Choir Fam Podcast

“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 out as a young person, you are less likely t...

“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 ensemble. Encourage your students to do t...

“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 well just be ready to go for the ride....

“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 you do a lot of reflection at the...

“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 soak up anything available to me—going back to...

"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 conducting gesture is nothing more than...

“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 different than just telling people what to do....

“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 programming to be equal with male composers...

"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 get through the harder times?" Dr...

“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 rehearsal space, then the fuller and richer...

“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 complicated web.” Coreen Duffy is associate pr...

“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 to teach those skills.” Hailed by The Oregonian fo...

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 Sing Because I’m Happy, Rollo Dilworth Requiem, Gabr...

“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 page to represent me well...

“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 different from everyone else. What about your abil...

“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 go abroad, building connection and building the e...

“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 choirs are the same. No choir operat...

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 School of Education, and has served as music direct...

“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 that they feel free enough to act on a musical impuls...

“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 really want them to have ownership of wh...

“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 that yes, they can s...

“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 first, so they have some capacity for it...

“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 it, and we had 750 people come watch it.” J.D. Friz...

“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 it interesting.” Robert Hollingwort...

“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 the hard work and the experiences that they&...