By Christopher M Munce
4.7
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The podcast currently has 301 episodes available.
In this episode, I had the pleasure of sitting down with Dr. Emorja Roberson, the first African American DMA in Choral conducting from Notre Dame, choral conductor, and passionate gospel music researcher and teacher.
We dove into the rich cultural and spiritual significance of gospel music, exploring its evolution and global reach. Dr. Roberson emphasized the importance of understanding the cultural context when performing gospel music, while I raised questions about the line between appreciation and cultural appropriation.
We also touched on the impact of the George Floyd movement on various institutions, the role of Black composers, and the challenge of maintaining authenticity in diversifying music education. Dr. Roberson shared his unique approach to teaching through immersive experiences in Black churches, highlighting the communal and participatory elements that are often missed in academic settings. Our conversation also explored a possible tension between universities and Black churches in teaching gospel music, and the importance of experiencing the music within its cultural roots. Finally, we discussed practical advice on teaching gospel music to predominantly white choirs, emphasizing respect and immersion in the culture. It was a powerful and insightful conversation that I’m excited to share with you. Emorja also has picked up the torch Marques Garrett lit in year one of the show, and challenged me to go BACK to a predominantly Black church and keep learning!
Come to KC and Sing Next June!Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.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
Clinician/Presenter RequestsFor future rehearsal clips, find me on TikTok, Insta and FB!
Emorja Roberson is the Assistant Professor of Music and African American Studies at Oxford College of Emory University.
He recently performed as the baritone soloist for Brahms’ Requiem at with the Notre Dame Children’s Choir where he also debuted his commissioned piece, “Joy, it’s on the Way,” under the direction of Mark Doerries. He has three published works, “Lord, I Am Grateful” with MorningStar Music Publishers, and two with GIA Music, “He’ll be With You” and “Seek Ye First,” which has been performed by the University of Arkansas Inspirational Chorale, Notre Dame Folk Choir, and South Bend Community Singers. He was selected as a 2023 Arts & Social Justice Fellow. This partnership between Emory Arts and the Ethics and the Arts program at Emory University of Ethics afforded the opportunity for Roberson to work with ASJ Fellow, Adán Bean, Spoken Word Poet, in the course, Black Church, Black Music at Oxford College. He recently served as the music director for the play, March on Washington, by Nikki Toombs, in partnership with the National Center for Civil and Human Rights. Roberson is a 2022 recipient of the Future of Music Faculty Fellowship with Cleveland Institute of Music which is a development initiative for Black and Latinx music professionals within academia.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.comAs a student of Mark Doerries and Stephen Lancaster, Roberson became the first African American to receive a Doctor of Musical Arts in Choral Conducting (‘22) and a Master of Sacred Music in Vocal Performance (‘17) from the Sacred Music Department at the University of Notre Dame. His oratorio, BE-SPOKEN, highlights the experiences of the Black experience through jazz, hip-hop, and gospel. The 2022 debut cast consisted of Anthony Walker, King Chav, and Grammy-Award winner, Ledisi. He was awarded the 2021 Academic Freedom Award from the Department of Africana Studies and the 2022 Sr. Jean Lenz Award for his leadership that promotes a more diverse, inclusive campus community for all students. Roberson is also the founder of the talk show, Black@ND and the past director for the Voices of Faith Gospel Choir.
In 2019, he made his national debut on Season 9 of BET’s Sunday Best competition as a top 20 contestant and served as the choir director for Kathleen Battle’s The Underground Railroad: A Spiritual Journey tour with the DeBartolo Performing Arts Center at the University of Notre Dame.
As a doctoral student, Roberson hosted the University of Notre Dame’s first Black History Month concert, UNSUNG, which featured artists in jazz, classical, and gospel, which included Callie Day, Isaac Cates, J.J. Wright, and Aalex Mansour. In March 2020, “Seek Ye First” from The Evening Musicale (2019), was featured on Sirius XM 64 (Kirk Franklin’s Praise).
In 2016, he debuted his piece, “Let’s Just Praise the Lord,” with the South Bend Symphony Orchestra and was a featured soloist on Robert Kry’s, Paradiso: Transformation and Transfiguration and Mass for the Oppressed by Emerson Eads. He has premiered Evelyn Simpson Curenton’s “Sweet Lil Jesus” and was featured as the soloist for J.J. Wright’s O Emmanuel with the Notre Dame Children’s Choir. Under the direction of John Apeitos, Roberson was Duke Frederick in Roger Steptoe’s world-premiere opera of the Shakespeare play, As You Like It. As a master’s student in the Sacred Music Department at the University of Notre Dame, Roberson was a student of Dr. Stephen Lancaster and worked with world-renowned soprano, Deborah Voight, Carla Rae Cook, and J.J. Penna. Roberson recorded with Grammy Award Winner, Arturo Sandoval, for the Notre Dame Children’s Choir CD, Christmas at Notre Dame, as a soloist on “Frosty, the Snowman” with Matthew Kelly.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!Roberson graduated from the University of North Florida with a Bachelor of Music degree in Vocal Performance, where he studied with Krzysztof Biernacki. He has held lead roles in Die Zauberflöte, The Consul, The Mikado and La Bohème with the Jacksonville Symphony Orchestra and performed as a soloist in Handel’s Messiah.
He is a proud member of Alpha Phi Alpha Fraternity, Inc., a charter member of the New Rock Chapter of 100 Black Men of America, Phi Mu Alpha Sinfonia, and a charter member of Psi Beta Chapter of Alpha Kappa Psi Business Fraternity.
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I sat down at the booth, and invited passersby to join me to weigh in on these questions. I ended up with a TREASURE trove of wisdom, ideas and helpful discussion to get teachers calibrated and focused! Special thanks to Carla Oliver, Stephen Rew, Chandler Cooper, Paige Wakefield, Rebecca Winn, Christine Jarquio, Brian Von Glahn, Courtney Williams, Lauren Tosh, Chris Boemler and Max Jackson.
I also asked them some questions about their earliest music class memories, but that’s for a future special project where I compare music teacher answers to “normal people” answers. Stay tuned!
Come to KC and Sing Next June!Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.Tune in, and have your thinking stimulated and challenged. Then, weigh in yourself with your own answers to the questions posed here on Facebook in the Choralosophers group or over on choralosophy.substack.com
Clinician/Presenter RequestsFor future rehearsal clips, find me on TikTok, Insta and FB!
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Renowned American choral director Craig Hella Johnson joins me this week to give a master class of sorts related to programming philosophies as well as a peak behind the curtain of his ensemble, Conspirare.
In a conversation that delves into the heart of choral music, Craig and I discuss the transformative vision behind Conspirare, a chamber choir known for its virtuosic sound and diverse programming. We explore how creating a culture of mutual respect and shared responsibility in choral groups fosters a deeper connection to the music. The discussion also touches on the challenges of navigating the traditional Western choral canon, with us both agreeing on the need for a more inclusive approach that honors underrepresented voices while continuing to have a historical conversation to preserve the “great works” of our art form. Craig emphasizes the importance of honesty and student agency in teaching, advocating for a re-examination of classical music’s origins and the inclusion of diverse composers in programming.
Come to KC and Sing Next June!Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.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
Clinician/Presenter RequestsFor future rehearsal clips, find me on TikTok, Insta and FB!
Known for his depth of knowledge, artistic sensitivity, and rich imagination, Craig Hella Johnson assembles some of the finest singers in the country to form a world-class, GRAMMY®-award-winning ensemble committed to creating relevant and dynamic choral art. Johnson is known for crafting musical journeys that create deep connections between performers and listeners.
Watch Craig’s Story
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.comJohnson is beloved by audiences, revered by singers, and lauded by critics and composers. The Wall Street Journal praised his ability to “find the emotional essence other performers often miss,” and Fanfare wrote that “Craig Hella Johnson has assembled and molded a first-rate choir to be respected as highly as the best we have had.”
Great deals, speedy shipping, and back to school sales at SheetMusicPlus!Distinguished composer John Corigliano wrote, “I believe that [Johnson] has understood my music in a way that I have never experienced before. He is a great musician who understands everything about the music he conducts.” Composer and collaborator Robert Kyr observed, “Craig’s attitude toward creating a community of artists who work together to interpret the score … goes beyond technical mastery into that emotional depth and spiritual life of the music.”
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Having some very weird tech issues today.
Shownotes from normal post
Known online as Babatunde “Hip Hopera,” this week’s guest may look like he is just out there having fun on TikTok. But, a closer look shows an artist doing innovative, and incredibly important work bridging the gaps between musical worlds.From West Coast hip-hop fan to opera singer, this week’s guest Babtunde Akinboboye‘s journey is a fusion of genres and cultures that’s shaking up the music world. Kind of like kimchi on tacos…
His unique blend of opera with hip-hop beats, highlighted in a viral performance of of an aria mashed with Kendrick Lamar’s “Humble,” has earned him a dedicated social media following and sparked conversations about the future of classical music. In this podcast, Tunde and I explore how his work challenges the elitist perceptions of classical music and addresses the cultural barriers that make it feel inaccessible to many. We discuss the balance between preserving tradition and embracing change, the role of education in making classical music more inclusive, and the need to break down labels that segregate music by race. Our discussion offers fresh insights into how classical music can evolve to connect with a broader, more diverse audience.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.
Tune in, and have you r 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
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A singer of diverse talents, Nigerian American Baritone, Babatunde Akinboboye is known for his enthralling stage presence. He has performed with the Los Angeles Opera, Opera San Jose, Opera Santa Barbara, Long Beach Opera, and Utah Opera. Babatunde has also debuted the roles of Drew in the Opera Works’Arts for Social Awareness Project’s world premiere production of The Discord Opera, and Zanni in the world premiere of Gloria Coates’ Stolen Identity. His most recent performances include Daggoo in LA Opera’s Moby Dick, Escamillo in Pacific Opera Project’s production of Carmen, and Lucha’s Father in The Industry’s production of Hopscotch.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.com
As an advocate for the performance of art song and operatic works written by African, and African American composers, Mr. Akinboboye has headlined the Lagos Chamber of Commerce & Industry awards in Lagos, Nigeria performing a fusion of opera and traditional African music and has been a featured performer at both the National Association of Negro Musicians Annual Conference, as well as the African American Art Song Alliance Conference.
Babatunde’s honors include Regional Finalist of the Metropolitan Opera National Council Audition, and finalist in the International Eisteddfod Vocal Solo Competition in Llangollen, Wales.
Great deals, speedy shipping, and back to school sales at SheetMusicPlus!
In December of 2018, Babatunde combined his love of classical opera and hip hop and created the new genre Hip Hopera in a viral video that gained over 10 million views and was featured on Time.com, Classic FM, MSN.com and more. His debut EP “Della Citta” is now available.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
From West Coast hip-hop fan to opera singer, this week’s guest Babtunde Akinboboye‘s journey is a fusion of genres and cultures that’s shaking up the music world. Kind of like kimchi on tacos…
His unique blend of opera with hip-hop beats, highlighted in a viral performance of of an aria mashed with Kendrick Lamar’s “Humble,” has earned him a dedicated social media following and sparked conversations about the future of classical music. In this podcast, Tunde and I explore how his work challenges the elitist perceptions of classical music and addresses the cultural barriers that make it feel inaccessible to many. We discuss the balance between preserving tradition and embracing change, the role of education in making classical music more inclusive, and the need to break down labels that segregate music by race. Our discussion offers fresh insights into how classical music can evolve to connect with a broader, more diverse audience.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.Tune in, and have you r 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
Clinician/Presenter RequestsFor future rehearsal clips, find me on TikTok, Insta and FB!
A singer of diverse talents, Nigerian American Baritone, Babatunde Akinboboye is known for his enthralling stage presence. He has performed with the Los Angeles Opera, Opera San Jose, Opera Santa Barbara, Long Beach Opera, and Utah Opera. Babatunde has also debuted the roles of Drew in the Opera Works’Arts for Social Awareness Project’s world premiere production of The Discord Opera, and Zanni in the world premiere of Gloria Coates’ Stolen Identity. His most recent performances include Daggoo in LA Opera’s Moby Dick, Escamillo in Pacific Opera Project’s production of Carmen, and Lucha’s Father in The Industry’s production of Hopscotch.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.comAs an advocate for the performance of art song and operatic works written by African, and African American composers, Mr. Akinboboye has headlined the Lagos Chamber of Commerce & Industry awards in Lagos, Nigeria performing a fusion of opera and traditional African music and has been a featured performer at both the National Association of Negro Musicians Annual Conference, as well as the African American Art Song Alliance Conference.
Babatunde’s honors include Regional Finalist of the Metropolitan Opera National Council Audition, and finalist in the International Eisteddfod Vocal Solo Competition in Llangollen, Wales.
Great deals, speedy shipping, and back to school sales at SheetMusicPlus!In December of 2018, Babatunde combined his love of classical opera and hip hop and created the new genre Hip Hopera in a viral video that gained over 10 million views and was featured on Time.com, Classic FM, MSN.com and more. His debut EP “Della Citta” is now available.
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In our second episode of the brand new “GIA/Walton” series, I am excited to bring you another fascinating and useful conversation. This time, with composer and vocal jazz advocate, David von Kampen.
In this discussion, we tackle teaching approaches, and programming philosophies that seek to seamlessly weave concepts from jazz and music theory into our choral classrooms of all levels. It can be true for many teachers that we program less Jazz repertoire because we either don’t have a jazz ensemble, and/or we just didn’t receive much education in our teacher training programs that help us feel comfortable approaching the repertoire. This insecurity can often manifest itself as a programming gap. “When you sing jazz, nothing about the fundamentals of healthy singing changes.” David advocates for all schools having a dedicated vocal jazz ensemble in their program, but also offers practical ways to inject jazz into the curriculum in general choral environments.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.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
Clinician/Presenter RequestsFor future rehearsal clips, find me on TikTok, Insta and FB!
David von Kampen (b. 1986) is a composer from Lincoln, Nebraska. David’s creative work spans a wide variety of genres and styles, including jazz, choral music, hymnody and liturgy, solo voice, chamber music, and musical theater. He holds a Doctor of Musical Arts degree from the University of Kansas, and Master’s and Bachelor’s degrees from the University of Nebraska. He has studied composition with James Barnes, Dan Gailey, Forrest Pierce, Eric Richards, and Randall Snyder.
David is a six-time Downbeat Award winner in graduate-level jazz writing categories, a three-time winner of the Vancouver Chamber Choir Young Composers Competition, and was named the MTNA Distinguished Composer of the Year for his song cycle “Under the Silver and Home Again.” He has been among ten winners of the ORTUS International New Music Competition, the recipient of an ASCAP Young Jazz Composer award, winner of the San Francisco Choral Artists New Voices Project, winner of the National Band Association’s Young Jazz Composers Competition, and received Honorable Mention in the New York Youth Symphony First Music Commissions. Puddin’ and the Grumble, David’s original musical with playwright Becky Boesen, was one of seven finalists for the Richard Rodgers award.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.comDavid has over 80 choral and instrumental compositions and arrangements published with Walton Music, G. Schirmer, Hal Leonard, Concordia Publishing House, Pavane Publishing, UNC Jazz Press, Graphite, MusicSpoke, and others. His music has been performed by the Aeolians, KHORIKOS Vocal Ensemble, the L.A. Choral Lab, KC VITAs Chamber Choir, the Taiwan Youth Festival Chorus, San Francisco Choral Artists, the U.S. Army Blues Jazz Ensemble, the Vancouver Chamber Choir, and by collegiate, all-state, high school, and church ensembles throughout the United States and internationally.
Great deals, speedy shipping, and back to school sales at SheetMusicPlus!David is a lecturer of music theory and literature at the University of Nebraska, where he teaches a variety of music courses and directs the award-winning UNL Jazz Singers. He also serves as Music Coordinator for Sanctuary Worship at Christ Lutheran Church in Lincoln. David is a member of ASCAP, the Jazz Education Network, and the American Choral Directors Association. He is active as a conductor and pianist, and as a clinician for vocal and instrumental ensembles. He lives in Lincoln with his wife Mollie and three daughters.
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Ellie is a PhD Music Education candidate and researcher, and the host of The Merfy Pod. She loves to dive in to the research and summarize it so we don’t have to. She is also now a monthly contributor in the Choralosophy Community blog space where she curates short summaries and links to important new research you should know about.
In this episode we talk through the contributions and gaps in a recent study called “Assessment Practices and Beliefs of Secondary Choir Teachers” by Ben Kambs which focuses on the questionable practice of music educators grading students on attendance, participation, and attitude, as well as “Serious musicking: choral pedagogy in ‘low-threshold’ choirs” by Jansson, Døving, and Haugland Balsnes that features the ideas found embedded in ideas of Critical Choral Pedagogy and other frameworks, which “alleviates the notion of the leader as more knowledgeable than the followers” and aims to disrupt the hierarchal structure of typical choir programs via reexamining auditions, self selection and even fundamental pedagogical practices like assigning at home practice, and addressing singers individually for instruction.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.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
Clinician/Presenter RequestsFor future rehearsal clips, find me on TikTok, Insta and FB!
Ellie Johnson has been a music educator in Nebraska since 2015. She is currently a PhD candidate and Hixson-Lied fellow at the University of Nebraska – Lincoln, where she helps train undergraduate pre-service teachers and conducts music education research.
Ellie has worked primarily with middle school students in both general music and choral settings. In addition to solo research on increasing student autonomy in aural skills coursework, Ellie recently presented collaborative research on music student mental health and inclusive choral teaching at the International Society for Music Education World Conference in Helsinki, Finland.
She hosts the MERFY podcast where she summarizes music education research for you in short palatable episodes – available on Spotify, Apple Podcasts, and Amazon Music. Conference.
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But what happens when students DON’T want to be in the family? What if you have students that truly just want to treat it like a class? Or what if they are a talented student who is an introvert? What about a choral director whose MAIN reason for doing the job is the love of the music? (gasps, clutches pearls.)
We can over personalize the rejection.
Jason Dungee joins me to add some nuance to what is often a very misunderstood and oversimplified concept in education more broadly, as well as in choral music. If we are honest, aren’t we a bit offended when a singer doesn’t LOVE singing for us? Don’t we take it a little personally? What if you have students that are really talented, but you don’t like THEM? Sometimes we unintentionally marginalize or isolate the students who have rejected us. For many choir directors, our definition of success includes “making our kids FEEL what we felt as kids.”
I also ran some of my ideas about belonging in groups by Jason. Those episodes are linked below.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.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.
Clinician/Presenter RequestsFor future rehearsal clips, find me on TikTok, Insta and FB!
Conductor, tenor, and music educator, Dr. Jason A. Dungee, is the Director of Choral Activities at The University of North Carolina at Charlotte. He has earned degrees from the University of Arizona, Westminster Choir College and Hampton University.
Since arriving in the Charlotte region in 2021, Dungee has come in demand as a clinician and as guest conductor for several All-County Choral events, as well as serving as clinician for the NCMEA Eastern All-State Choir in the Fall of 2023.
Dungee’s article “A Pedagogy for Living: Applying Restorative, Anti-Racist Pedagogy to the Choral Classroom” was published in The Choral Journal and has led to him being in demand as a presenter for organizations and Universities across the U.S. In March of 2020, Dungee was Co-Conductor of the first HBCU Tribute Choir for the Southern Division ACDA Conference.
Dr. Dungee has found success in popular music and entertainment as well. He was selected for 2 consecutive years to prepare choirs for the southeast leg of HBO’s internationally acclaimed touring production of The Game of Thrones Live Experience, featuring music from the hit TV program. In February of 2022 and April of 2023, Dungee was asked to prepare an ensemble for the rock band the Eagles for their performances in Charlotte and Greensboro, respectively. In 2024 he served as choirmaster for the AWR Productions presentation of Distant Worlds: Music from Final Fantasy during their tour stop in Charlotte. He conducted sold out, critically acclaimed performances as guest conductor of the Charleston Gospel Choir and sang the tenor solo with the London Symphony Orchestra as they premiered Andre Thomas’ Mass.
His pride and joy, however, is found in his wife Crysta, and their three children, Jordan, Andrew and Langston.
Youtube: Find Jason’s channel!
Facebook/Instagram: @clt.universitychorale
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Mak Barton is a second year teacher in Maryland who I found on her wildly entertaining TikTok account that is fast approaching 100k followers! Recently I was tagged in one of her videos in which she addresses the question of whether or not we are adequately responding to the needs of the next generation in our music classrooms.
“Is there a place in our programs for a Soundcloud rapper?” Mak’s initial take was no, but I say yes! I think like many things, it depends on our perspectives. I think you will really enjoy this conversation just like I did, especially if you value the voices of the next generation of students and educators. Mak and I discussed what it is like to subject herself to social media vulnerability, the traditions of music education that can and should evolve, as well as ways to champion those tried and true elements of curriculum that have endured for good reason.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.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.
Clinician/Presenter RequestsFor future rehearsal clips, find me on TikTok, Insta and FB!
Makynzie Barton is a High School Music Educator in Maryland, teaching and directing Choirs, Piano, Theatre, and Foundations of Music. She grew up singing in church with her family, then self-learning how to play the guitar, piano, and write like her favorite artists. After high school, she attended University of Delaware to study Music Education and eventually combined it with a Music Management degree to create a more vernacular-music-focused degree plan, currently working towards her Master’s in Music Education at Berklee College of Music.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.comHer platform on social media has grown as she arranges music we listen to today for/with her choirs, facilitating a space for them to create their own and be active participants in music-making. Music-lovers all over the world have been able to come, get a good giggle from choir kids and their chaotic director, and hear some incredible music.
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In this episode, I am joined by Dr. Kari Adams from the University of Missouri to discuss the essential ingredients for creating a genuine classroom culture.
Dr. Adams joined me in my home studio, allowing for an excellently paced discussion. In our conversation, we discuss why “ice breakers are not enough,” the concept of vulnerability for teachers and how it is often misunderstood or misused, effective teacher verbiage and word choices, action-oriented feedback, and brainstorming stories and ideas that illustrate how teachers can build developmentally appropriate, authentic, and individualized relationships with students, even in a group setting.
Choralosophy presented by Ludus. Visit Ludus.com/choralosophy for the cutting edge in fine arts ticketing and marketing solutions.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.
Clinician/Presenter RequestsFor future rehearsal clips, find me on TikTok, Insta and FB!
Kari Adams is Assistant Professor of Choral Music Education and conductor of Concert Chorale at the University of Missouri. She holds a PhD in music education from the University of North Texas as well as degrees from the University of Central Missouri and Freed-Hardeman University. Prior to her appointment at Mizzou, Adams served as Assistant Professor of Choral Music Education and director of Levana at Florida State University. In 2023, she received the Outstanding Teaching in the Major (Undergraduate) award from FSU. Before working in higher education, she taught middle school choral and general music in Knob Noster, Missouri, where she was named Teacher of the Year in 2015. She is a passionate educator, conductor, and researcher.
Enter Choralosophy at Checkout for a 5% discount when you shop for folders, robes and other gear for your choir program! www.mymusicfolders.com and www.mychoirrobes.comAdams engages in guest conductor, clinician, and adjudicator opportunities regularly. She has conducted All State and regional honor choirs in Florida, Kansas, Louisiana, Missouri, Tennessee, and Virginia. She has also presented at state practitioner conferences in Alabama, Arkansas, Kansas, Florida, Missouri, and Texas as well as at national ACDA and NAfME conventions. Her articles focused on research-based strategies for practitioners have been published in Music Educators Journal, Update: Applications of Research in Music Education, Florida Music Director, and Choral Journal.
Great deals, speedy shipping, and back to school sales at SheetMusicPlus!Adams’s research has been published in leading journals in the field including Journal of Research in Music Education, Journal of Music Teacher Education, Bulletin of the Council for Research in Music Education, Update: Applications of Research in Music Education, and International Journal of Research in Choral Singing. Her research interests include music teacher education, teacher identity construction, aesthetic response to music performance, and implicit theories of musical ability. In addition to her publications, she has presented on these topics at regional, national, and international conferences.
RyanMain.com is now expanding to a family of composers! Visit endeavormusicpublishing.com and of course, enter Choralosophy at checkout for a 10% discount!
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