Tag: online content

An episode born from comment section of one of my social media videos. I was sharing my perspective on finding a middle ground when it comes to competition in music education, and my guest today left a comment that caught my eye, mentioning that her own views on artistic competition had recently undergone a total transformation.

I’m joined today by Dr. Francis Cathlina, Director of Choral Activities at the University of Memphis. Francis brings a fascinating perspective to the podium as a former violist turned collegiate choral conductor. In this episode, we sit down to unpack what it really means to “right-size” competition for your specific school and community. He shares how an international conducting trip to the Philippines completely changed her mind about competition as a tool for program advocacy, and we take an honest look at how social media is impacting the culture of guest clinicians and honor choirs.

Later in the hour, we dive into vocal pedagogy and choral tone—exploring how spoken language and regional linguistics should inform resonance, and why efficient, healthy vocalism has to come first, regardless of the style you’re singing.

Whether you love competition, avoid it entirely, or find yourself somewhere in the middle, this conversation is packed with pedagogical wisdom and honest reflections on our field. Stick around—you’re going to get a lot out of this conversation with Dr. Francis Cathlina.

🎧 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!

Francis Cathlina, D.M.A. (he/him) is a Vietnamese-American conductor and educator. His concerts invite audiences into a world where choral artistry becomes a powerful storytelling medium.

Dr. Cathlina serves as the Director of Choral Activities at the University of Memphis, where he guides the Choral Area, leads the MM/DMA Choral Conducting program, and conducts the University Singers. His creative work was recognized with the 2025 Dean’s Award for Creative Achievementand 2026 Dean’s Award for Excellence in Engaged Scholarship.

A Yamaha “40 Under 40” educator, Dr. Cathlina maintains an active international profile. In 2025, he served as the Choral Conducting Faculty for Brazil’s FIMUS Festival and worked in the Philippines as part of ACDA’s International Conductors Exchange Program. His work consistently bridges pedagogy with cultural exchange.

Cathlina’s teaching develops masterful technicians, expressive communicators, and thoughtful citizens. Under his direction, the UofM University Singers have been invited to perform for national conferences. His students lead prominent programs—as university Director of Choral Activities and symphony chorus directors. Upcoming engagements include All-State choirs in New Jersey, Arkansas, and Kentucky, presentations in Macau, and residencies in London and Sweden. Among these, conducting honor choirs remains his most cherished creative work.

An authority on vocal pedagogy, Dr. Cathlina’s research focuses on choral tone and conducting gesture. He has presented over 85 sessions worldwide. He is published in international journals. Recent highlights include headlining the Alabama and Ohio choral conferences and co-leading Conducting Masterclasses in Greece with the University of Macedonia (Thessaloniki) and Ionian University (Corfu).

Dr. Cathlina earned a DMA in Conducting with a Vocal Pedagogy cognate from the University of North Texas, an MM from Michigan State University, and a BME from Baylor University. Before his doctorate, he taught in Texas public schools.

In concert, Cathlina wears an áo dài, traditional Vietnamese formalwear. As one of the few Vietnamese conductors in the field, he proudly dons it as a tribute to his heritage.

Beyond the podium, he is a pickleball athlete, coach, and ambassador. He lives in Memphis, Tennessee, with his husband Kyle and their dog, Coco.

https://www.instagram.com/francis.cathlina

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There is nothing better than seeing development—watching someone start at the bottom level and, through time and dedication, step onto a stage and realize what they are truly capable of. No matter what your choir’s starting point, it is GROWTH that keeps the members coming back.

Welcome to a special joint-presentation episode where cross-continental perspective meets the art of the choral conversation! Today, I get to welcome another new choir podcaster, with London-based conductor Russell Scott, host of the new show, The Choir Director Podcast, to bridge the gap across the Atlantic. In this episode, we pull back the curtain on what it really takes to lead an ensemble today. How do we thread the needle when it comes to inclusivity? Often, the flat, platitude rich online conversation of ensemble inclusivity misses the reality.

We tackle the massive balancing act every director faces: what happens when we want to aggressively raise our musical standards without accidentally driving our singers out the back door. And the flip side: do we loose people when the environment is not rigorous enough? Plus, we dive into the psychology of choral communities, the modern pitfalls of academic self-censorship, and why the lasting bonds of a choir are ultimately forged in the shared vulnerability of the breath—not just the social hour. Whether you lead a school program or a community-based ensemble touring international stages, this unscripted conversation is a refreshing, honest look into the heart of the choral craft.

🎧 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!

Russell Scott is an internationally recognised musical director, producer and conductor, with over 45 years’ experience across the music industry. A professionally trained singer, he has sold over 100,000 records across his solo releases and recording projects, and is known for his work across choral, musical theatre and large-scale performance.

Russell has conducted extensively across the UK, Europe and North America, including a landmark Christmas Concert at the Berlin Philharmonie in 2025. His international conducting work includes appearances with the Vancouver Pops Orchestra, alongside numerous performances with choirs and orchestras. He is particularly respected for his ability to create engaging, high-quality performances that connect strongly with both performers and audiences.

In musical theatre, Russell has conducted in London’s West End and worked alongside leading industry figures including Tim Rice, Don Black, Stephen Schwartz and Leslie Bricusse. His production credits include a major UK tour of Godspell following a sell-out West End performance, alongside a wide range of concerts and large-scale productions.

He is the founder of the World Voices Festival (formerly the UK Choir Festival), established in 2016, which has grown into a major international event bringing together thousands of singers and choir leaders for workshops and performances. As Musical Director of Next Stage Choir, which he founded in 2010, Russell leads a large, thriving multi-location choir and regularly tours internationally with its members.

Russell has also recorded at Abbey Road Studios on multiple occasions, further reflecting the breadth of his work across performance and production.

Alongside his conducting and production work, he is a highly sought-after vocal coach and mentor, working with performers from amateur level through to those preparing for drama school and professional auditions.

Russell Scott continues to inspire singers and audiences alike through his leadership, experience and commitment to musical excellence. He also hosts The Choir Director Podcast.

@russellscottofficial

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Humans are a musical species. ALL humans. But, many move through their music education without realizing it. We are putting the most vulnerable part of the brain in the hands of overworked people. And that is a problem. Emotionally Intelligent Music Instruction can be part of the solution.

This week’s guest dropped a concept that completely shifted how I view my rehearsals: when we make music, we are operating in the exact part of our brain that recognizes our deepest vulnerabilities. Specifically, we are cross wired with the part of us that notices our own nakedness. It’s intense, it’s raw, and it explains why singing can feel downright terrifying for our students. Joining me is the brilliant Allison Wilkinson to talk about why music is the ultimate “bravery workout,” as well as the most “AI-proof” subject in schools today. We discuss how navigating that musical discomfort builds literal neural pathways for resilience that serve kids in the boardroom and beyond. Whether you’re a teacher balancing hundreds of students a week or a parent wanting the best for your child’s cognitive health, you don’t want to miss this one. Let’s jump into the conversation.

🎧 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!

Allison Wilkinson is the author of Making Musicians and the Executive Director of the I Am Music Foundation. Each year, she teaches the tools of Applied Music Psychology through the I Am Academy to music educators from around the world, from Australia to Zimbabwe and everywhere in between. Find the book on GIA!

@making_musicians

https://www.instagram.com/making_musicians

https://www.facebook.com/makingmusicians/

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We are revisiting a topic today to bring in more perspectives. Dave Ritschard teaches choir in Alabama, where they are considering ADDING sight reading to the All State Choir audition. Dave is opposed.

Today, we are diving headfirst into a hot-button topic that recently blew up on Facebook: what is the true purpose of an All-State choir? Is it a reward reserved strictly for the pinnacle of high school choral achievement, or is it a spark meant to transform smaller music programs from the bottom up? Joining me to parse out this classic debate is Dave Richard, a choral and drama director at a school in Marshall County, Alabama.

From growing up as a missionary kid in Papua New Guinea to navigating a 6th–12th grade schedule, Dave brings a unique perspective centered on student access. This perspective bumps up against mine in some friendly back and forth. He recently went public with his concerns over the Alabama Vocal Association’s plan to add a required sight-reading component to auditions, arguing that it creates massive equity issues for rural programs where students receive zero elementary music education. I, of course, hold a different view also citing equity concerns, setting the stage for an incredibly honest, constructive clash over the fine line between defending musical excellence and accidental gatekeeping.

🎧 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!

David Ritschard (pronounced Richard), or “Mr. Ritz” as his students know him, is a 6–12 choral and drama teacher in Douglas, Alabama. After completing his first year teaching, he has become passionate about building choir programs in rural communities and creating meaningful musical experiences that inspire students to stay involved in music for life.

Dave grew up in Papua New Guinea, where his family served as missionaries, and is a graduate of Jacksonville State University with a degree in Choral Music Education. As both a choir and drama teacher, he is particularly interested in music literacy, accessibility, student participation, and the role of honor choirs in music education.

Find Dave on TikTok and Instagram at @mr.ritzchoir

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What happens when you look at your choir’s packed performance schedule and realize you’ve been teaching the repertoire, but not the actual skills? But aren’t middle school kids too young for a rigorous choir class experience? Besides, won’t it drive them away if we don’t make it an easy A with lots of fun concerts?

We often talk about wanting music classes to be treated with the same respect as core academic subjects, but are we holding ourselves to that same curricular standard?

Joining me today is Ryan Lindley, an outstanding middle school director who found himself asking that exact question after finishing his eighth year in the classroom. Ryan realized his grading structure only measured one standard: performance. He set out to rewrite his entire curriculum to focus on deep, sequential music literacy, proving that middle schoolers are never “too young” for high expectations. We talk about the logistics of individual testing, building student autonomy, and modeling growth in real time.

🎧 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!

Ryan Lindley is a music educator, conductor, and clinician based in Oshkosh, Wisconsin. He currently teaches fourth through eighth-grade chorus for the Oshkosh Area School District, serving students at Perry Tipler Middle School and the Advanced Learning Program charter school. His teaching emphasizes project-based learning, social-emotional learning, and the creation of inclusive, student-centered music spaces.

Mr. Lindley holds a Master of Music in Music Education from Boston University and a Bachelor of Music in Music Education from the University of Wisconsin–Oshkosh. In addition to his school teaching, he is the Music Director of Badger State Youth Choir: Oshkosh and serves as President of the Oshkosh Chamber Singers. He is actively involved in professional leadership as the Middle Level Repertoire & Resources Chair for the Midwestern Region of the American Choral Directors Association and as the Middle Level All-State Coordinator for the Wisconsin Choral Directors Association.

An accomplished musician, Mr. Lindley is a frequent clinician and presenter, with professional interests that include middle level choral pedagogy, SEL-informed rehearsal practices, and curriculum design. Outside of music, he enjoys spending time with his wife, Madeline, and their two children, Isaiah and Eleanor.

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Have you ever noticed that good pedagogy and the perfect methodology only goes so far? The job of a teacher, conductor or a coach is a complicated cocktail with almost infinitely changing ingredients. The main variables can be found within the groups themselves.

In this episode, I’m sitting down once again with Gary Seighman, choir director and Chair of the Music Department at Trinity University. Gary is out with a fascinating new book published by Meredith Music and GIA called The Choir Playbook.

We dive deep into the striking parallels between athletic coaching and choral rehearsing, exploring how over-analyzing mechanics can completely paralyze execution—whether a kid is at the plate or a conductor is on the podium. Gary shares how moving past surface-level band-aids allows us to build adaptive, high-performing musical environments.

What We Preview in This Episode:

• The Ecological Approach to Rehearsing: Why training your choir to “expect the unexpected” and adapt on the fly builds a more resilient ensemble than rigid, predictable repetition.
• Joint Action Theory and the Mirror Neuron System: The hard science behind how ensembles create a subconscious “collective organism”—synchronizing breathing, body language, and heart rates to predict musical movements rather than just reacting to them.
• Lego Vowels vs. Silly Putty: A look into Gary’s toolbox for vowel unification and why teaching English text requires fighting a lifetime of native, lazy speech habits.
• Defeating Teacher Burnout: Why stepping completely outside the choral bubble to explore sports, sci-fi, or Pixar movies is exactly what your default mode network needs to unlock massive creative Eureka moments in front of your choir.

If you are tired of shallow fixes and want to understand the deep neurological and physiological mechanics of what actually happens when humans make music together, you are not going to want to miss this conversation.

Grab your notebook, clip board and whistle and 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

Be Sure to Find Choralosophy on TikTok!

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

Gary Seighman is Professor, Director of Choral Activities, and Chair of the Music Department at Trinity University in San Antonio, Texas, one of the nation’s top private liberal arts universities. He is the recipient of several teaching awards, including the Most Innovative Programming Award from the Texas Choral Directors Association. His choirs have performed for the National Collegiate Choral Organization, the Texas Music Educators Association, and the 2026 Southwest ACDA conference. He is a regular guest artist with Worldstrides Performance for their Carnegie Hall festivals and has conducted across the world with multiple European tours, and 6 trips to East Asia conducting the Peking University Summer Opera Program, and performances throughout Taiwan and Japan.

His book, The Choir Playbook: Tools for the Imaginative Conductor, was recently published by Meredith Music and GIA. His degrees are from is from Westminster Choir College, the University of Oklahoma, and the University of Maryland. Seighman enjoys other creative outlets including signed as a model and actor with Avant Agency, where he has appeared in print, online, billboards, radio, and television. He also loves coaching soccer, softball, and baseball for his 9 and 11-year-old children.

Find Gary on Social Media:

https://www.instagram.com/gary_seighman?igsh=MTJncjhqcGdpNW15Mw==

https://www.facebook.com/gary.seighman

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Should would we reject AI, or embrace it? Or maybe neither? Like all new technologies, there will be problems. Early adopters, and late ones, and some that NEVER get on board. In what areas can AI tools help artists and educators be better at their jobs? But also, which AI tools are a genuine threat to the arts and artists?

Today I am joined by Beth Philemon, and we are diving headfirst into a topic that makes a lot of people in the arts deeply uncomfortable: artificial intelligence. I know the immediate reaction for many of you is absolute frustration or exhaustion. You see AI and you think about copyright theft, corporations exploiting artists’ hard work without consent, and the massive environmental footprint of these data centers. Those are incredibly valid, serious concerns, and we are not here to gloss over them or pretend they don’t matter.

So if you are aggressively anti-AI, I want you to stick around for this exact conversation. Beth and I spend a good chunk of this episode wrestling with those ethical minefields, the realities of intellectual property, and what this technological shift means for the future of composing. But we also look at a very practical paradox: how keeping a human firmly in the loop of these tools might actually protect our time. We discuss how automation can handle the brutal administrative and data tasks that burn teachers out, ultimately freeing us up to spend more time focused on the embodiment of our art form—real human connection and real singing. It’s a nuanced look at a messy topic, and you won’t want to miss it. Let’s jump in.

🎧 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!

Beth Philemon is a choral conductor and AI strategist based out of Raleigh, NC. She consults on enterprise AI transformation and data strategy for organizations ranging from Fortune 500 companies to performing arts institutions, translating fluently between corporate strategy and artistic leadership. With more than fifteen years on the podium across K–12, collegiate, church, and community ensembles – and ongoing work as a guest clinician and conductor – she works at an intersection most people are told to choose between: artistry and strategy. She holds an MM in Choral Conducting from Northern Arizona University and an MBA from North Carolina State University. She founded Choir Baton in 2017 to grow the choral community via social media. Today Choir Baton provides online education for new, emerging, and returning community singers via the CB Academy and for choir teacher-conductors via CB Institute, in addition to the Choir Baton Podcast. Her mission is #MorePeopleSinging for lifelong musicianship. For more information visit ChoirBaton.com or BethPhilemon.com

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Is there even such a thing as “Ethical Gatekeeping?” In modern discourse, the term seems to always be a negative. Maybe some gates need a keeper.

Today’s conversation hits incredibly close to home as we pull back the curtain on power dynamics, public perception, and the hidden structures that dictate taste and legitimacy in choral music.

Joining the show is Dr. Samuel Grace, a conductor and music director from Minnesota whose recent doctoral dissertation directly explores the theoretical models of network gatekeeping in our field. He breaks down the multi-layered pipeline of how music gets created, how publishers and professional organizations decide what gets heavily marketed, and how peer conversations ultimately influence what you choose to put on your concert programs.

While contemporary popular culture tends to use “gatekeeping” strictly as a pejorative term for exclusion, we look at it through a rigorous academic lens—as an unavoidable, organic force that manages information overload and shapes cultural value.

🎧 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!

Samuel Grace is a Twin Cities-based conductor known for his thirst for new music and creative collaborations. Samuel serves as Director of Music Ministry at St. Philip the Deacon Lutheran Church where he oversees four choirs. He is also Founding Artistic Director of MPLS (imPulse). Now in its 12th season, MPLS (imPulse) builds choral communities by performing living music, embracing the singer experience, and fostering novel collaborations. In his free time, Samuel can often be found riding his bike or cooking with his family. Samuel holds degrees from Gustavus Adolphus College (B.A.), The University of Minnesota (M.M.), and Indiana University (D.M.).

www.mplsimpulse.org

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This episode is GUEST HOSTED by Beth Munce! Our voices continue to change through our lives. This can affect us as directors, but also the singers under our charge. One of the most tumultuous vocal changes outside of the famous “boy in puberty” is the woman’s voice in Perimenopause and Menopause. Since, I have no experience directly, or indirectly with this topic, my wife took over the studio and nailed it!

In this episode, Joanne Bozeman—a researcher, voice teacher, and expert on hormonal impacts on the voice—shares her personal and professional insights into how menopause and perimenopause influence vocal health. Beth Munce sits down with Joanne in a personal, vulnerable AND information rich episode. Joanne also recently co-authored “Singing Through Change” which is a must read for anyone who wants to be informed on the topic.

Whether you’re a singer, voice teacher, or a woman experiencing these changes firsthand, this conversation offers clarity, reassurance, and practical guidance.

🎧 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!

Joanne Bozeman, a graduate of the University of Arizona, has been a singing teacher for nearly 50 years. As a faculty member of Lawrence University’s Conservatory of Music, she taught singing and related courses, and was an actively performing soprano, specializing in recital repertoire, oratorio, and chamber music. Joanne developed a keen interest in the relationship of hormones with voice and the female lifespan, and co-authored the book, Singing Through Change: Women’s Voices in Midlife, Menopause, and Beyond, released in 2020. Her other serious interest concerns the singing voice and hypermobile conditions and postural orthostatic tachycardia (POTS.) Joanne is a frequent presenter for many organizations, including the National Association of Teachers of Singing, the International Congress of Voice Teachers, the British Voice Association, Pan American Vocology Association and numerous voice education collectives. Retired from academia, Joanne continues to be engaged with the voice community as an independent teacher and researcher.

Bensoussan, Yael, et al. “Menopause and the Voice: a Narrative Review of Physiological Changes, Hormone Therapy Effects, and Treatment Options. Menopause, 33(2), 2026, 232-241. DDOI: 10.1097/GME.0000000000002636

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What can vocal and instrumental music education learn from each other? At what point does specialization become uneccessary siloing of what should be a “music ‘education” profession?

Matthew Arau is the guest. Yes… ANOTHER band teacher…

Back in January, I accidentally attended Matthew’s session at the recent Missouri Music Educator conference. You read that right. I went into a room where choir things normally happen. But when I heard Matthew teaching people about the importance of audiation, vocalization and all of the internalized music comprehension concepts in a band class, I stayed glued to my seat. After the session, I introduced myself, and now we are here.

In this episode, Matthew Arau, an instrumental educator and leadership author, shares innovative strategies for integrating vocalization into instrumental and band education. He is also a passionate advocate for Mindfulness, and the “inner work” of the conductor/teacher as a leader in their environments. We discuss how to achieve a kind of teacher peace and how this can improve our attitude about work, but also can influence classroom management and culture. Music educators of all stripes won’t want to miss this episode.

🎧 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!

Internationally renowned speaker, author, and conductor, Dr. Matthew Arau empowers people to their shatter limiting beliefs, unlock their full potential, and orchestrate their lives in alignment with their values and vision. As the founder and CEO of Upbeat Global and author of the bestselling book, Upbeat! Mindset, Mindfulness, and Leadership in Music Education and Beyond, Dr. Arau believes in the power of gratitude and joy to make meaningful, transformative change from within. Drawing on his 29 years as a conductor, music educator, leadership expert, and professor, Matthew empowers educators, entrepreneurs, and executives to create inner harmony and rekindle their inner spark through focusing on well-being, purpose, and mindset.

Additionally, Dr. Arau is an Associate Professor of Music and the Chair of the Music Education Department and Symphonic Band Conductor at Lawrence University in Appleton, Wisconsin, a Conn-Selmer Education Clinician, and the Leadership Editor for GIA Publications. Dr. Arau has guest conducted, led professional development, and presented clinics on leadership, mindfulness, overcoming burnout, growth mindset, rehearsal techniques, and creating positive cultures in 40 states and 4 continents in person. Thousands of high school students and educators have attended his Upbeat! Leadership Workshops across the United States to develop their leadership skills and reach for their fullest potential. In addition to being in demand as a keynote speaker, presenter, and professional development facilitator, Dr. Arau has conducted honor bands in Australia, Thailand, Greece, Cyprus, and Malaysia, and All-State honor bands across the United States.

Resources

Upbeat Global –
GIA Music – Upbeat Resources –
Power of GET Leadership Quiz –
Upbeat Leadership Academy –

Dr. Arau draws on a deep reservoir of fifteen years of experience as a successful middle school and high school band director in Loveland, Colorado, where he led his bands at Walt Clark Middle School and Loveland High School to numerous honor performances and championships and pioneered the Leadership Symposium. He lives with his wife Merilee in Neenah, Wisconsin accompanied by their sugar glider, Flash, and two Dachshunds, Savannah and Eli.

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I’ve said for a long time that music education is at a crossroads—but depending on who you ask, we’re either evolving… or we’re missing the point entirely. Are traditional school music programs—band, choir, orchestra—reaching enough students? And if not, why?

There’s a growing narrative in music education right now that what we’ve been doing for decades just isn’t working anymore. My guest today, Kevin Droe, makes that case in a recent TED Talk—arguing that if we don’t rethink school music programs, we risk losing students altogether.

Now, I want to say this up front: Kevin’s not coming at this from the outside. He’s a music educator, a band director, someone who clearly believes in what we do. And I think that matters.

But I also think some of the assumptions behind this argument need to be examined a little more carefully.

• Is 20% participation really a crisis—or actually pretty strong for an elective?
• Are we excluding students—or just not offering every possible pathway?
• And what does meaningful expansion actually look like in a real school setting?

This conversation is honest, respectful, and at times… a little challenging. Which probably means it’s one worth having…

🎧 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!

Kevin Droe, Ph.D., is an Associate Professor of Music Education at the University of Northern Iowa. He specializes in teaching undergraduate and graduate music education. Alongside his teaching and research responsibilities, Kevin Droe is the founder of the UNI Spectrum Project. This initiative offers children with differing abilities a weekend of music, movement, drama, and art activities. His research focuses on special populations, innovative music education, and popular music.

In 2018, Kevin established AmpCamp, an annual summer popular music youth camp. In 2022, he launched Spectrum JamFest, an annual youth music festival. Kevin Droe teaches workshops in audio, modern band and popular music education throughout Iowa. When not teaching and researching, Kevin is the drummer for Corn Riot, a punk metal band made up of faculty and staff of the UNI School of Music. He holds degrees from the University of Northern Colorado and a Ph.D. in music education from The Florida State University.

UNI Modern Band YouTube – https://www.youtube.com/@unimodernband3038/featured

UNI Spectrum Project – https://www.spectrumproject.org/

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A one of a kind event happened at this year’s convention of the Southwest Region of American Choral Directors. We gathered a panel of thoughtful professionals and an inquisitive crowd of colleagues and had an “unsafe” conversation in public. And what do you know? No one threw tomatoes!

Are we speaking a language our communities actually understand?

In this special live episode recorded at the Southwest ACDA conference, we move past the performative “curated consensus” of the professional bubble. For seven years, Choralosophy has been a space for the conversations we’re often disincentivized from having—and this panel is no exception. I was joined in Albuquerque by Odell Zeigler, Clelyn Chapin, Heather Orr and Reginal Wright for a lively and informative discussion you won’t want to miss.

We dive deep into the terminology that defines our field: Excellence. Rigor. Access. Equity. These words matter, but through overuse, they risk becoming social signals rather than clear objectives. If we can’t define what we mean to the “normal” people—the parents, administrators, and taxpayers who sustain our programs—we risk losing them entirely.

In this episode, we tackle:

• The “existential” threat of insular language.
• Whether Excellence and Access always align, or if we’re ignoring the trade-offs.
• Navigating the tensions of gender balance and repertoire origins with nuance instead of reaction.
• What is equity?

It’s time to be precise, be brave, and look beyond the buzzwords to the future of the choral profession.

🎧 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!

Reginal Wright is a renowned composer, conductor, and educator whose compositions blend melody, rhythm, and text into powerful musical narratives that engage both performers and listeners. An accomplished composer, his works are performed widely and cater to choirs of all levels from beginning ensembles to advanced collegiate and professional groups. With over 25 years of experience, he has received numerous awards for his work in middle and high school education. As a conductor, he fosters collaboration and artistry in choirs of all levels, helping them reach their full potential. 

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. Before joining the faculty at UNC, Clelyn spent 14 years teaching and conducting secondary, collegiate, and community ensembles in Texas, Colorado, and Michigan. 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. 

Heather Orr serves as Assistant Director of Choral Activities at Texas A&M University, where she conducts the freshman ensembles Bella Voce and Legacy Voices. She previously spent 30 years in public school music education as Head Choir Director at Montgomery High School in Texas. Orr is a frequent clinician, adjudicator, and presenter, with expertise in treble choir tone development and effective rehearsal strategies. Her ensembles have presented nine invited convention performances at the TMEA, SWACDA, and ACDA. Orr holds a Master of Arts in Vocal Pedagogy from The Ohio State University and a Bachelor of Music in Voice Performance from Heidelberg College, and is currently pursuing a Doctorate in Music Education. She is the mother of four grown children, grandmother to three grandsons, has been married for 32 years, and they are  now navigating life as empty-nesters with their dog, Nugget.

Odell Zeigler, IV, is the Director of Choirs at the Visual & Performing Arts Academy at Booker T. Washington High School in Norfolk. He leads Concert Choir, Women’s Chorale, Men’s Chorus, and Mixed Chorus, and teaches Music Appreciation and AP Music Theory. Odell is an active clinician, adjudicator, and speaker who presents regularly at All-State and All-Region conferences across the country. He deeply values time with his family, taking great joy in watching his children grow in their academic pursuits and sports, and in sharing family vacations together each year. 

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Among the more misunderstood, mischaracterized, and confusing topics discussed on this show is Literacy. What is it? What is it not? It’s time to include a wider lens here beyond vocal and elementary general classrooms. Instrumental music has its own pitfalls. Let’s compare notes.

Rethinking Music Literacy: Beyond Button Pushing. Finally! Another “music is a language nerd.” Any others out there? We must unite.

In this episode, we explore the core difference between technical skills and true musical literacy, emphasizing how a holistic approach can transform music education. David Davis, an instrumental and elementary music educator who is trying to pivot from traditional practices, shares insightful ideas on how to cultivate musicianship rooted in understanding, improvisation, and language.

• The critical distinction between technical proficiency and literacy in music
• Why teaching music as a language fosters improvisation and comprehension
• The analogy of typewriters and language immersion to explain musical skills
• How current pedagogies often emphasize button pushing over real understanding
• The role of notation systems in culturally diverse music learning
• Practical strategies for early aural foundation building
• How a shift in pedagogy can lead to more expressive, fluent musicians

This episode invites educators to critically examine how we teach and interpret music literacy. Moving beyond mere button pushing to cultivating language fluency in music equips students for improvisation, creativity, and lifelong musicianship. The conversation underscores that pedagogy—how we teach—is the most significant factor shaping future musicians’ ability to truly understand and express music across genres and cultures.

🎧 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!

David Davis is a band, orchestra, and general music educator in Minnesota committed to systemic change in music education. A GRAMMY semifinalist and Yamaha “40 Under 40” educator, he designs curricula that prioritize cultural responsiveness, inclusivity, student voice, and research-based pedagogy. He also serves on NAfME’s Council of Innovations, on Minnesota’s Music Educator Association’s board, and is an Education Minnesota Racial Equity Advocate.

https://www.davismusiced.com

https://www.linkedin.com/in/davismusiceducator

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Is a podcast “real PD?” Is it a trustworthy source of information? What are the best ways to use one? What are the worst? Why do music educators listen?

In this conversation, Theresa Hoover, a music educator and researcher who advocates for “passing the baton” to students through a book and podcast by the same name, discusses her findings on how music educators utilize podcasts for professional development, community, gathering information, teaching ideas and EVEN emotional support. She shares insights from her survey of music teachers for her PhD research, revealing their motivations for listening to podcasts, the connections they form, and the importance of authenticity in podcasting.

Theresa and I also touch on the evolving landscape of music education podcasts, the challenges of commercialization, and the role of student ownership in music education. Theresa emphasizes the need for music educators to critically engage with podcast content and the potential for podcasts to serve as valuable professional development tools, but also raises the questions of legitimacy of podcasts to be a reliable source of information and what happens to the trustworthiness of monetized podcasts. (Like 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

Be Sure to Find Choralosophy on TikTok!

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

Theresa Hoover is a music educator, speaker, and writer who advocates for student voice in the music room. Her work centers on helping teachers empower students throughout their musical experiences by transforming classrooms into student-centered learning environments.

Currently, Theresa serves as a Teaching Instructor of Music Education at East Carolina University and is a PhD candidate in Music Learning and Teaching at Arizona State University. Her teaching experience spans instrumental, general, and vocal music across a variety of settings, most recently as a middle school band director in Northern Virginia. Prior to that role, she taught for fourteen years in Pennsylvania. Theresa holds a bachelor’s degree in music education from Penn State University and a master’s degree in wind conducting from West Chester University.

A recognized presenter and clinician, Theresa has presented at local, regional, and national conferences, including the Midwest Clinic, the NAfME Biennial Research and Teacher Education Conference, and numerous state music education conferences. She also serves as an adjunct professor at VanderCook College of Music, where she teaches graduate courses for music educators focused on technology integration and student ownership.

Theresa is the author of Empowering Ensembles With Technology, the co-author of Pass the Baton: Empowering All Music Students, and the co-host of the podcast Pass the Baton: Empowering Students in Music Education. Her writing has been featured in several online publications, as well as on her blog, Off the Beaten Path: A Music Teacher’s Journey.

When not teaching, Theresa enjoys reading, running, traveling to visit family and friends, and spending time with her dog, Dizzy.

Instagram @MusicalTheresa and @PasstheBatonMusicEd

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An important distinction for young teachers: we want our students to view our class as safe, free and open. But, in order to do this, there must be an “operating system” running in the background. A clearly defined structure, procedures, and yes, rules. (Clutches pearls.)

In this conversation, Kevin Lackie joins me to discuss the importance of classroom management and structure in choral education. This also the topic of a recent Choral Journal (ACDA) article that Kevin wrote. Be sure to check that out! He emphasizes the need for teachers to create an inclusive environment where students feel expected and engaged.

Many useful portions of this episode center around the ways that one unified educational philosophy can be adapted to a variety of teaching realities. Chances are, our tactics could be different but the philosophy is the same! Kevin shares his journey in music education, highlighting the significance of warm-ups and the role of philosophy in teaching. The discussion also covers strategies for redirecting student behavior and building buy-in among students, ultimately aiming to foster a cohesive and productive learning atmosphere.

🎧 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!

Kevin Lackie, conductor, educator and baritone, brings extensive skills in choral-vocal technique and community development. With a background of building and repairing choral programs across the east coast, his ensembles regularly receive praise for artistry, programming, and connection with their community. Most notably, Kevin Lackie made his Boston Symphony Hall conducting debut for the Boston Symphony Orchestra’s Opening Week 2025 program “Music’s Next Generation.”

A passionate educator, Mr. Lackie was the longest-standing member of the Fairfax County Public School curriculum writing team that wrote a grade 5-12 choral curriculum that is used in 196 schools in Northern Virginia. Kevin regularly presents at conferences and universities and is published in the ACDA Choral Journal with a ChorTeach article on classroom management. Additionally, he has been a proud Mentor Teacher supporting new teachers in their programs.

Mr. Lackie is also an advocate for socioeconomic equity in the choral world. Kevin founded the New Hampshire-based “Scores Project,” which raises funds to donate to local public music programs in need of financial support. Dedicated to the belief that no child should be denied access to music due to a lack of finances, this project has continued for almost a decade, uninterrupted by the pandemic, and has contributed to choral programs around the state.

Prior to moving to Boston, Kevin Lackie was the Founder and Artistic Director of the Mount Vernon Chamber Singers in Alexandra, VA. He has served as Music Director and Director of Traditional Worship in numerous church denominations and taught middle and high school choral programs. Additionally, he serves as Tenor-Bass Repertoire & Resource Chair with the Virginia Chapter of the American Choral Director’s Association. Currently, he is on the teaching staff at Harvard University assisting the Harvard Glee Club and is a graduate conductor with Boston University’s 150-voice Symphonic Chorus. Kevin earned degrees from Keene State College, East Carolina University, and is pursuing his Doctorate in Conducting at Boston University.

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It can be so tempting for ensemble music directors to fall into a kind of tunnel vision where all roads lead to the “top group” or most advanced ensemble. After all, they are often the ones able to showcase the “culmination” of what our program can do. But this must not be done at the expense of the beginner experience.

In this episode, Bruce Rockwell returns to discuss the challenges and strategies of teaching beginning level choirs. Be sure to check out Episode 195 where we discuss the critical importance of Elementary school choirs. Here, Bruce shares his insights on the importance of creating a positive choral culture and the need for differentiation in instruction to accommodate diverse student backgrounds.

He emphasizes the value of concurrent enrollment, where advanced students can “bring a friend” and mentor beginners, fostering a supportive learning environment. The conversation also touches on the unique challenges of teaching boys in choir, particularly those with pitch matching difficulties, and the strategies Bruce employs to address these issues. Additionally, we discuss effective repertoire selection and the importance of viewing the training choir as a vital part of the choral program, rather than just a stepping stone to advanced groups. Join us as Bruce shares his wealth of experience and practical advice for choral educators.

🎧 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!

Bruce Rockwell received his BA in Music from the University of California at Santa Cruz, and his MM in Composition from the San Francisco Conservatory of Music, where he studied with Conrad Susa and David Conte. He taught and directed music ensembles for the San Francisco Waldorf schools and the Town School for Boys. Since 2010 Bruce has been the choir director at College Park High School in Pleasant Hill, CA, where he also teaches piano and guitar. Bruce is a frequent guest for music education podcasts, and continues to write and present journal articles and conference sessions on various topics of interest to music educators.

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As much as we would love it to not be the case, Americans still see Black Musicians and make certain assumptions. Black Choir? It must be gospel? Black Band? It must be high steppers and baton twirlers. The issue is not these proud musical traditions. The issue is the box that stereotypes put people in.

Hear to discuss the issue and its nuances is Dr. Craig L. Robertson, a choir director at HBCU, Virginia State University. He reflects on his upbringing in a military family, which exposed him to diverse cultures and experiences, shaping his perspective on music and education. The discussion then delves into the misconceptions surrounding HBCU choirs, particularly the assumption that they are primarily gospel choirs. Dr. Robertson emphasizes the importance of recognizing the diversity and skill within these ensembles, advocating for a broader appreciation of their repertoire.

We also touch on the significance of music literacy and the role of educators in expanding students’ musical horizons. Dr. Robertson shares personal anecdotes about his passion for teaching and the joy he finds in watching students break cultural stereotypes through music. The episode concludes with reflections on the impact of diverse experiences on personal growth and the importance of embracing all aspects of one’s cultural heritage.

🎧 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!

Dr. Craig L. Robertson is Director of Choral Activities and Assistant Professor of Music at Virginia State University, where he conducts the Concert Choir and Chamber Singers and teaches applied voice, conducting, and choral music education. Under his leadership, the VSU choral program has grown from 15 to more than 60 singers and has earned national visibility through performances at major conferences, festivals, and special events. In 2026, Dr. Robertson and the VSU Concert Choir were invited to perform during the inauguration ceremonies of Governor‑elect Abigail Spanberger, the first female governor of the Commonwealth of Virginia.

His work also includes a collaborative research initiative with UCLA exploring the choral music of Dr. Undine Smith Moore through archival study, oral histories, and performance. A sought‑after guest conductor and clinician, Dr. Robertson regularly works with honor choirs and presents at music education conferences. He holds degrees from Virginia State University, Georgia State University, and the University of Colorado Boulder.

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Sometimes as performing artists, we are hyper focused on “the polished finished product.” Tori Longdon creates stunning finished products, but along the way, she is letting people in to see how the sausage is made in warm ups. And people LOVE it.

Maybe there is something important there. An insight brought about by the social media algorithms.

In this conversation, Tori Longdon shares her journey in choral music, discussing her roles as a conductor and educator. She explores the cultural differences in choir experiences between the UK and the US, the importance of music education, and the challenges faced in engaging students. Tori emphasizes the significance of creating safe spaces for singers, overcoming negative experiences, and the need for effective warm-up techniques. She also highlights her online presence going WILD on Instagram, and upcoming projects aimed at widening access to choral music education.

🎧 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!

Tori Longdon is the Associate Chorus Director of the London Philharmonic Choir, and Principal Conductor of the Covent Garden Chorus. She is in demand internationally following her work on the King’s Coronation Concert in May 2023 when she coached eighteen choirs from around the United Kingdom to perform for the king.

Tori recently chorus-mastered her first Prom concert at the Royal Albert Hall in London, and travels the world leading masterclasses and adjudicating competitions, most recently in Germany (July ’24) Australia (May ’24) and Finland (September ’23) and Austria (November ’23). She has lectured for the Artist Development postgraduate course at the Royal Academy of Music, and for the musicianship course at the Junior Guildhall Conservatoire.

Tori is currently a conductor for Songs Of Praise on BBC1, as well as an adjudicator for ‘Young Choir Of The Year’ and ‘Young Chorister Of The Year’. She appeared on BBC2 as a judge on two series’ of the ‘The Choir’. As a broadcaster, she has interviewed some of classical music’s most famous names, including Marin Alsop, John Rutter, Sir Karl Jenkins, Sofi Jeannin and Christopher Tin. 

She is the co-founder of the Stay At Home Choir, an international community of more than 29,000 choral singers which she leads together with Swingles baritone Jamie Wright.

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