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

Many questions have come in through the form on the main page here, the email [email protected] and of course Substack, Facebook and Instagram.

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

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

Tune in now on YouTube or your favorite podcast app!

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

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

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

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

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Welcome to the return after almost a whole year of the Oxford Choral Series on the Choralosophy podcast. Special thanks and good luck to Maggie Pate for setting up the series with me, and thanks Jeremy Edelstein for helping us get it back up and running.

In this conversation, Dr. Coleman shares his journey as a passionate choral educator, who has “found his calling from God.” We discuss the impact of COVID on music and general education, the importance of accessible repertoire, and my inspiration for wanting to this episode. His recent session at National ACDA where he presented a spiral bound SOLUTION to many of my repertoire problems. And I know it will be the same for you.

He emphasizes the need for music that empowers students and fosters a sense of community within the choir. Edryn reflects on his teaching philosophy, the challenges faced by students, and the collaborative effort behind the book, “Accessible and Beautiful” which aims to provide resources that enhance the choral experience for all. Central to this need is the marriage of QUALITY repertoire with accessibility. For older students it just be “easy.”

Tune in now on YouTube or your favorite podcast app!

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

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

Dr. Edryn J. Coleman currently teaches choir and piano at Oakland Mills High School in Columbia, MD. He has taught music at all levels: elementary, middle, collegiate and now high school. Each one of those experiences has shaped his personal commitment to music education for every students at every level.

Dr. Coleman is a very active guest conductor, adjudicator, and lecturer. His choirs have performed for both state and national conferences. The most recent honor, being selected as one of the ensembles to present an Insight Session at the 2023 American Choral DirectorsAssociation National Conference. Outside of the classroom, Dr. Coleman has extensive experience in leadership. He is currently the Membership Chair for the Eastern Region of the American Choral Directors Association; and the Immediate-Past President of the Maryland Choral Educators Association.

Dr. Coleman holds a BA in Music from Stillman College an MME from Florida State University, and a DMA from the Shenandoah Conservatory of Music at Shenandoah University. He is always eager to share his musical teaching experiences. His classroom teaching motto is “Teachers need students like pencils need erasers. I may be the final point, but I’m not always right.”

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

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

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

Tune in now on YouTube or your favorite podcast app!

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

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

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

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

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

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

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The long awaited return of “Car Thoughts”

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

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

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

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

Tune in now on YouTube or your favorite podcast app!

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

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

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Part of the Vocal Pedagogy Series

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

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

Summary: What is a vowel “made of”?

Perceptually: The brain interpreting those frequencies as a vowel.

Physically: A voiced sound shaped by the vocal tract.

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

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

Tune in now on YouTube or your favorite podcast app!

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

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

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

(Part of the Music Literacy Series)

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

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

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

Tune in now on YouTube or your favorite podcast app!

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

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

Dr. Krueger formerly served as the Director of Choral Activities at Valdosta State University, Emporia State University, and Florida Southern.  She also served as the Associate Director of Choral Activities at the University of South Carolina and the University of Montevallo.  A native of Wisconsin, Krueger received her bachelor’s degree in Music Education from the University of Wisconsin-Oshkosh and both an M.M. and D.M.A. in Choral Conducting from the University of Miami.

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An active clinician, adjudicator and guest conductor, Krueger has most recently conducted festivals and honor choirs at the collegiate, high school and middle school levels in Maryland, Arkansas, South Dakota, North Carolina, Virginia, Wisconsin, Kansas, New York, Louisiana, Mississippi, New Hampshire, Tennessee, Alabama, Florida, Washington, Georgia, South Carolina, North Dakota, Indiana [2021] and Kentucky [2021]. In addition, Dr. Krueger served as the guest conductor of the North-North Central ACDA Middle School Treble Choir (Milwaukee, 2020) of Vivaldi’s Gloria in Carnegie Hall (2010), the Adult Chancel Choir and Chamber Singers at Montreat Presbyterian Association of Musicians Conference (2010), and multiple performances of Epcot’s Candlelight Processional and Massed Choir Program (2005). 

Krueger has presented interest sessions at the American Choral Directors National Convention in New York, the OAKE (Kodaly) National Convention in Charlotte, the ACDA Southern Division Conventions in Mobile, Nashville and Louisville, the Southern Division MENC Convention in Charleston, the North Central Division ACDA in Madison, the Eastern Division ACDA in Providence, the Eastern Division NAfME in Hartford, as well as interest sessions or workshops in twenty-eight states (Alabama, Arizona, California, Colorado, Connecticut, Florida, Georgia, Iowa, Illinois, Kansas,  Kentucky, Maine, Massachusetts, Minnesota,  Mississippi, New Hampshire, New York, North Dakota, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Vermont, Virginia, Wisconsin, and West Virginia), Australia and England. Krueger is also widely recognized for her work with music literacy. Oxford University Press publishes her book, Progressive Sight Singing.

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

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

Tune in now on YouTube or your favorite podcast app!

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

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

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

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

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

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

TheChoralDoctor on Instagram:

https://www.instagram.com/thechoraldoctor

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

Tune in now on YouTube or your favorite podcast app!

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

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

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

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

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

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

Tune in now on YouTube or your favorite podcast app!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tune in now on YouTube or your favorite podcast app!

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

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

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

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

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

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

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

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

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