This page is dedicated to driving a conversation for choral musicians with the PHILOSOPHY of Choral Music at the heart of every post and podcast episode. Topics will be wide ranging from the technical aspects of our jobs and careers all the way to the artistic interpretations and values that make us who we are as artists. Join me in this conversation in which I hope we can learn from each other.
Episode 13: Choral Snobbery? with Chris Maunu
Jun 27, 2019
Show notes
In this episode I dig deeper with Chris Maunu on his “choiral” blog called “Choral Elitism” which has been a frequent conversation starter on choral conversation pages. I identified with his article very deeply, and felt the need to talk to Chris more about this topic. My hope is to use this show to help the audience gain a deeper understanding of the cultural change that is possible in our profession. Join us for an in depth discussion on the pressures we put on each other as choral musicians, conductors and teachers.
Episode 13: Choral Snobbery? with Chris MaunuChris Maunu- Arvada West HS
The question is How do we make our profession a reflection of the choirs we trying to build? NOT, how do we make our choirs a reflection of us.
Chris Munce
Chris Maunu is a conductor, educator, and professional singer based in the Denver-Metro area. GRAMMY® nominated conductor Maunu is the Director of Choral Activities at Arvada West High School. A passionate teacher, Mr. Maunu was 1 of 10 Finalists for the 2018 Music Educator Award at the 60th GRAMMY® Awards. He was also 1 of 10 educators named as a 2019 CMA® National Music Teacher of Excellence. Since starting his career at Arvada West in 2006, the department has nearly tripled in size and has become one of the premiere high school choir programs in the United States. Choirs under Maunu’s direction have performed at 10 state and national music conferences, including Arvada West’s Vocal Showcase being one of two high school mixed concert choirs in the nation invited to perform at the 2017 National American Choral Directors Association Conference in Minneapolis. They were also recent winners of the prestigious American Prize in Choral Performance and have been invited by audition to perform in the Champions Competition of the 2020 World Choir Games (the 9th American high School choir in history to receive this invitation).
Mr. Maunu received the Distinguished Alumni Award from Northern State University where he delivered the 2018 Commencement Address. He was also a recipient of a Commendation from the 71st House of Representatives for his work as a choral educator.
Christopher has enjoyed serving as a clinician for all state and honor choirs in numerous states, including a recent appointment to the faculty of Guest Artists at Manhattan Concert Productions (MCP) in New York City. An active member of NAfME, CMEA, and ACDA, Christopher currently serves as the High School Chair for Colorado ACDA and is a past member of the CMEA Vocal Music Council.
Mr. Maunu is also co-founder and artistic director of Colorado’s Anima Chamber Ensemble, an elite 16-voice ensemble of choral professionals. New to the Rocky Mountain choral scene, Anima has enjoyed plenty of time on the classical music airwaves and packs the halls with enthusiastic concert goers of all ages. In addition, Maunu has sung professionally with various ensembles. Such groups include St. Martin’s Chamber Choir, Evans Choir, and Colorado Bach Ensemble. He has also performed with the Santa Fe Desert Chorale, Central City Opera, and Opera Omaha.
Christopher holds a Master of Music degree in Vocal Performance from the University of Nebraska-Lincoln and a Bachelor of Music Education from Northern State University in South Dakota. When not on the podium or singing in an ensemble, Christopher enjoys sharing his life with his beautiful wife Aleisha, and their pets, Paavo and Ligeti.
Episode 12: Does the Performance Goal of Most Choirs Lead to Exclusion? With John Perkins
Jun 11, 2019
Show notesEpisode 12
In this episode we parse our way through a Choral Journal Article from December of 2018 called “What is Written on our Choral Welcome Mats” with the author, Dr. John Perkins of Butler University. In the article, Dr. Perkins seeks to tie the tendency toward valuing a performance standard and competition in choral culture to racial and cultural prioritization. As the reader I found myself bouncing back and forth between agreement and disagreement with the premise. While I do see the pernicious influence of COMPETITIVENESS in choir (ie. choir is NOT a sport…), I do not share his view that this can be tied in any way to race or culture. So, I just HAD to talk to him about this and he graciously accepted the invitation to parse out the particulars in the article. The end result was a civil and productive conversation that left me a greater understanding of his view on this topic. I hope you find it informative.
Be sure to take the time to read the whole article here for context discussed in the episode.
Dr. John Perkins owes his professional career to his loving partner, Emily, and children, Lili Amna, and Noah Ameen. He is the Associate Director of Choral Activities and an Associate Professor of Music at Butler University. Instruction at Butler includes the Butler University Choir (SATB ensemble) and Spectra (SSAA ensemble), Aural Skills I, and Conducting (undergraduate), and Graduate Choral Conducting Seminar. Combining with Nassim Al Saba Choir (United Arab Emirates), Sao Vicente Acapella (Brazil), and five local high school choirs, Dr. Perkins created a transnational course in Spring 2016, entitled “Peacebuilding through Choral Singing.” The course focused on social justice dialogue, relationship-building, and community leadership through choral singing. In the summer of 2019, Dr. Perkins will lead a similar course with partners in Malaysia, entitled “Musicking Futures.” Recently, the Butler University Choir has partnered with Eastern Star Church, Fishers campus, to encourage dialogue between predominantly Black and White communities. He practices choral-dialoguing with his ensembles and in the community as a way to more deeply engage in justice learning.Outside of Butler’s campus, Dr. Perkins is the Director of Music at Castleton United Methodist Church, a Fellow at the Desmond Tutu Center for Peace, Justice, and Global Reconciliation, and an Advisory Board Member for Euro Mediterranean Music Academy (EMMA) for Peace, and a member of the American Choral Directors Association Diversity Initiatives sub-committee.
Before arriving in Indianapolis in Fall of 2014, he taught at the American University of Sharjah in the United Arab Emirates (UAE) from 2008-2014 and developed the country’s first music program in higher education. There, Perkins directed the university’s choral program and founded the Nassim Al Saba Choir, the first Arabic, four-part choir in the Gulf region. The ensemble, aimed at building bridges between Arab and non-Arab countries, performed extensively in the UAE and abroad in New York City, Indonesia, and Jordan.As a guest clinician, Dr. Perkins has been a resident artist and has given conducting masterclasses in the United Arab Emirates, USA, Indonesia, Oman, Lebanon, and the Kingdom of Saudi Arabia. His research and professional contributions include, presentations, articles, and arrangements concerning social justice through choral musicking, Arabic choral music, cross-cultural initiatives, the choral works of Lili Boulanger, music of the Symbolist (Belle Époque) era, conducting technique, and collaborative music projects. Perkins’s new choral-orchestral arrangement of Lili Boulanger’s Psaume 130, Du fond de l’abîme and Arabic choral arrangements have been internationally premiered.
Dr. Perkins has presented at the International Society for Music Education (Azerbaijan), Research in Music Education (United Kingdom), New Directions in Music Education, ACDA statewide and regional conferences, the Lund International Choral Festival (Sweden), Aswatuna Arabic Choral Festival (Jordan), International Symposium on Choral Music (Indonesia), and the International Musicological Conference: Marginal Figures in 20th-century Music (Russian Federation). His research is published in the Bulletin of the Council for Research in Music Education, the Choral Journal and the International Choral Bulletin.Originally hailing from Titusville, New Jersey, Perkins holds a Doctor of Musical Arts degree in choral conducting from the University of Arizona (Tucson), a master’s degree in choral conducting, from Temple University (Philadelphia), and a bachelor’s degree in theory and composition from Westminster Choir College of Rider University (Princeton). He continues to grow through many transformative moments with his students.
Episode 11: Breaking Down Barriers with Jason Max Ferdinand
Jun 05, 2019
Show notes
In this episode I sit down with the biggest star in the Choral World right now. Dr. Jason Max Ferdinand of the famed Aeolians, fresh off their WORLD changing performance at the ACDA National performance in Kansas City this spring. Our topics are wide ranging including his upbringing in the Caribbean and early life, his planning process for ACDA, the proper approach to spirituals, racial stereotypes in Choral Music and the social significance of the Aeolians’ rise to prominence.
Episode 11: Breaking Down Barriers with Jason Max FerdinandDr. Jason Max Ferdinand- Oakwood University
Jason Max Ferdinand is a Full Professor, Chair of the Music Department, and Director of Choral Activities at Oakwood University where he conducts the Aeolians of Oakwood University.
A native of Trinidad & Tobago, Ferdinand received his Bachelor of Arts degree in piano from the Oakwood College (now Oakwood University), the Master of Arts in Choral Conducting from Morgan State University, and the Doctor of Musical Arts in Choral Conducting from the University of Maryland.
As a doctoral student, Dr. Ferdinand was privileged to have studied under the heedful eyes of Dr. Edward MaClary who is a protégé of the late Robert Shaw and also studied and collaborated with Helmuth Rilling, Margaret Hillis and Robert Page. During his time at the university, he served as co-director for the University Choir and was an assistant conductor for the Chamber Singers and the Maryland Chorus. In addition, he taught undergraduate conducting classes. In the summer of 2006, Ferdinand was selected to lead the Summer Choral Festival Program at the University of Maryland. Jim Ross, a former pupil of Kurt Masur and Leonard Bernstein served as his orchestral conducting teacher. The late Dr. Nathan Carter at Morgan State University changed the life of Dr. Ferdinand in a potent way. He served as graduate assistant to Dr. Carter and it was here that a true and clear vision for his life work was formed. Dr. Ferdinand attained his undergraduate degree in piano performance at Oakwood University. He studied piano with Dr. Wayne Bucknor. Dr. Lloyd Mallory was his choral director and he was afforded the opportunity to serve as student conductor, student accompanist and had his arrangements performed.
Under Dr. Ferdinand’s baton, the Aeolians of Oakwood University have graced stages the world over. Their repertoire of choral music which ranges from the Baroque era to the 21st century has been sought after and performed at venues throughout the USA, Bermuda, the Bahamas, the Virgin Islands, Canada, Poland, Romania, Great Britain, Russia, Jamaica, Trinidad & Tobago, and Hungary. Capping off a successful 2011 – 2012 Concert Series which saw the Aeolians visiting Moscow, Russia as part of the Russia-US Bilateral Presidential Commission on development of cooperation between Dmitry Medvedev and Barack Obama, they made their inaugural entrance at the 7th World Choir Games held in Cincinnati, USA, resulting in the choir earning gold medals in all three categories of entrance and the overall championship for the Spiritual category.
In October 2015, Ferdinand made his debut at Carnegie Hall conducting the Aeolians, the Altino Brothers Concert Chorale and the Beyond Boundaries Symphony Orchestra. Later that month, Ferdinand directed the Aeolians as they accompanied the world acclaimed soprano, Kathleen Battle at the Alys Stephens Performing Arts Center in her, “Underground Railroad: A spiritual Journey” Concert Series. In January 2016, Ferdinand directed the Alabama Symphony Orchestra as they accompanied the Aeolians in a collaborated annual Martin Luther King Jr. tribute at the Alys Stephens Performing Arts Center in Birmingham, Alabama.
The summer of 2017 was a highlight in Dr. Ferdinand’s career. Having attended the LLangollen International Musical Festival, in Wales, UK as a doctoral student with the University of Maryland in 2007, he returned as the director of the Aeolians of Oakwood University and won the coveted “2017 Choir of the World” award along with the event’s first ever “Most Outstanding Director” award.
Ferdinand maintains an active schedule as a presenter, adjudicator and guest conductor for high schools, collegiate, and church choirs throughout North America, Europe, and the Caribbean. He is a former board member of the Alabama American Choral Directors Association (ACDA). A choral series bearing the name of Jason Max Ferdinand is now in circulation by Walton Music publishers. He continues to actively compose and to mentor up-and-becoming composers. His greatest passion is watching those who he has mentored as conductors and composers, become conductors and composers in their own right.
Dr. Ferdinand loves to teach and was named “Teacher of the Year” for the 2017/18 school year by Oakwood University. Dr. Ferdinand is thankful for his parents, Dr. T. Leslie and Mary Ferdinand who are both retired educators. His siblings Alva Ferdinand, J.D., Ph.D. and Abdelle Ferdinand, M.D. tribute any academic accomplishments they have attained to their parents.
Dr. Jason Max Ferdinand is married to Meka, who is a registered nurse and they are the parents of Caleb, Ava and baby Jamē.
Episode 10: A Voice in Transition with Theo Wren
May 13, 2019
Show notesA nuanced discussion about the trans experience.Theo Wren
Is it possible that removing gendered language from our choral rehearsals solves the problem of inclusion? Is it possible that it DOESN’T solve the problem? Is there room for nuance in the conversation? This week, I open up a dialogue with Theo Wren, a freelance musician, multi-instrumentalist, choral singer and Trans Baritone. So far on the show, I have conversed only with Choral Directors. This time, I thought it might be informative to flip that a bit and sit down with someone who has spent many years on the other side of the baton. We in the choral profession have seen a recent wave of cultural shifts related to the use of gendered language in our choral ensembles. So, I sought out the perspective of a singer who, for years felt as if he was in the wrong section.
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Episode 9: How Should Choralosophers Handle Contentious Choral Topics?
May 06, 2019
Show notes
Greetings, friends and colleagues. As Choral Directors, we stand in front of large diverse groups of people from different backgrounds, races and religions. With that comes a beautiful diversity of opinion. For people in our position, we should be a beacon of peace and reconciliation in a world coming apart at the seams.
Seem dramatic? I don’t think it is. As we all consolidate our time and energy online, it is creating a necessary convergence of many people into public sphere. When that happens, we will come across more people than ever before with whom we disagree. Never before have I seen such aggressive online behavior in my feeds. From COVID-19 all the way to virtual choir question shaming. We can do better.
Episode 9 follows Chris through the core principles of the Choralosophy Podcast. Chris Munce-Host of Choralosophy Podcast
Why would I need to address this? First, this show, as promised from the beginning, did not set out to be a nuts and bolts focused show. I will occasionally approach the occasional “how to” episode that would be a safe interest session at a convention. But that is not the main mission of this project. I think talking about elephants in the room within the choral profession is important also, and there are very few venues that achieve this in a way that is civil and open conversation. If a discussion topic elicits NO contention at all, then what will anyone learn. I think deep down, no listener want to listen to a bunch of stuff that is so safe that it doesn’t challenge them. That is ultimately what I hope to provide through this platform. My goal is to promote a culture where open inquiry, the pursuit of greater understanding and support for each other as colleagues becomes the norm. I am wary of what I see as a culture of fear on social media and in academia that causes many to just keep their opinions to themselves because they might be accused of Orwellian wrong-think. I think this is dangerous to any field of study. Iron sharpens iron as the saying goes, which means we do NO good when we only smile and nod.
So, in an effort to do this, I will lay out my core principles for this show.
Knowledge and Truth that are shareable by all of us are not only possible, but worthy goals. Some would suggest that we cannot really know anything, and that nothing is really true. Our only way of knowing is through our socialized minds with biases that we cannot escape. This is PARTIALLY true, but NOT because of socialization. Each person holds some part of the story that you don’t know, because no two people look at the world from the same perspective. It is precisely because we all see things differently that we MUST have conversations. It is only through challenging each other’s perceptions can we discover that tiny bit of truth that each person possesses and synthesize it into one BIG axiom or truth. So, we will talk on this show, agree or disagree, and pursue knowledge and truth as an ideal. We will speak as if there is no such thing as a “Two-Sided” issue. All issues have 7+ billion sides and all we need to do today is try to have my perspective and your perspective mingle until we arrive at a truth neither of us had before our conversation.
I believe that people have good intentions and are speaking with me in good faith. I like to avoid assuming the worst about people, and I know that even if someone holds a diametrically opposed position to mine, I know that they are a person who wants what is best for the world. They are a person who loves their children, their spouse, their students etc just like I do. We are fellow humans. Treating people with contempt will have no place on this show. Please hold me to this if I ever slip. This also applies to any online discussions moderated by me on the page.
Since everyone knows something I don’t, I want my guests to be HAPPY with their chance to get their point across. All of my conversations are free form, so there are no timed or “gotcha” questions. If I ask a question, I genuinely want to know what the person thinks about it. That being said, I will rarely do “interviews” and I am not a journalist. My opinions and analysis will be very much a part of each show.
I will strive to avoid logical fallacies but no one is perfect… I will also hold guests to this. The big no-nos will be ad hominem and straw man arguments. I am not interested in this platform being used to impugn anyone’s character, talent or ability. I will also try very hard to understand someone’s position by asking very pointed precise questions when necessary. I don’t want to force someone to defend a claim that they didn’t make, and I would like it to not be done to me…
One of the things that excites me about this show is it’s potential to be a platform that promotes the profession as an academic discipline, as well as an art form. I seek to promote YOU and what great work you are doing. And if you don’t feel like you are doing great work, I hope these discussions serve as a sharpening tool for you as you listen, and as always keep the feedback coming. Even if you think I’m wrong.
Episode 8: Renovating the Voice
Apr 29, 2019
Show notes
Voice lessons for a fourteen year old, admittedly are not the same as a lesson for a college freshman. In fact, when many high school students begin voice study, they are fresh off of puberty, or at its tail end… For many, learning just get their dang vocal folds to touch is a challenge, let alone singing Lieder in a stylistically accurate way! What then, should be their starting point, or Step 1? Are we happy if they just memorize a song? When we are fortunate enough to get our students to take voice lessons, what do we want them to learn? What is best for them? What is best for our choirs? Are all voice lessons the same? We have so many questions… and, we think, some answers for those questions! We invite you to listen and join the conversation! As always, each episode is just a conversation STARTER, so join the conversation on Facebook in the Choralosophers group!
Stream Episode 8 on your favorite Podcast Ap!
In this episode we discuss at length the philosophy of healthy singing as a starting place for young singers. We take the position that classical training is THE route to this goal. Classical training is not just a style of repertoire, but a type of instruction. Like classical dance or theater training, it builds fundamentals and technique first. Flare, photo ops, and competition ratings MUST come second.
Episode 7: The Notebooks of Leonardo Da Vinci with Jocelyn Hagen
Apr 08, 2019
Show notesEpisode 7: The Notebooks of Leonardo Da Vinci
What can we learn from the philosophies of Leonardo on Art and Music? Does he have anything to say to us in the 21st Century? The host discusses da Vinci’s ideas sourced from “Thoughts on Art and Life” by the great artist himself, then is joined by Jocelyn Hagen to discuss her new multi-media symphony “The Notebooks of Leonardo Davinci” as well as her recent TED talk about the work.
Jocelyn Hagen composes music that has been described as “simply magical” (Fanfare Magazine) and “dramatic and deeply moving” (Star Tribune, Minneapolis/St. Paul). Her first forays into composition were via songwriting, and this is very evident in her work. The majority of her compositional output is for the voice: solo, chamber and choral. Her dance opera collaboration with choreographer Penelope Freeh, titled Test Pilot, received the 2017 American Prize in the musical theater/opera division as well as a Sage Award for “Outstanding Design.” The panel declared the work “a tour de force of originality.” Her melodic music is rhythmically driven, texturally complex, and has recently become more experimental in nature. In 2013 she released an EP entitled MASHUP, in which she performs Debussy’s “Doctor Gradus Ad Parnassum” while singing Ed Sheeran’s “The A Team.” Jocelyn is also one half of the band Nation, an a cappella duo with composer/performer Timothy C. Takach, and together they perform and clinic choirs from all over the world.
Her commissions include Conspirare, The Minnesota Orchestra, the American Choral Directors Associations of Minnesota, Georgia, Connecticut and Texas, the North Dakota Music Teacher’s Association, Cantus, the Boston Brass, the Metropolitan Symphony Orchestra, and The Houston Chamber Choir, among many others. She is currently an artist-in-residence at North Dakota State University and regularly composes for their ensembles. For ten years she was a composer-in-residence for the professional choir she also sang in: The Singers, under the direction of Matthew Culloton. Her music has been performed all over the world, including Carnegie Hall and Lincoln Center in New York City. Her work is independently published through JH Music, as well as Graphite Publishing, G. Schirmer, Santa Barbara Music Publishing, Fred Bock Music Publishing, and Boosey and Hawkes.
Episode 6: Avoiding Burnout and Other Life Hacks. Elisa Janson Jones
Mar 16, 2019
Show notesAre students prepared to enter the profession… with all that goes into teaching music that can’t be taught in a Music Ed Program?
“If you are there for the music, you’re in the wrong profession. It has to be student centered, or you will burn out.”
Elisa Janson Jones
Elisa Janson Jones specializes in helping music educators build, grow, and manage thriving school music programs. With an MBA alongside her degree in music, she is also a coach and consultant to small businesses and nonprofits around the country, and serves as the conductor of her local community band. She has been teaching music for nearly 20 years and currently holds the prestigious position of elementary music teacher at a private K-8 Catholic School in Grand Junction, Colorado. Elisa has presented at state, national, and international music education conferences. She is the founder of the International Music Education Summit and the author of The Music Educator’s Guide to Thrive.
Elisa is also the host of the Music Ed Mentor podcast. Find her show in iTunes, Google Play or your favorite platform!
Episode 5: What I Suck At
Mar 11, 2019
Show notesOr, What At Which I Suck
In this episode I share a small part of my “suck list” as well as my “not suck” list to demonstrate the healthy balance we all must have between acknowledging our struggles and giving ourselves credit where credit is due. I will also offer a short reflection on the National ACDA Convention including WHY I MISSED THE AEOLIANS concert at Helzberg Hall and the inspiration of Eph Ehly’s session at the Folly Theater, “What’s Really Important.” Finally, I will be responding to some Choralosopher responses from our Facebook page. Several listeners responded with one item from their “suck” and “not suck” lists.
Chris MunceEpisode 5
I am horribly messy and unorganized.
If it is not written into my calendar, I forget it and even that is no guarantee…
In the classroom, I am not good at sticking to a plan, so I don’t even make one.
Musically, I have a MUCH better ear for pitch than I do for rhythm, so often times I struggle to hear the trickier patterns in my head. This also causes my to avoid music with those challenges…
Keyboard skills are not where I want them to be.
I am not good at reading people’s body language and recognizing their emotional needs.
I am not a good listener. Working on it… Way better than I used to be….
Episode 4: Part 2. Seeing the Trees (There is no forest) with Tony Maglione
Feb 19, 2019
Show notes
In the second part of this episode, I look to Anthony Maglione for insight into this topic from the collegiate perspective.
Anthony J. Maglione- William Jewell College
Conductor/Composer/Tenor Anthony J. Maglione is a graduate of Westminster Choir College of Rider University, East Carolina University, and the University of California, Los Angeles. He is the Director of Choral Studies at William Jewell College where, under his direction, the Concert Choir was Runner Up (2nd Place) for the 2015 American Prize in Choral Performance, College/University Division. In addition to his responsibilities at William Jewell College, he serves as Conductor Emeritus of the Freelance Ensemble Artists of NJ, a symphony orchestra based in Central NJ and is Artist-in-Residence and Choir Master at St. Mary’s Episcopal Church in Kansas City.
An active composer, Anthony’s choral works are growing in popularity and are published on GIA’s “Evoking Sound” choral series. In the last several years his music has appeared at state and national-level conventions, on TV, in video games, and has been recorded on Gothic Records, Albany Records, and Centaur Records. In 2014 and 2015, Anthony was honored as a Semi-Finalist and Finalist (respectively) for the American Prize in Composition, Professional Choral Division and was recently awarded the 2016-2017 William Jewell College Spencer Family Sabbatical, a year-long fully funded sabbatical in order to compose two new large-scale works for choir, soloists and chamber orchestra. Anthony was also been commissioned by the American Guild of Organists for a new cantata which premiered at the AGO National Conference held in Kansas City in 2018. As a tenor, Anthony has appeared with Kansas City Baroque Consortium, Spire Chamber Ensemble and currently performs and records with The Same Stream Choir conducted by James Jordan.
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