James Jordan.
In this episode I make the shocking claim that there is no such thing as a choir. Then I bring on Stephen Rew for a discussion about connecting with students on an individual level.
Stephen Rew- Raymore-Peculiar High School
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Stephen Rew holds his Bachelors and Masters of Music Education from the Conservatory of Music and Dance at the University of Missouri, Kansas City where he studied with Charles Robinson. In over a decade as a public educator he has received his district’s Teacher of the Year Award two times (Drexel in 2005 and Raymore-Peculiar in 2013) and is a sought after clinician and motivational speaker with “Fired Up” Presentations. Currently, he also is the President-Elect for the Missouri Choral Directors Association. Rew was the music teacher at Eagle Glen Intermediate School in Raymore, MO for 8 years after spending 3 years teaching at the Middle School level and one year as a K-12 band and choir teacher and is also entering his 17th year as a professional church musician serving as the music director at St. Paul’s United Methodist Church.
At the start of the 2017-18 school year took the reins of the Raymore-Peculiar High School program from his mentor and friend Roxanne Martin upon her retirement. This was a homecoming for Rew as he was an All-State choir member under the direction of the late Steve Orr. He lives in his dream home with his beautiful and supportive wife, Cindy and two children Mason (age 12) and Chloe (age 9) that are often the subject of a ridiculous amount of Facebook posts and photos.
