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Developing a Musical Mind; Introduction
You can sing every note correctly and still not be musical.
You can play every chord in the right order and still miss the music.
You can read a score perfectly, perform without mistakes, and receive applause—yet something can still be missing.
What is missing?
T h e m u s i c a l m i n d.
For years, we have often equated musicianship with technical ability. If someone sings beautifully, plays an instrument skillfully, keeps good time, or learns songs quickly, we call that person “musical.”
But as a music director, voice coach, educator, choir trainer and performer, I have learned that musicality goes far beyond getting the notes right.
Music is not merely about producing sound.
It is about hearing what is happening, understanding why it is happening, imagining what should happen next, and making deliberate choices that communicate something meaningful.
I have watched singers with beautiful voices struggle to communicate a simple phrase.
I have worked with musicians who knew their chords but did not always know when to play them.
I have seen choirs learn every note in a song and still need to discover how to breathe together, listen to one another, shape a phrase and become one musical voice.
And I have also seen something remarkable happen when musicians begin to think musically.
Their playing changes.
Their singing changes.
Their listening changes.
Their rehearsals become more purposeful.
Their performances become more expressive.
They stop merely reproducing music—and begin to communicate it.
“The difference between playing the notes and understanding the music is often the difference between a performer and a musician.” — Victor Adenola
But can a musical mind be developed?
A b s o l u t e l y.
I don’t believe musical intelligence belongs only to those who appear naturally gifted.
- The ear can be trained.
- Rhythm can be developed.
- Musical memory can be strengthened.
- Listening can become more intentional.
- Musical imagination can grow.
- Expression can be cultivated.
And the ability to make intelligent musical decisions can improve with experience and deliberate practice.
That is the heart of this three-part series.
We are going to explore not just how to make music, but how to think about music.
Series 1 — Understanding the Musical Mind
- What actually happens inside the mind of a musician?
- What does it mean to have a musical ear?
- Why can someone know music theory and still struggle musically?
- How are listening, imagination, memory, rhythm, harmony and expression connected?
In the first part, we will unpack what a musical mind really is and why it matters to every singer, instrumentalist, conductor, teacher and music leader.
Series 2 — Training the Musical Mind
A musical mind does not develop by accident.
In the second part, we move from understanding to development.
We will look at practical ways to train your musical mind through active listening, ear training, singing, playing by ear, music theory, rhythmic awareness, analysis and more intelligent practice.
The goal is not simply to practise longer.
It is to practise with greater awareness.
Series 3 — The Musical Mind in Performance
Then comes the real test.
- What happens when the rehearsal ends and you are standing in front of an audience?
- What happens when something goes wrong?
- A singer enters late.
- The tempo shifts.
- The choir loses balance.
- A musician misses a chord.
- The sound system fails.
- The unexpected happens.
This is where musical thinking becomes invaluable.
My own experiences in music direction and performance have taught me that musicianship is not only about preparation. It is also about listening, responding, adapting and leading in real time.
“The true test of musical understanding is not how well you perform when everything goes according to plan, but how intelligently you respond when it doesn’t.” — Victor Adenola
The journey
So, over these three articles, we will take a journey:
- Understand the musical mind.
- Train the musical mind.
- Apply the musical mind.
Because ultimately, the goal of music education should be more than producing people who can sing, play or read music.
It should produce people who can hear deeply, think intelligently, feel appropriately, respond creatively and communicate intentionally.
That is what it means to develop a musical mind.
The notes are only the beginning.
#bands #choir #churchchoir #mindfulness #musicDirector #musicProducer #musicians #performance #singer #singers -
Developing a Musical Mind; Introduction
You can sing every note correctly and still not be musical.
You can play every chord in the right order and still miss the music.
You can read a score perfectly, perform without mistakes, and receive applause—yet something can still be missing.
What is missing?
T h e m u s i c a l m i n d.
For years, we have often equated musicianship with technical ability. If someone sings beautifully, plays an instrument skillfully, keeps good time, or learns songs quickly, we call that person “musical.”
But as a music director, voice coach, educator, choir trainer and performer, I have learned that musicality goes far beyond getting the notes right.
Music is not merely about producing sound.
It is about hearing what is happening, understanding why it is happening, imagining what should happen next, and making deliberate choices that communicate something meaningful.
I have watched singers with beautiful voices struggle to communicate a simple phrase.
I have worked with musicians who knew their chords but did not always know when to play them.
I have seen choirs learn every note in a song and still need to discover how to breathe together, listen to one another, shape a phrase and become one musical voice.
And I have also seen something remarkable happen when musicians begin to think musically.
Their playing changes.
Their singing changes.
Their listening changes.
Their rehearsals become more purposeful.
Their performances become more expressive.
They stop merely reproducing music—and begin to communicate it.
“The difference between playing the notes and understanding the music is often the difference between a performer and a musician.” — Victor Adenola
But can a musical mind be developed?
A b s o l u t e l y.
I don’t believe musical intelligence belongs only to those who appear naturally gifted.
- The ear can be trained.
- Rhythm can be developed.
- Musical memory can be strengthened.
- Listening can become more intentional.
- Musical imagination can grow.
- Expression can be cultivated.
And the ability to make intelligent musical decisions can improve with experience and deliberate practice.
That is the heart of this three-part series.
We are going to explore not just how to make music, but how to think about music.
Series 1 — Understanding the Musical Mind
- What actually happens inside the mind of a musician?
- What does it mean to have a musical ear?
- Why can someone know music theory and still struggle musically?
- How are listening, imagination, memory, rhythm, harmony and expression connected?
In the first part, we will unpack what a musical mind really is and why it matters to every singer, instrumentalist, conductor, teacher and music leader.
Series 2 — Training the Musical Mind
A musical mind does not develop by accident.
In the second part, we move from understanding to development.
We will look at practical ways to train your musical mind through active listening, ear training, singing, playing by ear, music theory, rhythmic awareness, analysis and more intelligent practice.
The goal is not simply to practise longer.
It is to practise with greater awareness.
Series 3 — The Musical Mind in Performance
Then comes the real test.
- What happens when the rehearsal ends and you are standing in front of an audience?
- What happens when something goes wrong?
- A singer enters late.
- The tempo shifts.
- The choir loses balance.
- A musician misses a chord.
- The sound system fails.
- The unexpected happens.
This is where musical thinking becomes invaluable.
My own experiences in music direction and performance have taught me that musicianship is not only about preparation. It is also about listening, responding, adapting and leading in real time.
“The true test of musical understanding is not how well you perform when everything goes according to plan, but how intelligently you respond when it doesn’t.” — Victor Adenola
The journey
So, over these three articles, we will take a journey:
- Understand the musical mind.
- Train the musical mind.
- Apply the musical mind.
Because ultimately, the goal of music education should be more than producing people who can sing, play or read music.
It should produce people who can hear deeply, think intelligently, feel appropriately, respond creatively and communicate intentionally.
That is what it means to develop a musical mind.
The notes are only the beginning.
#bands #choir #churchchoir #mindfulness #musicDirector #musicProducer #musicians #performance #singer #singers -
Developing a Musical Mind; Introduction
You can sing every note correctly and still not be musical.
You can play every chord in the right order and still miss the music.
You can read a score perfectly, perform without mistakes, and receive applause—yet something can still be missing.
What is missing?
T h e m u s i c a l m i n d.
For years, we have often equated musicianship with technical ability. If someone sings beautifully, plays an instrument skillfully, keeps good time, or learns songs quickly, we call that person “musical.”
But as a music director, voice coach, educator, choir trainer and performer, I have learned that musicality goes far beyond getting the notes right.
Music is not merely about producing sound.
It is about hearing what is happening, understanding why it is happening, imagining what should happen next, and making deliberate choices that communicate something meaningful.
I have watched singers with beautiful voices struggle to communicate a simple phrase.
I have worked with musicians who knew their chords but did not always know when to play them.
I have seen choirs learn every note in a song and still need to discover how to breathe together, listen to one another, shape a phrase and become one musical voice.
And I have also seen something remarkable happen when musicians begin to think musically.
Their playing changes.
Their singing changes.
Their listening changes.
Their rehearsals become more purposeful.
Their performances become more expressive.
They stop merely reproducing music—and begin to communicate it.
“The difference between playing the notes and understanding the music is often the difference between a performer and a musician.” — Victor Adenola
But can a musical mind be developed?
A b s o l u t e l y.
I don’t believe musical intelligence belongs only to those who appear naturally gifted.
- The ear can be trained.
- Rhythm can be developed.
- Musical memory can be strengthened.
- Listening can become more intentional.
- Musical imagination can grow.
- Expression can be cultivated.
And the ability to make intelligent musical decisions can improve with experience and deliberate practice.
That is the heart of this three-part series.
We are going to explore not just how to make music, but how to think about music.
Series 1 — Understanding the Musical Mind
- What actually happens inside the mind of a musician?
- What does it mean to have a musical ear?
- Why can someone know music theory and still struggle musically?
- How are listening, imagination, memory, rhythm, harmony and expression connected?
In the first part, we will unpack what a musical mind really is and why it matters to every singer, instrumentalist, conductor, teacher and music leader.
Series 2 — Training the Musical Mind
A musical mind does not develop by accident.
In the second part, we move from understanding to development.
We will look at practical ways to train your musical mind through active listening, ear training, singing, playing by ear, music theory, rhythmic awareness, analysis and more intelligent practice.
The goal is not simply to practise longer.
It is to practise with greater awareness.
Series 3 — The Musical Mind in Performance
Then comes the real test.
- What happens when the rehearsal ends and you are standing in front of an audience?
- What happens when something goes wrong?
- A singer enters late.
- The tempo shifts.
- The choir loses balance.
- A musician misses a chord.
- The sound system fails.
- The unexpected happens.
This is where musical thinking becomes invaluable.
My own experiences in music direction and performance have taught me that musicianship is not only about preparation. It is also about listening, responding, adapting and leading in real time.
“The true test of musical understanding is not how well you perform when everything goes according to plan, but how intelligently you respond when it doesn’t.” — Victor Adenola
The journey
So, over these three articles, we will take a journey:
- Understand the musical mind.
- Train the musical mind.
- Apply the musical mind.
Because ultimately, the goal of music education should be more than producing people who can sing, play or read music.
It should produce people who can hear deeply, think intelligently, feel appropriately, respond creatively and communicate intentionally.
That is what it means to develop a musical mind.
The notes are only the beginning.
#bands #choir #churchchoir #mindfulness #musicDirector #musicProducer #musicians #performance #singer #singers -
Developing a Musical Mind; Introduction
You can sing every note correctly and still not be musical.
You can play every chord in the right order and still miss the music.
You can read a score perfectly, perform without mistakes, and receive applause—yet something can still be missing.
What is missing?
T h e m u s i c a l m i n d.
For years, we have often equated musicianship with technical ability. If someone sings beautifully, plays an instrument skillfully, keeps good time, or learns songs quickly, we call that person “musical.”
But as a music director, voice coach, educator, choir trainer and performer, I have learned that musicality goes far beyond getting the notes right.
Music is not merely about producing sound.
It is about hearing what is happening, understanding why it is happening, imagining what should happen next, and making deliberate choices that communicate something meaningful.
I have watched singers with beautiful voices struggle to communicate a simple phrase.
I have worked with musicians who knew their chords but did not always know when to play them.
I have seen choirs learn every note in a song and still need to discover how to breathe together, listen to one another, shape a phrase and become one musical voice.
And I have also seen something remarkable happen when musicians begin to think musically.
Their playing changes.
Their singing changes.
Their listening changes.
Their rehearsals become more purposeful.
Their performances become more expressive.
They stop merely reproducing music—and begin to communicate it.
“The difference between playing the notes and understanding the music is often the difference between a performer and a musician.” — Victor Adenola
But can a musical mind be developed?
A b s o l u t e l y.
I don’t believe musical intelligence belongs only to those who appear naturally gifted.
- The ear can be trained.
- Rhythm can be developed.
- Musical memory can be strengthened.
- Listening can become more intentional.
- Musical imagination can grow.
- Expression can be cultivated.
And the ability to make intelligent musical decisions can improve with experience and deliberate practice.
That is the heart of this three-part series.
We are going to explore not just how to make music, but how to think about music.
Series 1 — Understanding the Musical Mind
- What actually happens inside the mind of a musician?
- What does it mean to have a musical ear?
- Why can someone know music theory and still struggle musically?
- How are listening, imagination, memory, rhythm, harmony and expression connected?
In the first part, we will unpack what a musical mind really is and why it matters to every singer, instrumentalist, conductor, teacher and music leader.
Series 2 — Training the Musical Mind
A musical mind does not develop by accident.
In the second part, we move from understanding to development.
We will look at practical ways to train your musical mind through active listening, ear training, singing, playing by ear, music theory, rhythmic awareness, analysis and more intelligent practice.
The goal is not simply to practise longer.
It is to practise with greater awareness.
Series 3 — The Musical Mind in Performance
Then comes the real test.
- What happens when the rehearsal ends and you are standing in front of an audience?
- What happens when something goes wrong?
- A singer enters late.
- The tempo shifts.
- The choir loses balance.
- A musician misses a chord.
- The sound system fails.
- The unexpected happens.
This is where musical thinking becomes invaluable.
My own experiences in music direction and performance have taught me that musicianship is not only about preparation. It is also about listening, responding, adapting and leading in real time.
“The true test of musical understanding is not how well you perform when everything goes according to plan, but how intelligently you respond when it doesn’t.” — Victor Adenola
The journey
So, over these three articles, we will take a journey:
- Understand the musical mind.
- Train the musical mind.
- Apply the musical mind.
Because ultimately, the goal of music education should be more than producing people who can sing, play or read music.
It should produce people who can hear deeply, think intelligently, feel appropriately, respond creatively and communicate intentionally.
That is what it means to develop a musical mind.
The notes are only the beginning.
#bands #choir #churchchoir #mindfulness #musicDirector #musicProducer #musicians #performance #singer #singers -
Developing a Musical Mind; Introduction
You can sing every note correctly and still not be musical.
You can play every chord in the right order and still miss the music.
You can read a score perfectly, perform without mistakes, and receive applause—yet something can still be missing.
What is missing?
T h e m u s i c a l m i n d.
For years, we have often equated musicianship with technical ability. If someone sings beautifully, plays an instrument skillfully, keeps good time, or learns songs quickly, we call that person “musical.”
But as a music director, voice coach, educator, choir trainer and performer, I have learned that musicality goes far beyond getting the notes right.
Music is not merely about producing sound.
It is about hearing what is happening, understanding why it is happening, imagining what should happen next, and making deliberate choices that communicate something meaningful.
I have watched singers with beautiful voices struggle to communicate a simple phrase.
I have worked with musicians who knew their chords but did not always know when to play them.
I have seen choirs learn every note in a song and still need to discover how to breathe together, listen to one another, shape a phrase and become one musical voice.
And I have also seen something remarkable happen when musicians begin to think musically.
Their playing changes.
Their singing changes.
Their listening changes.
Their rehearsals become more purposeful.
Their performances become more expressive.
They stop merely reproducing music—and begin to communicate it.
“The difference between playing the notes and understanding the music is often the difference between a performer and a musician.” — Victor Adenola
But can a musical mind be developed?
A b s o l u t e l y.
I don’t believe musical intelligence belongs only to those who appear naturally gifted.
- The ear can be trained.
- Rhythm can be developed.
- Musical memory can be strengthened.
- Listening can become more intentional.
- Musical imagination can grow.
- Expression can be cultivated.
And the ability to make intelligent musical decisions can improve with experience and deliberate practice.
That is the heart of this three-part series.
We are going to explore not just how to make music, but how to think about music.
Series 1 — Understanding the Musical Mind
- What actually happens inside the mind of a musician?
- What does it mean to have a musical ear?
- Why can someone know music theory and still struggle musically?
- How are listening, imagination, memory, rhythm, harmony and expression connected?
In the first part, we will unpack what a musical mind really is and why it matters to every singer, instrumentalist, conductor, teacher and music leader.
Series 2 — Training the Musical Mind
A musical mind does not develop by accident.
In the second part, we move from understanding to development.
We will look at practical ways to train your musical mind through active listening, ear training, singing, playing by ear, music theory, rhythmic awareness, analysis and more intelligent practice.
The goal is not simply to practise longer.
It is to practise with greater awareness.
Series 3 — The Musical Mind in Performance
Then comes the real test.
- What happens when the rehearsal ends and you are standing in front of an audience?
- What happens when something goes wrong?
- A singer enters late.
- The tempo shifts.
- The choir loses balance.
- A musician misses a chord.
- The sound system fails.
- The unexpected happens.
This is where musical thinking becomes invaluable.
My own experiences in music direction and performance have taught me that musicianship is not only about preparation. It is also about listening, responding, adapting and leading in real time.
“The true test of musical understanding is not how well you perform when everything goes according to plan, but how intelligently you respond when it doesn’t.” — Victor Adenola
The journey
So, over these three articles, we will take a journey:
- Understand the musical mind.
- Train the musical mind.
- Apply the musical mind.
Because ultimately, the goal of music education should be more than producing people who can sing, play or read music.
It should produce people who can hear deeply, think intelligently, feel appropriately, respond creatively and communicate intentionally.
That is what it means to develop a musical mind.
The notes are only the beginning.
#bands #choir #churchchoir #mindfulness #musicDirector #musicProducer #musicians #performance #singer #singers -
#PennedPossibilities 1143
SC POV:
Write a diary entry, dated 10 years in the future. (If you can.)The Colonel can't, sorry. Why? Because he's dead, that's why. This Colonel is no more! He has ceased to be! He's expired and gone to meet his maker! This is a late Colonel! He's a stiff! Bereft of life, he rests in peace! If Kessy hadn't made the machine spinning in circles, he would be pushing up the daisies! He's run down the curtain and joined the choir invisible! THIS IS AN EX-COLONEL!
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#PennedPossibilities 1143
SC POV:
Write a diary entry, dated 10 years in the future. (If you can.)The Colonel can't, sorry. Why? Because he's dead, that's why. This Colonel is no more! He has ceased to be! He's expired and gone to meet his maker! This is a late Colonel! He's a stiff! Bereft of life, he rests in peace! If Kessy hadn't made the machine spinning in circles, he would be pushing up the daisies! He's run down the curtain and joined the choir invisible! THIS IS AN EX-COLONEL!
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#PennedPossibilities 1143
SC POV:
Write a diary entry, dated 10 years in the future. (If you can.)The Colonel can't, sorry. Why? Because he's dead, that's why. This Colonel is no more! He has ceased to be! He's expired and gone to meet his maker! This is a late Colonel! He's a stiff! Bereft of life, he rests in peace! If Kessy hadn't made the machine spinning in circles, he would be pushing up the daisies! He's run down the curtain and joined the choir invisible! THIS IS AN EX-COLONEL!
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#PennedPossibilities 1143
SC POV:
Write a diary entry, dated 10 years in the future. (If you can.)The Colonel can't, sorry. Why? Because he's dead, that's why. This Colonel is no more! He has ceased to be! He's expired and gone to meet his maker! This is a late Colonel! He's a stiff! Bereft of life, he rests in peace! If Kessy hadn't made the machine spinning in circles, he would be pushing up the daisies! He's run down the curtain and joined the choir invisible! THIS IS AN EX-COLONEL!
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Amsterdam BANGS x Joe's Garage: Voku; "Sesten Sese", "Tea and Land Stories", "Soft-Boy Turkish Oil Wrestling"
Joe's Garage, Thursday, October 1 at 07:00 PM GMT+2
19:00 Voku
BANGS
is an autonomous theatre and performance festival taking place for the third time October 1-4, 2026.
BANGS receives no funding, BANGS raises funds! This year, for Palestine and Lebanon.
Volkseten Vegazulu is a people’s kitchen existing since the very beginning of Joe’s Garage, June 2005. Your donations are welcome. Food is vegan, no reservation. All benefits go to social & political struggles. Joe’s Garage is a space run by volunteers. Without a collective effort, without your active participation, we’re remaining closed. Get in touch in you feel like giving a hand. We’re always looking for cooks. Any help is welcome in the kitchen. Experience not required. If you want to know which days are still available, mail us.
https://radar.squat.net/en/amsterdam/joes-garage
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20:00 Sesten Sese: A Curated Evening of Shared Voices
This evening brings together three musical practices connected through voice, community, and collective memory. Opening with the intimate songwriting of Anllel Maria and Doğa Ak, followed by the mother–child musical practice of Dilden Dile, and concluding with the collective polyphony of Queer Choir Amsterdam, the programme moves between queer community, Anatolian folk traditions, diasporic memory, couragous worlds and intergenerational exchange. Together, these performances invite audiences to experience singing as a living practice of gathering, listening, and carrying stories forward. Doğa and Allel Doğa Ak and Anllel Maria are a kuir duo of songwriters and singers from Turkey and Ecuador, currently based in the Netherlands. Blending their voices through vulnerable songwriting, they compose in English, Spanish, and Turkish.
Their songs explore intimacy, brave other worlds, and shared futures, inviting audiences to tune in, to themselves, to one another, and to the worlds that can be imagined together. Opening the evening, their performance offers a gentle invitation into the programme. Queer Choir Amsterdam Queer Choir Amsterdam is an artistic initiative and a safer space where various queer and trans identities and voices are celebrated and heard. The choir performs original compositions, written by its members and arranged by conductor Vera Morais, in which soundscapes, improvisation and audience participation often play an important role. The choir's songs are rooted in both politics and introspection and allow for authentic forms of self-expression. During rehearsals and performances, choir members give voice to stories they want to share and to ideas about the futures they wish to imagine together. By bringing together many different voices, the choir not only creates new harmonies, but also celebrates the diversity and expressive potential of the human voice.
For this evening, Queer Choir Amsterdam will perform a selection of original repertoire, moving between playful, joyful songs and works rooted in solidarity, resistance, care, and collective imagination.
Dilden Dile is a three year old practicing band rooted in singing, listening, and making music together. It exploresinheritance, memory, language, belonging, and the ways traditions continue to transform through the people who carry them.
Over three years of singing and playing together, Meli, Tuncay and Aydin, usually accompanied by Mürset (Meli’smother) have come to understand music as a language beyond words. Rooted in Anatolian folk traditions, particularly those of the Alevi tradition, while embracing the rich legacy of politically engaged songwriting from Turkey and Kurdistan, Dilden Dile movesthrough the musical worlds of artists including Kazım Koyuncu, Selda Bağcan, Âşık Mahzuni Şerif, Âşık Veysel, and Ahmet Kaya, with a particular affinity for the musical landscapes of the Black Sea (Karadeniz).
At its heart, Dilden Dile is an invitation to gather around songs that have travelled across generations and regions.Turkish-speaking audiences are especially invited to sing along, remember, and recognize melodies that may already live within them. In this shared act of listening and singing, the songs return to what they have always been: living traditions, shared, transformed,and passed from voice to voice.
By: The Queer Choir Amsterdam, Dilden Dile, and Anllel & Doğa
Length: 1½-2 hours.
Content Warnings: no
Is this suitable for children? Not specific but they can be there
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21:30 tea and land stories
Tea and Land Stories, Stories of the cultivation of the cultivator. a middle play (Orta Oyunu, Commedia dell'Arte or what ever ) based on an unwritten script. Kind of a non-musical, it is open to imagination, interactions, and improvisation. “Imagine; One day somebody wanted to drink some tea. they just went to others land, end.” No worries, this is an imaginary story, the only reality is tea. Tea and land is a storytelling performance with melodies and memories while serving some tea to digest stories.
By: kivanc
Length: 30-40 min.
Content Warnings: not a show for nationalist people or who proud of colonial history ( actually this is a show for them to learn about reality <3) . People with migration back ground feel more heavy in this show, im doing my best for my audience to not feel heavy or get trigger.
Is this suitable for children? Yes.
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22:00 Soft-Boy Turkish Oil Wrestling
Ozan is a Turkish man who failed at toxic masculinity. This combination of stand-up comedy and performance art is a high-energy crash course in cultural subversion and absurd physical clowning. He performed this show at Fusion Festival and various places in Berlin, and now he wants to bring a violently funny, unapologetically weird celebration of modern masculinity to Amsterdam!
By: Ozan Pekmezci
Length: 15-20 min.
Is this suitable for children? No. 18+ preferred (or at least 16+).
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Part of Amsterdam BANGS, an autonomous theatre and performance festival taking place all over the city, Oct. 1-4, raising funds in support of Palestine and Lebanon. All shows are free or on donation. More info on the website https://amsterdambangs.nl/bangs-2026-programme