which these principles manifest in the choral rehearsal space. Sieck concludes this section with a thoughtful examination of strategies for teaching singers of diverse abilities, including a brief description of the three basic principles grounded in universal design for learning (UDL).
Section 2 (78 pages) includes the remaining five chapters: 4) Choir and Gender, 5) Choir and Sexual Identity, 6) Choir and Religion, 7) Choir and World Music, and 8) Choir and Afri- can-American Music. Tese chapters explore ways in which the choral experience is mediated by singers’ individual and diverse identities as they intersect with each of the targeted topics. While the first section introduces key concepts and situates them within the broader choral rehearsal setting, the second section focuses on specific issues and their effects on individuals. In section 2, Sieck unpacks these distinctive vari- ables, describes how they might marginalize individuals, then offers suggestions for developing inclusive practices to create a more welcoming and respectful environment.
Critical Assessment Te writing is direct, honest, and highly personal. While some might consider Sieck’s tone a bit preachy at times, he supports his arguments with facts while sharing examples of his own misconceptions and faux pas. Te logic behind his arguments is easy to follow as he makes a convincing case for practices or actions under consideration. Furthermore, his personal stories counter the occasional evangelistic tone resulting in a reasoned and compelling view of the point in question. Sieck claims that, “Te book is grounded in research, but my argument is fundamentally a moral one” (Sieck, 2017, p. 5). Accordingly, he successfully balances pre- sentation of factual information with ethical concerns.
I especially appreciate the thoughtfulness with which Sieck treats difficult and complex issues. He is fearless in tackling the multi-faceted ways gender and sexual identity play out for all stakeholders within the choral setting. In the chapters on choir, gender and sexual identity he explores how gender, power and respect might interact with accepted traditions regarding repertoire selection, the structure and valuing of various choral ensembles, and representations of gender on the podium. However, Sieck doesn’t stop at identifying and describing potential problems; he offers practical solutions. For example, he discusses several challenges facing transgen- der singers from navigating auditions, voice placements, and vocal health to their acceptance by other students within the ensemble. He then provides different strategies for eliminat- ing or reducing those challenges in ways that foster respect while promoting safety and inclusion. Sieck addresses issues of race and racism through the mu- sic of African Americans, highlighting important historical events such as the Civil Rights Movement while tracing the manifestation of racism in America since the early 1600s. He then explores African American contributions to the choral traditions and repertoire of the 20th century. He discuss-
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es specific sub-genres of African American music, such as minstrelsy, spirituals, and gospel music in light of common misinterpretations, misuse or misrepresentation within the choral tradition. Arguing that music from these genres, regardless of any controversy, deserves more than a token appearance on the concert program. Sieck explains why, and then provides suggestions for doing so coupled with strat- egies for teaching about the music’s spiritual and political significance.
Troughout the text, Sieck considers how choir directors’ choice of repertoire may unintentionally reflect societal bias- es or promote harmful stereotypes. In the instance of gender and sexual identity he discusses implications of exclusively performing music with heteronormative texts. He shares strategies he has personally used to counter this bias: using purposeful gender ambiguity when teaching love songs; programming music of composers who did not fit into the heteronormative paradigm; or selecting repertoire for single sex ensembles that does not promote gender stereotypes.
In the chapter on religion Sieck revisits controversies and legal issues surrounding the programming of sacred music in the public school setting. He argues that it is possible to include sacred music in your repertoire “…if you have clear curricular goals that are not centered on the teaching of religion.” (p. 88). He then gives examples of programmatic concert themes, such as music from a specific place and time or music related to a specific emotional theme, which would benefit from the inclusion of sacred music while supporting curricular goals. Sieck closes the chapter with a valuable discussion of how to talk with your students about religion in the context of sacred choral repertoire. He considers the challenges of performing sacred music with respect versus embodiment, which he refers to as placing oneself within the musical experience and making a personal connection with the text.
Another controversial issue connected to repertoire selection surrounds the performance of what is currently referred to as world music. Sieck begins the discussion by describing how culture, ethnicity, power, and music are interconnected, he then unpacks some of the more prominent criticisms asso- ciated with the performance of non-Euro-American White art music. He addresses the concept of “other” or “othering” in regard to ethical issues associated with the borrowing, exoticism and cultural appropriation of music from diverse populations. Te chapter concludes with Sieck’s suggestions for how choral directors can incorporate world music into the curriculum with respect. Some of his suggestions reflect those presented in articles previously published in the Music Educators Journal (Fuelberth & Todd, 2017; Parr, 2006; Yoo, 2017).
Recommendation For the past two years I have used Sieck’s Teaching with Re-
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