Guest Blogger: Who’s Behind “Decolonizing the Choral Classroom”? by Kiernan M. Steiner

In a recent Instagram post, I shared some questions that I have been considering for the past couple of years, and I would like to provide some more background information regarding that initial posting.  First, I must acknowledge my positionality in this conversation.  I am an able-bodied, cisgender woman of mixed race (Filipinx, English, Irish, and German), a transracial adoptee (adopted by a white family), and a third year doctoral student in choral conducting.  I have had the privilege to work with many supportive teachers, professors, and advisors throughout my undergraduate and graduate work, and I am blessed to have friends and family members who have encouraged me along the way.  It is this particularly unique lens, however, that has allowed me to reflect on my experiences from many different perspectives—from places of privilege, as well as marginalization. 

Since the resurgence of the worldwide Black Lives Matter movement, in response to the murder of George Floyd and so many others, educators have been taking inventory on the many ways systemic racism has permeated the education system. Terms, such as “decolonizing” and “unsettling,” have been used by activists and Anti-Racist/Anti-Bias (ABAR) educators to refer to the dismantling of the imperialistic and white supremacist framework which operates within the American education system.  This framework is seen in the traditional whitewashed teaching of the “First Thanksgiving” between the Pilgrims and the Native Americans, the celebration of Christopher Columbus, and the exclusion of ethnic studies in most K-12 school districts.  In music education, white supremacy has not only affected the music that is taught (repertory), which is predominantly Western European and European American art music, but the methods of teaching (pedagogy) that values hierarchical relationships, discipline, rigor, and perfectionism.  These principles are not inherently bad, but, rather, have been used to appropriate and degrade communal music making, oral traditions, popular music, and other non-Western musical traditions for centuries.  It is important to acknowledge how traditions of Western European and European American art music have become “the standard” for comparison, which is inherently racist.

In recent conversations with colleagues and advisors, I have heard a broad spectrum of responses to the ideas of colonialism, imperialism, and white supremacy in choral music.  Mainly, choir directors and conductors want to have a handbook or checklist to ensure their programs move in the “right” direction and away from racist policies.  Unfortunately, there is no one perfect checklist or guide that can “right” all of our “wrongs,” partly, because not everything we do must be thrown out or changed, however, I believe everything we do must be deeply interrogated.  As an educator, my loyalty and responsibility is not to uphold a tradition that was never built for me—a woman of color—but, rather, reimagine how this art form can serve the students that I work with presently, who should not be expected to dim their light to learn, perform, or love choral music.  I believe the work that has to be done must start with each individual educator/director/conductor asking themselves: How have I been complicit with traditional choral practices that disregard and abuse marginalized individuals and voices?  To initiate this self-reflection, here are some questions that help individuals dig deeper into issues concerning auditions, rehearsal techniques/content, and concert attire:

Photo description: Original “Decolonize the Choral Classroom” Instagram post by @decolonizing_kiki.

 

As I continue my studies in higher education, and strive to work in a collegiate/university setting someday, I have to accept that classical music still operates on a hierarchical model and reifies white supremacy.  If I did not recognize this, I would be denying my personal experiences that have greatly shaped my reality as a music student, educator, and scholar-activist.  More often than not, I am still the only woman or woman of color at the table.  At the same time, I am also unlearning racism and identifying ways I have personally benefited from white supremacy.  In continuing this work, my dissertation research will be a more thorough examination of power structures in collegiate choral programs.  If you would like to follow my journey or connect with me, find me on Instagram (@decolonizing_kiki) and check out my website: www.kiernanmsteinermusic.com!

Self-Reflection Prompts:

●      How am I engaging with these concepts of “decolonization” and “unsettling”?

●      Do these words bring up a positive or negative reaction?

●      What area (pedagogy, curriculum, classroom management, etc.) could I focus on this school year/season to address some of these concerns?

●      Who are the leaders in my school/organization that I can turn to for support and guidance?

Here are some more resources for further study:

●      https://www.blackvoicesmatterpledge.org/

●      http://www.castleskins.org/

●      https://www.earwolf.com/episode/are-we-hearing-a-crescendo-of-anti-racism-in-classical-music-with-dr-kira-thurman-and-ashleigh-gordon/

●      https://choralosophy.com/2019/08/18/episode-17-beyond-elijah-rock-with-dr-marques-garrett/

●      https://choralosophy.com/2019/10/02/episode-20-choral-appropriation-or-cultural-sharing-with-brandon-boyd/

●      https://www.nytimes.com/2019/08/23/podcasts/1619-slavery-anniversary.html

●      How to Be An Anti-Racist by Ibram X. Kendi

●      White Fragility by Robin DiAngelo

●      Me and White Supremacy by Layla Saad

●      13th (documentary) directed by Ava DuVernay

Kiernan M. Steiner is a third year doctoral student in Choral Conducting at Arizona State University, located in Tempe, Arizona. Her research interests are in curriculum inquiry, critical pedagogy theory, liberatory education, and her dissertation is an examination of power structures in collegiate choral programs throughout the United States.  Kiernan’s goal is to break down barriers that have historically limited Black, Indigenous, and People of Color, womxn, the LGBTQIA+ community, individuals with disabilities, and other marginalized communities from having access to choral music education. In addition to her research, Kiernan is the director of the Sol Singers at ASU, teaches courses in beginning choral conducting and vocal/choral pedagogy, and advises an all-female a cappella group, called the Pitchforks.  In recent years, she has presented research on gender studies, women in music, and queer theory in San Francisco, Dublin, and Boston. For more information, go to her website: www.kiernanmsteinermusic.com.

Photo Credit: Jacob Moscovitch

Have an idea or perspective you wish to share for this decolonizing choir series? Let me know at this link.

An Introduction to the decolonizing choir series

Dear Reader,

I am excited to share with you news about an upcoming decolonizing choir series hosted here on The Choir Girl Blog. 

This series is not a guidebook to becoming a decolonized choral professional. Rather, the blog will be a platform to share information and stimulate discussion. There will be a series of posts ranging in content from guest bloggers, interviews, and personal reflections. Reading, questioning, reflecting, writing, and decolonizing is an ongoing process. This series will reflect the same. My hope is to provide an uncensored platform for people in the choral sphere to speak. The stage is for them to use as they wish. 

Posts will be published on a flexible timeline. The first set of posts have been curated by me but I encourage you to submit your article ideas as well. I will approve writers and publish posts as long as there is interest and engagement. 

Sincerely,

The Choir Girl

Feel free to being the process by following the social media accounts below:

@choirisracist

@composingisracist

@operaisracist

@amplifiedopera

@decolonizing_kiki

An Interview with Konomi Kikuchi

 

Japanese Dancer, Konomi Kikuchi, is an understudy dancer for The Beginning of Happiness. She took some time to share her thoughts regarding the rehearsal process so far:

What is some of your background? 

I started training in classical ballet in Japan at the age of three. I graduated from Japan Music High School where I specialized in classical ballet. After that, I was at the Alberta Ballet School in Calgary as a part of their Postgraduate Program. I met a wonderful contemporary teacher at the Alberta Ballet School named Graham McKelvie. I was attracted to the charm of contemporary dance that was different than classical ballet. Now I am learning contemporary dance as an apprentice with Good Women Dance Collective.

Why did you decide to come to Canada?

I was interested in learning ballet outside of Japan. At the time I chose Canada because I auditioned and was accepted to the Alberta Ballet School.

What was the importance of dance for you growing up in Japan?

Without dancing, I would be crazy. Dance is the most important to me. Dance is my favourite thing that makes me happy and sad and gives me a lot of emotions.

What are some things that are similar or different between the dance culture in Edmonton and Japan?

I thought about the differences between Edmonton and Japanese dance. My opinion is that Japanese people are good at fine-tuning the body direction and spacing of dancers lined up with one another. I was surprised at the richness of expression in the Edmonton dance community. There are many artistic and warm people. I am learning the importance of dance in my heart.

Do you have any thoughts on the rehearsal process and how the singers and dancers work together in this show?

I think dancers and singers are connected by breath. Dancers need to breathe in order to dance. Singers also need breathing between creating sounds. I feel that both work because of breath.

What is your favourite song or part in this show?

My favourite song is "How Beautiful” since the first time I heard it. It has a beauty that makes me want to hear it with my eyes closed.

What is the challenge of being an understudy when you are learning all dance parts in the show?

I am happy to know all the dancers' choreography. It's a very good learning experience because each character has a lot of things that I don't have. I am mainly Alison’s understudy. She is powerful and has energy that is strong and cool! She is a very kind person who teaches me what I do not understand and practices with me. She has everything I need. I am especially learning a lot from her!

I had only danced the choreography before; however, this time, I was very interested because the dancers choreographed the movements and imagined what they would look like only after listening to the songs. This is an absolutely good experience for me.

What do you think of having live music to accompany dance rather than a recorded track?

Everything that is not recorded is fresh music, and the music that emanates from it impresses me. This time, the music of the four wonderful singers gives goosebumps. Music that is played live has something that resonates with human hearts.

Is there anything I missed that you would like to mention?

I am very grateful to be able to participate in all rehearsals as an understudy.

Thank you very much.

Follow Konomi on Instagram @konomi0919

The Beginning of Happiness

Composed by Jane Berry
Choreographed by Good Women Dance Collective
Featuring Jane Berry, Sable Chan, Amy Voyer, Dawn Bailey (FEMME), Ainsley Hillyard, Kate Stashko, Alison Towne, and Rebecca Sadowski (GWDC).

Tickets are available at TIX on the Square. Seating is limited, please book in advance. $25 General, $15 Student/Senior/CADA Members
25% of the house will be held for pay-what-you-will tickets at the door.

An Interview with Melissa Morgan

Melissa Morgan’s professional world underwent significant change in 2019. Firstly, she decided to step away from duties with the Prairie Chamber Choir (PCC). The group was at a point where either there would be a major investment of time to continue the non-profit group established or it was time to refocus her energy into other work. Morgan was also teaching full-time at Luther College High School while at the same time she was directing the PCC. “In my mind, I needed to take some time for a work-life balance,” she reflected as she spoke with me over the phone. Morgan’s passion is evident when she speaks about music and education. She continued about the PCC, “In Regina, we didn’t have an SATB conducted choir that specialized in Prairie choral music but I had to make a choice. I decided that I would step away from the choir. Shortly after I knew [I would step away], a terrible thing happened - Dominic Gregorio, the Choral Director at the University of Regina, passed away.”

A heavy silence enters the phone line between Morgan and myself.

The news of Gregorio’s death shocked the Canadian choral community. His passion, advocacy, and presence within the community connected with many people. Morgan notes that the choral community is still trying to process the painful shock of his sudden death. “It was tough at the University here, his students adored him, he adored his students” she shares. Gregorio was always one to lend a helping hand and did for Morgan the week before his passing when he volunteered last minute to help with the Vancouver Chamber Choir concert. 

“When his position came up [at the University of Regina],” Morgan shared , “there was a lot of uncertainty for me when I applied. Yet, I feel it’s a great honour to continue his legacy. Dominic did a lot of wonderful things for the University and the students. Everybody knew and loved him and it is my goal to nurture and continue the attitude of joy and culture of community and that he loved to spread.” revealed Morgan. It is hard to imagine a better individual to continue into Gregorio’s position at the University of Regina other than Morgan. She and the Music Faculty understood that the best way to honour Gregorio was to pick up and move on: “He wouldn’t want everybody moping around. He would want everybody to do their best, to keep moving forward, to keep being as excellent as they can. That’s what we have to do.” There will be a concert in remembrance of Dominic Gregorio on March 8, 2020 and a scholarship established in his name (please see the bottom of this post for more details).

As with any new job, Morgan is experiencing a learning curve in her new position as Director of Choral Music at the University of Regina. This year is dedicated to developing her coursework and conducting the University choirs. One such course is the Introduction to Choral Techniques for primarily Music Education students. It required her to reflect on her own learning practices and how to translate that for her students. Some of these questions were to ask herself: “How do I approach teaching gesture, various beat patterns, what are the students doing with their bodies, and how do our bodies communicate with people in front of you… how do I introduce and teach the things that I have spent the last 25 years of my life trying to figure out?”

As a fellow woman of colour, I was very eager to hear Morgan’s thoughts on being a Black woman in a prominent Faculty position within the area of choral conducting. Morgan shares her family history to provide context, “I grew up here in Regina. My mom was a single mom, my dad passed away when I was four. My mom raised my sister and I. When my dad passed, my aunts and my grandmother came to help her because she was pregnant with my sister at the time. I grew up with my family being one of a handful of Black families living in Regina, Saskatchewan. In elementary school, my sister and I were oftentimes the only two Black kids in the building. In high school, it was me and one other girl, we were the two Black students in our grade. Throughout my university days there weren't a lot of Black students on campus and less in music. It was very sparse. I never had any Black teachers.” It is clear that Morgan speaks with an awareness of how others may have a certain perception of who she is because of her skin colour but this doesn’t impact her daily life. “I am a Black woman. I identify as that and I know I represent the community. But I find my character, how I treat people, my work ethic, the way I interact with others, that is number one. Second is being as knowledgeable as I can about my job,” she shares. She recounts a tale from her first years of teaching in a high school: 

“I had just finished my Masters in choral conducting and I ended up teaching a full-load of English. I got to school the first day, I was setting up in the classroom, a student walked in, I didn’t see the student. I was getting ready at my desk, and I heard, “What!?!?! they are hiring Black people now!?!?!,” Morgan looked up to see a Black, female student continue, “I never had a Black teacher ever!” She was like, “what is going on here?” She ended up in my class. We could talk about various things and she felt like she could relate to me. That really awoke me - brought an awareness to me that diversity matters. I’ve always been the only Black person in the classroom or at a teacher’s meeting. That’s just who I am, that’s my life. I’ve experienced racism but it doesn’t get the better of me. What I’m happy to see is that now there are teachers of colour in the classroom.”

Morgan notes that there are probably only a handful of Black female conductors in Canada working at the university level and that there is work to do to get women of colour into these positions. She also shares how fortunate she has been to have strong, female mentors during her education such as Victoria Meredith who was her Masters supervisor at the University of Western Ontario and her Doctorate mentor, Hilary Apfelstadt who was at the University of Toronto. Morgan elaborates, “my race was never an issue. Those seeds of limitations were never placed on me. I always believed I could do it because everybody always told me I could.” Her influences of strong women extend beyond her academic mentors as she notes the importance of her colleagues at Luther College High School, her mother, sister, aunts and grandmother in her upbringing as well. It is evident that Morgan will also continue this role of support in the lives of her students and singers.

“We’re all here for each other. That’s why we’re on this earth. I’m here for you, you’re here for me. However we interact or don’t interact, whatever you do has affected what I do. We’re all on this earth for each other. How can we interact with others to make this a better place? Forget what you look like, or what you’re wearing, what language you speak,” she shares with fervour. While 2019 was a year of change, Morgan speaks with a wisdom that recognizes that embracing the discomfort of change is the only way to move forward.

Dr. Melissa Morgan is a choral conductor, educator and performer. Currently, she directs the choral program at the University of Regina where she also teaches courses in choral conducting and vocal diction. She is frequently asked to appear as a clinician, adjudicator and guest conductor throughout Canada.  

Dr. Morgan holds a Doctorate of Music Performance in Choral Conducting from the University of Toronto, a Master of Music Performance in Choral Conducting from the University of Western Ontario, a Bachelor of Arts and a Bachelor of Music Education from the University of Regina. She is also an Associate of the Toronto Royal Conservatory of Music (ARCT) in piano, voice, and flute. Throughout her education she has had the privilege of studying with exemplary teachers. She is grateful to have worked under the supervision of Dr. Hilary Apfelstadt, Dr. Victoria Meredith, Kathryn Laurin, and Diana Woolrich. In October 2017, Dr. Morgan was named as one of CBC Saskatchewan's Future 40 under 40 recipients.

Dominic Gregorio Scholarship:

A proud Filipino-Canadian, Dominic Gregorio was born and raised in Guelph, Ontario, completed a Bachelor of Arts degree in Music at the University of Guelph, a triple major Master of Music Degree (Voice, Choral Conducting, Music History) at the Temple University in Philadelphia, and a Doctor of Musical Arts Degree at the University of Southern California in Los Angeles, earning the prestigious medal, The Order of Arete in 2012. Dominic was Director of Choral Activities and an Associate Professor in the Department of Music at the University of Regina, and had a tremendous impact on campus and in the community. He was generous with his time and passionate about sharing his gift of music with the community.

If anyone would like to donate to the scholarship please contact: the University of Regina Development Office and ask for Luanne Drake, Luanne.Drake@uregina.ca; 306-337-2450

Ella Gregorio and Irene Gregorio, Dominic’s mother and sister, and friends of Dominic Gregorio have established the Dominic Gregorio Entrance Award and Dominic Gregorio Award in memory of Dominic.

Voices In the Living Room

I will never tire of hearing the ranges of a human voice. There was a sense of warmth and play during New Music Edmonton's UltraViolet concert last night. They also invited guest vocalist and composer, Jane Berry, into their living room space. Chenoa Anderson, Allison Balcetis, Amy Nicholson, and Roger Admiral began with John Cage's Living Room Music as they each played items one would find around their home, such as a rifled through magazine or a 2x4 piece of wood. A rhythmic series of percussive taps and restless rustles of paper invited the audience into their on-stage domestic space. They also recited Gertrude Stein's "The World is Round," which introduced the voices of the instrumentalists into the space as well. They sat in a semi-circular formation complete with carpet on the floor, two recliners and two wooden chairs that looked like they had been been borrowed from a dining room set, a lamp on a side table, and even a plant perched at chairside.

Tanzer Lieder by Ana Sokolovic is structured with three different language voices in the five movements from French, German, and English. Sokolovic's writing demanded an array of vocal technique from Berry from the wailing vocal glides in Stimmen to the haunting vocal suspensions in Last Song. There was a cohesive tension created from the instrumentalists and Berry's vocals throughout the movements. The sounds from the piano and cello strings often matched the held frequency from Berry's own vocal folds. The pulsating vibrato on the flute gave an audible sound to the fluctuating breath heard in a body.

Alyssa Aska's The Woman and the Lyre: Sapphic Cycle shared many movements of vocal and instrumental play. I am more tremulous had a racing agitation between Anderson and Berry and there was good use of created reverb in Of the tacet earth where Berry's live vocal input was processed live and fed back to the audience on speakers surrounding the audience. It changed the resonating space around Berry's voice.

Chains  by Frederic Rzewski was by far one of the most playful as Berry read a local newspaper on the recent climate strike led by Greta Thunberg at the Alberta Legislature. Berry's speaking voice ranged from matter-of-fact to sarcastic depending on the sentence being read. A large repertoire of sounds were shared from tablet and phone ringtones, boxing gloves being used to play the piano, and the sound of the typewriter echoing the other voices on stage.

There was the world premiere of Berry's composition The Break, which shared text from a young woman, Cassandra Siwiec-Hlewka, with bipolar disorder. The poetry was from Siwec-Hlewka's first manic episode. Berry created opportunities for each instrument to have their own vocal line before introducing her own, which was the last in the progression. There was a sad beauty in the lyrical lines, but space between each instrumental introduction, as if space was being held for them on stage to be heard. There was this feeling of cyclical descent with text "catch me, under the water it's pulling me" and repeated phrases such as "I pray and I pray..." Out of the ebb and flow of vocal lines emerged a hopeful image of a flower blooming in the darkness. It was a beautiful image to finish the first half of the concert. An acknowledgement of the internal resilience that people possess even when their challenges are not visible.

An Interview with Conductor, Elaine Choi

Conductor and music educator, Elaine Choi, is a citizen of two places. She has lived half of her life in Canada and half of her life in Hong Kong. Choi is based in Toronto and immigrated to Canada in 2002. Prior to that, she was living in Hong Kong for 17 years. She is the cultural ambassador that the Canadian choral scene needs with her skills to facilitate the exchange of choral music between Canada and Asia. Choi understands the void of Chinese choral music in Canada and, conversely, the absence of Canadian choral music in Asia. Choi shares: “We sing a lot of different languages. Choir is always a way to welcome people into a country or place. But I have never had a chance to sing Mandarin choral music ever since I came to Canada. Mandarin choral music is quite accessible. There is language complexity that tends to scare people away.” Choi is well suited to be make the introduction since her Doctoral thesis looked at the complexity of Mandarin as lyric diction and the dissemination of Mandarin choral music. Her goal is to have a choir that is not afraid to sing in Mandarin and this could be a way to increase a singer’s comfort level by having a mix of non-native speakers and native speakers in her group. On a previous visit to Hong Kong four years ago, Choi realized that Asian choirs were unaware of Canadian choral composers. When she informally polled choral musicians in Hong Kong, oftentimes there was only one Canadian composer they would mention: Healey Willan.

Last year, she was invited to share Canadian choral music with The Chinese University of Hong Kong (CU) Chorus. She partnered with CU Chorus to arrange workshops with five local high schools this July. Each school has chosen to learn a work by a contemporary Canadian choral composer that they will workshop with Choi and members of Babεl. One school will be tackling Eleanor Daley’s “Lake Isle of Innisfree,” another will sing Mark Sirett’s “Things That Never Die” and there will be a mass choir with all five high schools, Babεl, and the CU Chorus performing Matthew Emery’s “Sing Your Song.” It is not often that a choir is created in response to an international workshop request, but that is a factor in Babεl's formation. Choi realized that if she brought singers with her to Hong Kong this July for these workshops the music would further resonate with audiences. Choi and Babεl will also be working with the Caritas Institute and sacred professional choir, Vox Antiqua, to promote sacred Canadian choral works.

Babεl is comprised of singers that reflect the diversity of the Greater Toronto Area. The group includes non-Chinese speakers, non-Chinese descent, international students studying at the University, and many first and second generation Chinese, and some who have parents that speak Chinese but who don't speak the language themselves. For the latter, performing in Mandarin allows them access to a part of their culture they have never been exposed to.

Choi believes there are two large contributing factors that has resulted in limited Mandarin choral music in Canada:

1. Chinese is a hard language to learn and can be intimidating for non-speakers.

2. Organizations and choral leaders don’t know where to find this music.

The first area of difficulty is addressed by using pinyin transliteration, which can be read using the English alphabet. As long as the rules for consonant and vowel pronunciation are outlined, it is no different than a choir singing a work in a different language. Choi also notes that the tonal part of Mandarin is not a distinguishing feature once the text is sung, often on neutral vowels and different pitches. There is an increasing amount of Mandarin choral music written in a western style, especially in Taiwan. There needs to be further development in marketing these scores for North American choirs and making sure there is standardized pinyin in North American music editions. A goal of Choi’s would be to work with composers in Asia to publish accessible North American editions to encourage non-native speakers to sing this music outside of the country of origin. There is an authenticity that results from standardizing the music from the source since there is a challenge when North American composers are trying to write arrangements of Asian folk music. Mandarin music is more than songs about jasmine flowers and Japan is more than Sakura. If the arranging composers don’t use the standardized pinyin transliteration, it can end up creating a lot of text confusion for non-native speakers since there may be multiple transcriptions of the same noun.

The passion in Choi’s voice is evident when she verbalizes the goals of Babεl and the excitement of beginning an important process to promote and share culture through music. Choi grew up in a musical family with her Mom and two Aunts as accomplished music educators and piano teachers back in Hong Kong. Piano lessons commenced for Choi at 2.5 years of ago but her family knew that immigrating to Canada would provide more options for Choi and her sister, Yvonne, to pursue musical careers. Yvonne has a degree in collaborative piano and works with many Toronto choruses. It is apparent that Choi is a music educator at heart. It doesn’t matter if she is working with professional singers, a community adult chorus, or a children’s choir because Choi has the warmth and inspiration to guide them all.

You can help support their first tour to Hong Kong and Taiwan

A video to learn more about the choir

Curious to hear more Mandarin choral music and groups?

Composers to watch:
Jan Tien Hao (冉天豪) - Taiwan
Ng Cheuk Yin (伍卓賢) - Hong Kong
Xingzimin Pan (潘行紫旻)- China
Jenny H. Chou (周鑫泉)- Taiwan
Jin Chengzhi (Aaron King) (金承志)- China

Choirs to listen for:
Rainbow Chamber Singers (Shanghai)
National Taiwan University Choir
Taipei Philharmonic Chorus
Taipei Philharmonic Chamber Choir

Music Example:
 
Grandmother - by Rainbow Chamber Singers
https://www.youtube.com/watch?v=2sr3QS_SJA4

Love tree - Taipei Philharmonic Chorus - Chamber Choir
https://www.youtube.com/watch?v=QK2u4Ev9lwk

The Happiness of Snowflake - National Taiwan University Choir
https://www.youtube.com/watch?v=xEjPG9vme8A

Babεl Biography

Babεl began as a dream to bridge choral music between Canada and China.  The SATB ensemble is dedicated to supporting Canadian composers through national and international performances and recordings of their work.

We also hope to play a pivotal role in the Canadian choral world - bringing work from contemporary composers in China back to Canada.

We are hitting the ground running, ending our first season with a tour to Hong Kong and Taiwan in July 2019. This tour will be an opportunity to collaborate with the CU Chorus, workshop with aspiring high-school musicians, and perform with the sacred music ensemble, Vox Antiqua.

DR. ELAINE CHOI (D.M.A) contributes to Toronto's vibrant choral community as a conductor, educator, adjudicator, and collaborative pianist. She is currently the Director of Music at Timothy Eaton Memorial Church, Past President of Choirs Ontario and conductor of the University of Toronto Women's Chorus. 

As a music educator, Elaine was a faculty member at the National Music Camp from 2010-2015 and currently serves as a guest coach at various schools throughout the city, including Rosedale Heights School of the Arts, North Toronto Collegiate Institute, and the York School. 

Elaine is active as an adjudicator and a clinician for various community events, such as the Toronto Kiwanis Music Festival and Singsation Saturdays. 

Elaine is an advocate for Chinese Music as she is also proficient on several traditional instruments such as the Erhu and Zhongruan. She was the conductor of Toronto Chinese Orchestra from 2010-2017. This fall, Elaine has founded a chamber choir Babel, an SATB ensemble founded to bridge choral music between Canada and China. The group supports Canadian composers through international performances and recordings of their work and brings work from contemporary composers in China back to Canada. 

Elaine began music studies on piano and violin. She earned her BMus in Music Education (2008) and a MMus in Music Performance specializing in Choral Conducting (2010) at the University of Toronto. She also holds an ATCL (1999), an AmusTCL Diploma (2001) in piano performance from the Trinity College of Music, London, and an Advanced Certificate (2000) from Associate Board of the Royal Schools of Music, England. 

Elaine is a four time recipient of the Elmer Iseler Fellowship in Choral Conducting (2008, 2009, 2014, 2015) and a finalist in the Sir Ernest MacMillan Foundation Fellowship Award in Choral Conducting (2012). She's the 2018 recipient of the prestigious William and Waters graduating award.