Podcasts about choral

Heather Christian is a singer, playwright, composer and recent winner of a MacArthur "genius grant."  Her compositions use spiritual music forms to explore themes as varied as ghosts, grief, the Odyssey and the Big Bang. She describes them as " choral-based complex music theater works." They are often presented in the round, in part to obliterate the hierarchy between audience and performers. "I'm interested in existence. I'm interested in unanswerable questions," she says in our interview. "Our lives have become so much about the in and out business of our civilization. The email, the phone alerts, the economy. When you zoom way way out, all of those things seem so arbitrary and small. I wanted [to] imagine what it would be like if we had the time, space and bandwidth to ask the big questions - like why and how we are here."  Heather's  two best known works are Animal Wisdom, which was staged in 2017, and Oratorio for Living things, which has been staged three times, including a string of extremely sold-out performances in 2022.  Originally from Natchez, Mississippi, Heather has lived in Beacon for 13 years, largely under the radar. "I've tried to keep a separation of church and state. Beacon is church," she says. "Beacon reminded me a lot of my hometown. There's something about river people. There's a reverence to the landscape you're inhabiting. We use it, it grounds us." 

After a traumatic event rocks their marriage, Jackie and Lee travel to Northern Minnesota to spend Christmas break with Jackie's sister, Stella. Episode 1 of 3.FRESH EXPERIENCES (The Lake, part 1) was written by Rob McGinley Myers with story editing by Angelique Lisboa, Ajuawak Kapashesit, Julie Censullo, and Sophie Nikitas. Starring: Anna Weggel, Alex Galick, Julia Weiss, Brian Joyce, Sullivan Ojala Helmbolt, and Angelique Lisboa.Sound design by Julie Censullo and editing by Sophie Nikitas.  Choral composition and performance by Delilah Schuster, Thando Kunene, and Bridget McEvoy. Additional music by Blue Dot Sessions, Dave Girtsman, and Randy Dever.This season was recorded at Soft Cult Studio by Jaxon Vesely. Additional music recording by Mariel Oliveira.Series art by James Napoli. Special thanks to Suzanne Ohlmann, Joe Friedrichs, Katie Thornton, Sudarsna Mukund, Travis Sheridan, the Everwood Farmstead Artist Retreat, and the Hook and Ladder Theater. Funding for season 3 of Out Cold was provided by the Minnesota State Arts Board. Julie Censullo is a fiscal year 2025 recipient of a Creative Individuals grant from the Minnesota State Arts Board. This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund.  Out Cold is created, directed, and produced by Julie Censullo and Sophie Nikitas.Put on your headphones, turn off the lights, and praise the lake.  

Christy Pettis & Terry Wyberg, The Case for Choral Counting with Fractions ROUNDING UP: SEASON 4 | EPISODE 6 How can educators help students recognize similarities in the way whole numbers and fractions behave? And are there ways educators can build on students' understanding of whole numbers to support their understanding of fractions?  The answer from today's guests is an emphatic yes. Today we're talking with Terry Wyberg and Christy Pettis about the ways choral counting can support students' understanding of fractions.  BIOGRAPHIES Terry Wyberg is a senior lecturer in the Department of Curriculum and Instruction at the University of Minnesota. His interests include teacher education and development, exploring how teachers' content knowledge is related to their teaching approaches. Christy Pettis is an assistant professor of teacher education at the University of Wisconsin-River Falls. RESOURCES Choral Counting & Counting Collections: Transforming the PreK-5 Math Classroom by Megan L. Franke, Elham Kazemi, and Angela Chan Turrou  Teacher Education by Design Number Chart app by The Math Learning Center TRANSCRIPT Mike Wallus: Welcome to the podcast, Terry and Christy. I'm excited to talk with you both today. Christy Pettis: Thanks for having us. Terry Wyberg: Thank you. Mike: So, for listeners who don't have prior knowledge, I'm wondering if we could just offer them some background. I'm wondering if one of you could briefly describe the choral counting routine. So, how does it work? How would you describe the roles of the teacher and the students when they're engaging with this routine? Christy: Yeah, so I can describe it. The way that we usually would say is that it's a whole-class routine for, often done in kind of the middle grades. The teachers and the students are going to count aloud by a particular number. So maybe you're going to start at 5 and skip-count by 10s or start at 24 and skip-count by 100 or start at two-thirds and skip-count by two-thirds.  So you're going to start at some number, and you're going to skip-count by some number. And the students are all saying those numbers aloud. And while the students are saying them, the teacher is writing those numbers on the board, creating essentially what looks like an array of numbers. And then at certain points along with that talk, the teacher will stop and ask students to look at the numbers and talk about things they're noticing. And they'll kind of unpack some of that. Often they'll make predictions about things. They'll come next, continue the count to see where those go. Mike: So you already pivoted to my next question, which was to ask if you could share an example of a choral count with the audience. And I'm happy to play the part of a student if you'd like me to. Christy: So I think it helps a little bit to hear what it would sound like. So let's start at 3 and skip-count by 3s. The way that I would usually tell my teachers to start this out is I like to call it the runway. So usually I would write the first three numbers. So I would write "3, 6, 9" on the board, and then I would say, "OK, so today we're going to start at 3 and we're going to skip-count by 3s. Give me a thumbs-up or give me the number 2 when you know the next two numbers in that count." So I'm just giving students a little time to kind of think about what those next two things are before we start the count together. And then when I see most people kind of have those next two numbers, then we're going to start at that 3 and we're going to skip-count together.  Are you ready? Mike: I am. Christy: OK. So we're going to go 3…  Mike & Christy: 6, 9, 12, 15, 18, 21, 24, 27, 30, 33, 36.  Christy: Keep going.  Mike & Christy: 39, 42, 45, 48, 51. Christy: Let's stop there.  So we would go for a while like that until we have an array of numbers on the board. In this case, I might've been recording them, like where there were five in each row. So it would be 3, 6, 9, 12, 15 would be the first row, and the second row would say 18, 21, 24, 27, 30, and so on. So we would go that far and then I would stop and I would say to the class, "OK, take a minute, let your brains take it in. Give me a number 1 when your brain notices one thing. Show me 2 if your brain notices two things, 3 if your brain notices three things." And just let students have a moment to just take it in and think about what they notice.  And once we've seen them have some time, then I would say, "Turn and talk to your neighbor, and tell them some things that you notice." So they would do that. They would talk back and forth. And then I would usually warm-call someone from that and say something like, "Terry, why don't you tell me what you and Mike talked about?" So Terry, do you have something that you would notice? Terry: Yeah, I noticed that the last column goes up by 15, Christy: The last column goes up by 15. OK, so you're saying that you see this 15, 30, 45? Terry: Yes. Christy: In that last column. And you're thinking that 15 plus 15 is 30 and 30 plus 15 is 45. Is that right? Terry: Yes. Christy: Yeah. And so then usually what I would say to the students is say, "OK, so if you also noticed that last column is increasing by 15, give me a 'me too' sign. And if you didn't notice it, show an 'open mind' sign." So I like to give everybody something they can do. And then we'd say, "Let's hear from somebody else. So how about you, Mike? What's something that you would notice?" Mike: So one of the things that I was noticing is that there's patterns in the digits that are in the ones place. And I can definitely see that because the first number 3 [is] in the first row. In the next row, the first number is 18 and the 8 is in the ones place. And then when I look at the next row, 33 is the first number in that row, and there's a 3 again. So I see this column pattern of 3 in the ones place, 8 in the ones place, 3 in the ones place, 8 in the ones place. And it looks like that same kind of a number, a different number. The same number is repeating again, where there's kind of like a number and then another number. And then it repeats in that kind of double, like two numbers and then it repeats the same two numbers. Christy: So, what I would say in that one is try to revoice it, and I'd probably be gesturing, where I'd do this. But I'd say, "OK, so Mike's noticing in this ones place, in this first column, he's saying he notices it's '3, 8, 3, 8.' And then in other columns he's noticing that they do something similar. So the next column, or whatever, is like '6, 1, 6, 1' in the ones place. Why don't you give, again, give me a 'me too' [sign] if you also noticed that pattern or an 'open mind' [sign] if you didn't."  So, that's what we would do. So, we would let people share some things. We would get a bunch of noticings while students are noticing those things. I would be, like I said, revoicing and annotating on the board. So typically I would revoice it and point it out with gestures, and then I would annotate that to take a record of this thing that they've noticed on the board. Once we've gotten several students' noticings on the board, then we're going to stop and we're going to unpack some of those. So I might do something like, "Oh, so Terry noticed this really interesting thing where he said that the last column increases by 15 because he saw 15, 30, 45, and he recognized that. I'm wondering if the other columns do something like that too. Do they also increase by the same kind of number? Hmm, why don't you take a minute and look at it and then turn and talk to your neighbor and see what you notice." And we're going to get them to notice then that these other ones also increase by 15. So if that hadn't already come out, I could use it as a press move to go in and unpack that one further.  And then we would ask the question, in this case, "Why do they always increase by 15?" And we might then use that question and that conversation to go and talk about Mike's observation, and to say, like, "Huh, I wonder if we could use what we just noticed here to figure out about why this idea that [the numbers in the] ones places are going back and forth between 3, 8, 3, 8. I wonder if that has something to do with this." Right? So we might use them to unpack it. They'll notice these patterns. And while the students were talking about these things, I'd be taking opportunities to both orient them to each other with linking moves to say, "Hey, what do you notice? What can you add on to what Mike said, or could you revoice it?" And also to annotate those things to make them available for conversation. Mike: There was a lot in your description, Christy, and I think that provides a useful way to understand what's happening because there's the choice of numbers, there's the choice of how big the array is when you're recording initially, there are the moves that the teacher's making. What you've set up is a really cool conversation that comes forward. We did this with whole numbers just now, and I'm wondering if we could take a step forward and think about, OK, if we're imagining a choral count with fractions, what would that look and sound like? Christy: Yeah, so one of the ones I really like to do is to do these ones that are just straight multiples, like start at 3 and skip-count by 3s. And then to either that same day or the very next day—so very, very close in time in proximity—do one where we're going to do something similar but with fractions. So one of my favorites is for the parallel of the whole number of skip-counting by 3s is we'll start at 3 fourths and we'll skip-count by 3 fourths. And when we write those numbers, we're not going to put them in simplest form; we're just going to write 3 fourths, 6 fourths, 9 fourths. So in this case, I would probably set it up in the exact same very parallel structure to that other one that we just did with the whole numbers. And I would put the numbers 3 fourths, 6 fourths, 9 fourths on the board. I would say, "OK, here's our first numbers. We're going to start starting at 4 fourths. We're going to skip-count by 3 fourths. And give me a thumbs-up or the show me a 2 when you know the next two numbers." And then we would skip-count them together, and we would write them on the board. And so we'd end up—and in this case I would probably arrange them again in five columns just to have them and be a parallel structure to that one that we did before with the whole numbers. So it would look like 3 fourths, 6 fourths, 9 fourths, 12 fourths, 15 fourths on the first row. And then the next row, I would say 18 fourths, 21 fourths, 24 fourths, 27 fourths, 30 fourths. And again, I'd probably go all the way up until I got to 51 fourths before we'd stop and we'd look for patterns. Mike: So I think what's cool about that—it was unsaid, but it kind of implied—is that you're making a choice there. So that students had just had this experience where they were counting in increments of 3, and 3, 6, 9, 12, 15, and then you start another row and you get to 30, and in this case, 3 fourths, 6 fourths, 9 fourths, 12 fourths, 15 fourths. So they are likely to notice that there's something similar that's going on here. And I suspect that's on purpose. Christy: Right, that's precisely the thing that we want right here is to be able to say that fractions aren't something entirely new, something that you—just very different than anything that you've ever seen before in numbers. But to allow them to have an opportunity to really see the ways that numerators enumerate, they act like the counting numbers that they've always known, and the denominator names, and tells you what you're counting. And so it's just a nice space where, when they can see these in these parallel ways and experience counting with fractions, they have this opportunity to see some of the ways that both fraction notation works, what it's talking about, and also how the different parts of the fraction relate to things they already know with whole numbers. Mike: Well, let's dig into that a little bit more. So the question I was going to ask Terry was: Can we talk a bit more about the ways the choral counting routine can help students make sense of the mathematics of fractions? So what are some of the ideas or the features of fractions that you found choral counting really allows you to draw out and make sense of with students? Terry: Well, we know from our work with the rational number project how important language is when kids are developing an understanding of the role of the numerator and the denominator. And the choral counts really just show, like what Christy was just saying, how the numerator just enumerates and changes just like whole numbers. And then the denominator stays the same and names something. And so it's been a really good opportunity to develop language together as a class. Christy: Yeah. I think that something that's really important in these ones that you get to see when you have them. So when they're doing that language, they're also—a really important part of a choral count is that it's not just that they're hearing those things, they're also seeing the notation on the board. And because of the way that we're both making this choice to repeatedly add the same amount, right? So we're creating something that's going to have a pattern that's going to have some mathematical relationships we can really unpack. But they're also seeing the notation on there that's arranged in a very intentional way to allow them to see those patterns in rows and columns as they get to talk about them.  So because those things are there, we're creating this chance now, right? So they see both the numerator and denominator. If we're doing them in parallel to things with whole numbers, they can see how both fractions are alike, things that they know with whole numbers, but also how some things are different. And instead of it being something that we're just telling them as rules, it invites them to make these observations.  So in the example that I just gave you of the skip-counting, starting at 3 fourths and skip-counting by 3 fourths, every time I have done this, someone always observes that the right-hand column, they will always say it goes up by 15. And what they're observing right there is they're paying attention to the numerator and thinking, "Well, I don't really need to talk about the denominator," and it buys me this opportunity as a teacher to say, "Yes, I see that too. I see that these 15 fourths and then you get another, then you get 30 fourths and you get 45 fourths. And I see in those numerators that 15, 30, 45—just like we had with the whole numbers—and here's how I would write that as a mathematician: I would write 15 fourths plus 15 fourths equals 30 fourths." Because I'm trying to be clear about what I'm counting right now. So instead of telling it like it's a rule that you have to remember, you have to keep the same denominators when you're going to add, it instead becomes something where we get to talk about it. It's just something that we get to be clear about. And that in fractions, we also do this other piece where we both enumerate and we name, and we keep track of that when we write things down to be clear. And so it usually invites this very nice parallel conversation and opportunity just to set up the idea that when we're doing things like adding and thinking about them, that we're trying to be clear and we're trying to communicate something in the same way that we always have been. Mike: Well, Terry, it strikes me that this does set the foundation for some important things, correct? Terry: Yeah, it sets the foundation for adding and subtracting fractions and how that numerator counts things and the denominator tells you the size of the pieces.  It also sets up multiplication. The last column, we can think of it as 5 groups of 3 fourths. And the next number underneath there might be 10 groups of 3 fourths. And as we start to describe or record what students' noticings are, we get a chance to highlight those features of adding fractions, subtracting fractions, multiplying fractions. Mike: We've played around the edges of a big idea here. And one of the things that I want to bring back is something we talked about when we were preparing for the interview. This idea that learners of any age, generally speaking, they want to make use of their understanding of the way that whole numbers work as they're learning about fractions. And I'm wondering if one or both of you want to say a little bit more about this. Terry: I think a mistake that we made previously in fraction teaching is we kind of stayed under 1. We just stayed and worked within 0 and 1 and we didn't go past it. And if you're going to make 1 a benchmark or 2 a benchmark or any whole number a benchmark, when you're counting by 3 fourths or 2 thirds or whatever, you have to go past it. So what choral counting has allowed us to do is to really get past these benchmarks, and kids saw patterns around those benchmarks, and they see them.  And then I think we also saw a whole-number thinking get in the way. So if you ask, for example, somebody to compare 3 seventeenths and 3 twenty-thirds, they might say that 3 twenty-thirds are bigger because 23 is bigger than 17. And instead of embracing their whole-number knowledge, we kind of moved away from it. And so I think now with the choral counting, they're seeing that fractions behave like whole numbers. They can leverage that knowledge, and instead of trying to make it go away, they're using it as an asset. Mike: So the parallel that I'm drawing is, if you're trying to teach kids about the structure of numbers in whole number, if you can yourself to thinking about the whole numbers between 0 and 10, and you never worked in the teens or larger numbers, that structure's really hard to see. Am I thinking about that properly? Terry: Yes, you are. Christy: I think there's two things here to highlight.  So one of them that I think Terry would say more about here is just the idea that, around the idea of benchmarks. So you're right that there's things that come out as the patterns and notation that happen because of how we write them. And when we're talking about place value notation, we really need to get into tens and really into hundreds before a lot of those things become really available to us as something we talk about, that structure of how 10 plays a special role.  In fractions, a very parallel idea of these things that become friendly to us because of the notation and things we know, whole numbers act very much like that. When we're talking about rational numbers, right? So they become these nice benchmarks because they're really friendly to us, there's things that we know about them, so when we can get to them, they help us. And the choral count that we were just talking about, there's something that's a little bit different that's happening though because we're not highlighting the whole numbers in the way that we're choosing to count right there. So we're not—we're using those, I guess, improper fractions. In that case, what we're doing is we're allowing students to have an opportunity to play with this idea, the numerator and denominator or the numerator is the piece that's acting like whole numbers that they know. So when Terry was first talking about how oftentimes when we first teach fractions and we were thinking about them, we were think a lot about the denominator. The denominator is something that's new that we're putting in with fractions that we weren't ever doing before with whole numbers. And we have that denominator. We focus a lot on like, "Look, you could take a unit and you can cut it up and you can cut it up in eight pieces, and those are called eighths, or you could cut it up in 10 pieces, and those are called tenths."  And we focus a lot on that because it's something that's new. But the thing that allows them to bridge from whole numbers is the thing that's the same as whole numbers. That's the numerator. And so when we want them to have chances to be able to make those connections back to the things they know and see that yes, there is something here that's new, it's the denominator, but connecting back to the things they know from whole numbers, we really do need to focus some on the numerator and letting them have a chance to play with what the numerator is, to see how it's acting, and to do things. It's not very interesting to say—to look at a bunch of things and say, like, "2 thirds plus 4 thirds equals 6 thirds," right? Because they'll just start to say, "Well, you can ignore the denominator." But when you play with it and counting and doing things like we was talking about—setting up a whole-number count and a fraction count in parallel to each other—now they get to notice things like that. [It] invites them to say things like, "Oh, so adding 15 in the whole numbers is kind of adding 15 fourths in the fourths." So they get to say this because you've kind of set it up as low-hanging fruit for them, but it's allowing them really to play with that notion of the numerator and a common denominator setting. And then later we can do other kinds of things that let them play with the denominator and what that means in those kinds of pieces. So one of the things I really like about choral counts and choral counts with fractions is it's setting up this space where the numerator becomes something that's interesting and something worth talking about in some way to be able to draw parallels and allow them to see it. And then of course, equivalency starts to come into play too. We can talk about how things like 12 fourths is equivalent to 3 wholes, and then we get to see where those play their role inside of this count too. But it's just something that I really like about choral counting with fractions that I think comes out here. And it's not quite the idea of benchmarks, but it is important. Mike: Well, let's talk a little bit about equivalency then. Terry. I'm wondering if you could say a little bit about how this routine can potentially set up a conversation around ideas related to equivalency. Terry: We could do this choral count—instead of just writing improper fractions all the way through, we could write them with mixed numbers. And as you start writing mixed numbers, the pattern becomes "3 fourths, 1 and a half, 2 and a quarter," and we can start bringing in equivalent fractions. And you still do the same five columns and make parallel connections between the whole numbers, the fractions that are written as improper fractions and the fractions with mixed numbers. And so you get many conversations about equivalencies. And this has happened almost every time I do a choral count with fractions is, the kids will comment that they stop thinking. They go, "I'm just writing these numbers down." Part of it is they're seeing equivalency, but they're also seeing patterns and letting the patterns take over for them. And we think that's a good thing rather than a bad thing. It's not that they're stopped thinking, they're just, they're just— Christy: They're experiencing the moment that patterns start to help, that pattern recognition starts to become an aid in their ability to make predictions. All of a sudden you can feel it kick online.  So if you said it in the context, then what happens is even in the mixed-number version or in the improper-number version, that students will then have a way of talking about that 12 fourths is equivalent to 3, and then you're going to see that whole-number diagonal sort of pop in, and then you'll see those other ones, even in the original version of it. Terry: Yeah, as we started to play around with this and talk with people, we started using the context of sandwiches, fourths of sandwiches. And so when they would start looking at that, the sandwiches gave them language around wholes. So the equivalence that they saw, they had language to talk about. That's 12 fourths of a sandwich, which would be 3 full sandwiches. And then we started using paper strips with the choral counts and putting paper strips on each piece so kids could see that when it fills up they can see a full sandwich. And so we get both equivalencies, we get language, we get connections between images, symbols, and context. Mike: One of the questions that I've been asking folks is: At the broadest level, regardless of the number being counted or whether it's a whole number or a rational number, what do you think the choral counting routine is good for? Christy: So I would say that I think of these routines, like a choral count or a number talk or other routines like that that you would be doing frequently in a classroom, they really serve as a way of building mathematical language. So they serve as a language routine. And then one of the things that's really important about it is that it's not just that there's skip-counting, but that count. So you're hearing the way that patterns happen in language, but they're seeing it at the same time. And then they're having chances, once that static set of representations on the board, those visuals of the numbers has been created and set up in this structured way, it's allowing them to unpack those things. So they get to first engage in language and hearing it in this multimodal way. So they hear it and they see it, but then they get to unpack it and they get to engage in language in this other way where they get to say, "Well, here's things that stand out to me."  So they make these observations and they will do it using informal language. And then it's buying the teacher an opportunity then to not only highlight that, but then to also help formalize that language. So they might say, "Oh, I saw a column goes up by 5." And I would get to say, "Oh, so you're saying that you add each time to this column, and here's how a mathematician would write that." And we would write that with those symbols. And so now they're getting chances to see how their ideas are mathematical ideas and they're being expressed using the language and tools of math. "Here's the way you said it; here's what your brain was thinking about. And here's what that looks like when a mathematician writes it." So they're getting this chance to see this very deeply authentic way and just also buying this opportunity not only to do it for yourself, but then to take up ideas of others. "Oh, who else saw this column?" Or, "Do you think that we could extend that? Do you think it's anywhere else?" And they get to then immediately pick up that language and practice it and try it. So I look at these as a really important opportunity, not just for building curiosity around mathematics, but for building language. Mike: Let's shift a little bit to teacher moves, to teacher practice, which I think y'all were kind of already doing there when you were talking about opportunities. What are some of the teacher moves that you think are really critical to bringing choral counting with fractions particularly to life? Terry: I think just using the strips to help them visualize it, and it gave them some language. I think the context of sandwiches, or whatever it happens to be, gives them some ways to name what the unit is. We found starting with that runway, it really helps to have something that they can start to kind of take off and start the counting routine. We also found that the move where you ask them, "What do you notice? What patterns do you notice?," we really reserve for three and a half rows. So we try to go three full rows and a half and it gives everybody a chance to see something. If I go and do it too quick, I find that I don't get everybody participating in that, noticing as well, as doing three and a half rows. It just seems to be a magic part of the array is about three and a half rows in. Mike: I want to restate and mark a couple things that you said, Terry. One is this notion of a runway that you want to give kids. And that functions as a way to help them start to think about, again, "What might come next?" And then I really wanted to pause and talk about this idea of, you want to go at least three rows, or at least—is it three or three and a half?  Terry: Three and a half. Christy: When you have three of something, then you can start to use patterns. You need at least those three for even to think there could be a pattern. So when you get those, at least three of them, and they have that pattern to do—and like Terry was saying, when you have a partial row, then what happens is those predictions can come from two directions. You could keep going in the row, so you could keep going horizontally, or you could come down a column. And so now it kind of invites people to do things in more than one way when you stop mid-row. Mike: So let me ask a follow-up question. When a teacher stops or pauses the count, what are some of the first things you'd love to see them do to spark some of the pattern recognition or the pattern seeking that you just talked about? Christy: Teacher moves? Mike: Yeah. Christy: OK. So we do get to work with preservice teachers all the time. So this is one of my favorite parts of this piece of it. So what do you do as a teacher that you want? So we're going to want an array up there that has enough, at least three of things in some different ways people can start to see some patterns.  You can also, when you do one of these counts, you'll hear the moment—what Terry described earlier as "stop thinking." You can hear a moment where people, it just gets easier to start, the pattern starts to help you find what comes next, and you'll hear it. The voices will get louder and more confident as you do it. So you want a little of that. Once you're into that kind of space, then you can stop. You know because you've just heard them get a little more confident that their brains are going. So you're kind of looking for that moment. Then you're going to stop in there again partway through a row so that you've got a little bit of runway in both directions. So they can keep going horizontally, they can come down vertically. And you say, "OK," and you're going to give them now a moment to think. And so that stopping for a second before they just talk, creating space for people to formulate some language, to notice some things is really, really important.  So we're going to create some thinking space, but we know there's some thinking happening, so you just give them a way to do it. Our favorite way to do it is to, instead of just doing a thumbs-up and thumbs-down in front of the chest, we just do a silent count at the chest rather than hands going up. We just keep those hands out of the air, and I say, "Give me a 1 at your chest"—so a silent number 1 right at your chest—"when you've noticed one thing. And if you notice two things, give me a 2. And if you notice three things, give me a 3." They will absolutely extrapolate from there. And you'll definitely see some very anxious person who definitely wants to say something with a 10 at their chest. But what you're doing at that moment is you're buying people time to think, and you're buying yourself as a teacher some insight into where they are. So you now get to look out and you can see who's kind of taking a while for that 1 to come up and who has immediately five things, and other things.  And you can use that along with your knowledge of the students now to think about how you want to bring people into that discussion. Somebody with 10 things, they do not need to be the first person you call on. They are desperate to share something, and they will share something no matter when you call on them. So you want to use this information now to be able to get yourself some ideas of, like, "OK, I want to make sure that I'm creating equitable experiences, that I want to bring a lot of voices in." And so the first thing we do is we have now a sense of that because we just watched, we gave ourselves away into some of the thinking that's happening. And then we're going to partner that immediately with a turn and talk. So first they're going to think and then they're going to have a chance to practice that language in a partnership. And then, again, you're buying yourself a chance to listen into those conversations and to know that they have something to share. And to bring it in, I will pretty much always make that a warm call. I won't say, "Who wants to share?" I will say, "Terry or Mike, let's hear." And then I won't just say, "Terry, what was your idea?" I would say, "Terry, tell me something that either you or Mike shared that you noticed." So we'll give a choice. So now they've got a couple ways in. You know they just said something. So you're creating this space where you're really lowering the temperature of how nerve-racking it is to share something. They have something to say, and they have something to do. So I want all of those moves.  And then I kind of alluded to it when we were doing the practice one, but the other one I really like is to have all-class gestures so that everyone constantly has a way they need to engage and listen. And so I like to use ones not just the "me too" gesture, but we do the "open mind" gesture as well so that everyone has one of the two. Either it's something that you were thinking or they've just opened your mind to a new idea. And it looks, we use it kind of like an open book at your forehead. So, the best way I can describe it to you, you put both hands at your forehead and you touch them like they're opening up, opening doors. And so everyone does one of those, right? And then as a teacher, you now have some more information because you could say, "Oh, Terry, you just said that was open mind. You hadn't noticed it. Well, tell us something different you noticed." So you get that choice of what you're doing. So you're going to use these things as a teacher to not just get ideas out but to really be able to pull people in ways they've sort of communicated something to you that they have something to share.  So I love it for all the ways we get to practice these teacher moves that don't just then work in just this choral count, but that do a really great job in all these other spaces that we want to work on with students too, in terms of equitably and creating talk, orienting students to one another, asking them to listen to and build on each other's ideas. Terry: When you first start doing this, you want to just stop and listen. So I think some of my mistakes early on was trying to annotate too quickly. But I found that a really good teacher move is just to listen. And I get to listen when they're think-pair-sharing, I get a chance to listen when they're just thinking together, I get a chance to listen when they describe it to the whole class. And then I get to think about how I'm going to write and record what they said so that it amplifies what they're saying to the whole class. And that's the annotation piece. And getting better at annotating is practicing what you're going to write first and then they always say something a little different than what you anticipate, but you've already practiced. So you can get your colors down, you can get how you're going to write it without overlapping too much with your annotations. Mike: I think that feels like a really important point for someone who is listening to the podcast and thinking about their own practice. Because if I examine my own places where I sometimes jump before I need to, it often is to take in some ideas but maybe not enough and then start to immediately annotate. And I'm really drawn to this idea that there's something to, I want to listen enough to kind of hear the body of ideas that are coming out of the group before I get to annotation. Is that a fair kind of summary of the piece that you think is really important about that? Terry: Yes. And as I'm getting better with it, I'm listening more and then writing after I think I know what they're saying. And I check with them as I'm writing. Mike: So you started to already go to my next question, which is about annotation. I heard you mention color, so I'm curious: What are some of the ideas about annotation that you think are particularly important when you are doing it in the context of a choral count? Christy: Well, yeah, I think a choral count. So color helps just to distinguish different ideas. So that's a useful tool for that piece of it. What we typically want, people will notice patterns usually in lines. And so you're going to get vertical lines and horizontal lines, but you'll also get diagonals. That's usually where those will be. And they will also notice things that are recognizable. So like the 15, 30, 45 being a number sequence that is a well-known one is typically wouldn't going to be the first one we notice. Another one that happens along a diagonal, and the examples we gave will be 12, 24, 36, it comes on a diagonal. People will often notice it because it's there. So then what you want is you're going to want to draw in those lines that help draw students' eyes, other students' eyes, not the ones who are seeing it, but the ones who weren't seeing it to that space so they can start to see that pattern too. So you're going to use a little bit of lines or underlining that sort of thing. These definitely do over time get messier and messier as you add more stuff to them. So color helps just distinguish some of those pieces.  And then what you want is to leave yourself some room to write things. So if you have fractions, for example, you're going to need some space between things because fractions take up a little bit more room to write. And you definitely want to be able to write "plus 15 fourths," not just, "plus 15." And so you need to make sure you're leaving yourself enough room and practicing and thinking. You also have to leave enough room for if you want to continue the count, because one of the beautiful things you get to do here is to make predictions once you've noticed patterns. And so you're going to probably want to ask at some point, "Well, what number do you think comes in some box further down the road?" So you need to leave yourself enough room then to continue that count to get there.  So it's just some of the things you have to kind of think about as a teacher as you do it, and then as you annotate, so you're kind of thinking about trying to keep [the numbers] pretty straight so that those lines are available to students and then maybe drawing them in so students can see them. And then probably off to the side writing things like, if there's addition or multiplication sentences that are coming out of it, you probably want to leave yourself some room to be able to sometimes write those. In a fraction one, which Terry talked about a little bit, because equivalency is something that's available now where we can talk about, for example, the really common one that would come out in our example would be that 12 fourths is equivalent to 3 wholes. Somehow you're going to have to ask this question of, "Well, why is that? Where could we see it?" And so in that case, usually we would draw the picture of the sandwiches, which will be rectangles all cut up in the same way. So not like grilled cheese sandwiches in fourth, but like a subway sandwich in fourths. And then you're going to need some space to be able to draw those above it and below it.  So again, you're kind of thinking about what's going to make this visible to students in a way that's meaningful to them. So you're going to need some space to be left for those things. What I find is that I typically end up having to write some things, and then sometimes after the new idea comes in, I might have to erase a little bit of what's there to make some more room for the writing. But I would say with fractions, it's going to be important to think about leaving enough space between, because you're probably going to need a little bit of pictures sometimes to help make sense of that equivalency. That's a really useful one. And leaving enough space for the notation itself, it takes a little bit of room. Mike: Every time I do a podcast, I get to this point where I say to the guest or guests, "We could probably talk for an hour or more, and we're out of time." So I want to extend the offer that I often share with guests, which is if someone wanted to keep learning about choral counting or more generally about some of the ideas about fractions that we're talking about, are there any particular resources that the two of you would recommend? Terry: We started our work with the Choral Counting & Counting Collections book by Megan Franke[, Elham Kazemi, and Angela Chan Turrou], and it really is transformational, both routines. Christy: And it has fractions and decimals and ideas in it too. So you can see it across many things. Well, it's just, even just big numbers, small numbers, all kinds of different things. So teachers at different grade levels could use it.  The Teacher Education by Design [website], at tedd.org, has a beautiful unit on counting collections for teachers. So if you're interested in learning more about it, it has videos, it has planning guides, things like that to really help you get started. Terry: And we found you just have to do them. And so as we just started to do them, writing it on paper was really helpful. And then The Math Learning Center has an app that you can use—the Number Chart app—and you can write [the choral counts] in so many different ways and check your timing out. And it's been a very helpful tool in preparing for quality choral counts with fractions and whole numbers. Mike: I think that's a great place to stop.  Christy and Terry, I want to thank you both so much for joining us. It has really just absolutely been a pleasure chatting with you both. Christy: So much fun getting to talk to you. Terry: Thank you.  Mike: This podcast is brought to you by The Math Learning Center and the Maier Math Foundation, dedicated to inspiring and enabling all individuals to discover and develop their mathematical confidence and ability. © 2025 The Math Learning Center | www.mathlearningcenter.org  

With so many films out in the cinema and only having an hour, we have a Cinema special tonight Sharon discusses the Running Man Tosin and Holly take on Bugonia Shaun discussses dinosaurs in the Vietnam War with Primitive War Tosin and SShaun revel in Predator Badlands Sharon sees the Choral Shaun and Sharon discuss Nuremberg Is Netflix killing cinemas? Each week we weigh up what we've seen in cinemas with what we've watched online at home and figure out which provided the best time. At least, we did before COVID jumped in and declared Netflix, Amazon Prime, Disney + and friends the winner. Listen and subscribe on Apple Podcasts https://podcasts.apple.com/gb/podcast/netflix-vs-cinema/id1448277363 Listen and subscribe on Youtube Music https://www.youtube.com/playlist?list=PL8xPMfsDQIDjM70v1Tah6BiKV4E3UQbaK Listen on Spotify https://open.spotify.com/show/6beXVeSImcgHLsPB22BgE3?si=wdoNI6E0SNqNfoqg4qnw4Q Support Netflix vs Cinema by contributing to their tip jar: https://tips.pinecast.com/jar/netflixvscinema Find out more at http://netflixvscinema.com This podcast is powered by Pinecast.

James Cameron-Wilson's dislike of the Predator franchise isn't changed by the 9th in the series #1 Predator: Badlands which, with no human characters, bored him. He loved #2 The Choral, another film from the Nicholas Hytner/Alan Bennett partnership. Set in World War 1, Roger Allam and Ralph Fiennes star in a tale of a local choral society short of men. It's full of compassion, drama and humour and is timeless and uplifting. #24 Anemone is a first-time film from Ronan Day-Lewis who gets his father to return to the screen as a remote-living hermit. Also starring Sean Bean, it's self-indulgent and leaves the audience too often in the dark. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Nicholas Hytner's The Choral, a delightful drama set in 1916 Yorkshire, is in cinemas now, folks. It features costumes designed by the legendary Jenny Beavan, who is one of the best costume designers in the business. Nominated for 12 Oscars, winner of three, Beavan has worked with directors like Robert Altman, James Ivory, and George Miller across an astonishing forty-year career, and we were delighted when she popped into the podbooth recently to talk with our Chris Hewitt about that career and her approach to costume design. Enjoy.

Song: Set Us Free Music by: Elise Witt   Notes: Elise is an inventive songleader and huge heart in Georgia, USA, whom I met online during the pandemic doing vocal improv with our shared teacher, Rhiannon... but I had been in contact with her before then because I wanted to sing a song of hers with my community chorus. Here, she has set words from the Rev. Timothy McDonald, calling us to the kind of integrity that gives freedom. I teach the song a capella, so you can sing with just my voice -- and then do it with piano at the end, so you can experience it that way -- and then if you follow the shownote links, you can sing it in Spanish and English with Elise, Judith & Lisset Rodés -- Lisset wrote the Spanish words... and it's a little slower, a little more legato than I sang it. I love it when there's a chance to compare different versions of the same song!   Songwriter Info: Elise's concerts of Global, Local & Homemade Songs™ and her Impromptu Glorious Chorus™ workshops create and connect singing communities around the world. Born in Switzerland, raised in NC, and living in Atlanta since 1977, Elise speaks 5 languages fluently and sings in at least a dozen more. The Elise Witt Choral Series features choral arrangements of her original compositions and she recently published All Singing, a songbook with 58 original songs including music notation, lyrics and chords, stories and photos. A founding member of Atlanta's Theatrical Outfit, Elise spent many years as a Resident Artist, visiting communities around the state of Georgia and the Southeast, teaching global music and writing local songs with students of all ages. From 2009 until 2024 Elise served as Director of Music Programs at the Global Village Project, a non-profit, special purpose middle school for teenage refugee girls in Decatur Georgia, for which she published Imagine A Circle: The Global Village Songbook, Using Singing and Songwriting to teach English for Multi-lingual learners. Elise currently gathers singers of all persuasions in joyous circles, and continues her global touring.   Sharing Info: Elise says: "I always love to share songs in oral (by ear) tradition and I'd love to hear from you how and with whom you share the song... AND the song is also available as a choral arrangement (SATB, SSAA, TTBB) on my website https://elisewitt.com/web/ewcs-choral-music/"   Song Learning Time Stamps: Start time of teaching: 00:02:49 Start time of reprise: 00:15:29   Links: Website: www.EliseWitt.com  A glimpse of what I do:  https://www.youtube.com/watch?v=e0YHTe_Q7bE&feature=youtu.be  All Singing: The Elise Witt Songbook:  https://elisewitt.com/web/product-category/songbook/ “Jenny Jenkins” global community music/art video created for DAS Year 1: https://www.youtube.com/watch?v=QCmNNZIVZkw&t=2s “Ready or Not” global community music/art video created for DAS Year 2: https://www.youtube.com/watch?v=UNsUsSobImw&t=11s  Imagine A Circle: The Global Village Project Songbook https://elisewitt.com/web/gvp-songbook/  Elise's Bandcamp: https://www.BandCamp.com/EliseWitt  Choral arrangements by Elise: https://elisewitt.com/web/ewcs-choral-music/  Choral arrangements for Set Us Free in particular: https://elisewitt.com/web/product/set-us-free/  Spanish and English version of Set Us Free in concert: https://youtu.be/L5IjAhJZyOo?si=5WIleerpseLX_rxo    Nuts & Bolts: 4:4, major, many verses   Join this community of people who love to use song to help navigate life? Absolutely:  https://dashboard.mailerlite.com/forms/335811/81227018071442567/share   Help us keep going: reviews, comments, encouragement, plus contributions... we float on your support.  https://www.abreathofsong.com/gratitude-jar.html

“My job is to make people love choral music as much as I do, and that's a lot. I really love choral music. My job is to say ‘you should care about this.' You might care about it because it's ravishingly beautiful or because it has a story to tell you. Even if you're not a person who relates to choral music, you can relate to stories. We're going to weave some sort of through-line through this program that tells you something about life that we hope resonates with you whether you're a musician or not.”Joshua Habermann is in his seventeenth season as Artistic Director of the Santa Fe Desert Chorale, one of the nation's premiere professional chamber choirs. Since joining the ensemble, he has broadened its repertoire to include choral-orchestral masterworks and unique concert experiences ranging from early music to new commissions. Under his leadership, the Desert Chorale has been featured at regional and national conferences of the American Choral Directors Association, and its summer and winter festivals are among America's largest choral events.Habermann's experience with symphonic choruses spans over three decades, encompassing the full range of the choral-orchestral repertoire. From 2011 to 2022 he was director of the Dallas Symphony Chorus, where highlights included Bach's St. Matthew Passion, the Requiem Masses of Mozart, Brahms, and Verdi, Elgar's Dream of Gerontius, Bernstein's Kaddish Symphony, Rachmaninov's The Bells, and Vaughan-Williams' Sea Symphony. He is a frequent guest conductor, and in 2022-2023 prepared Handel's Messiah, Ravel's Daphnis and Chloe, and Benjamin Britten's War Requiem for the San Francisco Symphony.A passionate advocate for music education, Joshua Habermann is a regular clinician for state and national events and has led honor choirs and choral festivals in North America, Europe, Asia, and Latin America. In 2024, he conducted Cantatas 72, 73 and 92 for Bach Santiago (Chile), a concert series dedicated to the first full cycle of Bach Cantatas in South America. He currently teaches choral literature at the University of North Texas.As a singer (tenor), Habermann has performed with the Oregon Bach Festival Chorus under Helmuth Rilling and Conspirare under Craig Hella Johnson. Recording credits include Requiem and Threshold of Night, both GRAMMY® nominees for best choral recording. Recordings as a conductor include The Road Home and Rachmaninov's All Night Vigil with the Desert Chorale.To get in touch with Joshua, you can find him on Facebook (@joshua.habermann) or visit the Santa Fe Desert Chorale website, desertchorale.org.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Hosted by Picturehouse's very own Hope Hopkinson, The Love Of Cinema podcast discusses the best new releases, with a little help from some of our favourite film critics and the occasional special guest from the world of cinema. This month we're joined by guest film critics Christina Newland and Hanna Flint to discuss discuss some of the best new films coming to Picturehosue Cinemas, including: Die My Love, The Choral, Wake Up Dead Man: A Knives Our Mystery and Pillion.   If you'd like to send us a voice memo for use in a future episode, please email podcast@picturehouses.co.uk. Rate and subscribe on Apple Podcasts. Rate and follow us on Spotify. Find us on Twitter, Facebook and Instagram with @picturehouses. Find our latest cinema listings at picturehouses.com.  Produced by Stripped Media. Thank you for listening. If you enjoy the show, please subscribe, rate, review and share with your friends. Vive le Cinema.

Lorcan O’Neill hosts Emma, Matt, Nick, and Mark as they deliver their thoughts on Netflix’s sparkling new Frankenstein remake, Emma Stone’s tricky situation in Bugonia, director Edward Berger’s return following […]

Blimey, this week's episode of the Empire Podcast is star-studded, and then some. First, Chris Hewitt chats with Die, My Love star, Jennifer Lawrence, and director Lynne Ramsay, about unpredictability on set and receiving an email from Martin Scorsese; then, he has a crash course in Yautja from Predator: Badlands stars Dimitrius Schuster-Koloamatangi and Elle Fanning; and then Alex Godfrey pops up to have a lovely natter with the stars of new drama, Anemone, Sean Bean and Daniel Day-Lewis, returning to acting after a long hiatus. Then, Chris is joined in the podbooth by Alex, James Dyer and, dialling in (hence the odd glitch here and there), Helen O'Hara to discuss just how much they want to see a Steven Soderbergh-directed Star Wars movie, which Ghostface they could take in a fight, the week's movie news (including resurrections for The Mummy, Gremlins, and Miss Piggy), and their thoughts on Predator: Badlands, The Choral, Anemone, and Die, My Love. Enjoy!

Blimey, this week's episode of the Empire Podcast is star-studded, and then some. First, Chris Hewitt chats with Die, My Love star, Jennifer Lawrence, and director Lynne Ramsay, about unpredictability on set and receiving an email from Martin Scorsese; then, he has a crash course in Yautja from Predator: Badlands stars Dimitrius Schuster-Koloamatangi and Elle Fanning; and then Alex Godfrey pops up to have a lovely natter with the stars of new drama, Anemone, Sean Bean and Daniel Day-Lewis, returning to acting after a long hiatus. Then, Chris is joined in the podbooth by Alex, James Dyer and, dialling in (hence the odd glitch here and there), Helen O'Hara to discuss just how much they want to see a Steven Soderbergh-directed Star Wars movie, which Ghostface they could take in a fight, the week's movie news (including resurrections for The Mummy, Gremlins, and Miss Piggy), and their thoughts on Predator: Badlands, The Choral, Anemone, and Die, My Love. Enjoy!

Nicholas Hytner is a legend of British (and Broadway) theatre, but on the quiet has amassed seven films as a director too. His latest is The Choral, reuniting him with writer Alan Bennett. Ralph Fiennes takes the lead. Simon chats to Nicholas about the film, Lady In The Van, The Madness Of King George, a bit of Mr Scorsese, Nigel Hawthorne, and even a dab of Demolition Man... Learn more about your ad choices. Visit megaphone.fm/adchoices

Freda Cooper talks to director Nicholas Hytner about his new film, The Choral.  1916. As war rages on the Western Front, the Choral Society in Ramsden, Yorkshire has lost most of its men to the army. The Choral's ambitious committee, determined to press ahead, decides to recruit local young males to swell their ranks.They must also engage a new chorus master, and despite their suspicions that he has something to hide, their best bet seems to be Dr. Henry Guthrie (Ralph Fiennes) – driven, uncompromising, and recently returned from a career in Germany. As conscription papers start to arrive, the whole community discovers that the best response to the chaos that is laying waste to their lives is to make music together. Directed by BAFTA, Olivier and Tony Award winner Nicholas Hytner (The Crucible) and written by BAFTA, Olivier and Tony Award winner Alan Bennett, The Choral marks their fourth writer-director collaboration following the acclaimed films The Madness of King George, The History Boys, and The Lady in The Van. Subscribe on Apple Podcasts. Follow us on Spotify. Find us on Twitter, Facebook and Instagram with @picturehouses. Find our latest cinema listings at picturehouses.com.  Produced by Stripped Media. Thank you for listening. If you enjoy the show, please subscribe, rate, review and share with your friends. Vive le Cinema.

Some exciting news — The Take is now on Patreon: www.patreon.com/kermodeandmayo. Become a Vanguardista or an Ultra Vanguardista to get video episodes of Take Two every week, plus member‑only chat rooms, polls and submissions to influence the show, behind‑the‑scenes photos and videos, the monthly Redactor's Roundup newsletter, and access to a new fortnightly LIVE show — a raucous, unfiltered lunchtime special with the Good Doctors, new features, and live chat so you can heckle, vote, and have your questions read out in real time. It's a pretty special week for guests over here in Take town. We're welcoming debut filmmaker Ronan Day-Lewis, and his dad who's come with him and is apparently quite famous or something? Yes, that's Sir Daniel Day-Lewis, star and co-writer of ‘Anemone'—the father-son co-created drama that has brought him out of retirement. Day-Lewis stars as reclusive and damaged former soldier Ray, who reconnects with his brother Jem (Sean Bean) after years in the wilderness. The pair unpack the film with Simon—including how a 16th Century manuscript partially inspired it, their family history in Ireland, and what it was like to write and shoot an intense father-son story as a real life father-son team. Mark reviews it too, along with three more big movies you can head down to the cinema to watch this weekend—code compliantly, obvs. First up, ‘Predator: Badlands'—the latest instalment in this very loooong running sci-fi action franchise which the classic villain turns hero and the hunter turns hunted. In calmer territory, we've got ‘The Choral' too—a cosy drama about a Yorkshire village choir during WWI, led by controversial new conductor Dr. Henry Guthrie (Ralph Fiennes). And finally, the new and long-awaited Lynne Ramsay film ‘Die My Love'—a dark family drama starring Jennifer Lawrence and Robert Pattinson. Reckon Mark's going to be excited about this one... All the usual email excellence, bantz, rantz, and everything you've come to expect from a top Take too. AND Don't miss our upcoming LIVE Christmas Extravaganza at London's Prince Edward Theatre on 7th December. Tickets here: fane.co.uk/kermode-mayo Timecodes (for Vanguardistas listening ad-free) Predator: Badlands Review: 11:33 BO10: 19:21 Daniel Day-Lewis & Ronan Day-Lewis Interview: 29:13 Anemone Review: 30:30 Laughter Lift: 57:21 The Choral Review: 1:02:41 Die My Love Review: 1:12:44 You can contact the show by emailing correspondence@kermodeandmayo.com or you can find us on social media, @KermodeandMayo Please take our survey and help shape the future of our show: https://www.kermodeandmayo.com/survey EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee! A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts To advertise on this show contact: podcastadsales@sonymusic.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

The third (and final!) season of Out Cold premieres on November 20 at 7pm. Season 3 follows Jackie and Lee as they travel to Northern Minnesota to visit Jackie's sister Stella after a traumatic event rocks their marriage. Stella insists that a little distraction is just what Jackie and Lee need. But as Jackie and Lee explore Stella's small town, they start to wonder what Stella is trying to distract them from.... If you live in the Twin Cities, come hear the first episode live at the Hook and Ladder Theater in Minneapolis on Nov 20: https://thehookmpls.com/event/out-cold-season-3-premiere-podcast/Season 3 was written by Rob McGinley Myers, Angelique Lisboa, Ajuawak Kapashesit, Julie Censullo, and Sophie Nikitas. Starring: Anna Weggel, Alex Galick, Julia Weiss, Brian Joyce, Angelique Lisboa, MJ Matheson, Sullivan Ojala Helmbolt, Alex Rumsey, and Ross Flores. Choral composition and performance by Delilah Schuster, Thando Kunene, and Bridget McEvoy.Recorded at Soft Cult Studio by Jaxon Vesley and Mariel Oliveira. Put on your headphones, turn off the lights, and.....praise the lake. ---Funding for season 3 of Out Cold was provided by the Minnesota State Arts Board. Julie Censullo is a fiscal year 2025 recipient of a Creative Individuals grant from the Minnesota State Arts Board. This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund.  

In Episode 47 of The Classical Circuit, Ella chats to Tom Herring, conductor and Artistic Director of SANSARA, about prioritising the wellbeing of the group, remaining true to its values, and his struggles with burnout. Ahead of SANSARA's performance at Britten Weekend at Snape Maltings this Friday, Tom also talked about their Traces of the White Rose project, engaging with political ideas in artistic spaces, and what it is about music that prods us to think critically.-------------------Sansara at Britten WeekendTraces of the White RosePodcast - Traces of the White Rose-------------------Sansara-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

The RI Civic Choral and Orchestra is the subject of this week's program with Dr. Joshua Rohde, Music Director. We talk about their upcoming concerts and listen to some of the music being presented on Saturday November 8th in Providence and November 9th in Cumberland. For more information you can call 401-521-5670 or go to www.ricco.org

“It's hard to focus on anything educationally if certain basic needs aren't being met, so you're trying to navigate and be proactive as much as possible. I have students who have their own needs and things they're going through that are influencing the classroom. Every year, every group, it's a different dynamic. Every student in this group deserves the opportunity to have a good experience with this. Now, they've got to buy in a little bit. They've got to own their piece of it. You can't do it all for them, but they all deserve the opportunity to succeed in that class."Philip Brown is the director of vocal music at Liberty High School. Additionally he looks forward to collaborations and projects with the Allegro Youth Choirs of Kansas City. He graduated summa cum laude from Bethany College (KS), majoring in K-12 music education and vocal performance. He later received his M.M. degree in music education from Northern Arizona University. Before returning back to Missouri, Philip started his school teaching in the suburbs of Denver, Colorado (Arvada West High School). Then in Minnesota, he taught at 4 different high schools in the twin cities area over the course of twenty years. Additionally, he spent 15 years conducting the high school choirs with the Angelica Cantanti Youth Choirs organization.Philip was honored as the 2011 ACDA-MN Young Director of the Year. He was selected as the Director of Note for Minnesota by Choral Director Magazine in 2012. In 2013 he received the VocalEssence/ACDA-MN Creative Programming Award for his repertoire philosophy and programming. Philip was named the Bethany College (KS) Gold Award recipient in 2015 and was the Winner of the Youth Choir Conducting Division for The American Prize 2016, and again in 2020. He was the featured community member in the Eden Prairie Lifestyle Magazine for 2020. He conducted the Angelica Cantanti Youth Choirs - Treble Singers at the 2019 National ACDA Conference in his hometown of Kansas City, and the Cantanti Singers at the 2025 National ACDA Conference in Dallas.His choral groups have been selected for performances at state, regional, and national conferences for ACDA, NAfME, and Chorus America. Choirs under his conducting have collaborated with the Minnesota Oratorio Society, Minnesota Choral Artists - The Singers, Great Northern Union, VocalEssence, Northern Lights Chorale, Cantus, National Lutheran Choir, Singers in Accord, and multiple university choirs. His choirs have consistently received superior ratings, best in class awards, and grand sweepstakes awards at various music festivals and competitions. Philip has given presentations and clinics on: rehearsal techniques that energize and engage singers, small ensemble singing strengthening the full ensemble, incorporating technology in the music rehearsal, student-driven assessments, and commissioning new choral works. He is an active clinician and guest conductor, is professionally affiliated with ACDA and NAfME, and is the High School Repertoire & Resource chair for ACDA.To get in touch with Philip, you can find him on Facebook (@philip.m.brown.79) or email him at philip.m.brown.79@gmail.com. Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Prof. Dr. Thomas Weißer, Budenheim, Katholische Kirche: O Welt, ich muss dich lassen, ein Choral, der um die Endlichkeit des Lebens kreist, aber Hoffnung macht. Und nicht zuletzt dafür steht, dass Musik das Herz ein bisschen leichter machen kann.

It's been a phenomenal year for the New Zealand Youth Choir.

We previewed Saturday night's concert by the Racine Choral Arts Society .... "Gospel Fusion" ...... with Jim Schatzman, the founder and artistic director of the group. Also participating- Pat Badger, associate director of the Racine CAS - and Ella Richardson, a member of the Greater Mount Eagle Baptist Church Choir, which is joining with the CAS in the Alpha Mass. She was a participant in the 1990 concert when Burleigh's Alpha Mass was first performed in Racine.

Juan Carlos Acosta, Artistic Director of SACRA/PROFANA, talks about the upcoming October 18 performance of L.O.S.T. at the San Dieguito United Methodist Church in Encinitas. Acosta is joined by L.O.S.T. composer Jason Carl Rosenberg to chat about the combination of Thomas Tallis' Lamentations of Jeremiahwith Rosenberg's L.O.S.T.  Ascosta discusses SACRA/PROFANA's affinity for combining high-level, technical singing with community causes.About Spotlight and Cloudcast Media  "Spotlight On The Community" is the longest running community podcast in the country, continuously hosted by Drew Schlosberg for 19 years.  "Spotlight" is part of Cloudcast Media's line-up of powerful local podcasts, telling the stories, highlighting the people, and celebrating the gravitational power of local.   For more information on Cloudcast and its shows and cities served, please visit www.cloudcastmedia.us. Cloudcast Media | the national leader in local podcasting.   About Mission Fed Credit Union  A community champion for over 60 years, Mission Fed Credit Union with over $6 billion in member assets, is the Sponsor of Spotlight On The Community, helping to curate connectivity, collaboration, and catalytic conversations.  For more information on the many services for San Diego residents, be sure to visit them at https://www.missionfed.com/

Introduction I appreciate music of many styles. I like Jazz, Rock Ballads, Baroque period classical, Marches, Choral, New Age, CCM and Traditional American Hymns. I even somewhat appreciate country western unless it has a fiddle AND steel guitar that gets a little twangy. However, I don't appreciate…

"All lands, one voice drifts like breath through every place at once. "Choral fragments rise and dissolve inside an ambient field, evoking a world without borders. Robert Lax's line — “the same moment in every place” — guides this sound: a single moment, stretched to gather all lands in one voice." Jerusalem apartheid wall recording by Anders Vinjar reimagined by Paul Beaudoin.

durée : 00:15:25 - Variations canoniques sur le choral « Vom Himmel hoch » BWV 769 - Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Host Wil Nettleton is joined today by LMPC's new Director of Choral Ministries, Brett Hyberger, as well as Director of Worship & Music, David Henry. The three discuss Brett's spiritual and musical journey and what ultimately brought him to LMPC's staff. They also touch on some of the commonalities and distinctions between our sanctuary and fellowship hall services and extend the open invitation for more in our congregation to get involved in music at LMPC.Host: Wil NettletonSpecial Guests: Brett Hyberger and David HenryProducer: Ben WingardMusic arranged by David Henry and performed by David Henry and Hannah Lutz.To contact Pillar & Ground or to submit a question that you would like to hear addressed on a future episode, please email podcast@lmpc.org. 

durée : 00:07:22 - Choral pour orgue « Aus tiefer Not schrei ich zu dir » BWV 686 - Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

A Choral Benediction GUMC Chancel Choir September 21st, 2025 Worship Service Groveport UMC, Groveport Ohio To support the ministry of the church, please click here: https://groveportumc.org/give/

How can a film with a queer protagonist, written by a queer playwright, and directed by a queer man… not be a queer film? That's the tricky question I'm tackling with The Choral, the WWI period drama that just premiered at the Toronto International Film Festival (TIFF). In this episode: my Ralph Fiennes/Nicholas Hytner fangirling, why the film works as a crowd-pleaser but flattens queerness and other marginalized identities, and the bigger questions it raises about reclaiming — or sanitizing — queer history.

durée : 00:11:07 - Choral BWV 645 et Sinfonia BWV 29 - Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

“I love the way that contemporary a cappella engages singers who might not necessarily see themselves as ‘choral singers' to be able to sing together and maybe discover a love of more traditional choral music. For me, it's all about engaging more singers. Group singing is such a beautiful community, and I've seen the ways it can really change lives, create beautiful spaces for self-expression, and do some good for the world in a time where we really need it."Rob Dietz is a multi award-winning singer and vocal percussionist who has been arranging, composing, teaching, and performing contemporary a cappella music for over twenty years. Based in Los Angeles, Rob is best known for his work as an arranger and group coach on NBC's The Sing-Off. His arrangements have been performed by top-tier vocal artists, including Grammy-winning groups Pentatonix and The Swingles, as well as VoicePlay, Kings Return, and many more.He earned his bachelor's degree in music with an outside field in business from Ithaca College in 2010. While at Ithaca, Rob had the honor of directing the all male-identified group, Ithacappella, with whom he twice advanced to the finals of the International Championship of Collegiate A Cappella.As a performer, Rob is an internationally recognized vocal percussionist, with credits including Glee (FOX) and The Late Late Show with James Corden. Rob has a deep passion for a cappella education, and is a founding co-director (along with Ben Bram and Avi Kaplan) of A Cappella Academy. In 2016, he launched Legacy, a youth a cappella group in Los Angeles. In 2023, he transitioned Legacy into Academy Choir: Los Angeles, a larger ensemble blending contemporary a cappella with modern choral music.In addition to directing his own groups, Rob is a sought-after clinician and presenter, having conducted honor ensembles at regional and state festivals. He is also the author of A Cappella 101: A Beginner's Guide to Contemporary A Cappella Singing.Alongside his work in contemporary a cappella, Rob is also an accomplished choral composer, with works published by Hal Leonard, Alfred, GIA Publications, and Heritage. Rob currently serves as the national repertoire and resources co-chair for Contemporary/Commercial music for the American Choral Directors Association To get in touch with Rob, you can visit robdietzmusic.com or find him on Instagram (@rdietz55) or Facebook (@rdietz2).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

GFFC: GLACIER SYMPHONY & CHORAL, N VALLEY MUSIC SCHOOL TRT: 11:45

Florence Price's abiding interest in the literary arts helps explain the extraordinarily large number of vocal compositions in her catalogue – well over one hundred – as well as the fact that she occasionally supplied texts of her own for these pieces. Conductor John Jeter discusses with Raymond Bisha his latest album of Price's music which comprises a dozen of these choral works, including Price's two significant cantatas – Abraham Lincoln Walks at Midnight and Song of Hope.

We discuss the new AMPAS President before reacting to the full NYFF63 lineup, the TIFF additions and tributes, and some Telluride deductions. Plus we review Cloud, Sorry Baby & Together while also discussing new trailers for Rental Family, One Battle After Another, etc. ACADEMY NEWS: Lynette Howell Taylor is our new President - 1:29 Will the Oscars remain on ABC after Disney makes moves? - 3:52 FILM FESTIVAL NEWS: The NYFF Closes with Bradley Cooper's latest + a Jim Jarmusch Centerpiece - 8:50 NYFF63 Main Slate is loaded + That Jay Kelly Trailer - 11:26 NY Spotlights The Boss, DDL & double Linklater + Blue Moon Trailer - 17:15 TIFF Tributes are discussed + that Rental Family trailer is working well, maybe too well - 29:30 TIFF Lineup Additions + that Left-Handed Girl Trailer - 34:05 Deducing Likely Telluride Lineup - 41:02 MORE TRAILER BREAKDOWNS: One Battle After Another, starring Leonardo DiCaprio & Tom Cruise jokes - 43:24 Highest 2 Lowest, starring Denzel Washington & Jeffrey Wright - 48:45 Ella McCay is one Mike's dream and another Mike's nightmare - 52:15 Train Dreams, starring Joel Edgerton is another huge schism betwixt us - 54:49 The Choral, starring Ralph Fiennes would win every Oscar in 1994 - 57:53 Shelby Oaks from Chris Stuckman could be just our speed - 1:0015 NON-SPOILER REVIEWS: Cloud & Folktales at IFC Center + AlsoMike's Burger Day in NYC - 1:02:29 M1 reviews Sorry, Baby, The General's Daughter + Quickies on Together & Oh, Hi! - 1:08:01 OUTRO: We try to avoid jinxing Mike1's health and fail. But if he survives, you can enjoy more Oscar Race Checkpoints in the future. As always, we appreciate all your support. Please follow us on social media, like & subscribe, rate & review - all that good stuff… and you can find a tree of all our links here. https://linktr.ee/mikemikeandoscar

Gustav Holst - Choral Hymns from the Rig Veda: Hymn to the WatersEleanor Turner, harpWells Cathedral School Choralia Christopher Finch, conductorMore info about today's track: Naxos 8.573427Courtesy of Naxos of America Inc. SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

“My mantra for my teaching is: I want to create good humans while also creating good musicians. I tell every ensemble that on the first day of school. What they care about is 'Does Mr. Brown see me? Does he value me? Does he care for me?' Then they'll start singing. I care more about the human heart than I care about the perfection of the music. Yes, I care about the music, but if my students aren't in the right mental headspace, then the music won't come.”Jeremy Brown is serving his third year at McKinney Boyd as the associate director of choirs. He conducts Lyric and Meistersingers as well as instructs the AP Music Theory course. Before Boyd, he was the associate director of choirs at Haltom High School in Birdville Independent School District. Choirs under the direction of Jeremy Brown have received consistent superior and excellent ratings at UIL Choir Evaluations. He is a product of great choral music, graduating Magna Cum Laude from the Texas Tech School of Music.Mr. Brown is passionate about choral music education and conducting. He has served as a clinician and adjudicator throughout the DFW Metroplex. In 2020 he served as a student conductor for the 2020 Summer TCDA Convention Choral Conducting Workshop. Also, he served as a conducting fellow for the Atlanta Summer Choral Conducting Institute in Summer 2022. Along with conducting, Mr. Brown performs in three choral ensembles in the DFW area- Brothers in Song, Orpheus Chamber Singers and New American Voices.In 2025, Mr. Brown published an article within the TMEA Southwestern Musician Magazine titled Emotional Intelligence in Tenor Bass Choirs. Within this article, he provided insight into the tenor-bass choral experience. Mr. Brown is a proud member of TMEA, ACDA and Phi Mu Alpha. Mr. Brown currently resides in Dallas with his wife Nikki.To get in touch with Jeremy, you can find him on Facebook (@jeremy.brown.797432) or Instagram (@jbrown_legend) or search for McKinney Boyd Choir on Facebook or Instagram (@BoydChoirs).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Today on conduct(her) McKenna speaks with Dr. Brittney E. Boykin and Dr. Erika Tazawa about their recent ACDA National Session titled "Shattering Barriers: Empowering Women of Color in Choral Leadership."

Mike 1 has returned for this Oscar Race Checkpoint, covering his Hollywood vacation stories, the TIFF Galas & Special Presentations announcements and a fun catch-up on a bunch of incredible trailers from After The Hunt & Bugonia to Project Hail Mary & Downton Abbey to Predator Badlands & Keeper. Top of the Show - Mike 1 Returns! He recaps his vacation, pneumonia & comeback. THE TIFF LINEUP (+++ More Los Angeles Anecdotes from Mike1) Hamnet (& Mike talks about Room Service in LA Hotels) - 9:07 Our Lost Bus & Wake-Up Dead Man Oscar Bets - 11:00 The Roofman will debut in Toronto & we review the trailer - 13:39 Why Rental Family with Brendan Fraser could be a sleeper contender - 16:03 Ralph Fiennes in The Choral & Agnieska Holland's Franz - 19:26 Sundance & Cannes Carryovers (+ M1 & Swell do The Grove) - 22:32 Good Fortune, Ballad of a Small Player, Frankenstein, Hedda & Smashing Machine - 29:20 Sydney Sweeny is Christie + the next from Angelina Jolie & Al Pacino - 33:28 Unlikely genre choices for Miles Teller's Eternity & Amanda Seyfried's Anne Lee - 37:09 Actors turn Directors w/ Alex Winter, James McAvoy, Brian Cox & Maude Apatow - 38:42 Saoirse Ronan's next, a Fuze lit in Hot Fuzz & Nuremberg will not be funny - 41:04 Chris Evans in Sacrifice, Scarlet for Animated Feature & Swiped on Bumble - 44:21 TRAILER BREAKDOWNS: Julia Roberts in Luca Guadagnino's After The Hunt - 47:25 Bugonia stars Emma Stone, Jesse Plemons & Fish Eye Lens for Yorgos - 51:49 Dakota Johnson appears perfect & awesome again in Splitsville - 54:42 Downton Abbey: The Grand Finale launches its Best Picture campaign on MMO - 56:00 Ryan Gosling's Project Hail Mary sets trailer viewing records - 58:34 Weapons is the one script that got away from Jordan Peele - 1:01:32 Glen Powell's The Running Man feels very Purge-esque - 1:02:52 Mortal Kombat 2 is the ultimate middle aged white guy fantasy - 1:06:07 Predator: Badlands is a must see for Mike, Mike and Alien listeners - 1:07:50 Keeper puts Osgood Perkins in M. Night Shyamalan territory as a horror filmmaker - 1:10:20 OUTRO: M2 refuses to jinx future episodes. But of course, we do hope to be back soon with both Mikes on more episodes very very soon. There are a bunch of film studies, Oscar Race Checkpoints, and Boogie Mikes episodes that we want to record ASAFP, and God willing, we will do so. https://linktr.ee/mikemikeandoscar

Today on conduct(her) Kyra and McKenna interview Dr. Giselle Wyers and Amanda Bumgarner on advice for submitting articles to the ACDA Choral Journal.

She drops into Studio A to tell Jeff about The Women Next Door, Quoir, and the other groups they're joining on stage at St Andrew's United Church in Halifax for this Pride event.

On today's Trail Lunchbox, Tommy welcomed two beloved Missoulians deeply connected to the International Choral Festival: Saxon Holbrook, president of the festival and longtime choral singer, and Jürgen Knöller, brewmaster at Bayern Brewing and early festival supporter.They swap stories about the very first festival in 1987, flipping burgers for Carson, seeing Frank Zappa in Germany, and what makes Missoula's global celebration of voices so unique. Saxon walks us through what to expect at this year's festival — from the Choir Crawl to the finale at the Adams Center — while Jürgen shares how Missoula might be brewing up a cross-continental beer collaboration with a sister choral fest in Bavaria. 

“More competitions are being organized, and it has become a way for these conductors and choirs to work on their skills. By joining these competitions, the rate of their progress accelerated. People join choirs for different reasons. For most of us, we started only because we loved singing, because we found a place where we can share our voice with friends with the same interest. This desire to join competitions would just be a product of years of singing with a choir.”Mark Anthony Carpio is recognized as one of the most respected figures in choral music today. He is a faculty member of the Conducting and Choral Ensemble Department of the University of the Philippines College of Music, where he earned his Master's degree in Choral Conducting and his Bachelor's degree in Piano.In 2001, Prof. Andrea O. Veneracion, National Artist for Music, chose Mark to succeed her as choirmaster of the Philippine Madrigal Singers, also known as the “Madz.” Since then, he has continuously led the already much-awarded choir to even greater heights, including placing first in several prestigious choral competitions in Europe. Under his leadership, the group has been invited as guest choir in several international choral conferences in the USA and South America, among others.In 2007, under the baton of Mark, the Philippine Madrigal Singers won, for the second time, the grand prize in the European Grand Prix for Choral Singing in Arezzo, Italy. This victory makes them the first of the only four choirs in the world to win the grand prize twice.In 2009, UNESCO designated the group as a UNESCO Artist for Peace. This title is given to celebrity advocates charged with the mission of embodying and raising awareness of the UNESCO ideals, which include peace, security, fundamental human rights, and freedom.In the Philippines, he regularly collaborates with the Philippine Choral Directors Association, the Cultural Center of the Philippines and the National Commission for Culture and the Arts, for music and choral education programs. He heads the Andrea O. Veneracion Sing Philippines Foundation, which spearheads choral music development initiatives including the Sing Philippines Youth Choir, whose singers come from all over the country.Mark has adjudicated in different choral festivals and competitions and presented around the world, including Korea, Indonesia, Singapore, Hong Kong, Malaysia, Japan, Taiwan, Italy, Latvia and the US. Locally, he has been the chairman of the board of jurors of the biennial Andrea O. Veneracion International Choral Festival and the 1st Asia Choral Grand Prix (2019).He also directs the Consortium of Voices, a choral society of young choristers, consisting of the Kilyawan Boys Choir, Kilyawan Male Choir and the Voces Auroræ Girls Choir.​To get in touch with Mark, you can find him on Facebook (@markanthonycarpio) or visit the Philippine Madrigal Singers website.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

The latest Le Chéile Pub Choir Choral Workshop will take place this Saturday (12th July, 12pm-2pm). The Vandeleur Gardens in Kilrush is the venue for the workshop, which will also include a singalong with Sarah Corcoran from the Sarah Corcoran School of Singing. For more on this, Alan Morrissey was joined by, Veronica Keating. PHOTO CREDIT: Le Chéile Pub Choir via Facebook

“We had 10 sopranos, 4 altos, 2 tenors, and 1 bass, and they were all volunteers. We were spending hours trying to learn this music that we didn't have the numbers for, so I ended up writing almost 100 church arrangements, and I made the voice leading very stepwise. Being that close to the music made me a better writer because I'm not just writing for ensembles I don't hear regularly. I'm there in the rehearsal process, and I know what's hard and what might be easier to grab onto.” MaryAnne Muglia (she/her) is a composer, vocalist, and educator based in Arizona. She arranges and writes contemporary choral music, vocal jazz, and indie-influenced original songs. Her music has been performed by ensembles across the country, including Lyyra, Chanticleer, The King's Return, Säje Voices, and more. Recent commissions include works for community choirs, professional vocal groups, and student ensembles of all levels.​MaryAnne's arrangements and compositions have been published by Alfred Music, Graphite Publishing, Anchor Music, Hal Leonard, and Shawnee Press, and she has self-published over 25,000 copies of her work to date. She is the founder of Red Letter Daze, a professional vocal group with over 200,000 followers online and multiple Contemporary A Cappella Recording Award (CARA) recognitions. With Red Letter Daze, she has headlined major events including the NAU Jazz Madrigal Festival and the BOSS Festival (Boston Sings), sharing her original work and signature vocal arrangements with audiences nationwide. Her viral videos—including harmony breakdowns and arrangements of “The Parting Glass,” “The Sound of Silence,” “Carol of the Bells,” —have garnered millions of views across platforms. She also directs the Vocal Jazz and A Cappella programs at Chandler-Gilbert Community College and teaches at A Cappella Academy, a premier summer intensive for young vocalists founded by Avi Kaplan, Ben Bram, and Rob Dietz.​To get in touch with MaryAnne, you can visit her website (maryannemuglia.com) or find her on Instagram (@maryanne.muglia).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

"I start every morning at the junior high, and we co-teach together. It's great for alignment in the program, for familiarity with the students and getting to know them and hopefully continuing in choir. Our students see that we collaborate. I like that they can see that because it shows them how to go about relationships. People need be modeled how to treat each other and work together and talk to each other.” -Daniel Gutierrez"It was super rewarding to be so invested in those pieces, and that's something that our middle schoolers are getting with conference performances. They're getting a set of songs for an extended period of time. We try to get our students to really invest so it can have an impact on them and in turn have an impact on the audience. That journey is just something that the kids don't forget, and that's why I keep submitting for conferences." - Blake RichterDaniel Gutierrez, the head choir director at Nixa High School, is an acclaimed conductor, clinician, and speaker nationwide. He has earned several prestigious awards, including Teacher of the Year for Springfield Public Schools, a finalist for the state award, the Springfield Rotary Award for Community Service, and honors from the Springfield Business Journal's 40 Under 40. Daniel has received the Missouri Choral Directors Association Podium Award. His choirs are renowned, frequently winning at music festivals and performing at notable conferences, including regional and national ACDA events and the National Conference for MS/JH Choral Music.Blake Richter is a middle school choir director in his hometown of Nixa, Missouri. Blake directs over 250 seventh and eighth grade students in his various ensembles at Nixa Junior High. Blake's choirs have been selected to perform at the Missouri Music Educators Association Conference multiple times. In 2017, Blake was named one of Missouri's 32 Regional Teachers of the Year, in 2019, Blake was awarded the Prelude Award from the Missouri Choral Directors Association for demonstrating exemplary work as a young choral professional, and in 2020, Blake was named a Semifinalist for the GRAMMY Music Educator Award. In his spare time, Blake runs his Blake Richter Productions business which specializes in video production, audio engineering, photography, and music composition.To get in touch with the Choir Guys, you can find them on Facebook, Instagram, and TikTok. You can find Danny on Instagram and find Blake on X, TikTok, and Instagram (@drrichternixa).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

How do we decide what is and what isn’t a “Great work of choral repertoire?” Dennis Shrock says, “Time.” Let a few hundred years pass and see if people still perform that music. This show is proud to collaborate with authors and composers from GIA/Walton and Oxford Press. Dennis has many titles available on both! … Continue reading "Episode 249: The 10,000 Foot View of Choral Repertoire with Dennis Shrock"

Choral music composer and conductor Eric Whitacre directs choirs around the globe, but as a kid in northern Nevada, he feels like the black sheep. He doesn't know how to channel his endless energy to create meaningful connections or find his place in the world. His remarkable experiences with outer space, multi-part harmonies, and a (literal) leap of faith teach him crucial lessons about embracing what lights him up to be his true self.Each episode of Meditative Story combines the emotional pull of first-person storytelling with immersive music and gentle mindfulness prompts. Read the transcript for this story: meditativestory.comSign up for the Meditative Story newsletter: https://meditativestory.com/subscribeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.