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Choir Fam Podcast

Dean Luethi & Matthew Myers

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The Choir Fam Podcast is a venue for conversations about the current state of choral music. Hosts Dean Luethi and Matthew Myers seek to bring the worldwide choral community closer together through their discussions with a variety of guests who work with choir in its various forms. The goal of the podcast is to provide listeners with interesting tidbits of knowledge they could use in day-to-day choral rehearsals and to bring light to the ways that issues in the choral field are being observed ...
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Sacred Nine Project

C. Leonard Raybon

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Sacred Nine Project Podcast is an extension of Sacred Nine Project (sacrednine.com). The podcast thrives in the tension between the beauty and uniqueness of American music (particularly 18thc and 19thc) and the oddities and often problematic worldviews it reveals. By taking a look at this body of work, we can learn a lot about our country’s history, which tells a great deal about our country today, and ourselves. Join music professor and vocal/choral performer, C. Leonard Raybon, as he champ ...
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This is Sacred Nine Project: Words of Welkin, offered with no introduction. This was offered on Sunday, May 4, 2025, at Rayne Memorial Methodist Church. It is essential that you follow along in the program because you will not be able to understand all the words if you don’t. You will see that early hymnody was, well….troubling. You can find that p…
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“You never know what anybody's potential is. I think about that now as a teacher, that we are expecting 17-, 18-year-olds to know what they want to do for the rest of their lives. It’s so early in your life to make those decisions, and so much can change during those really formative years. I want to help them to be the best version of themselves i…
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“Sometimes my students ask me if I worry about the future of choral music with advanced technology, AI, but I really am not concerned at all. The way that I see it, the act of making music with each other, the need to connect with each other – I don't see that going away anytime soon. To connect through honest, authentic communication that is not a…
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“I think the hardest thing in the world is to write easy music that still is eloquent. A piece relies on strength of idea and not strength of technique or difficulty. That underlying idea is so rich with potential and can be developed in so many beautiful ways within a 3-minute work or a 70-minute work. The pieces I'm the most proud of are the piec…
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“I want students to function in a studio recording session and a live performance, which are very, very different worlds. I want them to be able to do not just jazz, not just classical, not just gospel, but everything so that they can be hired to sing backgrounds for Beyoncé one day and the next day be singing with Andrea Bocelli on tour. I try to …
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As a child I was traumatized by the Second Coming. At any given moment, Christ may pierce the skies. If so, you’d better be saved. But in my culture, you never really know if you’re saved; if you sin too much, you wonder if you were really saved to begin with. Now that I’ve evolved from that, I wonder if being left behind might be an opportunity to…
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“Students will often refer to voice lessons, to choir rehearsal, as therapy. I felt that there was something to that. I wanted to make the connection between individual therapy and voice lessons and group therapy and the choral rehearsal. What is it about the choral organism that becomes a space that can be therapeutic? I found a lot of commonaliti…
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“One of the things we know about the brain is that information that is acquired through problem solving is more likely to be retained. I might start rehearsal by saying 'take out the piece in D major,' 'let's start in the climactic moment of the Brahms,' 'take out the piece where fire is used as a metaphor for passion.' You start with a problem, so…
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“You never know someone else’s story. You never know what the experience of a concert or hearing a piece is to somebody. You don’t know how that affects them. So much of my music and why I do what I do is to facilitate these moments of connection between choristers, to give autonomy to choristers to feel like co-composers of my music themselves eac…
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We talk to the originator of these songs, Journey Schaubhut, a trans man, who gives us insights in his “journey” in transitioning gender as well as voice part. We are so grateful for this! I had chosen him because the logo for the concert was a Colonial boy and I thought his participation was just right. To fill out the survey for our “Altar Call” …
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“People may live in a place that's very different from us, but they have the same hopes, dreams, fears, and struggles with everyday life that we all do at some level. All the parents want education for their kids. Everyone wants a home, wants good food to eat, loves a good laugh and a good joke, loves to play and be silly together. If you find that…
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“A big part of being a musician is believing in yourself and saying ‘yes’ to the little opportunities that come your way. Sometimes we can get down on ourselves. We think, ‘I'm not cut out for that.’ Believe in yourself and what you can do, no matter what the situation... Don't be afraid to say ‘yes,’ to try out for that show or audition for that e…
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“In science, they're not tied to an outcome. They're open to the possibilities of what is going to result from an experiment. How freeing is that – not to be tied to a specific outcome. I've really tried to adopt that in my own personal life, the idea of just growing, learning, and being open. So many things are out of my control, so I might as wel…
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“Your first year is not going to be perfect. You're not going to feel like you're having a lot of success a lot of the time because you're figuring out how to work within a school system, how to work with other teachers, with parents, with students that may not be too much younger than you if you start teaching high school. So you do your best, and…
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“Going back for a master’s was exhilarating. So many of the things that I had been doing in my studio were corroborated with education. On the flip side, I had a lot of moments where I thought, “I've been doing that wrong. I should change that.” Having had years doing a lot of my own education—I attended conferences and did everything I could to so…
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"I think in many ways the pattern is the least important part of conducting. It’s much more about showing what the music should be doing, not beating four. If it were just a matter of keeping time, we could use a flashing red light. That's not what your job is. Your job is to encourage and show the music physically. I believe very strongly that the…
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“You have to create the bridge between the instructor and the student. Talk about your passion about the music, why you're performing it, why the piece is so special, and mix some humor in there. Once that engagement happens, everything you teach is automatically transferred because all the performers want that excellence for themselves, which is d…
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“I said, ‘I really wish a book existed with more women composers in it’... This book is so important in 2024 with equality and inclusivity being at the forefront of our profession. I think that this is timely, and I think it's a great representation of where we're going in our profession right now especially given the fact that I see a lot more pro…
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IMPORTANT: At the point in the episode where I start asking the audience to vote for the “fake song,” pause the episode, visit https://sacrednine.com/demon and tell us which one YOU think is the fake! Our wonderful performers are: Meredith Hotard, Soprano Ashley Lemmler, Alto Yours Truly, Tenor Joseph Mace, Bass…
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"I have always been very intentional about my programming. My students sit in front of me, they're 18 to 22 years old, but I would have programmed for their 35-, 40-year-old self, for when the hard times come. What are we singing? What is this choir mama feeding them that eventually, when the hard times come, bubbles up in their spirit to help them…
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“I don't have a sound that I'm trying to make the choir fit into. I'm trying to understand and uncover the palette of sounds that are in front of me and then expand our sense of what we can sound like. This happens through the community building process, because the more we honor each individual and allow them to bring themselves into that rehearsa…
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“Historically, in higher education and in music in general, it was a male-dominated podium expectation. When we step on the podium as women-identifying conductors, we're breaking that image. There's a long way to go, and WiCHEd is working on bringing a supportive community together, helping the next generation figure out how to navigate this compli…
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“When people talk about what skills kids are lacking in America these days, two of the skills that come up a lot are the ability to listen to each other and have some empathy for each other. Some people would say it’s not just kids that are lacking those skills; it might be what is really missing from our society. I think choir is the best subject …
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Thank you for listening to our show this season!! Here are the favorite choral pieces from our guests in the fourth season: St. John Passion, Johann Sebastian Bach St. Matthew Passion, Johann Sebastian Bach Ave Maria, Franz Biebl Requiem, Johannes Brahms “Wie lieblich sind deine Wohnungen” from Requiem, Johannes Brahms No Time, Susan Brumfield I Si…
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“For me, choral music is all about the people. I write for the choristers. I've gone through that phase in my life where I've written only for myself, where I had a lot of things I needed to express and every note that went on a page was for me. Now I'm in a phase where I want to adore every note that's on the page. I want every note that's on the …
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“No one cared about my accolades coming in as a freshman. It’s not enough just to be good, because everyone is good. It forced me not to ride on my natural ability and to buckle down to figure out things like theory, music history, and performance practice. It made me realize that being an individual is paramount, and you have to prove why you are …
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“In Indonesia, choral singing has just been really popular recently, maybe around ten years. It has become a lifestyle. Everyone wants to be part of a choir because choir is very interesting - you can go on tour, you can do concerts... What drives the choir most is joining a competition: they will have a goal they want to achieve, an opportunity to…
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Sacred Nine will be traveling to Swarthmore college on Good Friday, 2026 to "beatify" the brutally murdered Sarah Maria Cornell. Inspiration came from Murder in a Mill Town by Bruce Dorsey, Professor of History at Swarthmore. Ellen Blue helps us understand the kind of religious atmosphere Cornell would have experienced. https://sacrednine.com/givin…
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“As choral conductors, we're first and foremost educators, and we have to realize that we have to come with compassion in everything that we do when we listen to choirs. All too often we sit there thinking, ‘the intonation wasn't so great, or maybe their phrase endings could be better,’ but we don't understand what people are working with. No two c…
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Dr. David Fryling is director of choral activities at Hofstra University, where he conducts both the select Hofstra Chorale and Hofstra Chamber Choir and teaches beginning and advanced studies in choral conducting, as well as graduate-level studies in choral conducting and choral literature. In addition, he is an adjunct professor for the Hofstra S…
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“A lot of what I end up teaching with regards to all of music, but certainly improvisation, has to do with becoming comfortable. You can do all kinds of different technical exercises, improvisation exercises, conceptual brain project exercises, all of which serve to help the musician become comfortable and fluid with their musical expression so tha…
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“That's my job: to take the foundation of what they have – love of singing and basic vocal technique – and then just refine it, to challenge them to start being more musical artists themselves. I personally do a lot of giving the kids choices: ‘If it's not in the music, how do we want to sing this? What are your thoughts?’ We listen, we reflect. I …
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“My goal is that no child will leave my classroom thinking they can't sing. If I have a coworker say, ‘I can't sing,’ I'm like, ‘no, no. First, give me 15 minutes and a piano and I will show you that you can. Second, you can't say that because if you say that, then the kids think it's okay to say that.’ I'm really fighting all day to prove to them …
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“I wanted to get kids to work more collaboratively. We say we’re a collaborative group, but the conductor is behind the piano teaching the choir parts rather than saying, ‘here's the part I want you to learn. Go learn it. Here are the expectations and come back and self-assess yourself.’ So, I designed performance tasks. I'll work on it as a group …
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“At the end of that first year, I did a pops concert. I developed the formula that I use now, which is to make it sound a lot like the actual songs. You give a lot of soloists opportunities to sing solos, especially in the verses which are harder because of the syncopation. We had a band that we hired: some horns, a rhythm section. The kids loved i…
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“Uniformity is a two-edged sword, isn't it? Within a choir you need uniformity or you're not going to get a good blend, but within that uniformity, I want as much individuality as possible. I do a lot of 16th-Century music, early 17th-Century music, which has very, very high, passionate stakes. The individual has to come through. That's what makes …
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“The folks who I think are really doing incredible work around the world, not just for one festival or for one tour, but for decades, are the folks who are trying to literally make the world a better place through choral music. How many opportunities can we provide for them so they can feel like they're part of that bigger family to help legitimize…
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“I haven’t moved exclusively to doing multicultural music in our classroom, but I have done a lot of music that has a positive message that they can relate to. If this song has nothing to do with them, no matter how much I love it, no matter how epic or famous this is, the students will have a hard time connecting to it. I’m not saying that everyth…
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“From my first ACDA in 1991 to ACDA now: complete reversal. People are not afraid to perform something that moves the soul, and in 1991 nobody did it. Now people are digging in and not being afraid. I applaud all of my fellow choral conductors for being fearless and not being afraid to tell the stories that mean something.” Tim Seelig is a conducto…
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Get to know Hannah Hadassah Hickok Smith with me. A fascinating woman and worthy of song! I will develop a Sacred Nine Project about her "if I live," as she would say! Check out Sacred Nine Project: The Mending Sampler, which is referenced in this episode. Check out the Connecticut Museum of Culture and History & the Historical Society of Glastonbu…
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“I have fallen deeply in love with looking at a piece, seeing what it is, and realizing that there are no real absolutes in music. There are no rules. You have to look at each piece of music for what it is and consider it in its historical and cultural context and then find out enough about the composer. It feels like a journey, a rabbit hole that …
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“I grew up thinking that we should sound like the music we're singing. There was never one right way for me. There are those great choral traditions where they sing everything a certain way. I never wanted to be that way. We can do seven different pieces in seven entirely different styles. You would think, 'is that the same choir?' That's something…
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“I’ve really enjoyed getting into classrooms to affirm my colleagues. I seek whenever I do a visit to say something that is both positive and true. I could just be positive, but if it’s not truthful, students can sense that. I’ve really enjoyed getting to bop in, see great teaching in action, and affirm my colleagues in front of their students.” Dr…
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