The Choral Contrarians

Richard and Eric take a look at perfection within the context of our choral experiences.  What actually is perfection as it relates to choral rehearsal and performance?  Is it an attainable goal, or is it actually a shadowy, distant mountain in which the closer we get to it, the farther away it becomes?  How do our individual contexts play a role in our conception of perfection?  Can we be driven so hard by the idea of perfection that it finally becomes either a harm or absurdity?

Richard and Eric make a grand (well, not-so-grand) return to the airwaves after a long hiatus!  They once again, effortlessly, reach the pinnacles of podcasting mediocrity as they catch up a bit and discuss some of the challenges and victories of making music this fall.

With churchwarden pipe in hand, Richard joins Eric in the library by a tended fire to discuss the year and perhaps what the future may hold for those in the choral profession.

Eric and Richard are like or as a couple of professors talking about using words in a way that is like or as similes and metaphors are used.  How can a conductor use similes and metaphors in the context of a rehearsal setting?  Is it useful?  What are potential issues that can arise if used incorrectly or too much?  Join the guys deep in the mine and go spelunking for ways metaphors can be used in ways that are like or as useful ideas are used.

Richard and Eric discuss the slippery subject of transcendence through music and art.  Often referenced throughout their discussions, they take the time to dive more deeply into this difficult concept, deciding if it is something one can grasp for or merely receive.  Is it attainable in our day-to-day lives, or only reserved for special moments?  ...and what is it exactly, anyway?Lewis, C. S. (2001). The Weight of Glory (1st ed.). HarperOne.

Richard and Eric tackle a juicy quote about Herbert Howells from a 1950s Musical Times article composed by Gerald Finzi.  “To some the idiom will appear ‘dated,' and poorer critical minds attach much greater significance to this word than it deserves.  ‘All only constant is in constant change,' but too often the generations see only the change and overlook the constancy.  We are, after all, only a link in a chain and each link must, of necessity, lie the opposite way to its predecessor.”  Where are we at today with some of the notions Finzi presents?Finzi, G. (1954). Herbert Howells. The Musical Times, 95(1334), 180-183. doi:10.2307/934754

Richard and Eric are joined by returning guest Dr. Jeremiah Cawley to discuss a special and controversial quote from Fyodor Dostoevsky's "Notes from Underground."  The thought process of the examined quote is guided by a YouTuber "Thoughts on Thinking," and the road leads to some broad and substantial questions about a human's relationship to process, purpose, goals, accomplishment, and despair.  Is  what you think you want not what you want at all?  Is the process of completion a hidden key for satisfaction or a trap?  Does this topic relate somehow to music making?https://www.thoughtsonthinking.orghttps://www.youtube.com/watch?v=cC2SfbWrgFA

Irish composer Michael McGlynn once again joins Eric on the podcast, this time to wander deep into all things composing.  Having an extensive international career as a celebrated choral composer, Michael shares stories and thoughts on the composer's voice,  distillation, the current landscape of composition, and the rich wide ocean of song we all swim in.  Pieces by Michael McGlynn (sung by Anúna) included:"Salve Rex Gloriae""O pia virgo""Midnight""Victimae"www.michaelmcglynn.comwww.anuna.ie

Richard and Eric take a look at a 2017 Australian research paper that correlates openness to experience and binocular rivalry.  The researchers found some very interesting perceptual outcomes, including a connection to inattentional blindness (made famous by the 'Invisible Gorilla' experiment), but does anything found have anything to do with our musical practice (especially for conductors)?  It is seen to be true that openness to experience, wonder, and awe are linked to perceptual awareness — how does this play out in teaching and the ensemble experience?  Will we miss the guy in the gorilla suit?Antinori, A., Carter, O. L., & Smillie, L. D. (2017). Seeing it both ways: Openness to experience and binocular rivalry suppression. Journal of Research in Personality, 68, 15–22. https://doi.org/10.1016/j.jrp.2017.03.005Goldhill, O. (2017, June 6). Being open-minded literally changes the way you see the world. Quartz. https://qz.com/997679/open-minded-people-have-a-different-visual-perception-of-reality/Smillie, L., & Smillie, L. (2017, August 15). Openness to Experience: The Gates of the Mind. Scientific American. https://www.scientificamerican.com/article/openness-to-experience-the-gates-of-the-mind/

Richard and Eric venture out to tip over a most beautiful sacred cow: choral blend.  What are people actually talking about when they ask for "blend?"  Though being slightly more ambiguous than conductors would like to admit, it remains a top priority for many.  We all want the choirs we hear to sound good, but what could we all be missing if we focus on "blend" too much, or put it above other aspects of the music-making experience.  Are there potential alternatives or perhaps different ways of getting at what "blend" is, perhaps even creating a more vibrant, unified musical experience?  https://blog.chrisrowbury.com/2018/04/the-7-elements-of-vocal-blend-and-how.htmlhttp://www.markdavinobenza.com/2012/07/choral-blend-better-way-to-get-it-with.htmlhttps://www.classicalmpr.org/story/2015/07/27/weston-noble-the-legacy-of-an-american-choral-giant

Eric sits down to chat with one of Ireland's preeminent composers and musicians: Michael McGlynn.  They speak about the early days of Anúna, what the group has grown into, and its global influence over the course of its illustrious 33 year history.   They also spend some time speaking about how "Sean-nós" singing has directly, and indirectly, effected the model Anuna and Michael's own choral philosophy.   What exactly is "Sean-nós"?  Does integrating this concept into a choral paradigm challenge certain established norms believed by a good many choral conductors?  Is there something beautiful and powerful that Anúna is tapping into that would be worth to dwell on and pursue?Pieces by Michael McGlynn (sung by Anúna) included:"Salve Rex Gloriae""Amhran na Gaoithe""Quis Quis""The Rising of the Sun"www.michaelmcglynn.comwww.anuna.ie

Richard and Eric dig into listener emails to answer some questions and comments.The short-form topics and questions covered are 1) CPDL (Choral Public Domain Library) and attribution, 2) publishing houses and their domination of reading sessions, 3) DMA (Doctor of Musical Arts) recipients and their perceived preparedness in certain choral styles/eras, and 4) the choral world's general relationship with composers who are considered luminary or celebrity.Thanks for the emails, questions, encouragements, and comments.  Please keep them coming!

Richard and Eric discuss the moment and some psychological ramifications that have developed over the recent months, both individually and collectively within the choral arena.  They land on a word not often used, but perhaps necessary for the times: "trudge."

Do you constantly feel like an imposter, just waiting to be found out to be the fraud that you think you are?  For their first episode of Season 3, Richard and Eric take a peek at the real-life phenomenon known as "imposter syndrome," as well as the five types of ways this is seen to manifest in individuals.  During the covid-19 season, this particular psychological pattern may be more prevalent than ever. For those that struggle with this periodically, or habitually, they land on something to dwell on that may assist.They also welcome a very important new sponsor: The "Louis XV Cravat Facemask".Abrams, A. (2018, June 20). Yes, Impostor Syndrome Is Real. Here's How to Deal With It. Time. https://time.com/5312483/how-to-deal-with-impostor-syndrome/Langford, J., & Clance, P. R. (1993). The imposter phenomenon: Recent research findings regarding dynamics, personality and family patterns and their implications for treatment. Psychotherapy: Theory, Research, Practice, Training, 30(3), 495–501. https://doi.org/10.1037/0033-3204.30.3.495

Richard and Eric take a dive into the concept of profession scalability articulated by essayist and scholar Nassim Taleb.  After defining terms, they ask whether the current conductor/music-teacher profession model is changing rapidly into something very different.  How has the 2020 pandemic (and the internet/technology intersection) perhaps shaped the future of the profession? Could we be in store for something unrecognizable, sooner than later?  They finally realize they are (most certainly) dwarves.Taleb, N. N. (2014). Antifragile: Things That Gain from Disorder (Incerto) (Reprint ed.). Random House Trade Paperbacks.Taleb, N. N. (2010). The Black Swan: Second Edition: The Impact of the Highly Improbable: With a new section: “On Robustness and Fragility” (Incerto) (2nd ed.). Random House Trade Paperbacks.

Richard and Eric essentially live out the Dunning-Kruger effect by talking about the Dunning-Kruger effect.  They introduce the concept and land on an important question: To what degree do we recognize incompetence — not just in others, but in ourselves?  Does it matter?  This troubling phenomenon is seemingly (and unfortunately) a ubiquitous feature of the human psyche.Kruger, J., & Dunning, D. (1999). Unskilled and unaware of it: How difficulties in recognizing one's own incompetence lead to inflated self-assessments. Journal of Personality and Social Psychology, 77(6), 1121–1134. https://doi.org/10.1037/0022-3514.77.6.1121Dunning, D., Johnson, K., Ehrlinger, J., & Kruger, J. (2003). Why People Fail to Recognize Their Own Incompetence. Current Directions in Psychological Science, 12(3), 83–87. https://doi.org/10.1111/1467-8721.01235https://www.verywellmind.com/an-overview-of-the-dunning-kruger-effect-4160740

Richard and Eric dive into the deep end of the pool in seeing how T.S. Eliot's "Tradition and the Individual Talent" may intersect with music.  This surprisingly short essay (which is hailed as perhaps the best essay of the 20th Century) shows off Eliot's rare genius of getting to the bottom of things as eloquently and powerfully as possible.  Beyond poetry, there is indeed quite a bit that is relevant to a number of other artist endeavors, including various aspects of music and music-making.  This is an incredibly thought-provoking essay to think through for the discerning conductor, composer, or performer, especially amid our current conception of 'voice,' and our increasing obsession with relevance, self, and self-expression.Essay may be read here:https://www.poetryfoundation.org/articles/69400/tradition-and-the-individual-talentDettmar, K. (2019). A Hundred Years of T.S. Eliot's "Tradition and the Individual Talent".  The New Yorker.  https://www.newyorker.com/books/page-turner/a-hundred-years-of-t-s-eliots-tradition-and-the-individual-talent

Composer and Conductor, Timothy Tharaldson, joins Eric to speak about his unique, recent visit to the Arvo Pärt Centre in Laulasmaa, Estonia.  They celebrate not only his experience, but Pärt as a composer and human being.Arvo Pärt Centre:https://www.arvopart.ee/en/Timothy Tharaldson:https://timothytharaldson.com/

Richard and Eric look into a fascinating phenomenon: Collective Memory Decay.  Owing much to the work of the Cesar A. Hidalgo and the Collective Learning group at the MIT Media Lab, this concept looks generally (and specifically) into the interaction between culture and memory.  Can we learn something from the way pieces of information are shared and retained by large number of people.  This study resulted in a truly fun and compelling data set entitled the "Pantheon Project: Historical Popularity Index" the guys excitedly explore.  What can we learn about composers and musicians when they are seen side-by-side, regardless of genre or era?https://www.kaggle.com/mit/pantheon-projecthttp://nautil.us/issue/68/context/how-well-forget-john-lennon

Eric is joined by friend of the cast Dr. Jeremiah Cawley to discuss what in the world musicians (students, teachers, and professionals) can do to continue growing during the silence of isolation.  Many musicians are thrust into awkward living situations where traditional practice regimens are not feasible or even possible.  What types of things can we do or practice instead to make a "musical deposit" towards the future when collaboration may begin again in earnest.  Are there are things that could be done, whether in isolation or normal times?Some resources mentioned in podcast:- Edlund, L. (1963). MODUS NOVUS Larobok I Fritonal Melodilasning Lehrbuch in Freitonaler Melodielesung, Studies in Reading Atonal Melodies. AB Nordiska Musikforlaget/Edition Wilhelm Hansen Stockholm.- Hall, A. C. (2005). Studying rhythm. New Jersey: Pearson Education. - Hindemith, P. (n.d.). Elementary training for musicians. London: Schott & Co. Ltd . - Rogers, N., & Ottman, R. W. (2019). Music for sight singing. New York: Pearson. 

What do cyborg arms, Pampered Chef, truth, lies, and influential composers have in common?  Nothing!  Take a dive into some game time with Richard and Eric as they have fun (for once).

Richard, who has been living in Zoom, must be rescued by Eric and brought back to the corporeal with the power of the *beep bop boop.*  They discuss how the use of technology could continue to grow and be implemented by conductors and musicians after the initial wave of global pandemic.  What could be some long term ramifications?  Eric ends up uploading his mind to the interwebs.

Richard and Eric riff on what's going on from their isolated bunkers.  What are a just couple ways that choral music could be effected by this pandemic?  Be safe, be healthy, be well everyone!

With Richard gone, Eric goes solo to give some inspiration for those who are staying home from the choral conventions taking place nationwide in the United States this week.  He spends time with an excerpt from Howard Swan's "Conscience of a Profession," and looks at what we can do to stay present and inspiring for those we interact with on the home front.H. Swan. "Conscience of a Profession." Hinshaw Music. (June 1, 1987).

Richard and Eric hobnob about the concept of 'theme' in music programming.  Do themes play too prevalent of a role in the programming craft of a choral conductor?  What's the purpose of a theme anyway, and what might it look like to have program without any theme?  Perhaps a theme is inevitable, but its worth thinking about to keep things in context.

Richard and Eric make their return after a short winter hiatus.  They begin 2020 discussing the choral "canon" and some composers therein.  What is it?  What do we do with it or how do we engage with it?  Does it matter whether we engage with it or not nowadays?  Should we care that some "great" composers may find themselves generally forgotten?https://www.classicfm.com/discover-music/latest/most-underrated-composers/https://culture.pl/en/article/many-composers-have-been-erased-from-history-an-interview-with-marcin-swiatkiewicz

Richard and Eric respond to a small excerpt about Nora Ephron found in Greg McKeown's wonderful book: "Essentialism: The Disciplined Pursuit of Less."  Finding out "the point" of something is worth considering, and the two try to figure it out as it relates to the choral art and conducting.  Perhaps an impossible task... They go so far as to ask what is the point of discovering the point? McKeown, G. (2014).  Essentialism: The Disciplined Pursuit of Less. Ebury Publishing.

Richard and Eric broach the subject and philosophy of being within the ensemble.  How 'real' are we really willing to get with the people around us?  When we enter a space, do we think it is important to 'leave everything at the door?'  How do we navigate being tired or depressed?  How do we encourage others who are dealing with that same tiredness?  The guys land on some encouraging conclusions.

Richard and Eric take an unusual approach in discerning what it means to have successful choirs in performance and practice.  Looking through the lens of Abraham Maslow's mid-20th Century psychological paradigm of an 'Hierarchy of Needs,' fully expressed in his 1954 book "Motivation and Personality," they look at key factors that potentially make individuals successful and fulfilled.  Can these same functional needs work out similarly within the context of a music ensemble, no matter the performance level?  While seemingly simple at first, the power of using this tool becomes quickly and incredibly evident.Maslow, A. (1954).  Motivation and Personality. New York, NY: Harper.https://www.simplypsychology.org/maslow.html 

Richard and Eric ramble on in attempting to tip over a perceived 'sacred cow' of the current choral scene: the 'warm-up'.  What is a choral 'warm-up,' and what are the various ways it could be seen to be a positive or negative tool and experience?  Are we being thoughtful in our time 'warming up' an ensemble, or is this a time of ritual and routine?Jordan, J. (1994).  Rehearsal Technique: A Guide for Planning the Choral Rehearsal.  Up Front.  EC Schirmer Music Co.

It is Season 2, folks!  Richard and Eric dig deep and cover the highly controversial and substantive topic of the yearly Choir Retreat, which is fraught with dangers, terror, and drama.  Oh the drama!  Besides telling a few stories, the guys talk a bit about the potential importance of a retreat at the beginning of the choral calendar.

Richard and Eric take a look at an article about the late Robert Shaw composed in 2006 by Peter Phillips (conductor of the Tallis Scholars) entitled "The Cult of the Conductor".  Phillips briefly analyzes the methodology of Shaw as well as the choral outcomes that arise from such (perceived) methods.  Though they discuss the article in full, the guys primarily focus on Phillips's title and premise.  Is there such a thing that can be seen as a "cult of the conductor," and what could that possibly look like?  A lot of wonderful choral insights here, woven around two preeminent, contemporary choral conductors.Phillips, P. "The Cult of the Conductor." Sacred Music. Fall 2006, Volume 133, No. 3, pp. 6-9.The Ensign Symphony and Chorus performs "And Then Shall Your Light Break Forth" from Mendelssohn's Elijah (October 2018); conductors Steve Danielson and Chase Chang.

Back after a short summer hiatus Richard and Eric take up the surprisingly controversial topic,"l'art pour l'art" (art for art's sake), brought back into contemporary consciousness by Yo Yo Ma's recent Harvard Gazette interview.  Made famous by author Théophile Gautier, and argued about in a variety of ways over many (many) years, this concept provides murky swimming waters indeed, particularly in nailing down what the often misrepresented philosophy is truly expressing.  What do the guys think of how this has been (and is currently) perceived?Anon. “Art for Art's Sake: Its Fallacy and Viciousness.” The Art World. Vol. 2, No. 2. (May, 1917), pp. 98-102.J. Laidler. “I Want To Make It Felt.” The Harvard Gazette. (March 15, 2019).

Richard and Eric examine the prevalent human adaptive process called "hedonic adaptation" and its relevance to not only our daily life, but more specifically: choral conducting.  What is the hedonic treadmill, and once we understand what it is, is there a way to get off?  There must be something more and deeper than just this "pursuit of happiness" thing.Frederick, S. and Loewenstein, G. (1999). Hedonic Adaptation. Wellbeing, The Foundations of Hedonic Psychology. New York: Russel Sage Foundation.Lyubomirsky, S. (2010). Hedonic Adaptation to Positive and Negative Experiences. THe Oxford Handbook of Stress, Health, and Coping. Oxford University Press.

Richard and Eric take a break from their recent heavy lifting to rank the top 5 choral Requiems of all time.  Some surprises are in store if you love the Office of the Dead!  Tomfoolery and skullduggery ensue as the guys go full Requiem.

Richard and Eric discuss the now famous Virtual Choir phenomenon and its varying ramifications on not only the choral community but on greater social society.  In their critique, they attempt the impossible by unifying seemingly disparate ideas of thinkers and philosophers such as Debord, Baudrillard, Eco, Kierkegaard, all in too short of a time.  Is the virtual choir actually a choir?  Does the virtual choir share aspects of previously seen social experiments in the recent past?  Are there claims the virtual choir makes that could be seen as problematic or illusory?  Trying to look deeply at this very popular social art-form proves to be not only challenging but enlightening.Baudrillard, J. (1981). Simulacra et Simulation.  Éditions Galilée (French) and University of Michigan Press (English).Curtis, A. (2011). Episode 2: The Use and Abuse of Vegetational Concepts. All Watched Over By Machines of Loving Grace.Debord, G. (1967). The Society of the Spectacle.  Buchet-Chastel (French) and Black & Red (English).Eco, U. (1973). The Fortresses of Solitude. Travels in Hyperreality. Mariner Books.Kierkegaard, S. (1846). This Present Age. 

Richard and Eric take a brief look back at their year and find its a little harder to do than it would seem.  What can be learned from the many surprises and disappointments the season or school year annually present?  The guys also answer a listener email and reference the inimitable Gordan MacRae.'musica obscura' looks at Communist composer Hanns Eisler's (1898-1962)  “Woodbury Songbook” (1941). 'Readings and Writings' is a short acrostic obituary poem published at the death of composer George Friederic Handel (1685-1759).

Richard and Eric discuss a recent article from The Spectator by Andrew Mahon, who was critical of Peter Sellars's staging of the St. John Passion of J.S. Bach.  The article forms a jumping-off point to examine the role context plays in performance, performance practice,  and artistic interpretation.  There are a number of relevant issues surrounding the notion of context that play out in the work of the choral musician, with some that are worthy of deep consideration.Mahon, A. (Apr., 2019).  Why Peter Sellars's staging of the St. John Passion - which I sang in - was deeply flawed.  The Spectator. 

In what amounts to a double episode, Richard and Eric are joined by special guest Dr. Jeremiah Cawley, and plunge into the deep end of the pool to discuss the state of criticism and its usefulness in the choral world.  What is a critic and what is good criticism?  Do we as a culture have a growing distaste, distrust, or maybe misunderstanding of what criticism is?  Are there sources of good, impactful criticism that can be relied upon in the choral community?  What is the future of this increasingly rare form of art?Adorno, T.W. (1995).  Bach Defended Against His Devotees.  Prisms (pp. 135-146)  Massachusetts: MIT Press Cambridge.Allison, J. (Aug., 2015).  Prom 32: Eric Whitacre, review: ‘overstayed its welcome.'  The Telegraph.Ebert, R. (Sept., 2008).  “Critic” Is A Four-Letter Word. Roger Ebert's Journal Online.Hewett, I. (Sept., 2012).  Religious music for the commitment-phobe. The Telegraph.Maritain, J. (1935). Art and Scholasticism.  University of Notre Dame.Mendelsohn, D. (Aug., 2012)  A Critic's Manifesto. The New Yorker.

Richard and Eric try a new mode of discussion and ramble on in attempting to tip over a perceived 'sacred cow' of the current choral scene: closing concerts with 'crowd-pleasing' pieces.  This seemingly simple idea has a surprisingly large number of factors and variables to ruminate on, and the boys end up perhaps having more questions than when they started.'musica obscura' looks at Lou Harrison's (1917-2003) obscure “La Koro Sutro.”'Readings and Writings' is a short description of the dire state of Russian composer Modest Mussorgsky (1839-1881) in the 1870s by his friend Ilya Repin.

Richard and Eric discuss Umberto Eco's short essay ("On unread books") about Pierre Bayard's book entitled "How to Talk About Books You Haven't Read," which expounds upon the concept of unread literature.  We as humans, will obviously not be able to read all that we wish we could, and perhaps in the end, it is good that we don't have time to read (or listen to) everything we would like.  Can our common categorizations, understanding of archetypes, and appeals to authority help us understand and speak about artistic material we have never read (or heard)?  These concepts have fascinating extrapolations into the world of music, as Richard and Eric speak upon the curious notion of "unheard" music.Eco, E. (2017). On unread books.  Chronicles of a Liquid Society (pp. 246-248).  New York: Houghton Mifflin Harcourt.Bayard, P. (2009). How to Talk About Books You Haven't Read. Bloomsbury. USA. 'Readings and Writings' is taken from a letter by Franz Schubert (1797-1828) describing his financial situation to his brother Ferdinand in November, 1812.

Eric flies solo for this episode to discuss the phenomena of feeling down after attending the recent National ACDA Convention, though the feeling is most certainly shared by those in many professional fields.  How do we cope when we return to our normal lives after experiencing a mountaintop experience?  Eric offers a simple image that may prompt some small action and relief.'musica obscura' examines Erik Satie's (1866-1925) strange work, “Messe des pauvres.”'Readings and Writings' is taken from an article composed by Arnold Schoenberg (1874-1954) entitled "The Relationship to the Text" in which he discusses the homogeneous nature of the music-text relationship.

Richard and Eric are together (finally), and LIVE from Tribe Street Kitchen in downtown Kansas City.  They are joined by choral artist Dr. Albert Pinsonneault from Northwestern University and the Madison Choral Project.  The three discuss a variety of topics (some serious ...but mostly not so serious) surrounding the American Choral Directors Association's 2019 National Convention.  Also included is a mailbag question about influential short choral works.

Richard and Eric discuss the positive and potential negative ramifications of music saturation, which is becoming increasingly evident in modern society.  Does this saturation impact how we make ideological choices when it comes to music making and how does the concept of a ‘primary experience' shield us from the potential harmful effects of music saturation?McCormick, N. (2009, April 8). Is there too much music?  The Telegraph.Rouse, M. (2014, July 16). The Dangers of Secondhand Music. New Music Box.Thomas, T.T. (2013, March 24). The Human Condition: Information Saturation. Politics and Economics (Blog).'Readings and Writings' is an excerpt of an article written for “The Sackbut” by composer,  Frederic Delius (1862-1934) in 1920.  He railed against trends that were as relevant then as they continue to be today.

Using two recent articles by David Brooks (New York Times opinion columnist and cultural commentator) as a jumping off point, Richard and Eric begin discussing the intersection and entanglement of ‘meaning' and ‘emotion.' How do these two concepts interact broadly as well as more intimately within a choral rehearsal and performance setting?  Does one influence the other?  How do we engage these concepts as artists and musicians?Brooks, D. (2019, January 3). The Morality of Selfism. The New York Times, p. A19.Brooks, D. (2015, January 5). The Problem with Meaning. The New York Times, p. A23.'musica obscura' highlights Richard Wagner's edition of Palestrina's “Stabat Mater.”'Readings and Writings' is taken from a letter written by famed violinist Joseph Joachim (1831-1907) about his  friend Johannes Brahms,  who was visiting his home in 1854.

In this first discussion, Richard and Eric examine "antifragility" (a concept developed by essayist and scholar, Nassim Taleb), and its relevance within a choral context.  Can the metaphors and terms used by Taleb regarding antifragility's usefulness in the fields of risk analysis, engineering, economics, and biology create new ways of thinking about a myriad of issues in the choral ensemble?Taleb, N. N. (2012). Antifragile: Things that gain from disorder. New York: Random House. 'musica obscura' highlights Johannes Brahms' 13 Canons, Op. 113'Readings and Writings' is taken from a criticism penned by Johann Adolph Scheibe (1708-1776) about his teacher.

In their first podcast, Richard and Eric introduce themselves, detail how they met, and delve into some general concepts that the Choral Contrarians podcast will pursue.  Readings and Writings cover two short letters sent between Elgar and Strauss in 1922.