Reviewing Teaching with Respect: Inclusive Pedagogy for Choral Directors


Sieck, S. (2017). Teaching with respect: Inclusive pedagogy for choral directors. Milwaukee, WI: Hal Leonard. (157 pages) ISBN: 1495097668


Reviewed by Abby Butler, Wayne State University


Introduction Music students typically cite high-level experi- ences as members of their high school ensemble as a primary reason for choosing a career in mu- sic education. Clearly the ensemble experience holds value for these students. Conversely, some music educators question the role of ensembles within the public school setting, criticizing their elitism and lack of success at attracting a larger percentage of the student body (Fonder, 2014; Williams et al, 2015). While this state of affairs has led to a much needed rethinking of curric- ular offerings in middle and high school music programs, the debate over ensemble classes continues.


As a young teacher I remember greeting my high school singers at the door to our rehearsal room prior to class. I wanted to make a personal connection with each student and for them to understand how much I valued their contribu- tions to our choir. But more than that I wanted each of them to feel confident in their ability to grow as singers and musicians. I suspected many of my singers didn’t experience the confidence I wished for them, but I didn’t understand why. I recently discovered Stephen Sieck’s book, Teach- ing with Respect: Inclusive Pedagogy for Choral Directors (2017). While much has changed since I began teaching I would have welcomed a book such as this when I was a novice teacher. Sieck’s ideas resonate strongly with my beliefs about choral singing, which have only deepened with my maturation as a teacher and human being. I believe Teaching with Respect belongs on every choral director’s bookshelf. Focus of Book Written specifically for choral directors, Teach-


ing with Respect offers a critical examination of how the choral experience can be welcoming for students, or it can marginalize or exclude singers. Te author explores factors that mediate individuals’ experiences in choral ensembles. He challenges readers to examine personal and collective beliefs, biases and privileges that shape our expectations and practices, which in turn affect the accessibility and quality of our choral programs. Sieck argues that passive complicity is just as harmful as intentional discrimination. He tasks readers with the responsibility of rooting out ways in which common practices or tradi- tions unintentionally promote the status quo, and he offers suggestions for replacing them with more inclusive practices.


Organization Te book comprises eight distinct chapters framed by a prelude and postlude functioning as bookends for a total of 157 pages. Te pre- lude and postlude references are evidence of Sieck’s experiences as a director of church choirs although his background also includes teaching 7th-12th grade choirs and choirs at the collegiate level. In the prelude Sieck makes the case for in- clusive choral pedagogy, why it’s important and timely. Te postlude focuses on the audience, who attends—or does not attend our concerts, why and what we can do about it.


Te eight chapters are grouped into two main sections. Section 1 (40 pages) includes the first three chapters: 1) Growing Our Perspective, 2) Creating Room for All Singers, and 3) Teaching Singers with Diverse Abilities. Collectively this section presents information and ideas on how choral directors can make the choral rehearsal space more inclusive and welcoming. Sieck begins by introducing readers to the concept of respect, and then describes specific factors such as positionality, dominant narratives and differ- ences across playing fields that impact the way we view ourselves, and others. He discusses basic principles of inclusivity and safety, providing both positive and negative examples of ways in


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