In this episode of Choralosophy, we’re diving into a fascinating concept with Dr. Ryan Luhrs: that the true power of music might actually lie within the choir itself. Imagine a space where people from different backgrounds, beliefs, and perspectives can gather, set aside differences, and create something beautiful together. You might even call this a ‘natural laboratory for reconciliation’—and choirs, as it turns out, might hold the key.

Think about it: in a world that often feels divided and polarized, choirs create the perfect environment for collaboration, empathy, and common ground. It’s not just about singing the right notes—it’s about listening, adapting, and building trust with others. These qualities, so essential to successful music-making, are also the very building blocks of community and reconciliation. “Intergroup Contact Theory” comes from the field of Social Psychology and describes the conditions under which groups that have important differences or even conflict can find reconciliation.

In this discussion, Ryan and parse out why this matters, not just for musicians, but for anyone who believes in the power of human connection. How can choirs serve as a model for unity in a fractured world? And how can directors, singers, and audiences alike harness this power to make a real difference?

Whether you’re a seasoned choir director, a lifelong singer, or someone who simply loves music, this conversation will open your eyes to the deeper role choirs play in our society—and the profound impact they can have beyond the rehearsal room.

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!

Find Ryan’s Article:

Ryan Luhrs is Associate Professor of Music and Director of Choral Activities at Lenoir-Rhyne University in Hickory, NC. In that role, he directs the Lenoir-Rhyne A Cappella Choir, the university’s flagship touring choral ensemble, coordinates the Sacred Music Program, teaches courses in choral music education, and co-leads the Lenoir-Rhyne Summer Youth Music Camp. He also frequently teaches a course on fine arts and social change in the general curriculum.

Luhrs is also the Artistic Director/Conductor of the Hickory Choral Society, a 100-voice volunteer chorus, and serves as Music Director/Organist at St. Andrew’s Lutheran Church in Hickory.

Prior to Hickory, Luhrs taught at Andrew College in Cuthbert, GA, where he oversaw the music program. He holds a Ph.D. in Choral Conducting & Music Education from Florida State University, a Masters of Sacred Music degree from Luther Seminary (with St. Olaf College), and a B.A. in Music from Luther College. Prior to graduate study, Luhrs taught music in public schools for five years in Iowa and Minnesota. He has served as a church choir director and organist for congregations in Wisconsin, Iowa, Minnesota, Georgia, and North Carolina. He was also Stage Band Director and Tour Director with the Kids from Wisconsin from 2005 to 2010 and sang with the Minneapolis-based National Lutheran Choir from 2008 to 2012.

A proponent of using singing in groups to break down social barriers, Luhrs has co-organized choral festivals in rural Minnesota, southwestern Georgia, Tallahassee, FL, Hickory, NC, and Hammond, LA. His doctoral dissertation entitled Singing for Social Harmony: Choir Member Perceptions During Intergroup Contact investigated how choral music functions in settings where people of diverse backgrounds are present. Related research was published in the February 2017 issue of The Choral Journal and presented at the 2016 Chorus America national conference, the 2016, 2018, and 2020 Southeastern American Choral Directors Association (ACDA) Conferences, 2024 North Carolina ACDA conference, and the 2015 Tallahassee Sacred Music Conference. In 2018, he co-produced with Dr. Frances Fonza the AVoice4Peace Concert in Louisville, KY

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Choralosophy Podcast (@choralosophy) • Instagram photos and videos

So, let’s broaden our horizons by talking with Javiera Lara Salvador, a talented choral conductor from Chile, who brings valuable insights about choral music and education in her country. Javiera walks me through her journey, beginning with her discovery of singing in school and continuing to her studies in choral conducting in Santiago. She shares how choral music education in Chile offers unique pathways, though opportunities, such as full-time choir teaching, remain limited to nonexistent .

We also explored the vibrant choral scene in Santiago, including community choirs supported by local municipalities, and the fascinating repertoire that blends traditional Chilean music with influences from around the world. We discuss her work with “Voces de Vitacura,” a community choir with members spanning generations, and University Choir at the University of Adolfo Ibáñez and the Taktus Ensemble.

Our discussion touched on the parallels and contrasts between music education in Chile and the United States, highlighting the privilege of access to music education and the universal challenges faced by choir directors. Javiera even shared her enthusiasm for Latin American composers like Modesta Bor and Cesar Alejandro Carrillo, sparking a discussion about the joy of integrating diverse musical traditions, and pushing boundaries of the art form while honoring its traditions.

If you’ve ever been curious about the global choral community or want to celebrate the joy of making music with others, this episode is for you. Let’s dive in!

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!

Choirs recommended by Javiera:

Ignis Camerata

Coro de Camara de Copiapó

Conjunto de Madrigalistas de Viña del Mar

Javiera Lara Salvador is a renowned choral conductor with an outstanding academic background. She began her career by earning a Bachelor’s degree in Music Theory from the University of Chile, followed by a specialization leading to the Professional Title of Choral Conductor. She later pursued a Master’s in Musical Arts with a focus on Choral Conducting at Universidad Mayor, graduating with the highest distinction.

Javiera is the founder and current leader of the Taktus Vocal Ensemble, a group dedicated to performing diverse vocal repertoire ranging from classical to popular and folkloric-rooted music, with a strong emphasis on works from the 19th century to contemporary creations. She also directs the Adolfo Ibáñez University Choir, a group she has led since 2022, bringing together students, faculty, and staff through choral singing.

She serves as Associate Director and Coordinator of the team of conductors for the “Voces de Vitacura” Community Choir, a program of the Vitacura Cultural Corporation that annually offers over 200 local residents the experience of performing in a large choral concert. Additionally, Javiera has worked as Choirmaster for the productions of Lord of the Rings in Concert and Gladiator Live, held at Movistar Arena.

A significant part of her career has been dedicated to premiering works by renowned Chilean and Latin American composers at prestigious festivals and events, such as the CopiU Festival, the Contemporary Music Festival of the University of Chile’s Music Department, and the Sacred Music Encounter at the Pontifical Catholic University of Chile.

In the field of education, Javiera has built a solid career in institutions such as the Music Institute of Universidad Alberto Hurtado, where she currently teaches, as well as the Music Institute of the Pontifical Catholic University of Chile and the Music Department of the Metropolitan University of Educational Sciences. She has taught both theoretical music subjects and courses in choral practice and conducting.

As the founder of the Taktus Cultural Foundation, Javiera stands out as a leader in the development and promotion of choral music in Chile.

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Choralosophy Podcast (@choralosophy) • Instagram photos and videos

This week, I am thrilled to bring you a fascinating conversation with Dr. Andrew Schmidt, an accomplished music educator and researcher. Andrew’s passion for music cognition and educational PROCESS takes us on a deep dive into the relationship between learning music, performance, and cognitive development.

Together, we unpack the challenges of conducting meaningful research in our field, the nuanced differences between instrumental and vocal instruction, and the power of teaching students the why behind the what in music education. Often times, ensemble music teachers feel the pressure to put the performance on the calendar and then sprint!

This episode is about more than just music; it’s about helping students connect the dots, fostering executive function, and balancing the process of learning with the magic of performance. It’s about TEACHING. Andrew also shares some thought-provoking ideas on teaching powerful knowledge in rehearsals and rethinking how we engage students with music.

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!

Andrew Schmidt in faculty at Kennesaw State University where he teaches in the school of music and musical theater program. He is also part of the music education faculty at Georgia State Univesity where he teaches choral methods. Andrew is also a freelance singer, and conductor, as well as the founder and Artistic Director of EarlyBird, a professional chamber chorus, Voces Altum, an advanced treble chorus, and Music Director of the Summer Singers of Atlanta. He holds a PhD in Music Education from Georgia State University, an M.M. in Choral Conducting from the University of Washington as well as a B.M.E. from Northwestern University, Evanston, Il. Andrew recently achieved his certificate of Estill Voice Figure Proficiency. He holds a Brain and Behaviors Fellowship through the GSU Neuroscience program.

Andrew’s research examines the intersection of vocal and choral pedagogy with an emphasis on building individual and group multivocality (where a person’s musical identity matches their individual identity). In practice, by teaching multivocality through a rigorous pedagogical framework, he hopes to rectify academic inequities in music education.

Andrew sings bass with professional choirs like Kinnara, The Thirteen, The Santa Fe Desert Chorale, and The Crossing. He can be found on recordings by both Kinnara (Provenance) and The Thirteen (Truth & Fable).

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Choralosophy Podcast (@choralosophy) • Instagram photos and videos

In this episode, I’m thrilled to sit down with Sarah McMahill for a thought-provoking conversation about the fascinating intersections between the Enneagram, music, and personal growth. In the opening segment of the podcast, I make a short presentation on “The Math of the Enneagram” and its implications on group dynamics and classroom management. Then, Sarah takes us on a journey through her experiences with this powerful personality framework, sharing how it has deepened her understanding of herself, her students, and her colleagues.

Sarah is vulnerable about how the Enneagram provided clarity during challenging moments in her life, including its role in mental and physical wellbeing. We discuss everything from the alignment of the body’s physical centers with Enneagram principles, to how understanding stress responses can help manage stage fright and other performance challenges. We even touch on the connections between the Enneagram and music theory, exploring ideas like the tritone as a metaphor for growth and change, and Sarah’s creative process in writing a song cycle inspired by the nine Enneagram types.

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!

Sarah McMahill has woven their three businesses together (Heart to Hands Myofascial (MFR) Massage, Kintsugi Studios & Publications, and Dragonfly Enneagram Center) to create custom services as Wellness Weaving. Wellness Weaving provides mind-body coaching using experiential methods. These methods include myofascial massage, the enneagram, and music & the arts to engage our whole being as a way of understanding and experiencing how our hearts, bodies, and minds are connected.

HEART TO HANDS MFR MASSAGE
Sarah is an ABMP Certified Massage Therapist and Nationally Board Certified Massage Therapist. They are skilled in working with musicians, performers and people living with chronic pain by utilizing myofascial release therapy, craniosacral therapy, manual lymphatic drainage, fascial counterstrain, energy/meditation work, trigger point therapy, and proprioceptive neuromuscular facilitated stretching. They’ve been in private practice since 2004.

KINTSUGI STUDIOS & PUBLICATIONS
Member of ASCAP, IAWM, and ACDA.
Sarah studied music education at Doane College with 2 music scholarships before transferring to SMSU. They have been taking composition lessons with Raphael Fusco. They played clarinet with the St. Anthony Civic Orchestra (2004-2019), occasionally involved with community theater productions, sang with Calliope Women’s Chorus (2004-2011) and have been singing with One Voice Mixed Chorus since 2011. They offer voice lessons with a focus on assessing and releasing vocal and related structural tension. Earlier this year they won Soli Chamber Ensemble’s emerging composers competition along with 29 other talented composers.
They started Kintsugi Studios & Publications to self-publish their music, poetry, and other writings. In their art studies, they came across something called Kintsugi. Kintsugi is the Japanese art of repairing broken pottery by mending the areas of breakage with lacquer dusted or mixed with powdered gold, silver, or platinum. As a philosophy, it treats breakage and repair as part of the history of an object, rather than something to disguise. What they share are parts of their history, methods of their healing, and the journey they’re on.

DRAGONFLY ENNEAGRAM CENTER
Sarah originally learned about the enneagram in 2000. It wasn’t until 2011 when they took a deep dive into the enneagram. (That’s a story for another place.) They received enneagram teacher trainings through Full Circle Enneagram, Dynamic NLP Enneagram Training through Changeworks, and Moving Forward Australia. They have studied with Russ Hudson, Andrea Isaacs, and Catherine Bell. They provide enneagram coaching and online workshops. Some of the workshops are alongside Roland Legge and they have created on-demand videos. They are an Accredited Professional through the International Enneagram Association. Sarah is among the pioneers of incorporating bodywork, the enneagram, and music.

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Choralosophy Podcast (@choralosophy) • Instagram photos and videos

The top episode of the year was my coverage, with the brave help of Michal Dawson Connor, of the debacle that unfolded at All Saints Episcopal in Pasadena. “Excluded in the Name of Inclusion” was a difficult, but necessary conversation, and was even covered on one of the world’s biggest podcasts “Blocked and Reported.”

The next episode falls into the category of “Free PD” that you should turn in to your school district if you are a teacher. This episode built our vocabulary around concepts related to choral intonation and sound building. James Jordan helped us kick off our new GIA/Walton series with a bang! Next up, in the third spot was another show that generated a healthy amount of controversy. It stemmed from an article written in the Choral Journal advocating for the removal of Sight Singing from All State Choir assessments. I disagreed with the suggestion vehemently, and invited the author, Dr. Marshaun Hyman to join me and Dr. Chantae Pittman in a good faith discussion. Some common ground was found, but I am not sure any minds were changed.

Rounding out the top 10 episodes in terms of total listens/views was a fantastic example of the diversity of topics explored on this show. From nuanced discussions of the ways diversity impacts our music making environments, to practical ideas for music classrooms explained and demonstrated, to vocal pedagogy gems, to the adolescent boys AND girls changing voices and brain development of musicians.

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!

Below is an excerpt. Read the rest for FREE at Choralosophy.Substack.com

We don’t have to choose between rigor and accessibility, and we don’t have to choose between evaluating something as “great” or “excellent” and valuing every rung of the music making skill ladder.

In music education, we have long embraced the belief that success hinges solely on talent and hard work. According to this view, if a student is talented and diligent, they will inevitably achieve success—whether by joining an All-State ensemble, securing a college scholarship, or pursuing a distinguished performing career. This framework, which has produced many remarkable musicians from diverse backgrounds, seems to be the ultimate formula for success.

However, this perspective has always overlooked a crucial element: luck. Factors such as geographic location, financial resources, race, gender, and access to quality instruction play a significant role in determining outcomes. While raising awareness of these disparities has gained traction in recent years, I believe we need to address an essential aspect that is often neglected.

We must acknowledge two key truths:

1) No perfect meritocratic system exists: It is a fallacy to believe that every choir audition, or job application, or college admissions form is perfectly selecting for the “objectively” best person for each position. So, of course, this would also extend out to societal level structures. Some may simplify this phenomenon by shrugging their shoulders and saying “life isn’t fair.” There is a time and a place for this shoulder shrugging. Sometimes we have to shrug to preserve our sanity. But, in my view there is NO appropriate time for that type of disengagement from inequities to lead us to create a mythology in our minds about “the perfect meritocratic system.”

2) Merit itself, and how to measure it, is not the problem. Many argue that because not everyone has equal access to rigorous music education, we should evaluate students based on different criteria. Indeed, we lack a universal standard for what constitutes a “great” musician, and differing opinions on this can be beneficial. In fact, I would argue that it is the fact that such a question would generate multiple answers, that makes this such an important topic for educators to discuss.

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Choralosophy Podcast (@choralosophy) • Instagram photos and videos

in this episode, I’m joined by Marcie Samayoa—a dedicated chemistry teacher and passionate advocate for evidence-based education.

We tackle some of the biggest debates in modern teaching, starting with one myth we’ve all heard: learning styles. Are you a “visual learner”? An “auditory learner”? Turns out, science doesn’t back that up. Marcie and I break down why this myth still lingers and explore what actually works in the classroom, from explicit instruction to cognitive load theory.

But we don’t stop there. We dive into real struggles teachers face every day—burnout, moral injury, and the overwhelming pressure to implement new methods without proper support. Marcie shares her frustration: Why are foundational skills like cognitive load and explicit instruction self-taught instead of core training for educators?

We also discuss balancing inquiry-based learning with strong fundamentals—something that resonates in both science and music. Whether it’s balancing chemical equations or teaching a choir to sight-read, we agree: students need clear, structured guidance before they can truly explore.

Finally, we hit on a tough question: Is prioritizing social-emotional learning over academics helping or hurting our students? Marcie and I discuss how teachers can support students and stay focused on their academic success—without burning out or overstepping their roles.

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!

Marcie Samayoa began her teaching journey at UCLA, where she earned a B.S. in Biology with a minor in Science Education in 2015. She started teaching as an intern in 2016 and went on to complete her teaching credential at CSUN in 2018. Currently, she is finalizing her National Board Certification while teaching high school Chemistry.

Over the course of her nine years in the classroom, Marcie has encountered many students who feel intimidated by science before they even begin. Comments like “Science is not my thing” are common among her students, and similar sentiments often arise from friends pursuing healthcare careers who claim, “I can’t be a doctor. Science is too difficult.”

These statements resonate deeply with Marcie, as they remind her of her own struggles at UCLA. Despite spending long hours in the library, she initially faced challenges on exams. It was then that she realized hard work alone wasn’t enough—she needed to study smarter. Through research, she discovered cognitive science techniques that transformed her approach to learning. This shift not only helped her overcome academic hurdles but also earned her a spot on the Dean’s Honors List by her senior year.

Now, Marcie is passionate about helping students overcome their fear of science, guiding them toward strategies that build confidence and success in the subject.

@SciInTheMaking on X

@scientistsinthemaking.com on BlueSky

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Choralosophy Podcast (@choralosophy) • Instagram photos and videos

I sit down with Samuel Andreyev—a brilliant composer, educator, YouTube and Podcast host, and one of the most insightful voices on the state of music and the arts today.

We’re diving headfirst into a big question: has American pop music—jazz, blues, rock, and film scores—overshadowed classical traditions so much that icons like Leonard Bernstein could never emerge again? Samuel and I explore how the overwhelming dominance of pop culture has made it harder than ever for classical music to capture mainstream attention in the U.S., leaving it to fight for survival in niche spaces.

But that’s just the beginning. Samuel shares his fascinating journey from studying at the Paris Conservatory to becoming a French citizen and a digital content creator, where his unique insights now inspire students and composers around the world. We talk about the internet’s double-edged sword—how it creates opportunities for artists but also floods the market with distractions, making it harder than ever to stand out.

We also tackle the big challenges of music education: how to keep classical music relevant, why today’s musicians need to be as entrepreneurial as they are talented, and the dangers of relying too much on outdated institutions or academic pathways.

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!

Musicworks magazine has said of Samuel Andreyev: ‘the music’s tautness conceals profound eccentricity: wild colouristic imagination and quick, perverse wit come together in dramatic shifts of hue.’ Born in Kincardine, Canada in 1981, Andreyev studied composition with Allain Gaussin and Frédéric Durieux in Paris, and rose to prominence in the 2010s when he was awarded the Henri Dutilleux Prize (for ‘Night Division’), was named artist-in-residence at the Casa de Velázquez in Madrid, and was given the opportunity to record his first portrait disc at Radio France. Since then, his chamber, orchestral, vocal and solo works have been performed, recorded and broadcast throughout the world. Major works include the violin concerto ‘Trois pierres à ne pas jeter’, written for Max Haft and Ensemble Contrechamps; the chamber orchestra piece ‘Contingency Icons’, written for the Nouvel Ensemble Moderne; and the two cantatas, Iridescent Notation (on poems by Tom Raworth) and In Glow of Like Seclusion (on poems by J. H. Prynne), written for Ukho Ensemble (Kyiv) and Ensemble Proton Bern, respectively. In addition, his music has been featured on concert tours in Canada, the USA, Mexico and Japan.

Also a highly sought-after teacher, commentator on music and public speaker, Samuel Andreyev’s YouTube channel, which features videos about composition as well as interviews with prominent musical figures, has become a fixture of the music world, viewed by millions. In addition, he presents programs on music for BBC Radio 3.

Andreyev has taught at the Haute Ecole de Musique de Genève, the Hochschule für Musik Freiburg and the Strasbourg Center of the University of Syracuse, and he has given masterclasses in countless conservatories and universities around the world. Constantly in demand as a teacher, he maintains a full schedule of private students. He is currently Vice-President of the Music Council of the Fondation Prince Pierre (Monaco).

Nearly all of Samuel Andreyev’s works have been commercially recorded, with four portrait discs released so far and many recordings of individual works available from various labels. A multidimensional artist, he has published several books of poetry and maintains an active practice as a photographer.

He has made France his home since 2003 and currently lives in Strasbourg. His scores are published by Edition Impronta (Mannheim).

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Choralosophy Podcast (@choralosophy) • Instagram photos and videos

Voice teacher David Jones joins me this week to discuss some tips, approaches and even some exercises and language to try in your rehearsals with singers of ALL ages. In today’s episode, we have the privilege of hearing from David, a dedicated vocal pedagogue who began his journey as a high school singer in choirs. David shares his experiences studying under renowned vocal teachers like Alan Lindquest and emphasizes the vital balance of vocal registration to avoid strain, keeping the voice healthy.

We’ll delve into the concept of “perfect attack” or coordinated onset, which is crucial for both young singers and adults. David explains how a coordinated onset leads to better breath support and control. We spend a lot of time discussing ways to help singers release tension allowing for freely legato singing.

Demonstrations and descriptions of several exercises that were new to me, had me excited to try some new ones in my class! As we discussed teaching beginning singers, David emphasized the importance of establishing good habits early on and shared his unique methods, like various tension transfer exercises.

I also really enjoyed our discussion toward the end about “technique phobia” and the concern that technical perfection often gets associated with dry or emotionless performance. Spoiler alert: it doesn’t have to!

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!

David L. Jones has developed an international career as author, vocal pedagogue, and teacher of singers and teachers in Europe and the U.S., having worked as guest faculty at Universities and Conservatories. His website, and his professional Facebook page, The David Jones Voice Studio, contain articles based on the concepts of Italian School with the Swedish influence. His writing reflects common issues and concerns that answer questions for both vocal instructor and vocal student.

A graduate of Texas Christian University, Mr. Jones later continued vocal research at the University of North Texas. He has also conducted scientific research at the Groningen University Hospital (Groningen, The Netherlands) and has been guest faculty at the Laboratoire de la voix voice clinic in Paris. Through his association with the medical profession (and the vocal medical research of Dr. Barbara Mathis) he has had opportunity to learn and experience how Old World vocal concepts, frequently in conjunction with voice therapy, can be therapeutic in resolving many voice disorders. He also works with professional singers referred by laryngologist Dr. Benjamin Asher in New York.

David L Jones studied the concepts of the Italian School with the Swedish influence with internationally known vocal pedagogue Allan R. Lindquest (1891-1984), who was a charter member of NATS and the American Academy of Teachers of Singing. It was through that study- period with Lindquest that David Jones learned the concepts of Lindquest’s teachers, who included Enrico Caruso, Mme. Haldis Ingebjard-Isene (last teacher of Kirsten Flagstad), Joseph Hislop (last teacher of Bjoerling), Maestro Rosati (teacher of Gigli) and Mme. Paola Novikova. As invited guest faculty at the Operahögskolan / Stockholm, David Jones had the opportunity to share the concepts that his teacher Allan Lindquest studied in Stockholm in 1938 and 1939.

In 1983, Mr. Jones studied with Dixie Neill, instructor of Ben Hepner, and later with Evelyn Reynolds, whose instructors included Lola Fletcher (student of Herbert Witherspoon), tenor Hollis Arment, William Vennard, author of Singing: The Mechanism and the Technique, and Ralph Erolle, instructor of the well-known American soprano Arleen Auger.

David Jones has trained singers performing at such opera houses and festivals as the Metropolitan Opera, New York City Opera, San Francisco Opera, Chicago Lyric Opera, Berlin Staatsoper, Vienna Staatsoper, Opera North U.K., the Royal Opera House / Covent Garden, the Glyndebourne Opera Festival, Salzburg Festival, and L’Opera Bastille in Paris.

David Jones book, “A Modern Guide to Old World Singing” was released in September / 2017. His upcoming book, “A Modern Guide to Old World Vocalization” will be released next year.

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Choralosophy Podcast (@choralosophy) • Instagram photos and videos

This week, Elementary general music and choir director, Chy Billings from Olathe, KS joins me in my home studio for a lively discussion about our PRIMARY constituency. The elementary school music student.

Why do we teach music to kids in elementary? The idea of a “feeder program” misses the point? We build musicianship skills in order for kids to learn to MAKE music. Builds the brain, the spirit etc. But without opportunity to put skill into practice, I fear we lose students to the belief that music learning is not a practical skill. Young kids need to perform using their skills they are learning in music that empower THEM as makers of music.

We discuss the building blocks to establishing musicality, musicianship, and music literacy in the elementary music classroom (incorporating how musicianship and literacy are addressed in Orff-Schulwerk and Kodaly-inspired lessons). We also touch the tricky topic of transfer of skills into Middle and High School ensembles. It’s tricky because it can’t really be separated from the reality of recruiting and the concept of “the feeder program.”

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!

Chy serves as the music teacher and choir director at Arbor Creek Elementary in Olathe, Kansas, as well as the assistant director of the Children’s Choir at Church of the Resurrection’s Leawood campus. Additionally, he directs the Allegro Vivo children’s choir (grades 3–6), inspiring young singers to develop their musical potential.

Chy holds a Master’s degree in Music from Wichita State University, is certified in the Orff-Schulwerk approach, and has partial certification in Kodály. His training also includes advanced vocal studies at Bowling Green State University. In addition to his work as an educator, Chy occasionally performs with opera and musical theater companies, blending his passion for music education with real-world performance experience.

Through his diverse roles, Chy is dedicated to fostering a love of music and building strong foundations for young musicians

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Choralosophy Podcast (@choralosophy) • Instagram photos and videos

In this short episode, I will take listeners through a “what to expect and why” discussion. Over the last week, I have gotten more messages, questions, and had more conversations than ever. So, as we prepare for our 6th Anniversary this winter, this may serve as a calling card, or resource for audience members to share when you tell your friends about why you value this program, and want it to continue for another 6 years! Regular programming, guests, PD topics, composers, and so much more will continue next week!

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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Choralosophy Podcast (@choralosophy) • Instagram photos and videos