Is student teaching a “class?” or a “job?” Does this practice need a revamp in the face of the current teacher shortage? In this episode, I invited Tina Beveridge on to hash out a disagreement. A few months ago, I created a TikTok expressing my opinion that student teachers don’t “deserve” a paycheck. Mostly based on the idea that student teaching is a class, and a crucial final course in the training of teachers. Turning it into a job could potentially create a perverse incentive structure for entering the profession. Dr. Beveridge disagrees and responded with this blog by saying, “First, the internship is not a “class.” Yes, it’s credits they have to register and pay for, and in that respect it’s a “class” but it’s not a class in the respect that we expect them to go in knowing nothing. In fact, we expect them to go in and actually be able to do the full job.”

In keeping with the spirit and ethos of this show, I invited Tina on to discuss because a conversation is MUCH more productive than social media posts. The resulting conversation is proof of that. When the episode is done, please weigh in your thoughts in the comments!

Replying to @gabeknott3 It’s a class. Not a job. Should you be paid to go to other classes?

Dr. Beveridge is an Assistant Professor of Music Education at George Mason University. Before entering higher education, Dr. Beveridge spent 17 years teaching music in K-12 public schools and community colleges, and her research on policy, equity and access in music education has been published in Update: Applications of Research in Music Education as well as Arts Education Policy Review.

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Is it possible that the over-politicization of classroom education could be contributing in some way to the epidemic of mental health problems amongst teens and young adults? Clinical Psychologist, and child of Egyptian immigrants, Christine Sefein thinks we should not ignore this possibility. The modern vogue for activism that kids are learning focuses on the “systemic,” and actually valorizes victimhood. We are framing things for them within a problematic oppressor vs. oppressed framework. To a young person, when confronted with ideas that present a “really big, really bad” world, these problems can seem so big that they are powerless to confront them. This perpetual victim/hero complex could be leading to nihilism and hopelessness in a generation of students. Christine and I share a candid conversation about the basic principals of Cognitive Behavioral Therapy that are being ignored or even contradicted in education. We discuss building gratitude cultures, the value of anxiety, and understanding the importance of “exposure therapy” when facing even the horror of performance anxiety!

Christine Sefein, LMFT(Licensed Marriage and Family Therapist), specialises in grief and trauma work and has held positions such as Clinical Director of OUR HOUSE Grief Support Center and Clinical Supervisor of the Interpersonal Violence programs at California Lutheran University. She has worked most extensively with grieving adults and children in a variety of communities and settings including dual-diagnoses residential facilities, intensive outpatient treatment, homeless shelters and in private practice. Christine was a full time Teaching Faculty in the Master of Arts in Clinical Psychology program at Antioch University Los Angeles until 2021. She currently works as a diversity training consultant, public speaker, parental rights advocate in K-12 education.

Contact info: [email protected]

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2022 was an exciting year on this show! The first solid year of weekly episodes, a wide range of topics. (Only ONE Covid episode, thank God.) We saw lots of growth in the audience, exciting LIVE recordings, and so much more. In this episode, I have curated some of my favorite moments from YOUR 10 favorite episodes:

In part two of my conversation with ACDA Executive Director Robyn Hilger, we pick up right where we left off last week in Episode 130. I begin by asking Robyn about the ACDA national conventions session line up. We discuss what is there, and what is missing. We move from there into a deep discussion of ACDA’s Diversity Initiatives and how we would measure success or progress. At what point does the intersectionality of our diverse membership simply become “unique individuals” with unique wants and needs? How does a large membership organization respond to this challenge? For example, a recent region conference had all male conductors on the slate. What no one knows is whether or not we had a diverse pool to choose from. This matters because you have to understand the problems in order to solve them.

We discuss this, and the idea that I call “Trickle Down Social Justice.” Are we focused on composers on the program or who conducts at conventions? Or are we focused on the lack of equity in music training of fourth graders? Could this be bias toward what is visible?

There have been times in our history where the opinion of the Executive has really set the trajectory. My job as the executive is to activate the membership. ACDA is not Robyn Hilger. That would be a mistake.

Robyn Hilger is beginning her second year as executive director of the American Choral Directors Association. A native Oklahoman, Hilger is a classically trained clarinetist. She graduated with high honors in 1999 from Oklahoma City University with a bachelor’s degree in instrumental music education. She earned her master’s degree in school administration from the University of Central Oklahoma and is currently pursuing her doctorate of education in administration and leadership at Southern Nazarene University. She is a National Board-Certified Teacher in early adolescence/young adult music with specialization in band.

The overarching theme of her work is meeting the identified needs of historically marginalized and under-resourced communities. Robyn began her career as the band and strings teacher at Belle Isle Enterprise Middle School, in Oklahoma’s largest urban school district, where she created the fine arts department. In 2006, she was recognized as Oklahoma’s State Teacher of the Year and she served as Oklahoma’s Ambassador of Teaching, traveling more than 20,000 miles delivering some 200 workshops and speeches focused on teaching, advocacy, and education policy.

In 2007, she joined the staff of the Foundation for Oklahoma City Public Schools as the chief programs officer. In 2013, she supported the launch of El Sistema Oklahoma as a volunteer. In 2014, she was asked to join the organization as the executive director. El Sistema Oklahoma facilitates the development of empowered youth who use music to make strong positive change in their lives, their communities, and the world. El Sistema Oklahoma operates every day after-school and is completely free for participating families.

In 2017, she was named New Fundraiser of the Year by the Association of Fundraising Professionals Oklahoma City Chapter. Robyn also serves on the advisory board for the Oklahoma Youth Orchestras and is a board member for Oklahoma Youth Sing! (formerly known as the Norman Children’s Chorus).

Robyn is a connector of people, organizations, and opportunities. She lives in Oklahoma City with her husband Stephen and their three cats.

To get in touch with Robyn, you can add her on Facebook (@robynhilger or @robynhilgeracda) or email her at [email protected].

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The American Choral Directors Association is the largest organization of choral musicians in the world. ACDA sets the tone and direction of choral music in the US and has a major impact on the global choral music community as well. The newly appointed Executive Director of the organization, Robyn Hilger seeks to usher in a new era for the organization, hopefully leading to a bright future for Choral Music. It is my belief that the needs of the community of choral musicians have changed since ACDA’s founding. I also believe that ACDA has a bully pulpit in communicating about and advocating for the direction of the profession. This makes their decisions intimately woven into the lives and livelihoods of their members. In this episode AND the next one, you will hear me discuss the past present and future of choral music in America and how ACDA will help to shape it. I drove all the way from KC to OKC to record in person, which I think was very helpful.

In the first part of this two part interview, we discuss the “purpose” or “reason for being of ACDA,” how changes are made, how conventions are planned, and the importance of member engagement and feedback and much more.

Robyn Hilger is beginning her second year as executive director of the American Choral Directors Association. A native Oklahoman, Hilger is a classically trained clarinetist. She graduated with high honors in 1999 from Oklahoma City University with a bachelor’s degree in instrumental music education. She earned her master’s degree in school administration from the University of Central Oklahoma and is currently pursuing her doctorate of education in administration and leadership at Southern Nazarene University. She is a National Board-Certified Teacher in early adolescence/young adult music with specialization in band.

The overarching theme of her work is meeting the identified needs of historically marginalized and under-resourced communities. Robyn began her career as the band and strings teacher at Belle Isle Enterprise Middle School, in Oklahoma’s largest urban school district, where she created the fine arts department. In 2006, she was recognized as Oklahoma’s State Teacher of the Year and she served as Oklahoma’s Ambassador of Teaching, traveling more than 20,000 miles delivering some 200 workshops and speeches focused on teaching, advocacy, and education policy.

In 2007, she joined the staff of the Foundation for Oklahoma City Public Schools as the chief programs officer. In 2013, she supported the launch of El Sistema Oklahoma as a volunteer. In 2014, she was asked to join the organization as the executive director. El Sistema Oklahoma facilitates the development of empowered youth who use music to make strong positive change in their lives, their communities, and the world. El Sistema Oklahoma operates every day after-school and is completely free for participating families.

In 2017, she was named New Fundraiser of the Year by the Association of Fundraising Professionals Oklahoma City Chapter. Robyn also serves on the advisory board for the Oklahoma Youth Orchestras and is a board member for Oklahoma Youth Sing! (formerly known as the Norman Children’s Chorus).

Robyn is a connector of people, organizations, and opportunities. She lives in Oklahoma City with her husband Stephen and their three cats.

To get in touch with Robyn, you can add her on Facebook (@robynhilger or @robynhilgeracda) or email her at [email protected].

There is an often felt, but rarely quantified sense within ensemble music experiences that something truly MAGICAL is happening that changes us profoundly. However, recent
scientific discoveries (link to sources below) are adding a more concrete validity to that which experienced musicians already intuitively know. Studies that reveal the physiological and psychological processes of cooperative effort, especially musical collaboration. The implications of these ideas are beginning to shape our very definition of “ensemble,” while providing new understandings of the benefits of group musical expression on the individual. Dr. Gary Seighman joins me to make some truly crucial observations about our art form and the human instrument.

“Presently, topics pertaining to musical perception and creativity are highly popular in neuroscience research. A major development in the field was the proposing of a human mirror neuron system. After the discovery in rhesus monkeys of “mirror neurons” that fire during both action and observation of motor behavior, scientists detected a similar working system in the fronto-parietal region of humans.” -From Gary’s related Choral Journal Article

Gary Seighman is Professor of Music and Director of Choral Activities at Trinity University in San Antonio, TX where he oversees a comprehensive choral program and teaches courses in conducting and music education. Under his direction, Trinity’s choral ensembles have garnered regional and national accolades with invited performances at conferences including TMEA, the College Music Society, the National Collegiate Choral Organization, frequent international touring, and most recently, 3rd place for the 2022 The American Prize Competition as the smallest university in the country among the finalists. Recent professional engagements include Nashville, New York City, Taipei, Vienna, London, and Dublin. Dr. Seighman holds degrees from Westminster Choir College, the University of Oklahoma, and the University of Maryland. His wife, Dr. Jennifer Seighman, is also a choral conductor and they have 2 children, Justin and Gabrielle.

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One of the oddest things about Vocal Music Education as a profession, is how little we are required to learn in our schooling about the voice. Vocal Pedagogy courses are often the purview of voice performance majors, which is very odd considering how many more students will be impacted with vocal instruction by a person with a Music Ed degree. It is also odd considering that in many schools, vocal instruction is a key component of our course descriptions. Despite this seemingly obvious academic connection, a startlingly low number of music educators have taken any Vocal Ped, very little Voice Science is presented at conventions, and myths and misinformation litter the landscape of discussions and instruction about how the voice works. Dr. Sharon Hansen joins me to discuss this issue candidly, as well as a recounting of her battle getting ACDA to include the “On the Voice” column in the Choral Journal. You will be amazed to hear some of the reasons she was given for NOT including Vocal information in a Choral journal. An important episode that no one should miss.

Dr. Sharon A. Hansen is Professor and Director of Choral Studies, Emerita, at the University of Wisconsin—Milwaukee. Widely known as a conductor and master teacher throughout the United States and in Europe, Hansen has conducted the Romanian National Radio Choir (Bucharest), the Gächinger Kantorei and Bach Collegium-Stuttgart (Germany), the Stockholm (Sweden) Conservatory Chamber Choir, the Moldavian and Oltenian Philharmonic Choirs (Iasì and Craiova, Romania), and the University of Regensburg (Germany) Symphony Orchestra. Ensembles under Hansen’s direction have appeared at state, regional, and national ACDA and NAfME Conferences, and she has served as guest conductor and clinician with all-state, all-regional, and select honor choirs in more than forty states.

Hansen is the Founder and Music Director Emerita of the Milwaukee Choral Artists, a professional women’s vocal ensemble that left a legacy of some fifty commissioned, premiered, and published new works for treble voices. Hansen authored Helmuth Rilling: Conductor – Teacher, the definitive book on renowned conductor Helmuth Rilling, when she spent sixteen months in Germany singing with Rilling and the Gächinger Chorale. As contributing author for the 2009 book Wisdom, Wit, and Will: Women Choral Conductors on their Art, Hansen’s detailed chapter on the status of collegiate women choral conductors, “Women, Conductors, and the Tenure Process: What’s Up in the Academy?”, was the first such in-depth examination since 1988. She served as a member of the Editorial Board of the American Choral Directors’ Association’s Choral Journal from 1993–2018, where she was Founder and Editor Emerita of the Choral Journal article series “On the Voice,” which she curated for eighteen years. Because of her long-time passion for voice and choral music, she examined the history of voice education in the choral classroom in ACDA’s first 50 years, which is Monograph #18 in ACDA’s monograph series.

Hansen received the Wisconsin Choral Directors Association’s Morris D. Hayes Award, the Milwaukee Civic Music Association’s Excellence in Choral Music Award, and the Milwaukee Symphony Orchestra’s highest meritorious honors for outstanding contributions to the choral art. Prior to her twenty years in Wisconsin, Hansen was Professor of Choral Music at the University of Northern Iowa, and a vocal music teacher in the public schools near Omaha, Nebraska. Now calling Arizona her home, she recently served as lead writer on the Hal Leonard–McGraw-Hill choral textbook series Voices in Concert, and as full-time Interim Director of Music and Arts at Pinnacle Presbyterian Church in Scottsdale. Presently, she serves on the Board of Directors for the Arizona Chapter of the American Choral Directors’ Association, and is the Chorus Conductor for the Arizona Musicfest Symphony Orchestra.

The Music Department is an alternate universe where pupils are often unrecognizable from who they are outside of it. The shy become confident. The agitated become calm. The lonely become included. The quiet become heard. And the lost become found. Music reveals the real child.

You probably recognize this colleague just by looking at him due to his MASSIVE quantity of viral music education memes. I kept seeing them in my feed on a daily basis and have shared many myself. What I found intriguing was the talent he seems to have in the ability to distill ideas and present them in away that is both thorough AND concise. Ideas that the world NEEDS to hear about music education and its importance. In this episode, we learn about Vaughan, his professional life as an educator in the UK and Australia, and his approach to music education advocacy. You will NOT want to miss this conversation that is sure to have you excited about the future of music ed.

Originally from Australia and now residing in Scotland, Vaughan has a broad range of teaching experience, ranging from Primary through to University level, Instrumental through to Community Music, and everywhere in between. Vaughan studied both Music and Education at the Queensland University of Technology in Brisbane (Australia), where he studied under Dr Ralph Hultgren. This was then followed by a Master of Music Education, majoring in Instrumental and Vocal Education, at VanderCook College of Music in Chicago (USA), where he studied under Dr Charles Menghini and Dr Robert Sinclair. He has worked extensively throughout Australia, Scotland, and North America, in positions such as Teacher of Music, Director of Bands, and Teaching Fellow of Music Education. Vaughan currently teaches music at the Edinburgh Academy in Scotland, having most recently been the Teaching Fellow of Music Education and the University of Edinburgh. In addition to this, he is the Conductor of the Peebles Concert Band and works extensively with Community Music groups throughout Scotland. Away from the classroom and podium, Vaughan is in demand as a clinician, adjudicator, composer, and educational speaker, having spoken at conferences in Scotland, England, South Africa, and Canada.

This week, meet international star composer, Christopher Tin. In the choral world, we met Christopher with his blockbuster Baba Yetu, and has not slowed down since. He recently completed a project with Voces8 called “Lost Birds,” and has exciting projects coming up. In this conversation, we discuss the process of creating music for video games, versus concert performance, as well as our ideas of “cultural identity” and the way we blend cultures when music travels around the globe and through time. Christopher has a very cohesive way of describing this and how it formed his own “musical culture.” Tune in and expand your vocabulary!

Christopher Tin is a two-time Grammy-winning composer of concert and media music. Time Magazine calls his music ‘rousing’ and ‘anthemic’, while The Guardian calls it ‘joyful’ and ‘an intelligent meeting of melody and theme’. His music has been performed and premiered in many of the world’s most prestigious venues: Lincoln Center, Kennedy Center, Hollywood Bowl, the United Nations, and Carnegie Hall, where he had an entire concert devoted to his music. He has also been performed by ensembles diverse as the Royal Philharmonic Orchestra, National Symphony Orchestra, Metropole Orkest, and US Air Force Band.

His song “Baba Yetu”, originally written for the video game Civilization IV, is a modern choral standard, and the first piece of music written for a video game ever to win a Grammy Award. His debut album, the multi-lingual song cycle Calling All Dawns, won him a second Grammy in 2011 for Best Classical Crossover Album, and his follow-up release The Drop That Contained the Sea debuted at #1 on Billboard’s classical charts, and premiered to a sold-out audience at Carnegie Hall’s Stern Auditorium. His third album To Shiver the Sky also debuted at #1, and was funded by a record-breaking Kickstarter campaign that raised $221,415, smashing all previous classical music crowdfunding records. His fourth album, The Lost Birds, is a collaboration with acclaimed British vocal ensemble VOCES8, and will be released September 2022 on Decca Classics.

Tin is signed to an exclusive record deal with Universal under their legendary Decca label, published by Concord and Boosey & Hawkes, and is a Yamaha artist. He works out of his own custom-built studio in Santa Monica, CA.

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