Fluent reading integrates the eye AND ear
Vocal Music Education Is Behind Our Instrumental Colleagues in Teaching Students to Read
Often cited as a "problematic" view expressed on MANY Choralosophy episodes is the idea that vocal music classrooms need an update, and an upgrade in their Music Literacy focus and training.
A common response to this statement is, “But what about the ear and aural traditions of music-making?” To me, this reveals an underlying misunderstanding. Those traditions are beautiful and crucial to the language of music. But fluency in any language—spoken or musical—does not discard its aural roots. Rather, it is built upon them.
The crux of my argument is threefold:
Instrumental and vocal music face drastically different challenges in teaching music reading.
Most music educators learned on an instrument first and transferred those skills to their voices.
Most vocal music students do not have that foundation. If we fail to provide an alternative, we will only widen existing disparities in music opportunities. (We can’t teach kids to read the way we were taught. The instrumental training is a massive confounding variable.)
The show is free. This newsletter is FREE. Paid subs help a ton but are optional! The conversation includes you. Support for Choralosophy is provided in large part by the supporters here on Substack, at Patreon, (Join here) and Ludus, (visit Ludus.com/choralosophy) All supporting and partner organizations can be seen here.
Introduction
In choral music education, I believe literacy—the ability to read and interpret music—plays a fundamental role in shaping both students and educators. Yet, our approach to literacy in the choral classroom often remains stagnant, rooted in traditional methods that may not fully address the diverse needs of today’s students. By diverse, I don’t mean cultural diversity. I mean the varying levels of prior musical training that students bring to their first vocal music class. The arguments in this paper and on the show depend on an understanding of notation as a technology, NOT a cultural expression.
This post is my blog-style dive into concepts I have demonstrated throughout all of the Literacy Episodes, and in Episode 135 of the Choralosophy Podcast, titled "The A Cappella Rehearsal," where I lay out a typical year for a 9th-grade student in choir at my school.
A Spotlight on Literacy
I’ve long advocated for revolutionizing the way we teach music literacy in choral education. To me, literacy isn’t just a skill—it’s a key to educational equity, in all subjects. Equipping students with strong literacy skills provides them with the tools to access a broader range of musical experiences and opportunities. This started in 2019 with my assertion that we SHOULD NOT be playing notes on the piano for kids as they sing their scales and read the music. It is detrimental to the growth of their literacy. It speeds us up at first, and slows us down long term. Episode 18: Ripping Off the Bandaid
On my podcast, I’ve shared insights with fellow educators, refined ideas through discussions, and tested innovative procedures in my own classes. My position is clear: literacy should be central in choral education, not a secondary skill. It’s not just about reading notes on a page—it’s about understanding the language of music and being able to communicate effectively within it.
The Importance of Music Reading
One of the key aspects of my approach is emphasizing music as a language. Sight-reading—the ability to perform a piece at first sight without prior rehearsal—is a crucial skill for any musician. Yet, in choral education, it is often underemphasized. Instead, we rely heavily on playing notes on the piano or teaching by rote, which creates the illusion of reading. Even part tracks, often seen as a helpful tool, function as rote learning. (I am not opposed to part tracks in all scenarios, but they are not a literacy aid.) If a student hears a piece before reading it, they are not truly reading—they are remembering. Brain scans of reading have shown that these processes engage entirely different areas of the brain.
By prioritizing reading, educators can foster independent, confident musicians. In my experience, within a couple of years of following this approach, most students no longer need assistance to learn a song.
Literacy as a tool for “Equity”
In episode 137 "Literacy is Equity," I explore this topic through the lens of inclusion and social justice—an approach that has not been universally welcomed. And that’s fine. I intend to keep pushing.
Originally, I proposed this idea as a session for the ACDA National Convention, but it was rejected. To be clear, my beef is not that it was rejected. Rather, I found the reasons for the rejection to be alarming. The feedback suggested that my session should also include perspectives on not teaching reading—an argument I found perplexing in presentation about how to teach kids to read. To me, Literacy is Equity means that literacy is the great equalizer. Students who can read music have access to a broader range of opportunities, both in and out of the classroom. They can participate more fully in ensembles, tackle more complex repertoire, and pursue music beyond their school years.
On the other hand, students without literacy skills often struggle to keep up, leading to frustration and disengagement. In this way, literacy—or the lack thereof—becomes a dividing line, perpetuating inequities in music education. By prioritizing literacy, we can bridge this gap and give all students the tools they need to succeed.
Challenges and Pushback
Despite the clear benefits of a literacy-focused approach, there has been resistance. The rejection of my Literacy is Equity session at ACDA National is just one example. Some in the choral community resist placing such a strong emphasis on literacy, perhaps because it challenges long-established teaching practices.
Pushback also came in the form of a debate of sorts related to the fairness and utility of assessing music reading skills as part of our All State Choir, and by extension, other honor choir programs in the U.S. An article was published in the Choral Journal advocated that we drop this requirement citing primarily equity concerns and also, racial and cultural bias. Even going so far as putting the idea forward that teaching “too much” reading “centers whiteness.”
This raises so many questions, but the ones that I am stuck on are, “what is too much?” and why are we connecting reading to “whiteness?” The music notation system we use today is collection of ideas from around the world distilled over a thousand years. One of a hundred examples obvious to me, is that without the mathematics learned from the Arab world, modern music notation would not exist.
Another example that makes this argument nonsensical to me is that ALL music of ALL people has aural tradition. To make the argument that “white people” read and write their music but others don’t only makes sense if one ignores all examples to the contrary.
And finally, there is the fact that SHOULD be readily known and obvious to educated people, but tends to get me blank stares: the beginning of the journey of music notation, and its global evolution to what it is today predates the modern concept of race and Whiteness by at LEAST a thousand years. We would do well to remember in general that the social construct of race is very fluid.
So, I invited the author, Dr. Marshaun Hyman to join me and Dr. Chantae Pittman in a lively discussion under the pretense that I largely disagreed with the article, but believed that a conversation was warranted to seek some common ground. Episode 184 was a blockbuster. The episode was listened to by more people than attend a national ACDA convention within the first few months it was out, and is still drawing an audience. This gives me hope that a conversation that is productive can and will continue on this topic.
NAfME is even complicit in this, publishing a definition of “Music Literacy” that does not even include reading! This is embarrassing and needs immediate revision:
knowledge and understanding required to participate authentically in the discipline of music by independently carrying out the artistic processes of creating, performing, and responding- NCAS/NAfME Glossary of Music Terms
Despite the loaded rhetoric that often floats around this topic, I remain committed to advocating for a literacy based approach, because I believe the long-term benefits for students far outweigh the challenges. I encourage educators to take a proactive approach to literacy, incorporating it into their teaching in ways that are both innovative and effective.
Building Confidence Through Literacy
A recurring theme in my approach is that literacy builds confidence. When students can read music, they are better equipped to tackle challenging repertoire and feel more empowered as musicians. They love the independence—no longer relying on a teacher, a part track, or a YouTube video to learn a song.
This confidence translates into more expressive performances, as students are less focused on technical struggles and more engaged in musical interpretation. In a cappella settings, where there is no instrumental safety net, confident literacy skills enable students to take risks, experiment with phrasing, and deepen their connection to the music.
Conclusion
In Episodes 135 and 137 of the Choralosophy Podcast, I make the case for rethinking literacy’s role in choral education. Drawing from my experience teaching for eight years the old way—plunking notes for students and relying on rote learning—I have seen the stark contrast in student outcomes since shifting to a literacy-first approach. Coupled with insights from the Science of Reading, I have come to believe this is the evidence-based method.
By embracing the philosophy that Literacy is Equity, borrowed from our language and reading colleagues, I challenge educators to place greater emphasis on literacy—not as an add-on, but as a fundamental pillar of music education.
Prioritizing sight-reading, integrating literacy into daily rehearsals, and applying these principles in a cappella settings can help students become more independent, confident, and versatile musicians. In doing so, we level the playing field, ensuring all students have access to the full spectrum of musical opportunities.
As I continue to advocate for these ideas, I invite fellow educators to join me. Whether in classrooms, at conventions, or through the Choralosophy Podcast, this conversation has the potential to reshape how we teach and learn music.
For those interested in literacy research. Start below!
📖 Music and the Brain: Cognitive Benefits of Musical Training
Author: T. Babyak (2024)
🔗 Full Text
Discusses neurological studies on music reading and phonemic awareness.
Highlights evidence that early music training can improve reading disabilities like dyslexia.
I, like you, I’m flummoxed by our profession’s aversion to literacy. Why? Just why? I thought we were educators. Gee, let’s propagate the (often deserved) reputation that choristers are not "musicians." Are you going to ACDA? If so, would love to meet up and chat. Maybe you should set up an informal time and place where you could give your interest session to those of us that want it. :)