Part Three is the Solfége or Pitch tool: Give Them Tools and Let Them Build is based on a premise. We are not the music makers. Our students are. So, are we teaching them songs? Or the tools used to build songs? So, what do we do if the students don’t know what the pitches sound like? Teach them how to figure it out!

The scaffolding began at birth. The audio library is more advanced than you think. Begin introducing both the sound and the sight… BUT… don’t let the sight get ahead of the sound AND the muscular coordination required to reproduce it fluently.

In Part 3, we dig out the first tool. Solfége. We want students to hear music happening, as fluently as language, in their head. And as Carol Krueger said wisely in episode 90, we want them to “be able to grab a score, and go sit under a tree and read it like it’s Moby Dick.” But how do we do this?

The secret is the sequence, the repetition and the QUESTIONS! The ones we ask, and eventually the ones they learn to ask.

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

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Part Two of a New Series: Give Them Tools and Let Them Build is based on a premise. We are not the music makers. Our students are. So, are we teaching them songs? Or the tools used to build songs?

Who is the hardest working person in your classroom? Spoiler alert: it should NOT be the teacher…

In Part 2, we begin to Pack Our Toolbox. I review approaches to developing independent, confident musicians through tools-based pedagogy. Drawing from extensive research and classroom practice, the focus is on shifting the teacher’s role from the sole source of knowledge to a facilitator of skill transfer, encouraging students to become vocal explorers and self-sufficient problem solvers. The Tools are:

• Solfége for pitch
• Takadimi for rhythmic subdivisions
• Count singing for notes longer than a beat
• Functional Vocal Knowledge
• Student Self Diagnosis
• Rehearsal Sequences
• Keep Data!

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

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The First Part of a New Series: Give Them Tools and Let Them Build is based on a premise. We are not the music makers. Our students are. So, are we teaching them songs? Or the tools used to build songs?

Who is the hardest working person in your classroom? Spoiler alert: it should NOT be the teacher…

In the first part of the series, you get to be a fly on the wall during my recent presentation in New Casatle, PA. It discusses the challenges and pressures faced by choir teachers, and the rational reaction: A need for a shift in teaching philosophy. Or, “updating the operating system.” The focus is on moving away from the traditional “high priest model” where the teacher is the sole source of musical knowledge, to a more student-centered approach. This involves empowering students with tools to learn music independently, such as solfége for pitch and takadimi for rhythm. The host shares personal anecdotes and experiences, highlighting the importance of creating a classroom environment where students are encouraged to explore and solve musical problems on their own. This approach not only reduces teacher burnout but also fosters a deeper understanding and appreciation of music among students.

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

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Seven years ago, Choralosophy was an experiment. Today, it’s a career. It is a job, no different than your job, albeit a bit more public. Today is the show’s 7th birthday. Here is what I’ve learned:

As I hit this milestone, I’ve been reflecting on how the landscape of “online work” has shifted—and how it hasn’t. I have also learned that many gatekeepers exist within the legacy of our art form. It is a system of hierarchy I have spoken on before and am quite familiar with. And it isn’t entirely unreasonable. Every industry and academic discipline will, over time, develop traditions related to “who gets to speak?” The gate being kept is usually related to legitimacy. “Online presentations” vs. “convention presentations” would be an example in today’s Choral Music world. One is seen as legit, and the other clickbait. Or, put another way, did someone “ask for you opinion?” or “did you just post it online unsolicited.” In my case, it’s both… Seven years ago, no one asked. I just started posting. But now, people ask… The problem is, that this is not the normal process a generation of music educators were raised to envision career building. We were raised to build our influence and success through professional organizations and institutions. Not the internet. But, here we are. Read the rest of this piece on Substack for FREE!

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

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When I scroll around the internet, I see more and more examples of great choir rehearsals going on around the world. It’s an exciting time to be a member of this profession! But, it also gives me a sense of how hard we all are working to get sound out of kids. Do we need to be?

Or, do we have a hero complex of sorts that we need to work out with our therapists. I know I did in the early years. In my Masters Conducting recital, I was told that “it looked like I was working way harder than the singers.” In my first, 5-6 of teaching I was absolutely working harder than anyone in the room.

If a note or rhythm was going to be right, it would be because I played on the piano or sang it. I was the barrier to learning when I was wrong, and the gateway to learning when I was right. ALL of the weight of the learning fell on me. I was falling on my sword every day and didn’t know it. My job isn’t that way at all anymore. Now, I teach them TOOLS, and let them build the music with them. It is also hard work. But, I no longer feel like I am the only one working. Class is more fun, we laugh more, kids focus more, get in less trouble, and the final product is better. So, lets dig into why that is.

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

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Did you you can bring Chris and a Choralosophy discussion, lesson or presentation to YOU?! Just click this link and begin the discussion!

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Pedagogy, it could be argued, is a meaningless academic fantasy if it isn’t proficiently applied. In music, we can do all of the “right” methods. Solfege, Takadimi, count singing etc. But, does it matter if they can’t use it to make music?

In this next iteration of the “The First Days of Choir,” inspired by Harry Wong’s educational text “The First Days of School” we get to be a fly on the wall during a discussion I had with a group of teachers not too long ago. We can start the year off right, and still lose momentum if we are not A. Assessing for understanding and proficiency, and B. showing kids that they CAN apply the skills they learned first semester.

Here, we unpack “whole language proficiency” and the auditory skills we want to develop. I will emphasize the importance of student-led sectionals, individual assessments, and creating a supportive learning environment to build confidence and resilience in young musicians. The discussion also covers grading philosophies, addressing student anxiety, and integrating sight reading into rehearsals to enhance overall performance and learning outcomes. At the end, you will even hear a portion of my “rehearsal bootcamp” that I love to do with teachers in workshops to have them “feel” these processes first hand.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Did you you can bring Chris and a Choralosophy discussion, lesson or presentation to YOU?! Just click this link and begin the discussion!

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Don’t you love it when everything about a performance, and it’s preparation is completely perfect?! Well, it must be nice for you… I am pretty sure this does not exist. But, we can pretend with this new epic poem, “The Perfect Choir.”

In this episode, we reflect on the year 2025 and its most critical conversations. The episode recaps the top 10 episodes of the year, highlighting audience engagement and the evolution of the the Choralosophy name into a multimedia platform. Key themes include the importance of setting expectations in choir, the value of behind-the-scenes insights, philosophical debates in music education, and the challenges faced by educators. The host emphasizes the need for intentional teaching practices and the significance of understanding vocal pedagogy.

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

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“Education’s Race to the Bottom of the Brainstem,” episode 264 generated a lot of discussion. But, none more productive than this one. This week’s guest did it right. She listened, and let me know that more needs to be said on this. “Can I chime in?” Enter, Dr. Clelyn Chapin

Dr. Chapin, a professor at University of Northern Colorado and I discuss the evolving landscape of education, particularly in music education. We explore the challenges teachers face in engaging students, the impact of technology on learning, and the importance of authenticity in teaching. The discussion also delves into the role of risk tolerance in student participation, the significance of meeting students where they are, (what that means, and what it does NOT mean) and the concept of gamification as a tool for enhancing learning experiences. Throughout the conversation, we both emphasize the need for teachers to adapt their methods to better connect with students and foster a positive learning environment. We take the first volley of the conversation from a previous episode and move the ball forward. Be sure to go back and catch that one if you missed it.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Dr. Clelyn Chapin serves as the Associate Director of Choirs at University of Northern Colorado where she leads choral ensembles and teaches courses in choral music education. As a frequent presenter and clinician, Clelyn focuses on non-hierarchical rehearsal practices and making individual vocal technique accessible and efficient in the choral rehearsal. Her scholarly work centers on creating collaborative rehearsal spaces and amplifying the work of women composers. You can read her contributions in the recently published Choral Literature of Women Composers or listen to her performances with mirabai, a professional treble choir conducted by Sandra Snow, on Spotify.

In addition to her work in schools, Clelyn is committed to expanding arts access for the community. In 2024, Clelyn was recognized with the Colorado Business Committee for the Arts (CBCA) Next Wave Leadership Award for her work with the Denver Women’s Chorus that she conducted from 2021-2025. Under her leadership, the chorus expanded from 70 to 180 active singers becoming the largest treble ensemble in the country and partnered with many nonprofits to amplify the voices of organizations that promote mental health, housing access, and care for the environment. She now conducts the Greeley Chorale in its 61st season.

Before joining the faculty at UNC, Clelyn spent 14 years teaching and conducting secondary, collegiate, and community ensembles in Texas, Colorado, and Michigan. During that time, her choirs were invited to perform at state conferences, and she developed a reputation for her engaging and inclusive approach to choral rehearsal. She completed her Doctor of Musical Arts in Choral Conducting at Michigan State University, studying under Dr. David Rayl and Dr. Sandra Snow, and holds a Master of Music Education from the University of Northern Colorado. When she’s not conducting, she enjoys hiking, reading with her cat, and beating her husband at pickleball.

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The Choral Music Art form, AND the economics of the art form are changing. That makes some people uncomfortable. But, others, like Jocelyn and Tim are driving their fair share of that innovation.

Jocelyn Hagan and Tim Takach, co-owners of Graphite Publishing, discuss their journey in the choral music industry, the evolution of their publishing company, and the challenges and joys of collaborating as spouses. They explore the impact of digital sheet music, the balance between traditional and contemporary music, and the importance of new compositions in education. The duo shares insights into their creative process, particularly in the creation of their new work ‘Rose Ever Blooming,’ and their experiences recording with the renowned ensemble Voces8. Throughout the discussion, they emphasize the significance of innovation in choral music while respecting its rich traditions.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Jocelyn Hagen composes music that has been described as “simply magical” (Fanfare Magazine) and “dramatic and deeply moving” (Star Tribune, Minneapolis/St. Paul). She is a pioneer in the field of composition, pushing the expectations of musicians and audiences with large-scale multimedia works, electro-acoustic music, dance, and opera. Her melodic music is rhythmically driven and texturally complex, rich in color and deeply heartfelt. A champion of the female spirit, many of her projects focus on the stories of women. She is a co-founder of Graphite Publishing and the band Nation, singing her heart out every chance she gets.

Inspired by narrative, magical realism, speculative fiction and making better humans through art, the music of Timothy C. Takach is a mainstay in the concert world. Applauded for his melodic lines, text choices and rich, intriguing harmonies, his compositions are performed worldwide. He is a co-founder of Cantus, Graphite Publishing and Nation, and he is a co-creator of the theatrical production All is Calm: the Christmas Truce of 1914. Takach has frequent work as a composer-in-residence, presenter, conductor, clinician and lecturer

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Possibly the most important philosophical divide in music education, and we rarely discuss it outside of echo chambers. A deep dive into the claim that Classical Music is “hegemonic” or dominant.

Some music academics operate as if “classical music” sits at the center of cultural power, imposing itself on everyone else in an oppressive way that snuffs out other ways of making music and acquiring musical knowledge. This idea is ubiquitous in music education scholarship, literature and online discourse. But, when we dig in just a bit to this idea, we find a plethora of shifty definitions of “hegemony” and even of “Classical Music itself.

When you zoom out from the music buildings and campuses many of us inhabit, and look at the musical world people actually live in, the claim of “hegemony” collapses instantly.

What the data actually shows is something far less dramatic and far more important:

Classical music is not dominant. It is fragile. It survives only because institutions choose to preserve it.

That is not cultural hegemony.
That is crucial stewardship.

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READ THE EPISODE IN BLOG FORM!

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

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There are some fascinating philosophical divides in Music Education. And we don’t discuss them enough. What does “inclusive” music education really look like?

Shane Colqohoun is an instrumental music educator who possesses a rare super power. He can recognize areas where he both agrees AND disagrees with the philosophies of others, and is not scared off by the conversation. His social media presence really challenges us to rethink our approach, just as he does in this episode.

In this lively, back and forth discussion, Shane and I compare notes on our philosophies of music education, exploring the importance of inclusivity, bridging gaps between student interests and school programs, and even the role of music notation. We emphasize the need for innovative approaches to teaching music appreciation and the significance of creating spaces where all students feel valued. The discussion also touches on the barriers to expanding music education and the necessity of adapting teaching methods to meet diverse student needs.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Shane Colquhoun, PhD., is a music educator, producer, and mentor dedicated to helping students discover their creative voice. An Assistant Professor of Music Technology and Contemporary Music Styles at Alabama State University, he blends traditional music education with modern approaches that highlight student creativity and innovation. He has years of experience as a successful band director, guiding ensembles to excellence while fostering inclusive, student-centered spaces. He has published in the Journal of General Music Education (formerly General Music Today) and the Media Journal in Music Education, and is the author of The Producers of Pop: A Comprehensive Plan for Studying Popular Music Producers. He also serves on the Editorial Board for the Journal of Music, Technology & Education. Dr. Colquhoun is Chair of NAfME’s Council for Innovation, Research Chair for the Alabama Music Educators Association, and a Board Member for the Association of Popular Music Education.

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Young teachers bailing from the classroom within the first 5 years is an epidemic. Many things contribute to this, but one factor is the expectations young teachers bring in. Are they always realistic?

Mitch is a young conductor and teacher who believes, in his own words, “that he sucks dog-water” at teaching. So, two years into a new career as a music educator, he stepped out of the classroom. He made a post on FB recently that got my conversation. He graciously agreed to vulnerable here for me and the Choralosophy audience.

In this conversation, Mitch and I discuss the challenges faced by choir directors, particularly the feelings of inadequacy and the struggles with classroom management and student engagement. Then explore Mitch’s personal experiences in teaching, the expectations placed on music educators, and the importance of structuring effective rehearsals. The discussion also delves into communication strategies for giving concise directions and enhancing vocal warmups, ultimately emphasizing the shared struggles of educators in the field.

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

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Mitch Al-Ubaidi is a musician and educator based in south-central Wisconsin. A graduate of the University of Wisconsin–Oshkosh, Mitch has always had a passion for music, spanning from guitar, piano, and choral music to music production and DJ-ing. His vocal experience includes singing with university and professional choirs, and he currently serves as director and founding member of the Rock River Singers. Previously, Mitch taught middle school choir for two years and has also served as the Bass Clef Chair for the Wisconsin Choral Directors Association (WCDA). His work reflects a lifelong commitment to making and sharing music in a variety of forms and styles.

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“We need to go beyond compliance in evaluations.” How many teachers experience administration in their classroom for the purpose of understanding their day to day, rather than to check a box? Justin Baeder advocates a different approach.

“Tradition often hinders innovation in education.” Teacher evaluations not only create unproductive incentives, but rarely result in meaningful, content specific feedback.

Justin Baeder is the CEO of “The Principal Center” and is an active education communicator. You can find his newest venture on Substack at The Teaching Show.

In this conversation, Justin Baeder and I discuss various aspects of educational leadership, focusing on the importance of classroom walkthroughs, the need for meaningful teacher evaluations, and the challenges posed by tradition in education. We explore the role of trust between teachers and administrators, the impact of COVID-19 on classroom dynamics, and the necessity of effective discipline policies. Additionally, they delve into innovative approaches to music education, emphasizing the significance of treating music as a language and developing new pedagogical methods to support all students.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Justin Baeder, PhD is Director of The Principal Center, where he helps senior leaders in K-12 organizations build capacity for instructional leadership. A former principal in Seattle Public Schools, he is creator of the Instructional Leadership Challenge, which has helped more than 10,000 school leaders in 50 countries around the world:

• Confidently get into classrooms every day
• Have feedback conversations that change teacher practice
• Discover their best opportunities for school improvement

Dr. Baeder is the author of Now We’re Talking! 21 Days to High-Performance Instructional Leadership, and the co-author, with Heather Bell-Williams, of Mapping Professional Practice: How to Develop Instructional Frameworks to Support Teacher Growth (Solution Tree).

He is the host of Principal Center Radio, a podcast featuring education thought leaders, and the founder of Repertoire, the professional writing app for instructional leaders.

He holds a PhD in Educational Leadership & Policy Studies from the University of Washington and an MEd in Curriculum & Instruction from Seattle University, and is a graduate of the Danforth Program for Educational Leadership at UW

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Hey I didn’t say it… But some think it. We are Better Conversation Activists here. And this episode is a CALL TO ACTION! I want to hear from you about what topics you want next in year 7!

In this episode, we call for YOU to be more vocal in the platform’s discussion, and discuss the concept of conversation activism, emphasizing its importance in the music education profession. The conversation explores the need for better communication norms among colleagues, the role of music education in teaching conflict resolution, and the challenges posed by social media in fostering meaningful dialogue. I discuss the need for a culture of curiosity and understanding, encouraging you to fill out the form on the MAIN PAGE and suggest an episode topic!

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

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I did not coin this phrase. I borrowed from former Google Exec Tristan Harris. Social media companies are trying to outcompete the others for attention by appealing to ever more primal drives, dragging human cognition “down the brain stem” instead of cultivating critical thought. Is Education falling into the same trap?

On Facebook, X and Substack this week, I posted some thoughts that started a LOT of conversation.

“Maybe the most unhealthy thing we teach teachers, is that if the cheap dopamine addicted teens in their room are not brimming with excitement during your class, you are “failing to engage them,” as if students do not bear any responsibility for their own engagement.

This belief causes teachers to seek to gamify instruction, find gimmicks, cut corners, dumb down and reduce the load. But, more tragically, it causes young teachers with potential to be great teachers to give up and change professions.

The reality is that it is not a fair expectation for teachers to compete with “the entertainment value of a cell phone.” With quality instruction, often times, the dopamine hit may take days, or weeks to finally drop. This should be encouraged, supported and reinforced.”

This issue has come up on the channel before. First in my review of the “Anxious Generation” book, and from many concerned colleagues since. In this episode we dive into the colleague conversation, and discuss strategies possible solutions in YOUR classroom!

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

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Group vocal tips, and singing instructions can be a mine field. Every voice in the room is different. It really is possible to say things in a choir rehearsal that helps one singer gets better, while making ten worse. Let’s be careful!

This episode is sourced from a recent professional development I gave for Wentzville, MO school district. The focus was Vocal Pedagogy concepts specific to a group setting. The crucial jumping off point is that our knowledge of our OWN voice does not qualify us to instruct the voice of others.

The choir teachers of the district and I delve into the complexities of teaching singing to children, particularly in group settings. We explore the unique challenges faced by vocal instructors, including the need for individualized instruction, the importance of understanding vocal anatomy, and the impact of language on teaching methods. The presentation emphasizes the significance of fostering a supportive environment for young singers, encouraging them to explore their voices while navigating the intricacies of vocal pedagogy. If you want to hear the rest of this presentation and others from that PD day as well as my full collection of PD sessions, become a paid subscriber on Patreon or Substack!

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

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The name “Jo Michael Scheibe” has been known to many in the world of choral music for decades for more than just the sound of his choirs. The Jo-Michael Scheibe Choral Series is one of the richest and most thorough curations of the art form available.

Choosing repertoire can often be a “needle in a haystack” type of process. But Dr. Scheibe has it down to a science. His series began in the 1990s, and many of us in the profession, including myself, may have known his name from the cover of a TON of octavos before we knew his phenomenal work with his choirs. He sets the premise bluntly: “Well, number one, I think I look at my choir. I need to know what my choir is composed of so that I don’t frustrate them. If I don’t have low C’s … Rachmaninoff is not going to work.”

From there, we get practical about process.We dig into musical literacy and materials that actually fit the ensemble. Finally, we talk pacing and philosophy—why sometimes themes can be good, but also can be limiting, and how tricky it can be to create a philosophical hierarchy of programming that balances the needs of your singers with other needs like diversity of time, culture, sound etc as well as with the ever present need to please our colleagues.

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

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Find the Series Here:

Walton Music: 

Santa Barbara Music Press: 

Colla Voce: 

Pavane: 

Hal Leonard: 

Jo-Michael Scheibe

Jo-Michael Scheibe chaired the Department of Choral and Sacred Music at the USC Thornton School of Music from 2008 to 2020 and continued to teach and conduct as a full-time professor in the department until the end of December 2022, and awarded the title Professor Emeritus of Choral Music. Scheibe served as National President of the American Choral Directors Association (ACDA) (2011-2013), Western Division President (1991-1993), and National Repertoire and Standards Chairperson for Community Colleges (1980-1989). He served as a member of the board of the International Federation for Choral Music (2020-2023). 

Ensembles under his leadership sang at seven national ACDA conventions, two national conventions of the National Association for Music Education (formerly MENC), the National Conference of the National Collegiate Choral Organization, and the World Choral Symposium in South Korea. He remains professionally active as a conductor and teacher. 

Scheibe collaborated with Luciano Pavarotti, José Carreras, the Rolling Stones, Sir Elton John, the Eagles, and Kenny Loggins and has prepared choruses for Helmuth Rilling, Sir Colin Davis, Michael Tilson Thomas, James Judd, Carl St. Clair, Jeffrey Kahane, and Jamie Martin. Recordings of his ensembles are available on the Albany, Cane, Centaur, NAXOS, Arsis, and ANS labels. 

Music publishers Walton, Colla Voce, Hal Leonard, Santa Barbara Music, and Pavane distribute the Jo-Michael Scheibe Choral Series internationally. Scheibe was the editor and co-authored Teaching Music Through Performance – Choir Volume 4 and Teaching Music Through Performance – Choir Volume 5.

In April of 2023, Scheibe was named one of the fourteen US Fulbright Scholars in Ireland for 2023-2024. His home base was north of Dublin, in Balbriggan, at the Irish Institute for Music and Song for Fall 2023. He conducted the IIMS Chamber Choir at the Institute, and Còr Fingal taught a Conducting Course. During the Fall of 2023, Scheibe was active throughout Ireland and Northern Ireland, working with ensembles of all levels, lecturing, and visiting choirs throughout Ireland. Jo-Michael Scheibe received his DMA from USC (1985) and earned his BA and MM degrees from California State University at Long Beach, where he was named a Distinguished Graduate.

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Many choir directors share warm ups and other activities in the form of video clips. But few have gained as much traction as Jonas Rasmussen. Tune in to find out why, and to go behind the scenes and in depth on these awesome exercises!

You may know him as The “Choir Conductor” on Instagram. In this episode, Jonas Rasmussen, a choral director from Denmark, joins the Choralosophy Podcast to discuss his journey in choral music, the cultural differences in choral practices between Denmark and the US, and his innovative approach to choir warm-ups. Jonas shares his experiences studying in Sweden and the UK, his work with youth and adult choirs in Aarhus, and his viral success on Instagram with choir warm-up videos. The conversation delves into the challenges of choral conducting education in Denmark, the importance of embracing failure in rehearsals, and the unique Danish tradition of communal singing from the Folk High School Songbook. Jonas and the Chris also explore the concept of ‘blend’ in choral music and the impact of linguistic heritage on singing styles.

• The impact of cultural differences on choral practices in Denmark and the US.
• Jonas’s innovative approach to choir warm-ups and his viral Instagram success.
• The challenges of choral conducting education in Denmark and the lack of institutional support.
• The importance of embracing failure in rehearsals to foster growth and learning.
• The unique Danish tradition of communal singing from the Folk High School Songbook.
• The concept of ‘blend’ in choral music and its different interpretations.
• The influence of linguistic heritage on singing styles and choral sound.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Jonas Rasmussen (b. 1992) is a Danish conductor, composer, content creator and educator, widely recognized for his ability to combine artistic ambition with playfulness and accessibility. He serves as Artistic Director of Academic Choir Aarhus and Youth Choir Aarhus U, both award-winning ensembles with whom he has achieved significant international success, including victories at the World Choral Championship in Tokyo, European Choir Games and Let the Peoples Sing.

Educated in choral conducting at the University of Cambridge, the Royal College of Music in Stockholm and the Royal Academy of Music in Aarhus, Jonas has quickly established himself as one of the most distinctive choral voices of his generation. He has worked with professional ensembles such as The King’s Singers and Ars Nova Copenhagen and is in high demand as a workshop leader throughout Europe.

Beyond performance, he is committed to education and mentorship. Since 2021 he has taught classical choral conducting at the Royal Academy of Music Aarhus, and since 2025, he has shared content about choral music online for a wide international audience with a following of 100.000 across platforms and millions of views.

His work combines artistic excellence with accessibility, fostering community and innovation in choral music.

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Much is said about gender disparity and imbalance in the Arts and Education. But, this week, our guest gets personal by sharing some specifics. The microagressions of a male-dominated profession.

In this conversation, Dr. Nicole Mattfeld discusses her experiences as a female choral conductor, highlighting the challenges of gender bias, societal expectations, and the impact of appearance on professionalism in the arts. She shares personal anecdotes about being judged based on her looks rather than her skills, and emphasizes the need for open dialogue about microaggressions and accountability in the music community. The discussion also touches on the importance of increasing female representation in leadership roles within choral music and the performing arts.

• Judgment based on appearance is a recurring theme in her career.
• Microaggressions can undermine confidence and professional credibility.
• Women in music often face different standards and expectations than men.
• The importance of open communication in addressing inappropriate behavior.
• Social media has changed the dynamics of professional interactions.
• Accountability is crucial in addressing harassment in the arts.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Dr. Nicole Mattfeld is Director of Choral Activities and Assistant Professor of Music at Alma College in Michigan, where she conducts three choral ensembles and teaches courses in conducting and music education. She also serves as the Music Worship Director at Redeemer Church in Dewitt, MI. With a passion for creating lifelong singers and expressing the human condition through singing, Nicole’s varied musical experiences have included working with university, secondary, community adult and youth choirs, as well as various church ensembles and community orchestras. Prior to Alma College, she served as Assistant Professor of Music at Bethel University, Director of Youth Choirs for Minnesota Chorale, Artistic Director & Conductor of Minnesota Center Chorale, Chorus Director for Central Lakes Symphony Orchestra, and Director of Bella Fiore with Sing Out Loud. Before this, she taught secondary choir for over a decade and worked as a hospice therapeutic musician.

A sought-after clinician, Nicole is active across the United States working with schools as a guest conductor and adjudicator at music festivals and conferences. Her choirs have performed nationally and internationally, and she will make her conducting debut at Carnegie Hall with MidAmerica Productions in Spring 2027. Nicole currently serves on the board of American Choral Directors Association (ACDA) of Michigan. She has previously held positions on the boards of ACDA-MN and Minnesota Music Educators Association.

Nicole holds a Doctorate of Music Education degree from Liberty University. Her research is focused on the scientific benefits of music, specifically utilizing HeartMath techniques to enhance heart coherence and physiological entrainment in the choral ensemble. Nicole also has a MM in Conducting from Colorado State University and a BFA in Choral Music Education from University of Wisconsin-Milwaukee.

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What is the POINT of a solid, well installed, Choral/Vocal Pedagogy for young people? Why does it matter? Just to make good performers? Or is it something deeper…

The episode is the sixth part of a series titled “The First Days of Choir,” inspired by Harry Wong’s educational text “The First Days of School.” In this episode, we engage in a thoughtful discussion on the role of anti-fragility in education. We explore how facing challenges can help students grow and adapt. Through the lens of art, we consider ways to build the whole person, integrating creativity and critical thinking into the curriculum. Join us as we explore strategies to nurture adaptable, well-rounded individuals in an ever-changing world. The strategies for teachers included in the episode address both personal balance with the job, but also the value of authenticity in the classroom and its role in our mental health.

Segments were pulled from one of the most popular presentations in the Choralosophy Repertoire called “Maximize You” originally presented at Alabama ACDA.

• Excerpts from popular “Arts of Personhood and Shining Eyes” Presentation
• Reframing concepts from the first 5 episodes into a cohesive end goal.

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

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Did you you can bring Chris and a Choralosophy discussion, lesson or presentation to YOU?! Just click this link and begin the discussion!

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Even when all the plans are best laid, we sometimes miss. How do we reflect and redirect before we lose the whole school year?

The episode is the FIFTH part of a series titled “The First Days of Choir,” inspired by Harry Wong’s educational text “The First Days of School.” This particular episode, part five, shifts focus from Wong’s general educational strategies to more music-specific elements relevant to vocal and music educators at the start of the school year. Chris shares insights and live clips from their own choir classes, highlighting experiences with different groups, including an intermediate group in their second year, a third-year group, and an advanced chamber choir. The episode also includes a reflective segment where we discuss the challenges and opportunities of starting a new school year, emphasizing the importance of a strong start and offering encouragement to educators.

• VOICING IDEAS! Discussion on how to get kids plugged in to successful sound making right away.
• Clips of the first day of school in an actual choir room!
• Reflection on the start of the year and how to redirect when it’s not going well.

🎧 Tune in now on YouTube or your favorite podcast app!

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

Be Sure to Find Choralosophy on TikTok!

For future rehearsal clips, find me on TikTok, Insta and Facebook

Harry K. Wong authored over 130 publications, including the leading book in education on how to start THE First Days of School, a monthly column in an online site for teachers, a CD set, and books on new teacher induction, classroom management, and instruction.  He co-created an eLearning course on classroom management and appeared in the award-winning video series, The Effective Teacher.

His techniques have been adapted by thousands of educators for success in their schools and classrooms.  He was called “Mr. Practicality” for his common sense, research-based, no cost approach to managing a classroom for high-level student success.

His many journal articles were featured in such publications as Educational Leadership, KAPPAN, Principal Leadership, NASSP Bulletin, American School Board Journal, Kappa Delta Pi Record, School Business Affairs, Education Week, and Instructor.

He was credited with transforming schools and turning around the lives of tens of thousands of teachers. 

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A an honorary addition to the “First Days of Choir Series” could not have been more serendipitous.

In this episode, the two researchers and I delve into effective strategies for teaching musical expression with experts Craig Hurley and Rebecca Atkins. We explore how integrating expression from the start can transform choir performances, and learn about innovative techniques such as using physical movements to teach dynamics, the importance of auditory cues, and the role of emotional connection in music. I learn a lot about how to engage students with both auditory and visual elements, and get to hear inspiring stories about fostering creativity and expression in young musicians. Whether you’re a seasoned conductor or new to teaching, this episode offers valuable insights and practical tips to elevate your teaching approach.

• Teaching expression should start from the beginning of the learning process.
• Visual elements can enhance auditory expression but must align with it.
• Building a musical expressive vocabulary is essential for students.
• Engaging students in the creative process can lead to better musical outcomes.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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

Craig Hurley is currently in his second year as the Artistic Director of the Spivey Hall Children’s Choir Program, where he leads both the Children’s Choir and the Tour Choir. Prior to this role, he led the Spivey Hall Young Artists, the preparatory ensemble of the organization, for 18 years. Dr. Hurley has been a guest clinician for honor choirs across the southeastern United States and is the immediate past president of the Georgia Chapter of the American Choral Directors Association.

In addition to his role at Spivey Hall, Dr. Hurley serves as the music specialist at Ford Elementary School in Cobb County, Georgia, where he instructs general music for students in kindergarten through fifth grade. He has led interest sessions at various state, regional, and national conferences including the 2024 ACDA Children’s & Community Youth Choir Conductors’ Retreat. His research focuses on expressive choral performance pedagogy and has been published in the International Journal of Research in Choral Singing, Bulletin of the Council for Research in Music Education, & The Choral Journal among others. Dr. Hurley was honored as the Teacher of the Year in both 2002 and 2016, and he was recognized as the 2020 Cobb County Elementary General Music Teacher of the Year. In 2021, he was named the Educator of the Year by the Georgia Music Educators Association.

Dr. Hurley earned his degrees from Shorter College, Berry College, and the University of Georgia.

Rebecca L. Atkins is an Associate Professor of Music Education (Vocal/Choral) and was awarded the General Sandy Beaver Professorship 2022-2024. Previously she was the Assistant Professor and Coordinator of Music Education at the University of Tennessee-Chattanooga (2013-2016) where she supervised student teachers, conducted Women’s Chorale, and taught Choral Methods, Design, Instruction, and Evaluation for Music Education, and Ear-training. She also taught graduate courses in Psychology of Music, Research Methods in Music Education, and supervised projects and thesis. She received her Ph.D. in Music and Human Learning at The University of Texas at Austin (2013), an M.M. in Choral Conducting at Missouri State University (2008), and a B.M. in Music Studies at The University of Texas at Austin (1994).

Dr. Atkins is an active clinician, adjudicator, performer, and music education researcher. Her current research focuses on the effects of attention on vocal tone quality. She is also drawn to research questions that pertain to the development of performance skills and the refinement of pedagogy. Before her collegiate career, Atkins successfully directed middle school and high school choir programs for 14 years in the public school systems of Texas, Alabama, and Tennessee, earning superior and excellent ratings consistently at competitions.

Spivey Hall Children’s Choir Program: https://spiveyhall.org/education/childrens-choir/ Hurley Personal Teacher PD Page: https://express.adobe.com/page/C995ybF6tQiWP Rebecca Atkins UGA https://music.uga.edu/directory/people/rebecca-atkins

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“In an effective classroom, students should not only know what they are doing, they should also know why and how.”- Harry Wong.

In this episode, we delve into the critical role of repertoire selection in shaping music education. Discuss with me how the right choice of music can inspire, challenge, and elevate both students and the educators. We will explore expert insights from Harry Wong, share success stories and failures, and uncover the transformative power of a well-curated repertoire.

Whether you’re a seasoned conductor or a budding choir director, this episode offers valuable perspectives to enhance your choir’s journey. Tune in and let the music guide you! 🎵

• Principles from Harry Wong related to selecting our learning materials
• Strategies for aligning repertoire selection to later learning
• The importance of teaching classroom procedures THROUGH the repertoire

🎧 Tune in now on YouTube or your favorite podcast app!

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

Be Sure to Find Choralosophy on TikTok!

For future rehearsal clips, find me on TikTok, Insta and Facebook

Harry K. Wong authored over 130 publications, including the leading book in education on how to start THE First Days of School, a monthly column in an online site for teachers, a CD set, and books on new teacher induction, classroom management, and instruction.  He co-created an eLearning course on classroom management and appeared in the award-winning video series, The Effective Teacher.

His techniques have been adapted by thousands of educators for success in their schools and classrooms.  He was called “Mr. Practicality” for his common sense, research-based, no cost approach to managing a classroom for high-level student success.

His many journal articles were featured in such publications as Educational Leadership, KAPPAN, Principal Leadership, NASSP Bulletin, American School Board Journal, Kappa Delta Pi Record, School Business Affairs, Education Week, and Instructor.

He was credited with transforming schools and turning around the lives of tens of thousands of teachers. 

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“Assessment continues learning,” -Harry Wong. When we are making decisions about what gets “graded” it is important first to decide, “what is crucial?” This list might be different for all of us. But if it isn’t crucial, don’t grade it.

Audience members Bruce Rockwell, Chy Billings and Laura Huizinga feature some of their “First Days” go to tips!

In part 3 of the “First Days of Choir” series, we are talking about grading. There are different philosophies related to grading. Some even want to not “grade” at all, others want grading to be more traditional. This episode attempts to chart a bit of a “middle path.” We need to incentivize students to work hard using language they (and their parents) understand. And they understand the need to get good grades.

However, there are real and legitimate criticisms of traditional grading in schools. This episode seeks to thread the needle by providing both the incentives AND the feedback students need from our grade books.

• Description of various assessment examples and grading procedures
• Access to rubrics and syllabi for paid subscribers
• Strategies for building a grading system that students understand, Admin can support, and parents can learn (if they decide to read it.)

🎧 Tune in now on YouTube or your favorite podcast app!

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

Be Sure to Find Choralosophy on TikTok!

For future rehearsal clips, find me on TikTok, Insta and Facebook

Harry K. Wong authored over 130 publications, including the leading book in education on how to start THE First Days of School, a monthly column in an online site for teachers, a CD set, and books on new teacher induction, classroom management, and instruction.  He co-created an eLearning course on classroom management and appeared in the award-winning video series, The Effective Teacher.

His techniques have been adapted by thousands of educators for success in their schools and classrooms.  He was called “Mr. Practicality” for his common sense, research-based, no cost approach to managing a classroom for high-level student success.

His many journal articles were featured in such publications as Educational Leadership, KAPPAN, Principal Leadership, NASSP Bulletin, American School Board Journal, Kappa Delta Pi Record, School Business Affairs, Education Week, and Instructor.

He was credited with transforming schools and turning around the lives of tens of thousands of teachers. 

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We often say we value diverse voices in the choral world, but programming habits don’t always reflect that. What are the biggest structural or cultural barriers still keeping women composers under-programmed?

We say we want a more inclusive choral canon—but for too long, women composers have been treated like a sidebar or a “special item to seek out for program diversity.” This week on the podcast, I sit down with Hilary Apfelstadt and Alan Davis, editors of Choral Repertoire by Women Composers, to talk about what it really means to reshape the repertoire.

This isn’t an episode about a book. It’s a challenge to the way we define “core literature,” and a call to stop letting convenience or tradition shape our programming.

If you’ve ever thought, “I’d include more women—if I just knew where to start,” this is where you start.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Dr. Hilary Apfelstadt is Professor Emerita of Choral Studies at the University of Toronto. She remains active as a guest conductor, clinician, masterclass presenter, and author. She has served ACDA as interim Executive Director, National President, Central Region President, NC-ACDA President, and has received leadership awards from both ACDA (NC-ACDA, Ohio-ACDA, Central Region, Midwestern Region) and also Choirs Ontario in Canada. She has taught public school, community, and church choirs and was a faculty member at the University of North Carolina-Greensboro and the Ohio State University. Her ensembles have performed at conferences of ACDA and Choral Canada, and she has guest conducted many festival choirs, including 40 all-state choirs in the U.S., and the National Youth Choir of Canada. She curates a choral series by Canadian composers for Hinshaw Music, and recently edited Choral Repertoire by Women Composers (GIA Publications, 2025), for which she also wrote several chapters.  

Alan Troy Davis is a conductor, music educator, tenor, and voice teacher whose career bridges secondary and higher education, sacred and secular choral leadership, and the intersections of performance and scholarship. He is currently completing a Doctor of Musical Arts (D.M.A.) in Choral Conducting at the University of Nebraska–Lincoln, where he has served as Head Graduate Conducting Assistant. His responsibilities have included leading four university ensembles, conducting two full productions of Amahl and the Night Visitors, and teaching advanced undergraduate conducting.

With more than a decade of conducting and teaching experience, Davis has worked extensively with high school choirs in Oregon, Colorado, and California, earning consistent recognition for his ensembles’ vocal flexibility, musical expressiveness, and inclusive ethos. He has also directed church and community choirs and is regularly invited as a guest conductor, clinician, and adjudicator throughout the United States.

Davis is extensively trained in both vocal pedagogy and choral methods, and he integrates technical vocal development with expressive artistry in every rehearsal and performance. His research interests include choral intonation, conducting pedagogy, Renaissance and Baroque performance practices, and the role of vocal technique within the choral ensemble.

A committed advocate for equity in the arts, Davis is the primary architect, associate editor, and contributing author of Choral Repertoire by Women Composers (GIA Publications, 2025), a groundbreaking resource that highlights the work of women—including transgender women—within the choral canon. At the 2025 American Choral Directors Association National Conference, he co-presented the interest session In Her Voice: Spotlighting Female Choral Composers, contributing to the national conversation on inclusive programming and representation.

His mentors include Dr. Donald Brinegar, Dr. William Belan, Dr. Christopher Gravis, and Dr. Peter Eklund—each of whom has shaped his approach to artistry, pedagogy, and leadership.

Davis also holds degrees from California State University–Los Angeles (M.M. in Choral Conducting), Portland State University (M.Ed. in Secondary Education), and Pacific Lutheran University (B.M.A.). Through his work, he strives to create musically rigorous and emotionally resonant spaces where students feel empowered to grow, explore, and connect through the choral arts.

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“It could be dangerous to teach the way you were taught.”-Harry Wong. Research is not something only scientists do. Businesspeople do research; so do baseball players, chefs, plumbers, lawyers, dentists, artists, and actors. Students, when they write term papers, do research. To search and search and search, over and over again. That is why it is called re-search.

In the second installment of the series, we are hopping around in the book a bit to Unit C related to infrastructure. But first, we will start with where we left off last time. “Why You Should Use Proven, Research-Based Practices.”

This conversation delves into the essential elements of effective classroom management and teaching strategies in the context of music education. It emphasizes the importance of classroom infrastructure, maximizing student learning, and minimizing misbehavior and distractions through effective management techniques. The discussion also covers the significance of setting up the classroom for success on the first day, fostering student engagement, and building a positive environment.

• Classroom infrastructure is crucial for effective teaching.
• Engagement is key to preventing classroom management issues.
• Clear expectations help students understand their responsibilities.
• Communication with parents is vital for student accountability
• Seating arrangements can impact student involvement and learning.
• Preparation for the first day sets the tone for the entire year

🎧 Tune in now on YouTube or your favorite podcast app!

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

Be Sure to Find Choralosophy on TikTok!

For future rehearsal clips, find me on TikTok, Insta and F

Harry K. Wong authored over 130 publications, including the leading book in education on how to start THE First Days of School, a monthly column in an online site for teachers, a CD set, and books on new teacher induction, classroom management, and instruction.  He co-created an eLearning course on classroom management and appeared in the award-winning video series, The Effective Teacher.

His techniques have been adapted by thousands of educators for success in their schools and classrooms.  He was called “Mr. Practicality” for his common sense, research-based, no cost approach to managing a classroom for high-level student success.

His many journal articles were featured in such publications as Educational Leadership, KAPPAN, Principal Leadership, NASSP Bulletin, American School Board Journal, Kappa Delta Pi Record, School Business Affairs, Education Week, and Instructor.

He was credited with transforming schools and turning around the lives of tens of thousands of teachers. 

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“You will be able to be successful, because what we do here works.” Day 1 is when the indoctrination begins. You heard it here. We ARE indoctrinating students… into believing that they can sing and be GOOD at it. This begins on the first day of school.

Harry and Rosemary Wong literally “wrote the book” on this. It was formative for me, so I decided to mine this book again for wisdom that is directly applicable to choir teachers.

Part 1 of this Mini-Series focuses on the essential strategies for choir teachers to establish a successful classroom environment from the very first day of school. It emphasizes the importance of creating a nurturing and predictable atmosphere, understanding the stages of teacher development, and engaging students effectively. The discussion also highlights the significance of establishing clear procedures and routines, building confidence through music, and ensuring that students leave the classroom feeling accomplished and excited about their learning experience.

• .Day one of a school year is about establishing consistency and calm confidence.
• Effective teachers spend two weeks teaching students to be in control of their own actions.
• Students want a safe, predictable, and nurturing environment.
• Rules demand compliance, while procedures invite collaboration.
• Engaging students through music on the first day is vital.

🎧 Tune in now on YouTube or your favorite podcast app!

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

Be Sure to Find Choralosophy on TikTok!

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

Harry K. Wong authored over 130 publications, including the leading book in education on how to start THE First Days of School, a monthly column in an online site for teachers, a CD set, and books on new teacher induction, classroom management, and instruction.  He co-created an eLearning course on classroom management and appeared in the award-winning video series, The Effective Teacher.

His techniques have been adapted by thousands of educators for success in their schools and classrooms.  He was called “Mr. Practicality” for his common sense, research-based, no cost approach to managing a classroom for high-level student success.

His many journal articles were featured in such publications as Educational Leadership, KAPPAN, Principal Leadership, NASSP Bulletin, American School Board Journal, Kappa Delta Pi Record, School Business Affairs, Education Week, and Instructor.

He was credited with transforming schools and turning around the lives of tens of thousands of teachers. 

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Elena Sharkova is a an artistic leader and pioneer in American Choral Music. But, her roots are Russian. This shared identity has its complexities now of course. You won’t want to miss her thoughts on this.

This week I had the pleasure of speaking with a true leader in the choral art, Elena Sharkova. who shares her extensive journey in choral music, from her early education in Russia to her current role as the artistic director of Cantabile Youth Singers. She discusses the importance of youth choral education, the challenges of working with different types of choirs, and her innovative approach to incorporating movement into choral rehearsals. (Example posted below in show notes.) Elena also addresses the complexities of programming music in a politically sensitive climate, emphasizing the need for inclusivity and understanding in the arts. Her passion for music and education shines through as she offers valuable insights for choir directors.

• Elena Sharkova has lived half her life in Russia and half in the U.S.
• Elena faced gender discrimination in her early career as a conductor.
• She moved to the U.S. for better career opportunities in music education.
• Elena incorporates yoga and Qigong into her teaching to help students connect with their bodies.
• She discusses the challenges of programming music from Russian composers in light of current events.
• Elena believes in the importance of including diverse voices in choral music.

🎧 Tune in now on YouTube or your favorite podcast app!

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

Be Sure to Find Choralosophy on TikTok!

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

Russian-American conductor Elena Sharkova has been the Artistic Director of Cantabile since 2004 and assumed the role of Managing Director in 2018. Under her leadership, the organization has grown from 80 to over 250 singers, has toured Denmark, Sweden, Spain, England, Ireland, France, Russia, Estonia, Finland and Italy, performed at the American Choral Directors National (2019), Western Division (2016) and State (2018) Conferences, made two solo appearances on stage of Carnegie Hall, won gold medals at the 5th European Choir Games and the 2016 Golden State International Choral Trophy Competition, and released its first studio CD, Music Down in My Soul.

Native of St. Petersburg, Elena had culturally and artistically rich upbringing and received a rigorous professional training as a pianist since the age of six. She holds a Bachelor’s degree in music education and piano, and a graduate degree in conducting from the famed Rimsky-Korsakov State Conservatory, alma materto Tchaikovsky, Rachmaninoff, Schostakovich, Prokofiev, and Balanchin.

Ms. Sharkova began her career as a professional choral singer in one of Russia’s premier choirs, Lege Artis, with whom she recorded for SonyClassical and toured extensively in Russia and Europe before moving to the U.S. in 1993 to pursue a career in conducting and academic teaching. She subsequently received her second conducting degree and served as music professor at Western Michigan University and later at San Jose State University until 2006.

Today, Elena Sharkova is recognized at the international choral scene as one of the profession’s leading experts on youth choral music education and a much sought-after guest conductor with a unique and inspiring voice. She has led professional, university, amateur, and youth choirs and orchestras and has taught masterclasses and summer courses in over twenty countries on four continents.

Elena’s recent conducting engagements have been with Britain’s foremost professional choir the BBC Singers in Glasgow and London, Miami-based GRAMMY-nominated Seraphic Fire,GRAMMY Award-winning men’s choir Chanticleer, Cincinnati Vocal Arts Ensemble, and the GRAMMY-nominated Houston Chamber Choir. She is in demand as a jury member at international choral competitions (10thInterkultur World Choir Games, 15thInternational Chamber Choir Competition Marktoberdorf, 26thMontreux Choral Competition, among others), and has been a guest conductor and clinician at over thirty national, all-state, regional and festival choirs around the world from the US to Japan, Qatar, and Australia. Ms. Sharkova has conducted on stages of Carnegie Hall, Davies Symphony Hall (San Francisco), Chicago Orchestra Hall, the Kennedy Center (Washington, DC), the Mormon Tabernacle, and in world cultural landmarks such as the Vatican, Notre Dame de Paris, Dublin’s Christ Church Cathedral and Sherborne Abbey, among others.

Since 2015 Elena has been a member of the World Choir Council, an international advisory board of Interkultur, where she represents the U.S.

As the Music Director of Symphony Silicon Valley Chorale since 1998, she has prepared over fifty major choral-orchestral works for distinguished conductors such as John Nelson, George Cleve, Carlos View, Jane Glover, Gregory Vajda, William Boughton, and many others. She often leads the orchestra, chorus, and soloists in programs of choral masterworks and conducts the annual Carols at the California family concert.

Ms. Sharkova served on music faculty of San Jose State University from 1998 to 2006 where she held the position of Director of Choral Activities, directed three choirs and taught classes in conducting, methods, and music theory. As soprano, Elena Sharkova can be heard on five SonyClassical studio CDs by Lege Artis Chamber Choir (St. Petersburg, Russia).

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A Choralosophy first. A podcast, with a guest, recorded in my car. Chris Maunu and I riding to the airport, discussing how our roles change, or don’t… when leading classroom ensembles verses community based ensembles of young people. To what degree does our role as an “educator” shift?

In this engaging conversation, Chrises Munce and Maunu explore the nuances of choir education, reflecting on their recent experiences at a choir camp in Kansas City, and discussing the differences between school and community choirs. They delve into the challenges posed by the pandemic on music education, the importance of student engagement, and the ways community programs like Kantorei Summer Choral Institute and Pacific Youth Choir in Portland can enrich school programs, and be enriched by them. The conversation highlights the evolving landscape of music education and the strategies educators can employ to inspire and connect with their students.

Also, don’t miss Chris’ recent Choralosophy Community blog contribution on Storytelling via Repertoire choices over on Choralosophy.Substack.com

🎧 Tune in now on YouTube or your favorite podcast app!

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

Be Sure to Find Choralosophy on TikTok!

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

Chris Maunu is a conductor, educator, and composer dedicated to inspiring young singers and shaping the future of choral music. Based in Portland, Oregon, he serves as Artistic Director of the acclaimed Pacific Youth Choir, Affiliate Faculty at Portland State University, and Artistic Director of the professional ensemble Choro in Schola. Previously, he spent 17 years as Director of Choirs at Arvada West High School in Colorado, where he expanded the boundaries of what young singers can achieve.

A four-time GRAMMY® Music Educator of the Year Finalist and two-time CMA® Foundation National Music Teacher of Excellence honoree, Chris is a passionate advocate for music education. Choirs under his direction have received national and international acclaim, performing at over a dozen major conferences, including National and Regional ACDA events. His ensembles have earned prestigious honors such as the American Prize in Choral Performance and the Gold Diploma at the Rimini International Choral Competition.

In high demand as a guest conductor and clinician, Chris is in demand as an All-State and Honor Choir clinician across the U.S. and internationally. He recently conducted the 2025 National 11-12 HS Honor Choir at the National ACDA Conference in Dallas, TX to great acclaim. As a composer, his award-winning works have been performed worldwide. He also serves as editor of the Pacific Youth Choir Choral Series with Pavane Publishing. An active member of NAfME and ACDA, Chris is the NWACDA Chair for Community Youth Choirs and frequently presents at both the regional and national levels. His writings appear in the Choral Journal, and he is a contributing author to A Choral Conductor’s Companion.

Throughout his career, Chris has received many accolades for his contributions to the field of choral music. He was named Colorado’s “Best of the Best” Teacher, honored with a Commendation from the House of Representatives, and received the Distinguished Alumni Award from Northern State University, where he later delivered the Commencement Address. He also co-founded and directed the professional Anima Chamber Ensemble for seven years, inspiring thousands of public school students through its unique community engagement mission.

Chris holds degrees from the University of Nebraska-Lincoln and Northern State University. Most importantly, he cherishes time with his wife, Aleisha, and their two children, Bodhi and Astraea.

For more information, visit chrismaunu.com.

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The American Education System(s) are facing a crisis that too few within these systems are wanting to name or face. It is a Literacy crisis. As educators of any subject, this is a call to action.

In this enlightening conversation, Kareem J Weaver discusses the critical importance of literacy in education, emphasizing its role in unlocking students’ potential and providing them with self-determination. He shares his extensive background in education, highlighting the connections between music and literacy, and the necessity for all educators to engage in teaching reading skills. Now, Kareem is NOT a music teacher. He is an activist, NAACP member, and long time literacy specialist. The discussion also delves into the ideological divides surrounding literacy education, the civil rights implications of illiteracy, and the need for a unified approach to ensure all students achieve excellence in reading.

Bonus: don’t miss the part where I ask Kareem about the time when I shared one of his Tweets and got in some trouble with colleagues for it…

🎧 Tune in now on YouTube or your favorite podcast app!

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

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

Kareem is the Co-Founder & Executive Director of FULCRUM. He is an award-winning educator and community advocate with extensive experience leading schools and systems in district, juvenile justice, and managed-care settings. His advocacy is featured in the 2023 documentary The Right to Read.

Kareem’s commitment to literacy is deep-rooted. He credits the quality of his education to a program through A Better Chance, a nonprofit that provides high-performing students of color access to the best schools, helping them become the nation’s next leaders. This program was foundational to Kareem’s understanding that education is the greatest equalizer. Kareem became a first-generation college graduate after obtaining a bachelor’s degree from Morehouse College and a master’s in clinical-community psychology from the University of South Carolina. At Morehouse, Kareem co-founded Students for the Children of Incarcerated Parents (SCIP), an endeavor that underlined illiteracy’s crushing impact on these families and their communication.

Armed with this knowledge, Kareem began his career in the classroom, rooting his approach in evidence-based methods exemplified by Marva Collins and the American Federation of Teachers—today, these strategies are referred to as the Science of Reading. Kareem taught grades spanning elementary to high school before becoming an administrator and eventually accepting the role of Executive Director—Western Region at New Leaders, an organization committed to developing technical, adaptive, and instructional leadership skills in educators serving high-needs schools.

Later, Kareem continued his community-based work as the Commissions Chair for the Oakland East Bay Alliance of Black Educators and provided financial and technical support to diverse schools from districts to reservations as a managing partner at a funding organization. He recently served as the 2nd Vice President of the Oakland NAACP and is the former Education Committee Chair.

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A special episode where I read audience questions, comments, raised points for the benefit of all listeners. I have also updated the form on the main page to collect ideas for future shows and your questions or comments.

This episode turns the focus out toward you. The listener. I have been collecting feedback since the beginning in a variety of ways. This week, I have curated some questions, raised points, and even criticisms from audience responses. They all serve the greater goal of expanding the conversation and the Overton window.

Many questions have come in through the form on the main page here, the email choralosophy@gmail.com and of course Substack, Facebook and Instagram.

How can a high school choral director teach his/her students to be successful in sightreading (e.g., music literacy), when they face one or more of the following factors?

Admin that pushes performance goals, low skills coming from feeders, declining enrollment?

I was wondering whether you would ever be interested in doing an episode about ageing voices and choirs made up of elderly people – the challenges this represents and how to handle them?

Short answer: YES I need to find the right expert!

🎧 Tune in now on YouTube or your favorite podcast app!

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

Be Sure to Find Choralosophy on TikTok!

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

“I teach music to everyone in an elementary school with 40 minutes a week with each group.  While I applaud all of your success with unaccompanied singing, I wonder if there is a guest who could outline what the essentials are for teachers like me who see their students only a fraction of the time than you do.  I am focusing on rhythmic cohesion, singing in tune, beginning rounds, and silencing the students’ inner critics.  Audiation is definitely a goal.  Please provide some guidelines for teachers in my situation.” Jura Litchfield

“During your earliest/initial podcast episodes you claimed that you started the podcast just to have conversations and learn. But, yesterday your wife, in a comment, stated that your initial reason was money (because you lost your church position, likely due to the pandemic, which I can relate). From day one, dozens of my colleagues, and myself, stated that your podcast was created for money, not a positive change for our choral profession.  But, then, some of your podcast episodes (count 5, as of today) were positive and a great contribution to our profession.” -Anonymous professor

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How do we decide what is and what isn’t a “Great work of choral repertoire?” Dennis Shrock says, “Time.” Let a few hundred years pass and see if people still perform that music.

This show is proud to collaborate with authors and composers from GIA/Walton and Oxford Press. Dennis has many titles available on both!

This conversation explores the intricate relationship between politics and art, particularly in the context of classical music and education. Dennis and I discuss the historical significance of art in political spheres, the evolving definitions of classical music, and the challenges faced by modern educators in balancing diverse musical expressions with traditional repertoire. We emphasize the importance of understanding audience needs and the value of preserving classical masterpieces while fostering inclusivity in music education.

The conversation also touches on the need for support structures and resources in music education and the intersection of art and politics, advocating for a global perspective in music appreciation.

🎧 Tune in now on YouTube or your favorite podcast app!

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

Be Sure to Find Choralosophy on TikTok!

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

Dennis Shrock is author of three books published by Oxford University Press: Choral Repertoire (2009); Choral Scores (2015); and Choral Monuments (2017). He is also author of five books published by GIA: Performing Renaissance Music (2018); Performance Practices in the Baroque Era (2013); Handel’s Messiah, A Performance Practice Handbook (2013); Performance Practices in the Classical Era (2011); and Music for Beginning Conductors­, An Anthology for Choral Conducting Classes (2011). In addition, he is co-author with James Moyer of A Conductor’s Guide to Choral/Orchestral Repertoire, and he is editor of early-music editions for the GIA Historical Music Series. 

Dr. Shrock has held faculty positions at Boston University, Westminster Choir College, the University of Oklahoma, and Texas Christian University, and has had residencies at the University of Delaware, Baylor University, the University of Southern California, the University of Mississippi, and Yale University. He has also served as Artistic Director of the Santa Fe Desert Chorale and Canterbury Choral Society of Oklahoma City, Interim Conductor of the Dallas Symphony Chorus, and Editor of The Choral Journal. In addition, he has been a frequent All-State conductor and lecturer at various universities and conferences of the American Choral Directors Association.

He has received a number of awards and recognitions for his work. The City of Santa Fe declared December 22, 2003 “Dennis Shrock Day,” Westminster Choir College granted him an “Alumni Merit Award,” the state of Oklahoma conferred on him a citation for “Contributions of Excellence,” and the University of Oklahoma granted him two “Distinguished Lectureships” and named him a “Presidential Professor.”

Dr. Shrock received a bachelor’s degree in music education from Westminster Choir College and both master’s and doctoral degrees in choral conducting from Indiana University. 

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Kids learn at a young age how to show teachers that they are learning. Even if they aren’t… And with many kids, ESPECIALLY when they are not.

The long awaited return of “Car Thoughts”

Short episodes designed to get you thinking about your educational practice. In this episode, I would also submit this as food for thought for parents.

I often hear music educators speak of “engagement” in the classroom as something more than it is: A really good sign. But what is ISN’T is evidence that the student is learning or mastering concepts and skills

Imagine asking a shop teacher: “How do you know your student learned to build a desk?” But, there was no desk built by a student…

“Well, he was engaged when he watched me do it!” would not cut it.

🎧 Tune in now on YouTube or your favorite podcast app!

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Tune in, and have your thinking stimulated and challenged. Then, weigh in yourself with your related ideas and experiences on Facebook in the Choralosophers group or over on choralosophy.substack.com

Also, don’t forget to grab a reading rope for your classroom wall from the shop! Music Reading Rope

Be Sure to Find Choralosophy on TikTok!

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

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Is there value to teaching the “science of singing” to young kids? I say yes. The goal is not to over-intellectualize the voice. It is to demystify it for young singers.

Part of the Vocal Pedagogy Series

Have you ever asked kids “what is a vowel made of?” Try it! See what answers they give you.

There are ways to help young singers understand this concept. The key is small doses, and practical application.

Summary: What is a vowel “made of”?

Perceptually: The brain interpreting those frequencies as a vowel.

Physically: A voiced sound shaped by the vocal tract.

Acoustically: A specific set of resonant frequencies (formants).

Young singers can often take any timbral criticism or correction personally. Can we train them to think of their voice as an instrument like a clarinet?

🎧 Tune in now on YouTube or your favorite podcast app!

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Tune in, and have your thinking stimulated and challenged. Then, weigh in yourself with your related ideas and experiences on Facebook in the Choralosophers group or over on choralosophy.substack.com

Also, don’t forget to grab a reading rope for your classroom wall from the shop! Music Reading Rope

Be Sure to Find Choralosophy on TikTok!

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

1. Sundberg, Johan – The Science of the Singing Voice

• This is the foundational text in vocal acoustics.
• Sundberg introduces and explains the concept of the singer’s formant, formant tuning, and how the vocal tract shapes vowel identity and resonance.
• He also explains how overtones align or conflict depending on vowel shape and pitch.

2. McCoy, Scott – Your Voice: An Inside View

• A pedagogically friendly yet scholarly resource used in many university voice programs.
• Covers formants, harmonics, resonance tuning, vowel modification, and implications for choral singing.
• Includes spectrogram analysis examples of vowel shaping and overtone reinforcement.

3. Miller, Donald – Registers, Resonance, and Formants

• A deeper dive into acoustic theory applied to singing, especially useful for understanding how register transitions and vowel modification interact with overtone alignment.

4. Bozeman, Kenneth – Practical Vocal Acoustics and Kinesthetic Voice Pedagogy

• Applies acoustic theory directly to classical and choral singing.
• Bozeman details how vowel shapes affect resonance, tuning, and vocal efficiency.
• Introduces the concept of “acoustic goals” rather than fixed vowel targets.

5. Titze, Ingo – various works, including Principles of Voice Production

• One of the most respected voices in vocal science and voice therapy.
• Discusses the source-filter theory of speech and singing in detail.
• His research supports how formant-harmonic interaction affects perceived pitch, vowel clarity, and vocal efficiency.

6. Benade, Arthur – Fundamentals of Musical Acoustics

• While broader than voice, Benade’s text covers harmonic structures, resonance, and tuning systems in a way that supports overtone theory in ensemble singing.

7. Howard, David M., and Angus, Jamie S. – Acoustics and Psychoacoustics

• Used in both music tech and voice programs.
• Covers how humans perceive pitch, timbre, and vowel identity through formant structures and overtone relationships.

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🧪 Peer-Reviewed Journal Articles (Examples)

• Titze, I. R. (2008). “Voice research: Where do we stand?” Journal of Singing.
• Sundberg, J. (1987). “The acoustics of the singing voice.” Scientific American.
• Ternström, S. (1993). “Perceptual evaluation of voice source characteristics of professional and amateur singers.” Journal of the Acoustical Society of America.

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“If they cannot pick up a piece of music at the end of the year (at whatever level) and do it themselves, I would question what we had been doing in my classroom.”

One of our most popular guests in the show’s six year run is BACK.

(Part of the Music Literacy Series)

Carol Krueger returns with an update on the state of literacy levels for music students and pre-service teachers as well as ideas to help make your process and pedagogy more efficient! We don’t have to choose between truly fluent reading and diverse instructional methods.

In this conversation, Carol Krueger and I discuss the challenges and opportunities in music education to solve many issues with one tool. We explore the decline in music reading skills among students, the importance of connecting music literacy with linguistic literacy, and the crucial role of higher education in addressing these issues. The discussion emphasizes the need for individualized instruction, practical solutions for improving music literacy, and the significance of creating a supportive learning environment for students. Throughout the discussion, Carol provides examples of this “better way” forward that will allow us to make our pedagogy more efficient, saving time for giving our students a more diverse experience.

After we ended the episode, Carol and I kept talking and shared even MORE warm ups and instructional ideas. We even had a friendly debate about the use of the metronome in class. I will make that 20 minutes available on the private podcast available on Patreon or Substack.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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

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.

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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.

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Choirs across the Western world are making huge strides as we push for more diverse repertoire as well as approaches to vocalization and instruction. Reagan Paras urges us to include the Philippines as a rich resource.

In this conversation, Reagan Paras shares his unique perspective on Filipino choral music and its cultural significance. He discusses his journey from the Philippines to the United States, the challenges of cultural identity, and the importance of diverse repertoire AND methods in music education. Reagan emphasizes the complexity of Filipino choral music, its indigenous roots, and the need for cultural recognition in various pedagogies. He also provides resources for choral directors to access Filipino music, highlighting the promising future of this genre in the global music landscape.

In this conversation, Reagan discusses the vibrant choral music scene in the Philippines, emphasizing the unique vocal qualities and cultural significance of singing in Filipino society. He explores the challenges faced by composers and performers, the importance of embracing the full range of the human voice, and the need for effective communication in music education. The discussion also addresses the social dynamics surrounding male participation in choirs, the crisis of male singers in the choral world, and strategies for engaging young male singers in choir programs. Also discussed

• The sound ideal for Filipino choirs in contrast to the US and UK
• The ambiguity of over-broad cultural and racial categories when used to serve diversity goals.
• “We should be ringing the alarm bell” about recent trends of boys avoiding choir.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Reagan G. Paras, (aka The Choral Doctor) serves as an Associate Professor for Berklee College of Music in Boston, Massachusetts for the Music Education Department.

A passionate conductor, singer, and educator, he has directed performance tours across the United States and abroad. He is the Artistic Director for Many Voices: Mechanics Hall Youth Singers, performing repertoire that authentically honors the mosaic of cultures represented in the ensemble. He serves as Music Director for The Salisbury Singers, one of the premier choral ensembles in the state. Throughout the summer, he conducts the Kodály Music Institute Choir, which is comprised of music educators from across the globe. Reagan was recently elected to represent the United States as a Conducting Fellow for the American Choral Directors Association’s International Choral Exchange Program. He is a guest conductor, clinician, and adjudicator for various music festivals across the country. An emerging researcher, Reagan regularly presents at research symposiums across the United States.

He is an advocate for choral music education, serving on various executive boards for music associations across the northeast. Currently, he is the Diversity Chair for MA-ACDA and has held the position of Higher Education Representative for MA-Music Educators Association.

He is a proud husband to his amazing wife Lindsey, and father of three children ages 10, 9, and 6.

TheChoralDoctor on Instagram:

https://www.instagram.com/thechoraldoctor

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Zoie Lee is making a name for herself as a Musical Theater performer, and triple-threat. While on break from the National Tour of Chicago, she stopped back in to her old choir room to talk to me about the role music education had in shaping her career.

This conversation explores the journey of a performer from their early experiences in dance to their current role in a Broadway National Tour. The discussion delves into the importance of choir in developing music literacy, professionalism, and vocal technique, as well as the challenges of stage fright and the realities of working in the performing arts. We also explore the intricate relationship between vocal training, musical theater, and the importance of choir in developing versatile singing skills. Zoie points out the various styles of singing required in different musicals, the journey from high school to professional theater, and the significance of environment and education in shaping a performer’s career. This episode also touches on:

• Preparation is key to overcoming performance anxiety.
• Professionalism in the arts involves both independence and guidance.
• Work-life balance is a continuous challenge for artists.

🎧 Tune in now on YouTube or your favorite podcast app!

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

Be Sure to Find Choralosophy on TikTok!

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

Zoie Lee is a professional dancer and musical theater performer originally from Kansas City Missouri. Zoie studied Musical Theater at AMDA in New York City. Her professional credits include: National Tours: Chicago the Musical (Go-To-Hell Kitty), Anastasia (Ensemble/US Odette), Cruise Ship Contracts: Jersey Boys (Swing), Regent Splendor (Singer/Dancer), and contracts for Cedar Fair Ent. At Worlds of Fun as a Singer/Dancer. Zoie is currently playing Go-To-Hell-Kitty on the National Tour of Chicago touring the US, Canada, and Mexico!

Zoie grew up in Lee’s Summit Missouri where she attended Lee’s Summit High School. Zoie began her singing career her sophomore year when Chris Munce convinced her to try choir after performing in the fall musical. She joined the Women’s Choir as a 10th grader and eventually sang in both auditioned chamber choirs the high school choir department offered-Preludium and Sounds of Summit. Zoie began her dance training at three years old at Heart of America Dance Center in Lee’s Summit and danced there for 15 years. Her training there consisted of all styles of dance and she was a highly competitive dancer for 10 years. After graduating high school in 2019, Zoie studied Music Theater at AMDA in New York City on scholarship. She graduated from the conservatory in 2021 and immediately started her professional career. 

Zoie is currently playing Go-To-Hell-Kitty on the National Tour of Chicago touring the US, Canada, and Mexico! 

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Recently named one of the 100 most influential Africans, Ken Wakia joins me to share his story as a Kenyan Choral musician and founder of the successful Nairobi Chamber Chorus.

In this episode I am honored to speak with Ken Wakia, a prominent choir director from Kenya. Ken shares his inspiring journey from a small village by Lake Victoria where he was literally FORCED to sing in choir, to becoming a recognized international figure in choral music. He discusses the cultural perceptions of music education in Africa, the evolution of choral music, and the impact of the Nairobi Chamber Chorus. Ken emphasizes the importance of music as a tool for communication and understanding across cultures, and reflects on the recognition he has received for his contributions to the field. This episode also touches on:

• Choral music has deep roots in African culture, predating formal choirs.
• The Nairobi Chamber Chorus aims to reflect Kenya’s diverse cultures.
• Recognition in the arts can change perceptions of value in music.
• Ken’s father initially disapproved of his music career choice.
• The unique organizational structure of the Nairobi Chamber Chorus

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Named one of the top 100 most influential people in Africa for the year 2024, by the New African Magazine, Ken has a rich and diverse career, blending expertise in music, cultural diplomacy, and education, with extensive leadership roles in both the arts and public sector.

Ken holds a Master of Music in choral conducting from the University of Miami, Florida, where he studied with Prof. Jo-Michael Scheibe as a Fulbright Scholar, and a Bachelor of Education degree in music from Kenyatta University, Nairobi. He is very proud of his early academic life studying under a tree at Ruga Primary School in Homabay before going to Mumias Complex Primary School and eventually to Musingu High School in Kakamega.

He started his career teaching music at Precious Blood Girls Secondary School in Nairobi and later as the Assistant Dean of Students at the Africa Nazarene University

Ken has an extensive local and international conducting credits as guest conductor and the founding director for the Nairobi Chamber Chorus (NCC) and the Safaricom workplace choir. He has conducted the Nairobi Music Society and the Nairobi Orchestra at various concerts in Nairobi.

In 2017, Ken conducted the World Youth Choir on their tour of Hungary and the Balkan states while in February 2020, he conducted the International Schools of Southern and Eastern Africa in Zambia.

Under his leadership, NCC has performed to audiences in Africa and beyond. They represented Kenya at the Queen of England’s Diamond Jubilee celebrations at Windsor Castle in 2012 and at the American Choral Directors Association (ACDA) National conference in Kansas City in 2019. He has also led the choir on tours through Europe, Saudi Arabia, the USA, Australia, China, Hongkong, South Korea and Japan in 2025 performing with the World of Hans Zimmer and Hans Zimmer Live productions.

A strong believer in the power of music as a tool for global change, Ken is known for leading several initiatives and collaborations which bring diverse musicians together to share their cultural heritage and explore new music together. His deliberate eclectic style of programming reflects his passion for choral music as a tool for global peace.

Alongside Dr. Kevin Fenton from Florida State University, he co-founded AVoice4Peace project which seeks to promote non-violent resolutions to conflict around the world through music.

Ken founded the Nairobi Chamber Chorus with a vision of enabling young Kenyans to participate in a high-quality musical forum from which they can build their careers and expand their realm of knowledge and interest in the arts. Since its inception, more than three hundred young Kenyans have gone through NCC and many are now leading musicians in Kenya, performing and teaching music across the country and beyond.

His work at Precious Blood Girls’ High School saw him significantly contribute to the development of the school’s musical program and its community outreach, including establishing an annual benefit concert to support underprivileged students.

In public diplomacy, Ken made significant contributions as the Cultural and Educational Affairs Specialist at the U.S. Embassy in Nairobi between 2010 and 2022 where he managed a wide range of cultural diplomacy programs for the US State Department.

With a solid foundation in both arts and diplomacy, combined with a deep commitment to education and community engagement, Ken’s professional profile reflects a dynamic and impactful career that bridges cultural exchange through music.

As a result of Ken’s dedication to promoting Kenyan and African choral music internationally through the Nairobi Chamber Chorus, he was recognized as one of the top100 most influential people in Africa for the year 2024. He was also recognized as the 2019 African Image Maker by the Voice Achievers Award International.

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A blind teacher’s take on Is “music” reading or “sight” reading important enough to provide resources to both blind and sighted students alike? One visually impaired music educator says yes!

Re Robinson, a blind choir director from Florida, shares her unique journey in music education. She discusses her experiences as a choir student and now as a teacher, emphasizing the importance of representation, adaptability, and cultural diversity in music. Re highlights her teaching methods, which incorporate ear training and Braille music, and reflects on the challenges faced by visually impaired individuals in the music profession. Her mission is to create a safe and inclusive environment for her students, encouraging them to embrace their identities while also learning about others. In this episode we discuss

• The impact that musical growth can have on personal growth
• She emphasizes the importance of adaptability in overcoming perceived limitations.
• The use of both Braille music and ear training in her teaching.
• How inclusivity impacts her programming choices
• The challenge of resources for blind musicians
• That reading is not just for sighted students

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Re Robinson has been involved in music her entire life. From the age of 15, she was singing and performing. In high school, she was a member of the prestigious Jacksonville Children’s Chorus. Under the tutelage of Carolyn Wells, Melissa Barns, and Darren Dailey, Re learned the basics of music and harmony, as well as how to navigate the very visual aspects of performing as a blind singer.

Always eager to take on new challenges and break through barriers, Ms. Robinson chose to study dance and movement, piano, and voice. Her musical talents were further developed while singing in her high school choirs at both The Florida School for the Deaf and Blind and St. Augustine High School. She was one of the first blind students to be accepted into a Florida All State Choir. Re flourished under the instruction of Leslie Costello and Jeff Dodd, so it was no surprise that she was accepted into the music program at Florida State University after graduating as the salutatorian of her class.

In college, she continued her vocal studies with Dr. Evan Jones and took on the ambitious task of studying choral conducting. Knowing this was an extraordinary path to take, Re threw herself into her studies and learned to navigate this very visual profession in the context of a non-visual conductor. This led her to seek the advice of many conductors and composers who have become her mentors, friends, and cheerleaders. She counts among these friends composer Roger Emerson, Cincinnati Youth Choir conductor Robin Lana, Leslie Costello, Laurie Wohl, Carolyn Wells, Midwest Center for Creative Arts director Wendi Dicken, Prof. LaKedria Lozano, and many others. They all consider Re to be a pioneer in the field of blind choral conductors and music education for students of all abilities.

Currently, MS. Robinson is a second-year middle school music educator at a school in south Florida. With her unique perspective, she continues to advocate for blind music students to have opportunities to pursue their goals in the field of music by calling for adaptive materials like braille music and theory books, and classroom assistants who can support both students and teachers. In addition, she advocates for diverse representation in the classroom by teaching her students as someone with a disability.

She continues to refine her educational philosophy, which includes building music literacy skills so that all students can become independent musicians. Re strongly reinforces the idea that students can grow through their mistakes; she encourages them to try to do their best without fear of failure. to encourage a sense of community and belonging, Re programs diverse and culturally responsive repertoire in an effort to make all students feel included in her program. This is so that students can see themselves represented in the program, but it is also so that they can have a window into the world beyond the classroom.

Outside of work, Re enjoys visiting with friends, listening to podcasts, reading, and relaxing with her guide dog, Realm.

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Next up on the Vocal Pedagogy series!:Justin Peterson is a voice teacher with some very interesting and thought provoking things to say about how we teach voice, and some very useful ideas about instruction!

Justin Petersen shares his journey as a singer and voice teacher, discussing the importance of rejecting labels in music, the misconceptions surrounding classical singing, and the objective standards that define it. He emphasizes the need for a broader understanding of classical music and the dangers of “chronological snobbery” in music education. Namely, the fashionable criticism of past traditions, and the lionizing of the present.

The discussion also touches on the significance of effective pedagogy and the challenges faced by voice teachers in conveying their knowledge to students. Aka, the language barrier. He critiques the reliance on trendiness in teaching, the limitations of traditional conservatory models, and myths about how the voice actually works, like “sing with an open throat!” Petersen emphasizes the importance of diverse musical exposure for students and the need for a more experiential approach to learning singing techniques.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Justin Petersen, a native of Peculiar, Missouri, has appeared in opera, music theater, and concert performances throughout the United States, and is a voice teacher, coach, and writer on vocal technique, history, and teaching philosophy.

Since 2013, Justin has been the Lead Vocal Coach for My College Audition, helping high school performers prepare for their auditions for Music Theater programs. His students have been accepted at programs such as Pace, Elon, NYU Tisch, Marymount Manhattan, Penn State, Boston University, Emerson, the Hartt School, and Montclair State.

As a singer, Justin has appeared in concert with the Boston Pops, performing in a concert of the musical Ragtime, in addition to singing as backup vocalist for Sarah Brightman in her Christmas Symphony Concert tour. Justin has also been a member of the young artist programs of the Santa Fe Opera, Sarasota Opera Studio Program, Opera North, and Des Moines Metro Opera. He also performed the role of Silas Marner in a reading of Erica Glenn’s musical,“The Weaver of Raveloe” at the New York Music Theater Festival.

Justin also writes a Substack on vocal pedagogy, voice training, and philosophical musings from the teacher’s bench at justinpetersen.substack.com. His interest lies in making connections between the training of the earliest teachers against current scientific findings on the human voice. His private studio includes singers from opera, musical theater, rock, pop, and barbershop, as well as avocational singers and young singers. His students also currently appear in professional opera, Broadway, and national tours.

He received his M.M. in Opera at the University of Kansas and Bachelor of Music degree from Simpson College in Indianola, IA. Among Justin’s accomplishments are participating as finalist in the Opera Azuriales Competition et Concert des Soloistes in Saint-Jean Cap Ferrat, France. He is also a winner of the Kansas City District Metropolitan Opera National Council Auditions, and the Berta Eisberg Scholarship Award of Mu Phi Epsilon.

http://www.petersenvoicestudio.com

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A collaboration episode! Chops podcast has been making a splash in the Band world, so we decided to team up to create this “comparing of notes” on teaching choir vs. band. Available on both podcasts!

In this engaging conversation between Chris of the Choralosophy Podcast and Jack Hinkle of Chops Podcast, the two veteran educators explore their respective journeys in music education, the challenges they face in teaching band and choir, and the importance of fostering a supportive and engaging classroom environment. They discuss the significance of music literacy, the role of technology in education, and the emotional connections that music creates among students. The conversation also highlights the value of collaboration between band and choir educators, emphasizing the need for both groups to learn from each other to enhance their teaching practices.

• The importance of knowing your content, teaching, and students.
• Teaching methods differ significantly between band and choir, but crucial understandings can be shared!
• Singing is crucial for developing musical skills in band.
• Music literacy is essential for student success in both band and choir.
• Technology can enhance music education and student engagement.
• Creating a safe environment encourages student participation.

Find Chops in all of the same places you find Choralosophy! YouTube, Spotify, Apple Podcasts and any other place podcasts are found!

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Jack Hinkle is a band director at Concord High School in Elkhart, Indiana. At Concord, Jack assists the marching band, directs a concert band, two curricular jazz bands, and an after school jazz band, in addition to teaching class piano and AP Music Theory. When not teaching or playing trumpet, Jack can be found working on his music-education podcast, “Chops” or out on a run.

@chops_podcast

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Grooming isn’t always obvious. It’s a gradual process that can occur in many forms. Educators have a special responsibility to keep our spaces safe.

Power imbalances in schools can create dangerous situations, and veteran music teacher and voice coach Megan Farison knows this firsthand. In this episode, she shares her deeply personal journey through the complex realities of teacher-student relationships—how grooming happens, why boundaries matter, and what educators can do to create safer learning environments.

We discuss:

• How grooming can occur subtly in student-teacher dynamics
• Why power and influence must be carefully managed in education
• The long-term effects of boundary violations in schools
• Why open conversations about safety and ethics are critical

Megan also introduces her book, Dissonance, which explores her experiences and the broader implications of inappropriate relationships in educational spaces. This is an essential episode for educators, parents, and students alike.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Megan is a voice coach and choir director of nearly twenty years, having held positions at the elementary, secondary, and collegiate level. Her energetic teaching style incorporates a blend of vocal and choral pedagogy that empowers the individual singer as well as the ensemble. She has served as a district manager for Michigan School Vocal Music Association (MSVMA), Secretary of ACDA-Michigan, and President of the Central Michigan University Alumni Choir Association.

Megan is the Artistic Director and Founder of the Lux Women’s Choir (based in Midland, Michigan), and she hosts the podcast Sing, Coach, Conduct, which is currently in its third season. She is the author of the memoir, “Dissonance,” a deeply personal account of grooming and educator sexual abuse. Her mission is to raise awareness about abuses of power, in order to prevent educator sexual misconduct and protect potential targets of grooming and abuse.

Megan’s Resources

Duck, Duck, Groom

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Chapters

00:00 Megan’s Journey to Music Education
02:08 The Impact of Teacher-Student Relationships
05:04 Megan’s Personal Experience with Grooming
08:06 Understanding Grooming and Its Implications
10:53 The Realization of Abuse
14:03 The Complexity of Manipulation
16:58 Power Imbalances in Relationships
20:00 Navigating Trust and Safety
23:11 Stages of Grooming
24:32 Normalizing Inappropriate Behavior in Education
27:10 The Importance of Boundaries in Teacher-Student Relationships
29:32 Recognizing the Complexity of Student-Teacher Attraction
34:40 The Dangers of Favoritism and Emotional Manipulation
41:33 Creating a Safe Learning Environment
48:02 The Role of Accountability in Preventing Abuse
53:58 The Journey of Writing ‘Dissonance’ and Its Impact

    

Recently selected President-Elect of the American Choral Directors Dr. Jessica Nápoles joins me to talk imposter syndrome, leadership and her ACDA passion.

Balancing a passion for music with the demands of higher education isn’t easy, but Jessica has found a way to do just that. In this episode, we explore her unique career path that defies the notion of having to choose between conducting and teaching.

Jessica shares how her journey has been a hybrid of both passions, challenging the traditional idea of what it means to be a college professor in choral music. We dive into her experiences with job interviews where she was often asked to choose between choirs, and her decision to prioritize non-auditioned groups, emphasizing inclusion and community building over exclusivity.

• We discuss her innovative approach to field experiences and peer lab choirs at UNT.
• Jessica shares her leadership journey within ACDA and her commitment to fostering a culture of celebration and growth.
• We also tackle the perfectionism trap, imposter syndrome, and how social media influences our perception of success.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Jessica Nápoles is Professor of Choral Music Education at the University of North Texas, where she teaches undergraduate choral methods, mentors graduate research, and conducts the Concert Choir. A native of Miami, FL, Dr. Nápoles is a second generation Cuban and taught public school in Orlando and Miami.

Dr. Nápoles is an active conductor, clinician, and researcher. She seeks to bridge the gap between scholarship and practice. She serves her profession as member of the Executive Committee of NAfME’s Society for Research in Music Education and as Chair of the ACDA Research & Publications Standing Committtee. She was recently elected as ACDA National President-Elect Designate.

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00:00 Introduction to the Choralosophy Podcast

03:19 Jessica Napolis: A Journey in Music Education

12:32 The Impact of Great Teaching

22:13 Field Experience in Music Education

25:34 Leadership in ACDA: A Personal Journey

33:13 The Role of ACDA and NAFME in Music Education

36:17 Integrating Pedagogy and Performance in Choirs

39:11 Addressing the Needs of Developing Choirs

45:44 Understanding Perfectionism in Music Education

52:24 Building a Growth Mindset in Students

01:01:17 Creating a Supportive Choir Culture

    

  

Recently, Apollo5 was touring through the US, and stopped not too far from me. So I grabbed my road kit and drove to St. Louis to speak with them, observe some rehearsal and hear their concert.

Small ensemble, or consort singing, is in many ways a completely different art form than “traditional choral singing.” And it isn’t quite solo singing either. You will hear and see some live recordings captured during rehearsal in this episode!

Apollo5 is comprised of Clare Stewart and Penelope Appleyard (sopranos), Joseph Taylor and Jacob Ewens (tenors), and Augustus Perkins-Ray (bass). The six of us discussed a wide range of topics from the technical to the aesthetic aspects of small vocal ensemble singing and presentations.

• Why we must fight to preserve live performance in an era where recorded music is becoming less financially viable.
• The differences in approach when you have no one to “blend” with.
• The barriers avoided when there is no conductor in the concert.
• Making our performances more accessible by being mindful of how we communicate with the audience.

Don’t miss this one!

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Celebrating its 15th year in 2025, APOLLO5 continues to thrill, move and inspire audiences as one of Britain’s smallest but most impressive vocal groups. Comprising a soprano, mezzo-soprano, two tenors and a bass, the ensemble – which takes its name from the ancient Greek god of music – has become known for its ability to connect with intimacy and directness, showcasing with rich, dynamic and distinctive sound how powerful five voices alone can be. With a versatile approach to music programming, and a repertoire spanning renaissance, classical and contemporary choral works to folk, jazz and pop, the group’s five voices bring the music of five centuries to life.

APOLLO5’s busy touring schedule has taken the group to Europe, the USA and Asia. In addition to performing at prestigious UK venues such as the Wigmore Hall, Cadogan Hall, St John’s Smith Square, the Royal Albert Hall and the Barbican Centre, the group has toured extensively across France, Germany, and other European countries, including recent appearances with an orchestra and a brass band in Lisbon (PT) and Prague (CZ) respectively. The group is a regular guest on BBC Radio 3’s In Tune, and often receives airplay from the national broadcaster, as well as other UK stations Classic FM, Magic Classical and NTS Radio. 2024/25 tour highlights include a trip to the USA under new agency representation; appearances at European festivals such as Common Ground (NL) and Koorfestival Vlaanderen (BE); and special concert celebrating the ensemble’s 15th anniversary at the Barbican Centre in London.

The group has released six solo studio albums. Haven, which explores the music of troubled, displaced and persecuted composers and features a full setting of William Byrd’s Mass For Five Voices, was released in 2023 to critical acclaim. Other albums include Where All Roses Go and O Radiant Dawn (both of which charted in the top 5 of the UK Classical Charts), winter disc A Deep But Dazzling Darkness, and Invocations, a piano-accompanied treasury of favourite songs recorded with composer and arranger Fraser Wilson. In January 2025, APOLLO5 will release their seventh album, Anam, a Gaelic-tinged programme of “music to move the soul”. During the pandemic, APOLLO5 was part of the launch of LIVE From London, a series of live broadcasts from many of the world’s leading vocal ensembles and orchestras. These online concerts brought music to the homes of millions during the pandemic, and raised funds for more than 500 artists, composers and production teams in the process; the festival continues to thrive online in today’s post-pandemic world.

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I grew up as a conductor in a world where conductors were measured by their ears. We were kind of obsessed with it. And maybe for good reason. In addition to perception, what other tools do great conductors have?

Conductors today are judged by many criteria in many different contexts. But in the rehearsal room, there are some non-negotiable skills we need to develop. Richard Sparks joins me on this GIA/WALTON series episode for a deep dive into what truly makes a conductor effective. It’s not just about baton technique—it’s about how you listen, how you interpret, and how you communicate with your ensemble. Richard shares lessons from his own conducting journey, as well as insights from working with some of the most respected musicians in the field. We also discuss

• Why developing strong aural skills is critical for making musical adjustments
• How conductors can balance verbal instruction with physical expressiveness
• The importance of studying scores independently to build deeper musical insights
• Why self-assessment—whether through recording rehearsals or active reflection—is key to growth

Whether you’re leading a professional choir, a high school ensemble, or just interested in the art of conducting, this episode will challenge you to rethink what tools are in YOUR Conductor’s Tool Box. Stick around!

🎧 Tune in now on YouTube or your favorite podcast app!

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

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Richard Sparks is a conductor with a wide range of experience in both the academic and professional fields. He founded Seattle Pro Musica when he was twenty-three and in the next seven years conducting over seventy concerts with three ensembles. By the time he was thirty, he had conducted all the major works of Bach, including almost fifty of his cantatas; orchestral and choral/orchestral masterworks by Haydn, Mozart, and Beethoven; and many other works from all periods. And from 1978 to 1985 he was Principal Conductor of the Pacific Northwest Bach Festival in Spokane, Washington, which used period instruments.

Sparks taught from 1980 to 1983 at Mount Holyoke College in Massachusetts and then became Director of Choral Activities at Pacific Lutheran University (PLU), where he taught until 2001. During his tenure at PLU he led the Choir of the West, also conducting major works ranging from Bach’s Mass in B Minor and St. John Passion to Poulenc’s Gloria, Stravinsky’s Les Noces, and Britten’s War Requiem. He also led tours across the US, to Japan/China, England, and to Scandinavia.

During this period he also conducted the Seattle Symphony Chorale (1990-1994), preparing them for nine recordings on the Delos label (many of those now on Naxos), including the Grammy-nominated Howard Hanson Lament of Beowulf. He also founded Choral Arts Northwest (1993-2006) and with them explored primarily a cappella repertoire, making three CDs on the Loft/Gothic label. And from 1999 to 2011 Sparks was Artistic Director of Pro Coro Canada, a professional chamber choir in Edmonton, Alberta. They also did tours to Toronto and Quebec.

From 2009 to 2019 Sparks was Professor of Music at the University of North Texas and was also Chair of the Division of Conducting & Ensembles. Many of his performances can be found on YouTube, including a Vivaldi Gloria with over five million views, Monteverdi’s 1610 Vespers, and the 1725 version of the St. John Passion. The Collegium Singers have performed at the Boston Early Music Festival four times, once at the Berkely Early Music Festival, and at the 2016 NCCO Conference.

Sparks worked with the Swedish Radio Choir in 2002, 2007, and 2008, including preparing Brahms’ Ein Deutsches Requiem for a performance with Valery Gergiev and the Rotterdam Philharmonic which was released on DVD with BIS Records. He has also guest conducted the Santa Fe Desert Chorale, Vocal Arts Ensemble of Cincinnati, and the Anchorage Music Festival (for three years, the first time substituting for Robert Shaw with the Brahms Requiem), among many others. He continues to be active as a guest conductor, workshop leader, and clinician. He will guest conduct Capella Romana in Portland and Seattle this March, the PLU Choral Union (which he founded 40 years ago) in May, and be in residency at Northwestern University (Andrew Megill) in Evanston, Illinois in June.

​His BM and MM degrees are from the University of Washington, where he studied with Rodney Eichenberger as an undergraduate and Abraham Kaplan for his MM. During his undergraduate degree at the University of Washington, Samuel Krachmalnick accepted Sparks into his graduate orchestral conducting class, where he studied for two years. His DMA is from the University of Cincinnati College-Conservatory of Music, where he studied choral conducting with Earl Rivers, Elmer Thomas, and John Leman, and orchestral conducting (his cognate area) with Teri Murai. His doctoral dissertation on Swedish a cappella music won ACDA’s Julius Herford Award, and was later published as The Swedish Choral Miracle.

His book, “The Conductor’s Toolbox” was published by GIA. He was inducted into the Swedish Royal Academy of Music in 2021 (at the same time as Quincy Jones), for his contributions to Swedish choral music.

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A common theme on this show is “teaching the WHOLE language of music.” So, I was pleased to link up with Cindy to hear how important dictation is in her pedagogy. A crucial and often missing element of common teaching practice.

🎙️ What does it take to build a thriving choir program—and a lifelong passion for music? Yes, but also solid pedagogy and TIME with students…

In this episode of The Choralosophy Podcast, I sit down with Cindy Ellis, a choir director from Miami, to explore her incredible journey from growing up in Cuba to shaping young singers in the U.S. Cindy shares how her experiences as an immigrant shaped her approach to teaching, why music literacy is non-negotiable, and how she fosters student independence through composition, dictation, and ear training.

Key discussion topics include:

• Cindy’s personal journey from Cuba to the U.S. and into music education
• The power of dictation and memorization in choral training
• How to bridge the gap between middle and high school music programs
• The importance of student-led learning and independent musicianship
• Why choir directing is more than just music—it’s about building kind, respectful humans

If you’re passionate about choral education, student growth, and the power of music, this episode is a must-listen.

🎧 Tune in now on YouTube or your favorite podcast app!

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

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A native of Holguín, Cuba, Cindy Ellis immigrated to the United States in 2005. She earned her Bachelor of Music Degree in Music Education and Jazz Voice from Florida International University and her Master’s Degree in Music Education from the University of Missouri. Mrs. Ellis is a full time choral director at Miami Arts Studio, a 6th-12th grade public performing arts magnet school in Miami, FL. Her middle school and high school ensembles have been featured at numerous venues throughout the country. These include Carnegie Hall (2018 and 2024), the Florida, Southern, and later this year, National Conference of the American Choral Directors Association.

In 2022, Mrs. Ellis’ students performed in Los Angeles for the Summit of the Americas, a meeting hosted by President Joe Biden that brought together 40 Presidents and leaders from the Americas and Caribbean. Additionally, in the last 7 years, the students have recorded and performed background vocals for Gloria and Emilio Estefan and several music award shows including the AMAs, Latin American Music Awards and the Latin GRAMMY Awards. Earlier this year, Mrs. Ellis conducted her students at the Miami show of Jacob Collier’s DJESSE Volume 4 World Tour. Beyond her school responsibilities, she frequently performs, conducts honor choirs and teaches masterclasses for music directors and students from elementary to college throughout North America. As a jazz vocal soloist and alto with the Jason Max Ferdinand Singers, she collaborated with Jacob Collier for performances at the Kennedy Center, Lincoln Center, and recording projects including a performance alongside Coldplay for NBC’s Saturday Night Live and a 2024 BBC Proms Music Festival concert in London, UK.

In 2020, Mrs. Ellis was published by GIA Publications as a contributing author on “Teaching with Heart,” and in 2022, she served as instructional design editor and contributing author of “Teaching Beyond the Music,” the second edition in the series. Ellis is Miami Arts Studio’s 2025 Teacher of the Year, a 2025 Grammy Music Educator Semi-Finalist, and currently serves as the World Musics & Cultures Coordinator for the American Choral Directors Association Southern Region.

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I often see “technique” and “expression” discussed as opposite sides of the coin. This couldn’t be further from the truth. The technique UNLOCKS the expressive capacity. Don’s past appearances on tuning systems and pitch matching have been very popular with colleagues. Links below.

🎙️ Many singers and conductors focus on interpretation and expression, but without the right technical foundation, true artistry can never fully develop. Imagine trying to teach a singer how to be expressive—without first ensuring they have the technical control to execute it. That’s like asking someone to paint a masterpiece before they even know how to hold a brush. In this episode of The Choralosophy Podcast, I sit down with Donald Brinegar to explore how structure and technique lay the foundation for expressive, effortless singing. We dive into breath efficiency, resonance, articulation, and mental clarity—all crucial elements in developing a truly flexible and expressive voice. Don recently released this concept as something he calls a “nested hierarchy” with the acronym “APROARTE” in a book under that name.

🗣️ Key Topics We Discuss:

• Why great singing starts with great breath control
• How posture, resonance, and airflow shape vocal efficiency
• The power of “hot air” breathing and larynx positioning
• How small adjustments can make a huge difference in vocal freedom
• The science behind expressiveness—and how to train it effectively

If you’re passionate about helping singers reach their full potential, this episode is packed with practical takeaways.

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

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

Donald Brinegar is a conductor, tenor soloist, voice instructor, educator and master class clinician. Professor Emeritus of Music at Pasadena City College, Brinegar directed the Choral Studies program at PCC for 36 years. Brinegar also conducts the Donald Brinegar Singers, a community choral ensemble in Pasadena, California, Director of Choruses for the Pasadena Symphony and POPS, and adjunct professor of voice at PCC.

During the summers he is an adjunct professor of conducting and voice in the Cal State Los Angeles masters program in Choral conducting. Brinegar has published five book on Choral Music. His book “Pitch Perfect: A Theory and Practice of Choral Intonation” was released in December 2019 and has already been hailed as a singular contribution in the field of Choral Music. “Conducting Primer: Seven Principles of Choral Conducting” was published in May of 2020 and “Conducting Primer in Practice” was published in June 2020. Both books have received international critical acclaim.

Don’s Past Appearances!

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The Symphony and its Chorus provides us with a rich history, Canon, and tradition. It also provides us a powerful medium for living composers, and aspiring musicians.

I’m excited to share this conversation featuring the extraordinary Anthony Blake Clark—of the Dallas Symphony Chorus and Baltimore Choral Arts, who wants us to consider the Symphony Chorus as a vital part of the choral music ecosystem. In this thought-provoking conversation, we explore Blake’s approach to large ensemble rehearsal, his vision for the future of choral music, and the role symphony choruses can play in shaping lifelong music-making.

🌟 Blake’s Journey
From a small farming community in Texas to leading renowned ensembles like the Dallas Symphony Chorus, Anthony shares how his love for choral music grew during his time at Baylor University and how his studies with Simon Halsey in the UK deepened his passion for combining choral and orchestral traditions. Along the way, he’s held leadership roles with Baltimore Choral Arts, Bach Vespers in New York, and now the Dallas Symphony Chorus.

🗣️ Key Topics We Discuss:

• The Unique Role of Symphony Choruses: We discuss how the perception of choral music in the U.S.—as something for children, the elderly, or limited to university choirs—has hurt our choral culture.
• Balancing Tradition and Innovation: Anthony shares his commitment to preserving the masterworks of choral literature while also championing new compositions.
• Managing Large Ensembles: With experience conducting groups ranging from 12 to 200 singers, Anthony opens up about the challenges of working with large ensembles and the importance of building trust, establishing a rhythmic foundation, and addressing issues directly with individual singers.
• Expanding Choral Music Accessibility: We discuss how professional choirs and symphonic ensembles can bring world-class music-making to more communities, showing that choral singing can be a lifelong passion for everyone, not just a stepping stone in academic settings.

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

Be Sure to Find Choralosophy on TikTok!

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

Find Ryan’s Article:

Anthony Blake Clark is a leading voice among his generation of choral conductors. He is in demand by both amateur and professional choral artists because of his “readily apparent musicality” (Baltimore Sun) and his conviction that lives can be changed by participating in classical music, whether on the stage or in the audience.

Clark has performed with some of the most important ensembles in legendary venues throughout the USA and Europe. He has prepared choral ensembles for prestigious orchestras such as the Rundfunkchor Berlin with the Berliner Philharmoniker, Baltimore Symphony Orchestra, Chicago Symphony Orchestra, City of Birmingham Symphony Orchestra, Vienna Radio Orchestra, Dallas Symphony Orchestra, and the Richmond Symphony Orchestra for esteemed conductors such as Marin Alsop, Sir John Eliot Gardiner, Fabio Luisi, Mirga Gražinytė-Tyla, and Simon Halsey. He and his choirs have performed at the Berlin Philharmonie, the Vienna Konzerthaus, Symphony Hall Birmingham (UK), St. Martin-in-the-Fields London, The Kennedy Center, and the Washington National Cathedral, among others.

Maestro Clark was recently named the Jean D. Wilson Chair Chorus Director for the Dallas Symphony. After preparing three critically praised programs for the Dallas Symphony Chorus in 2022 and 2023, Music Director Fabio Luisi appointed Clark as Chorus Director beginning in the 2023-2024 season. As Chorus Director, Clark prepares the 200-voice ensemble for classical and pops programs. Highlights this season include Brahms’ Ein Deutsches Requiem and Schmidt’s Das Buch mit Sieben Siegeln. The Dallas Symphony Chorus under Clark’s preparation can be seen on Medici TV (Orff’s Carmina Burana and Catulli Carmina) and DSO’s “Next Stage” streaming platform (Beethoven’s 9th Symphony).

At Baltimore Choral Arts, Anthony Blake Clark has served as Music Director since 2017. Clark has expanded subscription concert offerings while building a robust community outreach and education initiative. He has consistently received glowing reviews, both for work on the podium and as chorusmaster for performances with the Baltimore Symphony and other area partners. His work with BCAS has been recognized with an American Prize in Choral Conducting and a second nomination for best community ensemble, as well as the Chorus America/ASCAP Alice Parker Award. He annually conducts and produces the celebrated “Christmas with Choral Arts” television concert, first on ABC2 and now on Maryland PBS station MPT, for which the ensemble has received three regional Emmyâ nominations. Clark has secured invites to several important festivals and collaborations; after a sold-out and enthusiastically received UK tour, BCAS was in residence with the City of Birmingham Symphony Orchestra and Chorus for performances of Mahler’s 8th Symphony. Recently, Clark and Baltimore Choral Arts made their Berlin Philharmonie debut with the Freie Universität Orchester. On the same tour, BCAS collaborated with the Vienna Singakademie to perform with the Vienna Radio Orchestra under Marin Alsop.

Anthony Blake Clark also served as Artistic Director of Bach Vespers in New York City. In residence at Holy Trinity Lutheran Church in mid-town Manhattan, the Bach Choir and Players are composed of some of the finest early music professionals in the nation, presenting works of Bach using historically informed practices within the liturgical context of a Vespers service. He has also served as the James Erb Choral Chair Director of Choruses for the Richmond Symphony Orchestra.

Anthony Blake Clark is equally adept in the orchestral field, making his Baltimore Symphony debut in 2021 and made his Richmond Symphony debut in 2022. He has also appeared as cover conductor for the National Symphony Orchestra, assisting conductors such as Ton Koopman, Gianandrea Noseda, Teddy Abrams, Christoph Eshenbach, and Manfred Honeck, and has assisted Marin Alsop at the Baltimore Symphony.

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Clark is a passionate teacher and served as Director of Choral Activities at The George Washington University in DC. His university choirs performed at the Kennedy Center and National Cathedral and sang with the Washington Chorus, Baltimore Choral Arts, Naval Academy Glee Club, and the Baltimore and Annapolis Symphonies. Recently he was Guest Conductor/Lecturer for the Westminster Choir College Symphonic Choir. He regularly leads workshops and clinics for school and community ensembles.

Legacy and mentorship are paramount to Clark’s musical philosophy; he is a mentee of Marin Alsop, having worked with her extensively and studied with her at the Peabody Institute in the doctoral conducting program. Mr. Clark completed a master’s degree under three-time Grammy Award winner Simon Halsey CBE at the United Kingdom’s University of Birmingham and considers Halsey his lifelong mentor. During his time in the UK, he embedded himself in the choral life of the UK and sang under the batons of Sir Simon Rattle, Edward Gardiner, and Andris Nelsons, and had opportunities to conduct the London Symphony Chorus and the CBSO Chorus. Other teachers include Simon Carrington (Yale Norfolk Festival, Sarteano Workshop) and Lynne Gackle (Baylor University).​

An active composer and arranger, Anthony Blake Clark’s music has been performed in Washington DC, London, Oxford, Texas, and at Prague’s Dvorák Museum Concert Hall. In 2022 his new performance edition of Mozart’s Requiem was recorded by Acis Records.

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