UNT Coursepack 2020 PDF

SINGING SONS: Nurturing Boys' Voices from Six to Sixteen
Dan LeJeune
Middle School Choral Director, The Blake School
Hopkins, Minnesota
"Be affirming for a boy that his vulnerability is human and acceptable. Once you understand that to be human
is to be vulnerable, whether you are a boy or a girl, then you can go on and be brave, confident, and productive
from a solid foundation. You don't have to hide your vulnerability from yourself, and so you are not deeply
afraid or fragile".
From "Raising Cain" by Dan Kindlon and Michael Thompson
A. Nurturing Boys Voices from Six to Sixteen

1. Steps to Success
Listen often to singers alone.
Identify range and tessitura of your singers.
Choose repertoire that fits singers’ strengths.
Encourage students to sing where they ring.
Mask a choir’s challenges by considering all voicings and styles.
Develop artistry & musicianship with singers sharing different roles and parts.
2. Other Factors that Influence Vocal Quality

Home environment: vocal modeling by others.
Organic causes: hearing, fatigue, allergies etc.
Natural environment: dampness, cold, dust, and smoke.
Psychological: emotional stress or immaturity.
Physiological: poor breath support, lack of kinesthetic awareness and coordination
in the vocal mechanism, nodules, inflamed vocal folds.
3. Facts about Boys’ Voice Change

Every voice change is unique.
Voice change can begin as early as 9 or as late as 15-16.
One part may not fit one voice. Boys may need to sing “excerpts” of parts.
Stages of change can last days or months.
Frustration is common no matter what stage.
Boys need constant encouragement that voice change is normal and indicates they are
maturing.
4. Strategies for Working with Male Changing Voices

Place boys with changing voices near you.
Let boys sing alone and unaccompanied.
Be prepared to transpose at any time.
Avoid associating gender with parts.
Group 2 or more boys singing similar parts together.
Assure boys that voice change is normal and indicates they are maturing.
5. Helpful Musical Elements in Repertoire for Changing Male Voices
Limited range within some parts (6th)
Melodies that can be doubled in octaves
Closed chord harmonies
Repetitive/ostinato patterns within contrapuntal harmony
Melodies shared by more than one part
Motives that are easy to hear, sing, and remember.
Phrases with descending minor thirds
Staggered entrances
Paired parts-SA/TB or ST/AB
Common Octave Naming System
B. Singing Sons: Stages of Male Voice Change

Practical application and terminology based on research by John Cooksey and others,
Musical examples provided by students and choirs directed by Dan LeJeune. Visit www.mrlj.com
to see resources not listed in this handout but presented during the workshop.
Stages of male voice change (Cooksey)
1. Male Treble Voice (spending little time on this due to familiarity by attendees)
Light voice quality, commonly through age 10-11.
Greatest resonance often occurs prior to voice change.
Can sing upper or lower parts with clear tone and good intonation
Flexible voice with ability to sing wide range of dynamics
Repertoire Considerations
Unison to 4-part music
Ranges of A3-F5, with C#4-A#4 tessitura
Able to sing SA parts with wide range
Music with equal voicing possible.
2. Early Stage Changing Male Voice
Appears on average between ages 10-12, some in HS.
Light quality, more breathy with less clarity and projection above C5.
Best range Ab3-C5, with tessitura B3-G4.
Less flexibility, especially in upper range.
Choose music with some parts below C5.
Include music with narrow range melodies (5-7 notes)
Simple or repetitive lower harmonies help boys develop confidence in new range.
Find music which features the lower part singing the melody.
Look for music with melodies or parts that can be sung in octaves.
3. Middle Stage Changing Male Voice

Average age 13-14. Late 7th-early 8th. Gr.
Voice quality can be breathy or husky, with decreased projection and agility.
Falsetto emerges usually above G4, with decreased pitch accuracy in upper range.
Alto is often too high, tenor is too low. Pitch range F3-A4, but G#3-F4 realistic.
Vocalizing should include helping boys bring falsetto downward.
Find music with strong melodies/parts between F4-F5 that can be doubled by
changing voices an octave lower F3-F4.
Seek SATB music with strong upper range tenor parts and bass lines that can be
doubled. Avoid baritone notes much below C3-D3.
Carefully assess SAB & 3 part mixed voicing. 4-part music usually works better.
Avoid part writing that requires boys to sing awkward leaps. Stepwise is best.
Closed position harmonies can be quite effective and give the choir a fuller sound.
4. Later Stage Male Changing Voice

Most insecure time for a boy’s voice, usually age 13-14 (late 7th/into 8th gr).
Husky tone, often with noticeable register breaks.
Unstable upper range, often with emerging baritone notes in lower range.
Falsetto transition is challenging for some boys, and some have no falsetto.
Pitch matching difficulty/intonation issues are common during this stage.
Pitch range D3-F#4, tessitura F#3-D4 but realistically, best range is F3-C4.
Part assignment requires creativity and sometimes incorporates multiple parts.
Boys need vocal rest within the music. They should not be expected to sing
every note of their parts. Their voices are different each day!
Carefully vocalize the falsetto within warm-ups, but realize boys begin to be proud
of this new sound so they will use it if you request it!
Choose music that alternates SA with TB or pairs ST/AB.
Avoid parts with many sustained pitches for an extended period of time.
Look for ways a part can be shared between T/B or S/A.
Breath control is an issue as boys learn how to support their new range.
5. Emerging Adolescent Male Voice
Often referred to as “new baritone”, average age 14, but normal range 13-15.
Some boys in 7th/8th grade, but many at this stage are in 8th/9th grade.
Sound is gaining clarity but lacks fullness of an adult male voice.
Voice is becoming less breathy, with more stability in falsetto range.
Some boys may have no sound C4-G4, yet they can sing above that!
Projection still limited, and some bass parts too low.
Pitch range B2-D#4, tessitura is D#3-A#3, but realistic range is Bb2 or B2-C4.
Intonation issues appear, especially in upper range above A3.
Seek SATB or TTB music now due to wide variety of male changing voices.
SAB or 3 part mixed music is often too high for baritones and too low for tenors.
Voices beginning to regain some flexibility and can sing more complex lines.
Improved balance with treble voices begins to return.
Voices still require rest within a part. Remind boys they may not have every note
of every part yet in their range but they can sing what feels comfortable.
Avoid bass parts below A2 or tenor parts below F3.
While there are glimmers of an emerging SATB sound, they are not ready for
high school level repertoire due to limited range and endurance.
6. Mature Adolescent Male Voice (overview only-I defer expertise to others)

Generally boys in this stage are in 9th gr. or beyond, and age 14-15+.
Emergence of unique vocal quality that will develop into adulthood.
Range expansion continues as boys become confident with new instrument.
Tone is more stable and consistent, gaining focus but lacking the range and color
of fully mature adult male voices.
Upper range and falsetto gain clarity and flexibility.
Bass-baritone parts accessible, range of G2-D4, tessitura B2-G#3, but best
range tends to be Bb2-A3.
Boys have some tendency to push in their upper range.
C. Final Thought
"However much we stumble, it is a teacher's burden always to hope, that with learning, a boy's character might
be changed, and so, the destiny of a man." From The Emperor's Club, Beacon Communications, LLC 2002
Thanks for attending today! Please feel free to contact me if you have any questions. Visit
my website at www.mrl.com to see suggested repertoire for each stage and other information
pertinent to today’s presentation.
Dan LeJeune, The Blake School, 110 Blake Road South, Hopkins, Minnesota 55343
www.mrlj.com
dlejeune@blakeschool.org
952-988-3639
Gackle, Lynne, The Adolescent Female Voice Characteristics of Change and Stages of
Development , Choral Journal, 31:8 (1991:Mar.) p.17
The Adolescent Female Voice

Characteristics of Change and Stages of Development
by Lynne Gackle
usic educators and voices. Often, only a cursory overview

church musicians often of basic range capabilities is given the
approach the teaching beginning teacher in the choral
and conducting of methods class. If information is
junior high age singers presented, it is often given in an
with uncertainty, anxiety, and even a impractical setting without the benefit
certain amount of fear. Unfortunately, of actually hearing young voices.
one reason for this is that music Though a great deal of study has been
educators and choral conductors are given to the male adolescent voice,
often under-prepared for working very little of this information is made
effectively with the special needs of readily available to the beginning
adolescent voices. Consequently, those teacher. Education has been non-
who can most help adolescent young existent in female voice change.
people appreciate their musical, vocal, In addition, voice lessons for pre-
and expressive potentials are service teachers! conductors are
thcmselves unaware of those generally oriented toward adult voices
considerable potentials. and operatic! art song skills rather than
When working with junior high age 2. an understanding of the being centered on the child! adolescent
girls, the choral director is often faced potentials, limitations, characteristics, voice. Choral training has been
with a choir of 55 students that may and unique qualities that may be oriented toward creating a sound
actually sound like only 151 encountered in individual adolescent rather than building expressive voices.
Breathiness is apparent in the tone voices; The creating tends to be in our own
and may even diminish the overall 3. a working knowledge of ways to (adult) image rather than in helping
performance. Intonation, tone quality, assess the present vocal and musical young people find their own
and blend are all affected by this non- abilities of each young singer, and individual age-appropriate image that
focused, airy sound. In desperation, ways to help them develop healthy, reflects who they are at the present
one may ask, "How can such a efficient personal voice skills for self- moment.
breathy sound be tuned?" expression in speaking and singing; Our challenge is to help young
For those of us who work with 4. a working knowledge of how to voices develop to their fullest present
junior high voices, our constant choose music that is within the potential for personal self-expression.
objective is to create a satisfying physiological capabilities of young We must facilitate their vocal future
musical experience for our singers, changing voices, and how to rather than hinder that development
despite the many different types of appropriately assign vocal parts so or contribute to lifelong feelings of
voices and vocal capabilities within that vocal skills are facilitated rather vocal inadequacy. We must also help
our ensembles. With this goal in than impeded; and students to understand that each voice
mind, teachers of junior high! middle 5. the ability to aurally recognize is unique - that it grows or develops
school choirs need: when adolescent voices are speaking uniquely.
1. an understanding of how the and singing efficiently and healthily
adolescent voice matures in order to within their developmental Female Adolescent Voice Change
give proper guidance to the capabilities, or are speaking and
development of voice skills and the singing ineffiCiently and unhealthily. Through the years, much study has
selection of music; The collegeJ university education of been given to the male changing
Gackle is AdjWlct Assistant Professor at the
junior high and middle school music voice. 1 Information concerning the
Univer.;ity of South Florida in Tampa, teachers! conductors has been woefullY stages of change, the characteristics of
Florida. Fonnerly, she was Assistant inadequate from the standpoint of . each stage, methods of classification
Professor of Music Education at the preparing the teacher for and teaching, as well as the
Univer.;ity of Mississippi in Oxford, understanding the nature, care, and psycholOgical ramifications which
:\lississippi. cultivation of adolescent changing affect the boy at this particular time
March 1991 I Page 17
Copyright © 2011 ProQuest LLC. All rights reserved.

Copyright © Americon Choral Directors Associotion.
of his life, have been documented. years. The study will examine the 6. hoarseness;
Minimal information exists, actual vocal changes in the students as 7. generally uncomfortable singing
however, about the female changing compared to the stages of change or difficulty in phonation. a
voice. One possible reason for this lack outlined at the end of this article
of information may be that the (which has been updated since the Early indications of change also
changing process is not nearly as 1985 article published in the Choral include the loss of ease in singing high
noticeable in females as it is in males. loumal).s tones as well as the feelings of "heavy,
Generally, there is a recognition of The follOwing discussion is offered breathy, or rough" tone production!
and resignation to the breathy, thin, as a synthesis of current professional Charles Hoffer also cites the breathy,
and often colorless adolescent girl's opinion and as a review of research thin quality of the adolescent girl's
voice. Through the years, the regarding the characteristics of the voice and claims that it is the result of
assumption has been accepted that the female changing voice. many factors, including" .. muscular
female voice does not really change, immaturity, lack of control and
but instead merely develops during the coordination of the breathing muscles,
adolescent period. Father Finn states and insufficient voice development."·
that "The girl's nature will develop
rather than undergo change, and her Although voice change in
throat will attest this fact by merely Physiological Changes in the Female
females is rwt as dramatic as Adolescent Voice
growing, escaping the anatomical
readjustments of her that observed in males, it
More recently, there has been does occur. Some of the physiological changes
increasing recognition that the female that appear to cause these signs of
voice goes through various physical female voice change have been cited
changes during adolescence, although by various laryngologists. One of the
these changes are not nearly as first indications of voice change is a
dramatic as those observed in the Symptoms of Female Adolescent slight huskiness of the voice. Seth and
male. 3 Exactly when these changes Voice Change Guthrie state that this is due to the
take place and how other biological incomplete closure of the posterior
factors affect voice change in The following indications have been part (back) of the glottis (the space
adolescent females remains virtually proposed as symptomatic of female lying between the vocal folds ).9 As
unexplored. adolescent voice change: early as 1866, Fournier (cited by
In the past few years, female voice Weiss), described the openness in the
change has become the topic of study 1. insecurity of pitch; glottis, which was later termed the
and active research. Currently, several 2. development of noticeable "mutational triangle" by Flateau and
researchers in this country are focusing register breaks; Glutzman. 1O William Vennard notes
their study on female voice change.' 3. increased huskiness in the voice; that this gap or "mutational chink"
This spring (1991) I plan to begin a 4. decreased and inconsistent range represents a weakness of the
longitudinal study with selected sixth capabilities; interarytenoid muscles, and is heard as
grade girls covering a period of five 5. voice cracking; a rustling of "wild air" through the
chink. This incomplete closure occurs
when the membranous portion (front)
of the vocal folds are adducted
(closed) and vibrate normally, while
the cartilagenous portion (back)
remains abducted (open) due to
International Choral insufficient contraction of the
·Kothoumixw interarytenoid muscles, thus creating a

gap or triangle at the rear of the vocal
folds. 11
The vocal folds of the female
June 30 . July 4, 1992 adolescent increase in size
Powell River British Columbia. Canada approximately 3-4 mm, while the
vocal folds of the male adolescent
Join 30 adult, children, and youth choirs from around the world in a week of con· increase up to 1 cm.12 This increase in
certs, competitions, workshops, and social events on the shores of Canada's
",agnificent Pacific Coast. size of the vocal organs causes a
International Jury general lowering in range capabilities.
Conductor's Symposium The lower limit of the girl's vocal
Concert Tour Program range falls about the interval of a
For information and application contact:
Don James, Music Director third, and the upper limit rises
Powell River Academy of Music slightly, while the boy's lower limit
Box 334, Powell River, B.C. falls a whole octave and the upper
Canada V8A 5C2 limit lowers about the interval of a
Tel: 604 483·3346
Fax: 604 483·3383
sixth."
Application Deadline November 1, 1991 Weiss observed that the principal
• Prounounced KA-THOU-ME-WH. Coast Salish Indian word meaning "a gathering together of different peoples." difference between the pubertal
development of the male and female
Page 18 I CHORAL JOURNAL

Copyright © American Choral Directors Association.
larynx concerns the direction of Comparison of the Male and Female Adolescent Voice
laryngeal growth. Prior to puberty,
the larynx of both sexes is Male Voice Female Voice
approximately equal in size. During
pubertal development, the male Laryngeal Greatest growth is Comparatively, the
larynx grows primarily in the Growth: posterior- anterior overall growth is
"anterior-posterior" (front to back) (length); protrusion much less, but still
direction, leading to the angular of Adam's apple. the greatest growth is
superior (height).
protrusion of the thyroid cartilage, or
Adam's apple. The female larynx Pitch: (LTP)* Lowers one octave; Lowers a third;
increases more in height than in (UTP)*' Lowers a sixth. Rises slightly.
width, thus becoming distinctly
different from that of the adolescent Range: Lowers and decreases; Stays within the
male." Ultimately increases treble range and
again. ultimately increases; Tessituras
decrease and greatly fluctuate.
Voice Quality: Lacks clarity; has Lacks clarity; has

Our tyhallenge is to help huskinesslbreathiness; huskinesslbreathiness;
young voices develop to Changes dramatically. changes in weight, color, or
timbre.
their fullest present potential
far personal self-expression. Register
Development: Transition notes/lift Transition notes/lift
We must facilitate their points change through- points change through-
vocal future rather than out development; out development; adult
hinder that development ar falsetto becomes passaggi become
apparent. apparent.
contribute to lifelong
feelings of vocal Vocal
inadequacy. We must also Instability: Yes Yes
help students to understand • = Lower Terminal Pitch
that each voice is unique - = Upper Terminal Pitch
that it grows ar develops
uniquely. 4. growth of pubic hair; transient changes in the coordination
5. breast development (thelarche); of the voice during singing. 17
6. onset of menstruation Luchsinger and Arnold state that
(menarche).'" small submucous hemorrhages, loss of
Other growth changes noted by high tones, and uncertainty of pitch
Weiss include: Though no conclusive research exists may result during and prior to
linking female voice change to menstruation. 18 It is interesting to note
1. greater breath capacity due to menarche, Brodnitz suggests that the that these characteristics closely
increased chest circumference and start of menstruation and the lowering parallel those exhibited by the female
length; of pitch in the female voice are adolescent voice.
2. the lengthening of the vocal tract simultaneous. He further suggests that If the onset of menstruation proves
with the descent of the larynx in the menstrual cycle may produce to be an issue in voice change,
relation to the spine;
3. the development of the oral-
facial structures which are related to
resonance.
Weiss noted that these anatomical
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medical research provides some mentioned. But, if we have a general obvious growth spurt, and there is
important considerations. Tanner knowledge of the sequence of noticeable overall anatomical
contends that the sequences of change adolescent development, we can better development (hands, feet, breast
during adolescence have remained anticipate vocal growth in our development, facial features, etc.),
relatively unchanged throughout the students. For instance, according to then we can suspect that the onset of
years. However, the age at which menstruation most likely has occurred
these changes begin is much earlier or will follow shortly thereafter.
than previously recorded. In fact, Therefore, these obvious physiological
menarcheal age appears to be It is important to remember changes can aid the teacher in
occurring 3 4 months earlier per that during adolescent voice assessing possible voice change.
decade. 19 Research suggests that the lowering
What relevance does this have for change, all voices should be of average speaking fundamental
those of us working with young categorized as light soprano frequency (pitch) may also be an
voices? We may expect to find voice or rich soprano. (There are indicator of the onset and/or
changes occurring earlier. Teachers completion of puberty. Duffy notes a
are observing voice change in no real sopranos or altos - difference of one semitone in mean
elementary school rather than just in the adult sense of the speaking fundamental frequency
junior high. Rutkowski observed that between I3-year-old pre-menarcheal
boys generally progress through the
terms - at this age. Never
and I3-year-old post-menarcheal
vocal stages outlined by John confuse a prominent lower females. The I3-year-old post-
Cooksey'° but noted that they register with true adult alto menarcheal females also exhibit a
consistently enter classifications much higher incidence of voice
Midvoice II, Midvoice IIA, and New
quality.) breaks, suggesting that the onset of
Baritone one year earlier than menarche may be associated with a
originally stated by Cooksey.21 Such period of vocal instability in addition
evidence further supports the to a decrease (lowering) in speaking
possibility that voice change is Tanner, menarche occurs late in the fundamental frequency. 23 Hollien
occurring earlier than previOusly development sequence after breast notes that the lowering in
reported. budding and the development of fundamental speaking pitch of the
Obviously, we as teachers are pubic hair, and generally, after the female voice is more gradual than in
limited in our ability to observe all the peak of the height spurt has passed." that of the male, possibly only one
physiological changes previously If a student has gone through an semitone per year over the four or five
pre-adolescent and early adolescent
ASSOCIATION OF LUTHERAN CHURCH MUSICIANS years."
Invites all ALCM and ACDA members According to Cyrier, a female
attending the ACDA national convention in Phoenix to upper register transitional pitch area
(lift point) tends to be higher in
CHURCH MUSIC IN THE 21ST CENTURY: I4-year-old and I5-year-old females
than in lO-year-old and ll-year-old
ARE YOU READY? females, suggesting that lift points
An ALCM sponsored Symposium and Banquet" in the Phoenix Hyatt Regency may be higher for older adolescent
Friday, March 15, 5:00 - 7:00 pm girls.·5 In working with girls' voices, I
Featuring a guest panel of leading American composers of church music have also observed this upward trend
in the upper register transition area
with age. In fact, as the voice
continues to mature, this upper
register transition area begins to
approximate the adult soprano
passaggio generally observed at D"-F-
sharp".
Mark Hayes K. Lee Scott Carl Schalk In my doctoral dissertation, I
Composer and arranger of over With choral music published by 11 Professor of Church Music at
300 published works. Mark is at Concordia College. River Forrest. examined the effects of selected
IL. Carl has been a leader in vocalises on the improvement of tone
Lutheran Music for decades.
production in the junior high school
(*$25.00 includes full Banquet and Symposium and are not separable. female voice, Although analysis of the
Phoenix Hyall Regency is the ACDA National Convention host hotel)
data revealed no statistically
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Dr. Mark Francis, Director of Music. Shepherd of the Valley Lutheran Church ratings of perceived tone quality,
1500 West Maryland, Phoenix. AZ 85015 analysis of objective data revealed
significant differences on phonation
While in Phoenix for the ACDA Convention
duration (controlled exhalation) and
Visit the ALCM exhibit booth (space 411 ) at the Convention Centcr
pitch perturbation (a quantitative way
of evaluating whether the vocal folds
STUFF THAT WORKS! are vibrating normally or abnormally
Create your own repertoire list uniquely tailored by computer to meet your unique ensemble needs by measuring cycle to cycle changes
that occur in fundamental frequency).

It was concluded that the selected Listening to each junior high age not mean that she is an alto. In fact,
techniques were effective in improving singer is important in order to assess it is important to remember that
breath management skills and in vocal development. Fluctuations in during adolescent voice change, all
promoting more efficient, healthful range tend to be sporadic, and during voices should be categorized as light
use of the voice (efficiency inferred the peak of mutation, unpredictable. soprano or rich soprano. (There are
from the decrease in pitch Often, a girl who has been singing no real sopranos or altos - in the
perturbation.)!B first soprano will experience decreased adult sense of the terms - at this age.
range, uncomfortable singing, or voice Never confuse a prominent lower
Stages of Development in the cracking. A change of voice part (to register with true adult alto quality.)
Adolescent Female Voice alto or second soprano) for a short In addition to utilizing equal-voiced
period of time may be advantageous. music for changing female voices (all
From the review of current musical parts have equal pitch
literature, it is obvious that female ranges), allow the students to switch
voice change is characterized by: parts in regular scores so that they
1. lowering of speaking In addition to utilizing have the opportunity to sing all of the
fundamental frequency; two or three parts for female voices -
2. development of noticeable equal-voiced music for as long as the ranges are comfortable.
register breaks (quality changes); changing female voices (all Musical independence and growth will
3. increased breathiness or musical parts have equal result.
huskiness in the voice;
4. decreased and inconsistent range pitch ranges), allow the Characteristic Stages of Development
capabilities (tessitura tends to students to switch parts in in the Female Adolescent Voice
fluctuate) ;
5. uncomfortable singing or
regular scores so that they
The following developmental stages
difficulty in phonation; have the opportunity to sing are the result of 10 years of
6. heavy, breathy, "rough" tone all of the two or three parts observation with female adolescent
production and! or colorless, voices. Chronological ages are given as
breathy, thin tone quality; for female voices - as long general guides and are not to be used
7. voice cracking; as the ranges are as definitive rules of classification. In
8. hoarseness. comfortable. classifying female changing voices, the
follOwing criteria are used:
Given these characteristics of
change, current research has shown 1. mean speaking pitch;
that the development of sequenced If this occurs, vocalization should 2. vocal rangeltessitura;
pedagogical techniques applied continue throughout the vocal range, 3. register breaks (quality changes);
through the choral experience can always striving to avoid any 4. voice quality.
provide opportunities for the unnecessary strain in the lower or
development of improved vocal upper range. Although the student The acceptable limits of habitual
efficiency, breath management may now be singing alto, it is speaking pitch areas of each stage
techniques, and voice building. important to remember that this does indicated below are from research by
Although voice change in females is
not as dramatic as that observed in
males, it does occur. The Comparison
of the Male and Female Adolescent
Voice chart on page 19 identifies In Memory of
several factors in both voices which
are affected as the result of voice
change.
Perceptually, female voice change

can best be described as shades of
change. If the color blue is suggested,
EDWIN FISSINGER
the mind may conjure many different
shades of blue - from azure to royal
June 15, 1920 - October 16, 1990
or navy blue - with many colors
represented in between. In many
ways, color association is an
appropriate way to aid in
understanding the development of the
female voice. The overall color is that
of a treble sound - it does not
change. However, in terms of
richness, depth. and warmth, the Walton Music Corp.
quality changes noticeably, and those Plymouth Music Co.
stages of change can readily be
identified by a trained listener.

Copyright © Americon Choral Directors Association.
Wilson. 27 Tessitura is defined as the determined by the perceived color,

range of pitches most easily and freely weight, and overall timbre of the
produced within the total vocal range. tone. Again, chronological ages are
Register breaks are identified as given as general guides and certainly
changes in quality within the total should not be used as definitive
vocal range. Voice quality is indications of each stage of change. Cl
Characteristic Stages of Development

In the Adolescent Female Voice
Note: Chronological ages are given as general guides and certainly should not be
used as definitive rules.
Stage I: Prepubertal Ages 8 10 (11).

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ence the that the female voice is lighter in weight because the volume
potential is generally not as great.
Depending on other physiological changes (Le., breast

development, menarche) this stage could continue through age 12
or 13.
Stage IIA: Pubescence/Pre-Menarcheal: Ages 11 to 12 (13); Beginning of

mutation; First signs of physical maturation begin (breast
development, height increase, pubic hair, etc.).
Speaking Voice: Average fundamental frequency is

245 Hz - 275 Hz (B' C-shlll"Jl');
• Acceptable limits - 235 Hz - 290 Hz (A-sharp" IJ4).
PRESENTS Singing Voice: Breathiness in the tone due to appearance of

Audio Cassettes of America's Singing Master mutational chink, an inadequate closure of the vocal folds as
growth occurs in the laryngeal area;
FRED WARING AND THE Register break appears between G' and B';
PENNSYLV ANIANS If not using lower (chest) voice, there is apparent loss of
Listen to the chorus and the sound that lower range - around 0 (Some girls ,have trouble producing
pioneered, inspired and set the standards for chest voice at this time.).
popular choral singing in America
'TWAS THE NIGHT BEFORE Symptomatic Signs:
CHRISTMAS Difficulty or discomfort with singing;
The ali-time. best selling. gold record Difficulty in achieving volume (especially in middle and
winning. Christmas album. upper range);
SENTIMENTAL JOURNEY Breathy tone throughout upper range (head voice).
Nineteen favorites recorded in 1949 at the Fuller tone in lower! chest range; obvious flip into breathy,
height of the popularity of the child-like, fluty voice at transition from lower to upper
Pennsylvanians' on radio. registers.
ON THE AIR WITH FRED WARING
Air checks from the award winning radio
programs of the 1930s and 1940s. Stage lIB: Puberty/Post-Menarcheal: Ages 13 14 (15); Peak of Mutation.
NOW IS THE CAROLING SEASON
Christmas favorites originally issued by Speaking Voice: Average fundamental frequency: 225 Hz 275 Hz
Capitol records. (N C-sharp4);
LITTLE ORLEY STORIES
Timeless stories for children told by Lumpy • Acceptable limits: 195 Hz 290 Hz (G' IJ4);
Brannum. TV's Mr. Greenjeans accompanied Huskiness is inherent, but the voice begins to change in weight and
by the Pennsylvanians. timbre.
For information coni act:
Fred Waring's America. Penn State Singing voice: Very critical time; After the Stage I1A, (Pre-
220 Special Services Building Menarcheal), tessituras can move up or down, or sometimes, can
University Park. PA 16802 narrow at either end, yielding basically a fiv& or six-note range of
(814) 863-2911 comfortable singing.

Register breaks still apparent between G' and B', and also at
OS to F-sharp5;
At times, lower notes are more easily produced, yielding an

illusion of an alto quality; singing in this range may be easier
and can be recommended for short periods of time; singing
only in the lower range for an indefinite period of time can be
injurious to the young unsettled voice because of the tendency
to overuse the lower (chest) register.
Vocalization should occur throughout the vocal range, always

striving to avoid any unnecessary strain in the lower or upper
range.
Because the changes during this stage are sporadic and
unpredictable, it is necessary to listen to individual voices
frequently in order to assess vocal development.
Symptomatic Signs:
Hoarseness without upper respiratory infection;
Voice cracking; Elegant
Difficulty or discomfort with singing;
Lack of clarity in the tone. Choir &. Pulpit Robes
FREE Full-Color Portfolio
Stage III: Young Adult Female/Post-Menarcheal: Ages 14 - 15 (16).
Spealdng Voice: Average fundamental frequency is

210 Hz - 245 Hz (G-sharp' B3);
• Acceptable limits: 185 Hz 260 Hz (F-sharp' C');
Timbre approximates that of adult female;

More richness appears in the voice quality.
Singing Voice: One Harmony Place

Overall range capabilities increase. (At times, range does not New London. Ohio 44851
decrease during the time of mutation. One characteristic of a
quality singing voice is that it encompasses a large range. This
does not imply that any voice is an alto at age 15-16 simply
because those tones are within the young singer's capability);
Greater consistency occurs between registers; voice breaks are

more apparent at passaggio OS F-sharp5 (more typical of
adult voice);
Breathiness appears to decrease;
Tone, though not as full as mature adult, is deeper and

richer;
Ease returns in the singing process;
Vibrato appears in the voice;
Volume, resonance, and vocal agility increase .
• Acceptable limits were derived from Voice Problems of Children by Kenneth Wilson,
and do not necessarily reflect physically efficient use of voice in speech.
THE TALE OF THE
RINGS OF POWER
ADOLESCENT FEMALE VOICE RANGES AND TESSITURAS TI?xt by J. R. R TolkJen \1usl( Thomas
Thomas Peterson's 80 minute musical

-.J.. -.J.. saga based on Tolkien's Lord llf the Rings
\(!I ?5] I
:it OJ
i r'g
:it =j :it I
- --;
Ii,
II
I'
and The Siimarillion. For narrator, boy
sopranos, soloists. chorus and orchestra.
Info_, scores, and rentals:
..,-
Stage] Stage IIA Stage IIB Stage lil Publications It')
PrepubertaJ Pre.menarcheaJ Post-menan:heal Young Adult Female
1301 :\0. -Ith St.
Note: Complete development if the voice continues after post mutation Fargo. ,,:058102
( , 280-2009
• Brackets indicate tessituras
\

Copyright © Americon Chorol Directors Associotion.
APPROXIMATE REGISTER CHANGES (LIFT POINTS) FOUND AT Bonnie Blu Williams, An inve.stigation of
VARIOUS STAGES IN THE FEMALE ADOLESCENT VOICE selected female speaking voice characterUitics
through comparUion of pre-menarcheal to post-
menarcheal girls (Proposed doctoral dissertation,
ij
University of North Texas, proposed 1989). This
-1,
I J J) I J
proposal was sent to me by the author in 1988
Ie', • land for review. Ms. Williams and I had been in
I correspondence for a year or two concerning
our research.
Stage I Stage llA II Stage lIB Stage III 5 Lynne Huff-Gackle, "The adolescent female
Prepubertal Pre--menarchad
I, Pust-menarcheal
voice (ages 11-15): Classification, placement,
and development of tone" (Choral Journal, 25
(8), 15-18, 1985).
AVERAGE MEAN SPEAKING PITCHES AND ACCEPTABLE LIMITS OF 6 Lois Harrison, "It's more than just a
ADOLESCENT FEMALE VOICES changing voice" (Choral Journal, 19 (I), 14-18,
1978).
Alderson, p. 238-240.
Huff-Gackle, p. 15-18.
7 Madeline Ingram & William Rice, Vocal
technique for children and youth (Abingdon
Press: New York, 1962).
, Charles Hoffer, Teaching music in
secondary schools (3rd ed., Belmont, CA:
Wadsworth Publishing Co., 1983).
, G. Seth and D. Guthrie, Speech in
Notes the summer time period (Doctoral dissertation, childhood: Its development and disorders
Florida State University, 1979). (London: Oxford University Press, 1935).
I William Finn, The art of the choral John Cooksey, Ralph Beckett, & Richard ,e Deso A. Weiss, The pubertal change of the
conductor (Vol. 1) (Evanston, IL: Summy Wiseman, A longitudinal investigation of human voice, (Folia Phoniatrica, 2 (3), p. 137,
Birchard). selected vocal, physiological and acoustical 1950).
II William Vennard, Singing, the mechanism
Duncan McKenzie, Training the boy's factors associated with voice maturation in the
changing voice (London: Bradford and Dickens, funior high school male adolescent (Research and the technic (New York: Fischer, p. 63,
Drayton House, 1956). study resulting from the report for the National 1967).
\2 Richard Luchsinger & C. Arnold, Voice-
Jan Naidr, Miroslav Zboril, and Karel ACDA Convention, 1983).
Sevcik, "Die pubertalen Veranderungen der , Finn, p. 21 Speech-Language: Clinical communicology: It's
Stimme bei Jungen im Verlauf von 5 Jahren" 3 Richard Alderson, Complete handbook of physiology and pathology (Belmont, CA:
(Folia Phoniatrica, 17: 1-18, 1965). voice training (West Nyack, N.Y.: Parker Wadsworth Publishing Co., 1965).
13 Seth & Guthrie, p. 200.
Irvin Cooper and Karl Kuersteiner, Publishing, Inc., 1979).
Teaching junior high school music (2nd Ed.) Arnold E. Aronson, Clinical voice " Weiss, p. 131.
15 Ibid, p. 130.
(Conway, Arkansas: Cambiata, 1973). (2nd ed.) (New York, N.Y.: Thieme, Inc.,
16 J. Tanner, Sequencing, tempo and
Frederick Swanson, The male singing voice 1985).
ages eight to eighteen (Cedar Rapids, IA: Igram Frederick Brodnitz, On the changing voice individual variation in growth and development
Press, 1977). (National Association of Teachers of Singing, of boys and girls aged twelve to sixteen (In J.
John Cooksey, "The development of a 28, (2), 16-18, 1983). Kagan & R. Coles (Eds)., Twelve to sixteen:
continuing eclectic theory for the training and • Martha Lynne Huff-Gackle, The effect of Early adolescence (pp. 1-24). New York: W.W
cultivation of the junior high school male seleded vocal techniques for breath manage- Norton, 1972).
changing voice." Part I-IV (Choral Journal, 18, ment, resonation, and vowel unification on tone Warren Joseph, A summation of the
2-5, 1977a, b, c, 1978). production in the ;unior high school female research pertaining to vocal growth (Journal of
Mary D. Groom, A descriptive analysis of voice (Doctoral dissertation, University of Research in Music Education, 13 (2), 93-100.
17 Frederick Brodnitz, Hormones and the
development in male voices during Miami, 1987).
human voice (National Association of Teachers
of Singing, 28 (2), 16-18, 1971).
I' Luchsinger & Arnold, 1965.
19 Tanner, pp. 1-24.
In celebration of its 50th Anniversary,
'" Cooksey, 1977b, Part II, p. 12.
The Cathedral Choral Society 21 Joanne Rutkowski, Final re.r:;ults of a
is sponsoring a longitudinal study investigating the validity of
Cookr:;ey's theory for training the adoiesce1lt
Choral Composition Contest for male {;oic(' (Pennsylvania Music Educators
Association Bulletin of Research in Music
Composers 35 Years and Younger Education, 16. pp. 3-10, 1985).
$ 1,000 Prize 22 Tanner, pp. 1-24.
23 Robert Duffy, Fundamental freqlJenry
Entry must consist of a sacred Christmas-related text and SATB voice parts for oj adoie.w'ent females (Lan.'!:lIage
the 200-member chorus. It may be either unaccompanied or with organ and and Speech. 13. 14·24. 1970).
optional brass. CompOSition should be three to five minutes in length and may 24 Harrv Hollien. Ado[e.licence and voice
not have been previously performed. Entries must be received by July I, 1991. change B. Weinberg, & Van Lawrence
The winning composition will be performed at the Society's annual Joy of Transcripts of the Seventh Symposium:
Christmas concerts in December 1991 in Washington National Cathedral. If, in Care of the Professional Voice, Part II. Life
.'Ipan changes in the human voice (p ..17). N('w
the opinion of the judges, compositions do not meet standards of musical
York: The Vniee Foundathm.. 197R).
excellence, no award will be made. Anita A \tudy of til(' I o('al H'gi\t('f\
For complete guidelines and application form, address inquiry to: and transitioTlal pifch('.\ oj th(' adolescent jnna/"
I \ti.,..,ollri Journal of Reiearch in \111\1(
Judith Davis, Composition Chairman
Education. 4 (5). 84-86. I!lHI).
Cathedral Choral Society
" Huff·Gackle. WH7, p. lOR-IIi>.
Washington National Cathedral 27 D. Kenneth \Vilsol1, Voice probf('1w; oj
Wisconsin and Massachusetts Avenues, N.W. ('hildrell (Baltimore. \11)· Tilt· \\'illi,lIII'> and
WaShington, D.C. 20016-509B \\'ilkins Co., W72).
L-_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

Copyright © Americon Chorol Directors Associotion.
References Huff-Gackle, L. (1985). "The adolescent female Swanson, F. J. (1977). The male singing voice
voice (Ages 11-15): Classification, ages eight to eighteen. Cedar Rapids, IA:
Alderson, R. (1979). Complete handbook oj placement, and development of tone." Igram Press.
voice training. West Nyack, N. Y.: Parker Choral Journal, 25 (8), 15-18. Tanner, J. M. (1972). "Sequencing, tempo and
Publishing Inc. Huff-Gackle, M.L. (1987). "The effect of individual variation in growth and
Aronson, A. E. (1985). Clinical voice disorders. selected vocal techniques for breath development of boys and girls aged twelve
(2nd ed.). New York, N.Y.: Thieme, Inc. management, resonation, and vowel to sixteen."' In J. Kagan, & R Coles (Eds.) ,
Brodnitz, F. S. (1971). "Hormones and the unification on tone production in the junior Twelve to sixteen: Early Adalescence (pp.
human voice:' National Association oj high school female voice:' (Doctoral 1-24). New York: W W. Norton.
Teachers oj Singing, 28, (2), 16-18. dissertation, University of Miami, (FL) , Vennard, W. (1967). Singing, the mechanism
Brodnitz, F. S. (1983). "On the changing 1987). and the technic. New York: Fischer.
voice." National Association oj Teachers oj Ingram, M.D., & Rice, W. D. (1962). Vocal Weiss, D. (1950). "The pubertal change of the
Singing, 40, (2), 24-26. technique for children and youth. New human voice." Folia Phoniatrica, 2 (3),
Cooksey, J. M. (1977a). "The development of a York: Abingdon Press. 126-159.
continuing, eclectic theory for the training Joseph, W. A. (1965}. "A summation of the Williams, B. (1989 - proposed). An investigation
and cultivation of the junior high school research pertaining to vocal growth:' of selected singing and speaking voice
male changing voice. Part I: Existing Journal of Research in Music Education, 13 characteristics through comparison oj pre-
theories." Choral Journal, 18 (2), 5-13. (2),93-100. menarcheal to post-menarcheal girls.
Cooksey, J. M. (1977b). "The development of a Luchsinger, R, & Arnold, G. E. (1965). Voice- (Proposed doctoral dissertation, University of
continuing, eclectic theory for the training Speech-Language: Clinical communicalogy: North Texas, 1989).
and cultivation of the junior high school Its physiology and pathology. Belmont, CA: Wilson, D. K. (1972). Voice problems of
male changing voice. Part II: Scientific and Wadsworth Publishing Co. children. Baltimore, MD: The Williams and
empirical findings; Some tentative McKenzie, D. (1956). Training the boy's Wilkins Co.
solutions." Choral Journal, 18 (3), 5-16. changing voice. London: Bradford and
Cooksey, J. M. (1977 c). "The development of a Dickens, Drayton House.
continuing eclectic theory for the training Naidr, J., Zboril, M., & Sevcik, K. (1965). "Die
and cultivation of the junior high school pubertalen veranderungen der stimme bei
male changing voice. Part III: Developing jungen im verlauf von 5 jahren (Pubertal To submit articles for the
an integrated approach to the care and voice changes in boys over a period of 5
training of the junior high school male years)." Folia Phoniatrica, 17, 1-18. Choral Journal, send five
changing voice." Choral Journal, 18 (4), Rutkowski, J. (1985). "Final results of a (5) copies to
5-15. longitudinal study investigating the validity
Cooksey, J. M. (1978). "The development of a of Cooksey's theory for training the
Melanie Childers,
continuing eclectic theory for the training adolescent male voice."' Pennsylvania MU$ic Managing Editor,
and cultivation of the junior high school Educators Association Bulletin of Research in P.O. Box 6310
male changing voice. Part IV: Selecting Music Education, 16, 3-10.
music for the junior high school male Seth, G., & Guthrie, D. (1935). Speech in Lawton, Oklahoma,
changing voice:' Choral Journal, 18 (5), childhood: Its development and disorders. 73506.
5-17. London: Oxford University Press.
Cooksey, J. M., Beckett, R. L., & Wiseman, R.
(1983). "A longitudinal investigation of
selected vocal, physiological, and acoustical
factors associated with voice maturation in
the junior high school male adolescent:'
Research study resulting from the report for If You're Thinking About
the National ACDA Convention, New
Orleans, Louisiana. Young People and Church Music,
Cooper, l. 0., & Kuersteiner, K. O. (1973).
Teaching iunior high school music (2nd ed.). Think of Us First.
Conway, Ark: Cambiata.
Cyrier, A. (1981). "A study of the vocal
registers and transitional pitches of the
adolescent female."' Missouri Journal of
Research in Music Education, 4 (5), 84-86.
Duffy, R J. (1970). Fundamental frequency The National Lutheran High School Music Camp
characteristics of adolescent females," held this year at Augustana College, Sioux Falls, S.D.
Language and Speech, 13, 14-24. June 23 - July 21
Finn, W. J. (1939). The art of the choral
conductor (Vol. 1). Evanston, IL Summy-
Birchard.
Groom, M. (1979). A descriptive analysis of
development in adolescent male \'oices
»
}>
Pipe Organ Lessons at all levels
Chapel Choir. Concert Choir
»
Small Ensemble For All -
voice & instruments
during the summer time period. (Doctoral
dissertation, Florida State University, 1979.)
» Individual Lessons on all
instruments & voice
" Symphony Orchestra &
Concert Band
Dissertation Abstracts intemational. 40.
4946A. l' Church Worship. College & University Instructors
Harrison, L. (1978). "lfs more than just a Liturgy Instruction ,;) Caring. Christian Counselors
changing voice:' Choral Joumal. 19 (1). f Daily Evening Prayer. Sunday Worship - student musical participation
14-18.
Hoffer. C. R. (1983). Teaching ",usic in
,,'condary schools (3rd Ed.) Belmont. CA:
\\' adsworth Publishin!( Co. I to students who could profit from the unique
Hollien. H. (HJ7XI. "Adolescence and \"{)ice experience of twenty-eight days of mstruction and inspiration in classical music
chan!(e." In B. \\"einberg, & Yan Lawrence and classical Lutheran Worship!
(Ed•. ) Trar.,cript-, of t/Ie Seventh
S"mposium: Care oj the Professional Voice.
Part II. LiJe spa" changes in tlJe human Write or cull (col/e("l)
1"Oin' (pp. :>:ew York: The Voice for more illfi)l"nlation: Lutheran \Iusk Program. Inc.
Foundation. 2225 \\'ashing,lon Street Carlos R. ... erli
Lincotn.:>:E 68502 (402) 474-7t77 Executive Director

ANALYSIS
Broad Description
How would you describe this composition?
Type/Genre
(suite, motet, overture, etc.)
Background Information
A thorough • Research the style period when this was written and determine the
analysis of the compositional elements that make it a characteristic or uncharacteristic
music is a example of the period?
necessary • Research the composer’s life and style characteristics. Pay particular
foundation for attention to those aspects that pertain to your composition and that would
significant interest your students.
learning and
• Explore why the composer wrote this piece (e.g. commissioned for a special
great event or written as part of job) and determine whether it is a good example of
performances her/his work.
• Determine who originally would have performed this piece and in what
setting.
• Discuss any traditions that accompany this piece (such as standing for The
Hallelujah Chorus)
Additional Choral Information to Determine
• If the text is in a foreign language, translate it yourself and then compare it to
the given translation.
• If the text is written by a famous poet or writer then research the author and
poem to determine its historical/cultural significance.
• What story or mood does the text tell or create?
• Is this edition historically accurate? Can you check it against a more
Students can authentic version of the piece in a collected edition?
participate in
the analysis of Additional Instrumental Information to Determine
a composition
• Describe solo requirements.
• Are the technical challenges appropriate for the target age group or level?
• Describe the quality of the transcription or arrangement.
• Is this the original instrumentation? If not, how has the original been
modified for this composition and why might the arranger have made these
modifications?
Background information for nonwestern, folk, or popular music:
While doing • Find out about the country and musical tradition from which this
an analysis composition comes. List style characteristics of the music tradition.
you may be • With what instrumentation would this music be performed in its original
reminded of country/culture/ or tradition?
related pieces • Who would have performed this music and for what reasons?
which can
serve as • What can you find out about the arranger and how well this piece represents
interesting the tradition within which it is written? How westernized is it?
rehearsal • If your arrangement is based on a folksong try to find the original tune.
strategies or
• Translate the text if it is not in English.
good
programming • What story or mood does the text tell or create?
ideas • Discuss any traditions or rituals that accompany this piece. Would it have
been just sung, or might there be dancing and instrumental accompaniment?
Think about how these answers might affect your interpretation.
Elements of Music
How are they used and why did the composer make the choices s/he did?
The time Form – What is the structure of this piece? How is the piece organized—e.g.
invested in an binary, ternary, through-composed? What recognizable devices does
it include—e.g. fugue, chorale, trio?
analysis is
directly Rhythm – What are the primary motives? What note values are the most
related to the common? Is there syncopation or a peculiar time signature? Are
depth of there challenging rhythmic devices such as hemiolas and mixed
student meters?
learning
Melody – What is the shape of the theme? What is the tonality—major, minor,
modal, or a combination? Does it progress by step or skip? Is there
a melodic motive? Is there even a melody? Are there counter-
melodies that are important for the audience to hear?
Harmony – What is the harmonic rhythm? How and when does it modulate and
what are the key relationships? Where are there dissonances? Are
there any suspensions?
Timbre – What are the colors in the piece? Is it primarily bright or dark and
what instrumentation or voicing creates the colors? How does the
timbre reflect the text, title, or mood?
Texture – Is this piece primarily homophonic, monophonic, or polyphonic? Is

it melody and accompaniment or monody? Does the density of the
overall texture change? How does the composer contrast textures
and what effect does that create?
Expression– What are the dynamics, phrases, articulations, and tempi for this
piece? How and when is each element used and applied?
Additional Considerations
How does the composer create moments of tension and release?
How does the composer use and create contrast?
How does the composer unify the composition?
How does the composer sustain interest throughout the composition?
How does the instrumentation contribute to the overall effect of the composition?
How does the orchestration represent the style period?
The Heart
What attracted you to this piece of music?
What maintains your interest in it?
What gives this music its distinctive qualities?
What do you learn about yourself through the eyes of this music?
How has the composer created your response through compositional devices?
Reasons to Perform this Composition

What is the value of the music in relationship to available rehearsal time and
student needs?
Things You could Teach with this Composition

Think specifically about what this composition teaches well or uniquely. Lots of
music teaches phrasing or motivic development, but few pieces teach it
exquisitely.
MUSIC SELECTION
Determining the Quality of the Composition
A good Uniqueness Form
composition, Design Unpredictability
regardless of Depth Consistency
the level of Text Transcendence
Orchestration/Voicing
difficulty, has
lasting Everyday Needs to Be Considered
qualities Programming Level of Difficulty Personnel
Length Maturity Voicing
Audience Technique Tessitura
Special guests Literacy Instrumentation
Community Rehearsal time Solos
available Accompaniment
What do your Balancing the Curriculum
students need?
BAND
Historical Periods Musical Forms
Renaissance Theme and Variation
Baroque Rondo
Classical Sonata
19th Century Prelude and Fugue
Is the 20th Century/Avant Garde Suite
knowledge Musical Genres Fugue
gained Marches Canon
transferable? Overtures Minuet and Trio
Symphonies (movements) 12 Bar Blues
Film Music ABA
Folksong Arrangements Through Composed
Concerto
Programmatic Music Varied use of Ensemble
Jazz Full Band
Musical Theater Wind Ensemble
Chamber Ensembles
CHOIR
Historical Periods Multiple Music Genres

Early Music Madrigal
Renaissance Motet
Baroque Part Songs
Classical Chant
19th Century
20th Century/Avant Garde
Cantata
Newly Commissioned Oratorio
Sacred and Secular Music Opera Choruses
A Cappella and Accompanied Music Mass
Various Languages Musical Theatre
Vocal Jazz
Gospel
Folksongs
World Music
ORCHESTRA
Historical Periods Musical Genres

Renaissance Concert Overtures
Baroque Symphonies (movements)
Classical Ballet Music
Romantic Fiddling
Impressionistic Folksong-Arrangements
20th Century Musical Theatre
New music Jazz
Opera selections
Forms Concerto
Fugue Programmatic Music
Canon Suite
Theme and Variation Commissions
Sonata-Allegro
Rondo
Minuet and trio
12 bar blues
ABA
Through composed
Music for different types of Ensembles

Full Orchestra
String Orchestra
Chamber Orchestra
Chamber ensembles (duets, trios, quartets)
Chorus with orchestra
a ^ 0*
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Sandra Snow is professor in the college of music at Michigan

State University, where she teaches in the areas of choral con
ducting and choral music education. She is the author of the
DVD Conducting-Teaching: Real World Strategies for Success,
2009 (GIA). The MSU Women's Chamber Ensemble was a
featured choir at 2008 ACDA Central Division Conference and
the 2009 ACDA National Conference.
This content downloaded from 140.254.87.149 on Wed, 06 Jun 2018 18:16:13 UTC
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stalled in a rut, have benefited from the pro- derived directly from the music. The more The rich potential for engaged rehearsing
cess of visual mapping for rehearsal. Visual often Ms. E returns to score study, the more is evident by both the number of strategies
mapping documents the brainstorming of developed the map will become with the ad- developed and by the fluency evident in the
both dimensions of preparing for rehearsal; dition of new extensions and connections or decisions.The strategies devised by the con
musical interpretation and the generation of refinements to existing discoveries (Table 2). ductor/teacher are intimately related to her
teaching strategies. The conductor/teacher is able to articulate understanding of the muslc.The intentional
Computer software such as MindMa- what she wants students to take from the pairing of teaching strategies with the musical
nager8 allows the conversion of related music by deliberately brainstorming for later score will result in an inside-out approach
thoughts to a visual construct. Table I I- action on the podium. to rehearsal, one that is more organic and
lustr tes thinking by Ms. E, who, after ten Once the musical ideas are fully de- satisfying for both teacher and singer
minutes of warm-up and sight-reading, is scribed, she is ready to consider how singers It is at this point, after deep thinking by
now ready to rehearse the first movement will experience the ideas. In a rehearsal that the conductor/teacher in both dimensions,
of Pergolesi's Stabat Mater9 with the tenth emphasizes musical doing as represented by that a rehearsal plan can be formed. The
grade women's chorus. both nonverbal and verbal teaching strate- conductor/teacher transitions from prepara
Decisions by the conductor/teacher are gies, a second dimension emerges (Table 2). tion to the planning phase by making choices
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e i ligh f d , i cladi g e e ci e
ic de ella
i e
hea i g: S , Sa d a. Ch al C d c i g/
a egie f eachi g a d lea i g. The
Teachi g: Real W ld S a egie f S ce
eache i 1 ead
Vig e e i e i ad i a i def De i e R. Eahe , ehea al.
(DVD). Chicag , IL: GIA, 2009.
The i al a Ch
e al Edeca , S i g a
HS ISD, S eheai g al la
TX, a d ibili
P e ide , Te a M icf
Ed ca 1 Vi al a i g de el ed h gh a ac i
b a eed f e ' l a i i
e ea ch jec ai ed a i i g eache
he ch al ehea al. A cia i a d all i i i g eache
ai i g i he ch al edag g ( e h d )
I i a habi f i d, a ie a i f aki g a diffe e ce I he ch al cla .
cla .S , Sa d a. "Rehea i g i he
hi ki g, he e he di a d2 A e ce f e eache : W g, Ha a d
Ch al C e : A Q ali a i e E a i a i
W g, R e a . The Fi Da f Sch l:
li e ece i el i he d. P e a a i f U de g ad a e C d c / eache
H T He A Effec i e Teache . M ai Vie ,
all f ha i e ha a hi d di e i Pla i g P ce e a d Rela i hi
CA: Ha W g P blica i , 2009.
f he eachi g/lea i g e e ie ce: a abil E e ge Pedag gical K ledge E ide ced
3 Yl ge R be . "The C e a i f P ac ice" I
i be e e i h he i ge a d he i Teachi g." (PhD di e a i , Michiga S a e
E c agi g Reflec i e P ac ice i Ed ca i : A
ical di g. Li e i g dee l i he U i e i , 1998).
A al i f I e a d P g a , Gif , H ,
l i a e a e e l f he c d c / ' Mi dMa age i e i f i al a i g,
a d P gach, Ed . Ne Y k:Teache C llege
eache ; f eli g ch ice be ade. Li e i g P e , 1990. a a da d b i e f a e.Mi dje
i b h a kill a d a hil hical ch ice. We 4
Mi dMa age Pa e Pe di g (C igh
A g he ; Be ei e Ca l, a d Sca da alia,
ch e c l i a e a e i e i hich 1994-2007 Mi dje LLC, U.S.A. All igh
Ma le e. S a i gO el e : A I i
e a e e l hea i g.Vi al a i g e e ed.) Mi dje a d Mi dMa age a e
i he Na ea dI lica i f E e i e.
i e el a aid c e i g he e al egi e ed ade a k f Mi dje LLC i he
Chicag : O e C , 1993.
U i ed S a e a d/ he c ie . Xe ce
ce e eeded ehea e i agi a i el . 5 F a e de ailed di c i :S , Sa d a.
E e ie ced eache a eed ch C++ 2.7.0( C igh 1999-2005, The
"B ai i gf I i a i : De el i g
a l, b e e gi g eache abe efi A ache S f a eF da i . C igh (C)
I agi a i e Teachi g S a egie I he
2004,2005 I g Be g
f ff- di b ai i g h gh Ch al Rehea al" i Teachi g M ic Th gh
' Pe g le i, Gi a i Ba i a, S aba Ma e . (Kal ).
i al a i g. Pe f a ce i Ch i (V l. 4), B cha a ,
Sc e d , ide if i g ical challe ge Hea he a d Mahaffe , Michael, Ed . (GIA) i
a d g al , a d b ai i g f l i le e .
a f i e ac i g i h ical a e ial ^ A e i al di c i f eflec i e ac ice i f d
e e a a la f hich a c d c / i Sch , D ald. The Reflec i e P ac i i e .

eache ca ake deci i ha ack l Ne Y k: Ba ic B k , 1993.
7F a ecific e f c e a al i a d f lle
edge he i a ed c e f a ecific
di c i f he e-c di i f c e
cla a a ic la da , a a a ic la
i e. Wh , af e all, d e a ch al ed ca
c i a e a a ce ha c
ig ifica i e a d e ce ?
Ch al eache ack ledge he
a f a i e e f i gi g i c
i i h he .The de a d he dee
ARGENTINA
a i fac i f i g he h a ice a a
e i i e ea f elf-e e i . The
c l i a e he de el e f i ellec al a d
e i al g h.The eali e ch al i gi g
i a i a i e f ide i de el e ,
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CHORAL JOURNAL V l e 51 N be 7 17
CRAFTING
CAREFULLY
THE CHORAL
REHEARSA
In life, a littleplanning goesa long way. The choralrehearsalis no exception,as
explainedby this discussionof effectiveconductingand rehearsing.
BY DAVI L B UN E
thepublic
hough perception m
speaks clearly, precisely, imagina-
of a conductor is that of one tively,and inspirationally
who only performs atop a mknows how people learn and asks
podium, most of the conduc- for specific tasksand measurableskills
tor's work is actually done m reinforces a positive response
behind the scenes in preparationfor a from students
performance.It is during the prepara- mis physicallycoordinated
tion period that musical awareness, Studentswill be as . conducts clearlyand expressively
sensitivity,and learningtake place. . plays the piano comfortably and
Rehearsaltime is spent with students
motivated, enthusiastic, confidently
practicing the craft and mechanics of and skillful as their . is organized
music making:learningnotes, rhythms, mpossessesa musical imagination
and the technique necessaryto repro- teachers. m has a sincere enthusiasm for
duce them on demand;trainingthe ear; music, children, and teaching.
determiningthe intentions of the com- While personality may play a part
poser;and seeking to shape the perfor- in group dynamics and motivation,
mance with a sense of style appropriate many other aspects of effective
to the culturaland historicalaspectsof rehearsaltechnique can be incorporat-
the work. Foremost, the conductor ed by any director,regardlessof charis-
attempts to find and communicatethe Characteristics
Conductor matic gifts, teaching style, or experi-
expressiveintent of the music beyond The success of a rehearsaldepends ence. The conductor must first choose
the printednotes on the page. largely upon the conductor's skills, repertoire not only for its entertain-
In rehearsal,the director must lis- preparation, understanding, organiza- ment value, but also for its potential in
ten for incorrect rhythm and pitch; tion, and imagination. Students will terms of education and growth. He or
uncertain entrances and cutoffs; mis- be as motivated, enthusiastic, and she must then thoughtfully plan each
aligned vowels and poor diction; dis- skillful as their teachers.The dynamic rehearsal to ensure that sequential
crepancies of intonation, nuance, teacher/conductor: learning takes place; healthy vocal
phrasing, balance, and blend; musical mis a thoroughly trained musician, technique is reinforced; and singers
expression and effect-and do so in a possessingexcellent musicianship begin to think, feel, and sing musical-
way that uses the availabletime in the " has developed the ability to hear ly.
most productivemanner.This is a for- " understands the workings of the
midable task, especially for the young voice and is able to model healthy Rehearsals
Successful
or less experiencedconductor. vocal technique Effective, efficient, and stimulating
m is versed in style, historical and rehearsalsshare common characteris-
cultural perspectives,and performance tics. Incorporating the following sug-
L.Brunner
David ofchoral
isdirector at
activities practice gestions into your teaching will help
ofCentral
theUniversity inOrlando.
Florida mknows the score thoroughly make your rehearsalsa success.
NOVEMBER 1996 37
Successful rehearsals are planned.
Learningdoes not happen by chance,
but by thoughtful and creative plan-
ning. Have expectations and goals for
each rehearsal.What do you want to
accomplish today?Then devise a strat-
egy for achieving it. Which activities
will you use to accomplish your goals?
Evaluateeach rehearsaland determine
its success; then plan the goals and
activities of the next rehearsal based
upon these results.
Successfulrehearsalsare organized.
Construct the rehearsal so that it
builds momentum as the singers'con-
centration focuses and their voices
warm. Begin with warm-up exercises
that address body posture, breath u_
management, vocalization, and acqui-

sition or refinement of skills. These Conclude
yourrehearsal
witha pieceyourchoircansingwithconfidence.
exercises may be simple or elaborate,
short or extended (depending on the
focus of a particular rehearsal), but musical concepts is best grasped by literacy and autonomy. Successful
they should always be included. Not singing through an entire piece or rehearsalsteach theory, music history,
only do warm-ups encourage healthy large section to gain an overview of vocal technique, aesthetics, and appre-
singing and reinforce technique, they the work. Analysis is the portion of ciation and enhance sight-singing,
also focus concentration, encourage rehearsal that involves inspecting, lis- analysis,and auralskills in an integrat-
corporate identity, refine listening tening, critiquing, evaluating, ques- ed fashion from the musical score
skills, and help the singersacquirenew tioning, correcting, drilling, and refin- itself. Too often, educatorstreat musi-
skills that may be helpful in the ing. At this point, the conductor diag- cal components as though they are
rehearsalthat follows. Sing something noses problems and prescribes specific segregated from the actual experience
fairly well-known that may need solutions. It is important to reinsert of making music. Broad concepts
review or polish, and then move on to these fragments back into the total should be experienced by the singers
more difficult or challenging pieces fabric of the piece and to evaluate the before they are verbally articulated by
that require more concentration or results. By synthesizing, students can the teacher. It is more meaningful for
effort. This may be the appropriate compare their performance with the young singers to experiencea fermata,
time to introduce a new piece or focus previous version and determine what an accelerando,or a crescendo in their
an extended portion of the rehearsal has improved and what still needs bodies and voices before it is dia-
on serious study of a particularwork, attention. grammed on a chalkboard or before
section, or rehearsal problem. Con- Successful rehearsalscall for "doing." they are requiredto memorize abstract
clude with a well-known song or one People learn by doing, yet the tradi- terminology. When verbalizing musi-
that the choir has rehearsedearlierand tional approach to teaching often cal concepts, use language appropriate
should now be able to sing with confi- involves the teacher imparting infor- to the age and understanding of the
dence. It is important that the mation and the students receiving it. student. Provide a foundation of
rehearsal has a sense of closure and In the active art of music, passive understanding that allows for further
ends on a positive note so that your learning is not always effective. growth as the student maturesand his
students leavewith a feeling of accom- Involve the singers directly in the or her knowledge and experience
plishment, no matterhow small. active experience of music reading, lis- broadens. The basis for all musical
Successfulrehearsalsfollow a synthe- tening, singing, and critical evalua- learning is the study and performance
model.The synthe-
sis-analysis-synthesis tion. Modeling is valuable, but have of quality literature.There is more to
sis-analysis-synthesis approach can your students sing more than you do. teach and learn from Bach, Schubert,
pertain to an entire rehearsal,compo- Explanation is important, but talk less Britten, and Bart6k than many best-
sition, section, or phrase. It is helpful about the music and sing more of it. sellersin the musical marketplace.
for singers to first grasp the overall Guide students to discover and make Successfulrehearsalsare positive. An
musical intent, shape and structure, musical connections on their own. atmosphere of encouragement, coop-
and expressive import of a piece of Successful rehearsals teach musical eration, and positive reinforcement is
music--how it begins and ends and skills. The rehearsal experience should crucial for the development of the
the manner in which it gets there. The be one in which musical skills are individual singer's healthy self-esteem
synthesis or "big picture" of broad acquired, leading students to musical and corporate pride in the ensemble.
38 MUSIC EDUCATORS JOURNAL

Intimidation; tyrannical, condescend- singers in kinesthetic activities, re-seat
until the problem has been corrected.
ing, or impatient posturing;and nega- them for new aural perspective and mDeal with one problem at a time.
tive reinforcement are conducive nei- independence of parts, have half the Address the most crucial problem,
ther to learning nor to building a con- choir sing while the other half listens whose solution may subsequently
genial atmosphere of mutual respect. and evaluates, ask questions that solve other musical problems. Speak-
Help your singers feel competent. require critical listening and musical ing text, for example, may improve
Encourage them by finding small judgment, alter the rehearsal pace, both diction and rhythm, but not
things to praise.Compliment them on allow the students to stand and sit at affect pitch accuracy.
where they are, and then challenge various intervals, and change the m Isolate problems and fix them
them to furtherexcellence.When cor- rehearsalenvironmentperiodically.Stu- when they happen. Then have the
rectingyour singers,do so in a respect- dents should feel comfortablewithin a choir repeat the phrase or section cor-
ful and positivefashion. structureof familiarity,while stimulat- rectly.
Successfulrehearsalsstressthe indi- ed by freshideasand variety. mWhen the rehearsalis stopped or
vidual and corporateimportanceof the a section repeated,tell the singerswhy.
singer.Recognize each singer'spersonal Make certain the purpose of the
contribution and his or her individual rehearsalis always clear to the singers.
importance within the chorus. Stu- Involve them in the process of know-
dents must never feel anonymous ing and doing.
within the context of the largergroup, mBe clear and concise when giving
nor should they be used as the means instructions. Have convenient and
to a musical end. They must sense logical starting places (the beginning
that they play an important part and
Build todayon of a new section, rehearsalletter, etc.).
share responsibilityas cocreatorsin the
musical process.
successes.
yesterdays Give voice part, page number, system,
measure,and beat. (You might say, for
Successfulrehearsalsare challenging.It example, "Altos, page three, first sys-
is important for young musicians to tem, second measure,fourth beat.")
learn to set goals and have high aspira- mAvoid telling too many things to
tions. This motivation begins with the too many people at one time.
director'sexample. Always expect the mSpeakclearlyand in languageappro-
best of your singers-and yourself-by priateto the students'age level. Demon-
setting high standardsand striving to Successful rehearsals are sequential strate by example. Use metaphors, if
attain them. Self-esteemis enhancedby and build upon each other.The direc- appropriate, but use them sparingly.
the mastery of skills, understanding, tor's rehearsal plan should not only Instead, be specific in your comments
and accomplishments.Stretchstudents' detail the goals of each rehearsalbut be and instructions by telling the singers
imaginations, understanding,abilities, broadly conceived as well, anticipating what to fix and how. Shoulda sectionbe
and appreciationby providing a chal- and planning for subsequentrehearsals sung higher or lower, louder or softer,
lenge sufficientenough so that they are in a sequentialmanner.Learningactivi- longeror shorter?
neither bored nor frustrated. Young ties should reinforceeach other within mWhile working on one voice part
singers become bored when the reper- a rehearsaland evolve from one class alone, give the other singers some-
toire is mediocre and expectations are period to the next. Build today on yes- thing to do, such as humming their
low. On the other hand, having stu- terday'ssuccesses. parts, counting or speaking aloud or
dents sing music that is beyond their to themselves,conducting, or listening
grasp can result in feelings of frustra- Addressing Rehearsal Problems critically. Ask them questions that
tion. Challenge students intellectually mFirst, diagnose the problem by require keen ears and active thought.
and emotionallyas well as musically. determining exactlywhat went wrong. Involve them in the total music-mak-
Successful rehearsals
are unpredictable. Were there uncertain pitches, faulty ing process. Help them become aware
In an age of electronic media and intonation, missed entrances, rhyth- of the total fabric of the music and
hyper-fast computers, our attention mic discrepancies?Then ask yourself how their parts function in relation to
span has shortened considerably. whether it was something you as the the whole.
Rehearsalsthat consist of a few (if any) conductor did or failed to do that * Cultivateyour sense of humor. It is
predictable warm-ups, unimaginative caused the problem. If the problem a stressrelieverand makeslearningfun.
rote teaching, and mundane rehearsal was caused by you, take steps to rectify * Be yourself. Allow your students
methods may well lead to distraction, the situation. Adjust your conducting to see you as a real, thinking, feeling
boredom, and apathy for students and gesture, tempo, or other directions person for whom music has made a
director alike. To combat these prob- accordingly. difference.
lems, providea varietyof musicalexpe- * If the problem was not your fault, In conclusion, planning your
riences that will enliven the traditional make the singers aware of the inaccu- choral rehearsalwill result in a more
approach to rehearsal,such as adding racy. Prescribea solution and rehearse successful musical experience for both
an element of spontaneity.Involve the it, suggesting alternative solutions you and your students. U
NOVEMBER 1996 39
CHORAL
REPERTOIR
A DIRECTOR'S
CHECKLIST
Thoughtfulselectionof repertoireenricheschoralmusiceducation.
David L. Brunnersuggestsquestionsfor the selectionprocesss.
earning all aspects of the to the total education of the singers in * What is the balance of voice parts
choral art-healthy vocal their chorus. within the group?
technique; basic skills of lis- A systematic assessment of the * What is the age and experience
tening and sight-reading; singers, the director,and the program's level of the singers?
music theory, history, and objectives is an important first step * What kind of repertoirehave they
appreciation; musical sensitivity, when choosing repertoire for any sung in the past?
expression, and aesthetic response-is ensemble. * What is the level of their musical
facilitated by the selection of high- understandingand maturity?
quality literaturethat is appropriateto * What are their skill levels?
the age and understanding of the * How well do they read?
singer. This literature provides the * What are comfortable ranges for
foundation for a musical experienceof each of the voice parts in the
substance and quality. The choral Directors must keep group?
director should criticallyand carefully * Are there singers in the process of
choose repertoire that will enhance foremost in their or approachinga voice change?
the musical experience of singers and
minds the philosophy, Know
Your
serve as an investment in furtherartis- Objectives
tic and creativedevelopment.
The selection of repertoire is an
goals, and objectives Literatureshould facilitate musical
learning. The choice of repertoire
ongoing process determined by the that guide their should help singers acquire specific
specific needs of each new school year skills, understandings, and apprecia-
and each new chorus. Size of the choralprogram. tions. Each piece must have a purpose
ensemble, distribution of voices, per- in the total choral program.This pre-
formance commitments and opportu- supposes that the teacher or director
nities, amount of rehearsaltime avail- has, as the result of thoughtful reflec-
able, and budget are all factors that tion and systematic planning, clearly
may influence the selection of reper- defined goals and objectives.To deter-
toire. Along with these considerations, Know
Your
Singers mine how well a piece may accom-
however,directorsmust keep foremost To plan repertoire that will be plish objectives and fit into the total
in their minds the philosophy, goals, meaningfuland challengingyet accessi- choral curriculum,ask:
and objectives that guide their choral ble and successful,you must be aware * What musical concepts can be
program, and they must provide sub- of singers'ability,training, and experi- introduced, reinforced,or reviewed
stantial repertoirethat will contribute ence. The following questionswill help by singing this piece?
inventorystrengthsand weaknessesand * What vocal concepts can be intro-
define the characterof the ensemble. duced, reinforced, or reviewed by
L.Brunner
David is director
ofchoral
activities
at * What is the size and makeup of the singing this piece?
ofCentral
theUniversity inOrlando.
Florida chorus? * How will the singers be better
SEPTEMBER 1 992 29
-- - ChecklistforMusicalElements
Melody HtIO
I Does this composer know the voice and how to write or does
O If in parts,is the partwritingvocallyinspired,
comfortably for it? Are melodic lines suited for the it consistof redistributed
keyboard harmonies?
voice or are they angularand disjunct?
O Are the range and tessitura appropriate (neither too O Are voice doublingsvocalsonoritiesthat will yield a
dean and uncutteredsound,or aretheythickchords
high nor too low) for your singers and their level of bettersuitedforthe piano?
development?
Q Is the music well wedded to the text? Does it make O Is voice leadinglogical,well prepared,and vocal in
musical and poetic sense? Does the music serve to nature?
enhance the text?
O Are entrancesprepared?How do inner voices find
U Is the rhythm closely aligned with the naturalaccen- theirpitches?
tuation and inflection of the spoken text or are the
textual accentuationsawkwardand misplaced? U When isolatingpartsother than the melody,is each
partvocallyinspiredand interestingby itself?(Sing
O Does the music contain original thought or does the whenevaluating.)
eachline individually
composer rely on musical dichs?
O Whenone voiceis subservient, doesit haveindividual
or
integrity is it merelyfiller?
Fonm
U Is there an underlying structure that serves to unify O Does the linearcombinationof voicesmakesenseand
the composition? Is there a beginning, middle, and
of verticalharmonieslogi-
is the resultingprogression
cal?
end, or does it lack balance, end abruptly, or have
awkward"joints"and "seams"?
D Does it evolve logically, or is it excessivelyrepetitious

without reason?
The voice parts, keyboard accompaniment, and
O If the piece is strophic,does the composerprovide instrumentalparts,if any,must forma cohesivewhole.
intereston repeats of the versewith a of tex- When the accompaniment,
evaluating ask:
variety
tures, part writing, accompaniment, or dynamic
scheme? U Is the accompaniment apparentyconceivedas a part
of anddevelopedfromthe vocalmusic,or is it merely
O Are modulationsor key changeslogicallyprepared an afterthought?
and for a reason,or aretheyabruptand mademerely
for a change? O Is it well-writtenandidiomatic?
O Does it help to supportthe voiceswithoutintruding

Exprs Coatnt/ sll Efect or detracting?
O Doesthe piecehavea "feelingfilcontent"? Is it expres-
sive?Is therea senseof drama? O Is it interesting-something you haven't heard
before-or is it merelymorearpeggiatedchordsand
0 Does it grow and evolve by way of tension and rhythmicostinatos?
release?
levelof difficultyforyouraccom-
C Is it an appropriate
U Does it involveor affectthe listenerin someway? panist?

musicians after studying and per- posers, genres, and languages should * How many pieces of music have
forming this piece? be represented. To determine your you learned and taught for thefirst
* What skills will they acquire or personalattitudes and tastes, ask: time this year?
sharpen because of their exposure * Do you always tend to choose cer- Answers to these questions provide
to this piece? tain styles, periods, or composers? basic information about musical
* Does this piece encourage artistic Do your programs reflect a bias resourcesand limitations, educational
expression, musical sensitivity, and toward your personal favorites to expectations and goals, and personal
aestheticappreciation? the exclusion of other styles? tastes or biases. When reviewing
* Will this piece be an integral part * Do you avoid certain styles, peri- pieces of literature for possible inclu-
of a comprehensive program that ods, composers, or languages sion in the teaching curriculum, more
providesa varietyof musical experi- because they are unfamiliar to you specific musical questions must be
ences and includes repertoirefrom or because you feel inadequately asked. In essence, the questions being
many styles, periods, textures, and preparedto teach them? addressedare: "Is this piece worthy of
languages?Does this piece enhance * Where do you get your repertoire my time and money?" and "Will it
and complement the rest of the and programming ideas? Do you contribute to the musical growth and
choral curriculum? search for sources of unfamiliarlit- aesthetic experience of my students?"
* How much rehearsaltime is avail- eratureor rely on publishing-house To determine this it is important to
able for this piece? Is the time ade- readingsessions of new "education- evaluatethe text and musical elements
quate to master the music so that al chorals"they are eager to sell? of the piece.
the singers will be comfortable,
confident, and able to reach
beyond the technical aspects to the
expressivecontent?
* Are the technical demands of this
piece within singers' grasp at this
point in their vocal and musical
development?
* Does this piece provide sufficient
challenge to encourage musical
growth yet not frustratethe singers?
* Does this piece motivate the singers
to be better than they are? Does it
make a difference in their lives and
yours? Will it matter that they've
sung it?
KnowYourself
The biases or inadequacies of the
director should not influence or limit
the selection of repertoire for a well-
rounded program of choral music.
Many styles, historical periods, com-
Thebiasesor
inadequaciesof the
directorshouldnot
influenceorlimitthe
selection
of
repertoire.
U.....
rue pnoio
SEPTEMBER 1 992 31
thetic appeal, and overall quality.This
list of criteria is not exhaustive but
will serve as a point of departure for
directors willing to risk subjecting
their present motives and procedures
to inspection and evaluation.
A balancedprogramof high-quality
musical experiences for the young
singer includes literaturefrom a wide
varietyof styles, historicalperiods, and
languages. Young singers should
become familiarwith art music, popu-
lar music, and folk music from diverse
eras and cultures.The selection of this
literature is the critical and deciding
factor in the consistent development
of healthy vocal singing, expressive
performance,and musical learning.
Directors must be willing to invest
Filephoto the time and effort necessary in the
search for this literature, and they
Text singable the melody, and how tightly must choose music that they believe to
The basic impulse for the composi- knit the form. Don't forget to evaluate be of the highest quality and educa-
tion of vocal music is the text. Vocal the element of musical effect: this is tional value: students' musical under-
music is text! Since music and words perhaps the most difficult element to standing and aesthetic enjoyment are
are closely related,the texts must be of define, yet the easiest identified. It is directly proportional to the quality of
that essence of the music that commu- the music studied and performed.
literary integrity and value. This
integrity and value rests more in the nicates, that is expressiveand moves us Furthermore, conscientious teachers
in some way to contemplation, exu- must love and believe in each piece
quality of the verse than in its sophis-
tication, be it sonnet or limerick. berance,or tears. that they conduct and be convinced of
When readingthe text as poetry,ask: its musical integrity before their cho-
* What does the text convey? Does it risterswill. When repertoirehas been
uplift? Provoke?Stimulate?Amuse? carefullyresearchedand wisely chosen,
Touch? Is it appropriate for the singers can learn to perform any piece
of music that a confident and compe-
singersand your teaching situation?
* Is it in any way trite, condescend- tent directorputs in front of them.
ing, or cliched?
Theselectionof Quality repertoire encourages
* Is it rich with imagery, or is it young singers to become better at
mundane?
repertoireis an what they do. It stimulates their imag-
* Is it appropriate for the age level? inations, expands their appreciation,
Are the singers able to grasp and
ongoingprocess and refinestheir musical skills. It chal-
identify with its language, content,
determinedby the lenges them intellectually,whets their
appetite for further challenge, and
specificneedsof each
and intent? Is it meaningful and
relevant to them at this level of motivates them to excel. It gives them
their emotional development? new schoolyearand cultural perspective and opens new
* Is it well constructed?Does it read doors of musical awareness. It puts
as good poetry or merely as rhymes each new chorus. them in touch with the realm of their
of greeting cardverse? emotive and creative life and their
* Is it appropriatefor today or dated? ability to express themselves in an
artisticway. It gives them the pride of
MusicalElements accomplishment. It reaches inside
Musical elements are technical them and makes them feel more
aspectsof the piece that show the craft human, more alive, and part of some-
and skill of the composer (see Check- AConscientious
Approach thing extraordinary. Not all choral
list for Musical Elements on page 30). This evaluation process is not a music for sale in the marketplace
This skill is not evident in the difficul- cursory one-it is a conscientious accomplishes this. It is our responsi-
ty of the piece, but ratherin the quali- approach that involves an honest bility as teachers and directors to put
ty of its construction: how logical the appraisal of each composition for its young singers in touch with music
voice leading and part writing, how musical content, teaching value, aes- that matters. ?

MERIT AND MEANING:
The Search for Quality Music
Randal Swiggum
WHAT IS GOOD MUSIC?

It’s Our Problem
One of the most frequently heard laments in music education today is the cry for better music. Teachers
dedicated to quality repertoire and comprehensive musicianship for their students bemoan the seeming lack
of commitment from publishers or retailers to maintain a high standard of compositional integrity in the
music they offer. Publishers and retailers in their turn counter with, “Well, that's what teachers are buying!”
The solution for what seems like a chicken versus egg problem falls squarely on the shoulders of music teachers. We need
to be vigilant in examining the music we choose to study with our students and push ourselves to seek out the best music
we can find. It seems sometimes that directors in small schools or with smaller programs feel like the great masterworks
are the property of large school programs only. In fact, great music is great music, regardless of its technical demands or
difficulty. No matter what the level or ability or size of the ensemble, there is good music available. Just as there are
simple unison choruses worthy of study, so too there are complex and difficult ones that lack musical substance and real
depth. How to tell the difference? This takes time and a little practical analysis. Here are some thoughts to guide in the
process of examining potential repertoire.
I. CHARACTERISTICS OF WELL-WRITTEN MUSIC

 S OMETHING D IFFERENT : A good composition has something ingenious that holds our attention, makes us
remember it vividly and want to “relive” that special moment in the piece that makes it memorable. There may be
something novel in the piece that is innovative or strange and sets it apart, or it may be that the composer is doing
the same old thing, but doing it in an especially beautiful or meaningful way. A question I often ask student
composers (and applies to any piece of music) is: “What does this piece say better (or at least very differently) than
any other piece similar to it?” Does it stand alone as a unique artistic expression? What is inventive or new about
the piece? Does it avoid cliché and triviality?
 FORM: Good form usually means the proper balance between two key principles: repetition and contrast. Too
much repetition of the same ideas creates monotony whereas too much contrast gives the ear nothing to latch on to,
recall, and identify. Both are needed, but either in extreme create a kind of formlessness.
 DESIGN: (Related to FORM) On a larger level than musical details, good compositions reflect the conscious design
of their composer. All good pieces are a series of musical “events”. Has the composer paced these events in an
effective way? Do the climaxes happen at the most strategic points? Is the transitional material logical and does it
help the flow between “events”?
 U NPREDICTABILITY: Does the piece have “designed uncertainties”? Enough surprises? Does it contain enough
harmonic twists, melodic variation or rhythmic development to keep the listener sufficiently off-guard enough to
stay interested? If a musical idea is repeated twice, the third time should delight the ear with the unexpected. A
good composition reveals a striving toward a musical goal – the best pieces have unusual musical goals that are
reached in often indirect, unpredictable ways. A very predictable musical goal reached by the quickest, most
obvious or most direct route will be less effective. If there are too many or too elaborate diversions along the way,
this also weakens its musical effect.
 DEPTH: Does the piece bear repeated hearings? In fact, if the ear can grasp most everything on first hearing, or if
every phrase of its music or text can be predicted accurately on first hearing, the value of the piece is probably
minimized. If it is sufficiently unpredicatable to preclude an immediate grasp of its meaning, it will sustain its
intrigue through repeated hearings. Truly great music usually demands repeated hearings to probe its layers of
meaning. This is one of the differences between art music and entertainment music. One is meant to make a quick,
immediate impression; the other offers new riches even after the hundredth listening. This does not necessarily
mean the music need be more difficult or complex. A solo Bach melody like “Bist du bei mir” continually reveals
the genius of its construction and the force of its expressive power, though it can be sung by children. It is both
simple and sophisticated.
 CONSISTENT QUALITY: Are all the sections of the piece consistent in quality? Profound moments should not be
followed by trivial ones.
 CONSISTENT STYLE: Does the piece sound like everything belongs together? Anything that seems “out of place”
in the piece should have a good reason for being there. A combination of styles in a single piece should only exist
if this is part of the composer's artistic vision, not because of carelessness, incompetence, accident or poor taste.
 G OOD O RCHESTRATION /V OICING : Does the piece use various colors and textures effectively? Does the
composer show knowledge of voices or instruments? Is there good craftsmanship in the way the parts are handled?
Again, strange choices of voicing or texture should be based on an artistic vision, not incompetence or accident.
 GOOD T EXT: Does the piece use a worthy text? Is this a text that will provoke discussion or insight on its own,
apart from its musical setting?
 GOOD USE OF TEXT: Does the composer show an understanding of the text? Is it a “happy marriage” of text and
music? Is the composer sensitive to the structure and poetic devices of the text? Does the music “add” anything to
the text or further amplify its expressive power?
II. MUSIC IS A GOOD TEXTBOOK IF:

 It suits the level of the performers, stretching them without discouraging them.
 It is richly filled with musical ideas, compositional techniques, and historical style markers worthy of study.
 Time is allowed for the performers to study the piece in depth.
 It has a genuine expressiveness and emotional content that can be grasped by the performers.
 It shares insights about human experience. “In a very real way…musical works symbolize life experiences. They
present human existence in a concentrated, miniature form, and through them people relive and re-experience the
best or most fulfilling aspects of existence.” (Joseph A. Labuta).
III. HISTORICAL IMPORTANCE

Choosing music is fundamentally about a philosophy of music education. The way we spend our precious time with kids
indicates how we view our role as music educators, how we view music in the culture, and our values. Are we essentially
purveyors of the dominant mass/pop culture or is our role to introduce kids to the traditions of historical Western culture?
With the “Disney-fication” of mass culture, we are saturated with a certain mentality about the role of music, which has
elevated its importance for entertainment and “relaxing” and diminished its importance as intellectually, culturally, and
historically significant.
Art Entertainment
Expects you to “chew.” “Goes down easy.”
Provokes and challenges. Stays in the “comfort zone.”
Changes us. Amuses us.
Operates on multiple layers. Makes a simple point.
Is open to a variety of interpretations. Is more one-dimensional.
Is nuanced and subtle. Is obvious.
Nourishes. Satisfies “sweet tooth.”
Puts value on inner depth. Puts value on external.
Created for meaning. Created to sell.
These criteria for measuring music’s worth ask a new question: how well will this music wear over time? “Whatever is
not eternal is eternally out of date.” (Madeleine L’Engle)
IV. THE CHALLENGES BEFORE US

 To trust the intellectual and emotional capabilities of our students.
 To search diligently for music of only the highest quality.
 To study the scores we teach, so as to know their depths.
2003
GOING TO THE HEART (PART II)
Randal Swiggum
Written for 2003-04 CMP Insights
There’s no better way to clarify your understanding and

figure out what you really know (or don’t know) about
something than to try to explain it—especially to write
about it. I discovered that back in November 1990, when I
wrote an article for the Wisconsin School Musician titled
“Going to the Heart.” It was a significant exercise for me
as a teacher, as I tried to put into words certain ideas that
had been floating around in my head for the several years I
had been a member of the CMP Project.
Finding the “heart” of a piece of music was an expression

which had been part of CMP jargon from the earliest days
of the project and was usually introduced as part of the
Analysis point of the model. My goal in the article was to
enlarge upon the ideas presented in the summer workshop
and put them into written form. Writing about this
somewhat abstract idea had the effect of shaping what I
already believed, but it also made me think in new ways
about exactly we meant when we spoke of a piece of
music’s “heart.”
Rereading the article today, I still agree with its main

points:
! The heart can be thought of in several ways—as
the “why” of the piece, its single most important
musical element, the thing which makes it “work”
or holds it together, or the composer’s intention.
! “Composer’s intention” can sometimes be
discerned by “decomposing” the piece—trying to
trace the compositional process backwards to the
composer’s original idea or materials. (Intention
is a loaded word these days since, if you think
about it, it can never be really or completely
known.)
! Deciding upon the heart of a piece helps in
choosing meaningful outcomes (we called them
“objectives” back in 1990) that spring naturally
from it, as well as planning strategies that relate
closely to it.
! Knowing the heart of the piece (which might be
its most exciting element) helps the teacher plan a
dynamic way to introduce it to students on the
first day.
! While it’s true that music ultimately defies
complete analysis—it’s just too elusive, too
spiritual, too metaphysical, too something to put
into words—it is helpful to try. Attempting to
decide and describe how a piece of music works
at least brings us closer to understanding it.
! Our ultimate goal is students’ passionate
engagement with the music they perform.
Finding the heart of the piece, and then building
meaningful outcomes and exciting strategies on it
helps students connect with the piece—making a identifying it as the one that gives the piece its unique
“heart to heart” relationship between them. character.
In the years since the article was published, I have A problem with the essentialist approach is that it
continued to ponder the meaning of the musical “heart.” I sometimes it seems to limit great masterworks to one
have enlarged my own understanding of it, and have some musical element, when in fact they typically combine
new or different ideas to add to the points above. several elements in such an interlocking relationship that
they can be teased out only with difficulty, or by doing
The 1990 article was written from an essentialist damage to the full understanding of the piece. I learned
viewpoint, with the belief that the musical meaning of a this the hard way when I tried to state clearly the heart of
piece somehow comes from its essence, from its inside, Mozart’s Eine Kleine Nachtmusik, Mvt. I. Is it the piece’s
from its musical elements and how they are organized— perfectly structured sonata form? The charm and elegance
that its meaning exists apart from me as a listener, and will of its gracious melodies? Or the contrasts built into its
remain the same and unchanging, throughout time, even main themes (a combination of both of the previous
for different listeners. possibilities)?
This way of thinking naturally emphasizes a single, One could argue for all of these possibilities. Why?
important, and all-encompassing heart—a musical Because the heart is merely an artificial construction, a
element, a compositional device, something “in the pedagogical tool to help in analysis. It is a way of stating,
notes”—that gives the piece its meaning. Anyone who has succinctly, a fundamental aspect of the piece, something
attended the Summer Workshop probably remembers that is most striking, gives the piece meaning, or seems to
struggling to find the heart of a piece they were be compositionally most important.
analyzing—a process we sometimes make unnecessarily
difficult because of emphasis on finding the right answer, But to say the heart is a mere “pedagogical tool” is not to
i.e. a single, correct “heart” for each piece of music. diminish its importance in the analysis process. Struggling
to find the heart can help in two ways, one of which leads
But this seems counterintuitive, in a way. We all to the other:
recognize that different listeners hear music differently.
Isn’t it possible to have several hearts, one for each 1. It helps me, the teacher, in the process of
listener? And don’t some pieces seem to have hearts that analyzing the piece by forcing me to come to
are more complex than a single musical element? grips with how the piece is constructed, what is
important about it, and what its meaning might
It was these thoughts which made me come to grips with be.
the difference between an essentialist view of the music’s 2. It helps my students, in turn, because I will
meaning versus an externalist view, where the meaning of probably choose more relevant outcomes and
the piece doesn’t come from within it, but is attached to it strategies for them to discover if I am working
by me as a listener. This meaning is constructed from backwards from the heart of the piece. For
many factors: my understanding of music at the time, my example, if I decide that the heart of a young band
listening skills, all the other music I’ve heard up to that piece like Frank Erickson’s Balladair is its ABA
point, etc. For example, I may analyze “The Stars and form, and especially the wonderful feeling of
Stripes Forever” and discover that the entire piece is “homecoming” on the return of the A theme, I’ve
organized around the character of a half-step, hinted at already started thinking differently about the
even in the first measure. This would be an essentialist piece and my students’ experience of it. It will
analysis—the meaning/heart is in the notes. Or I might help me (and them) focus on a very important
decide that the heart is the way the lovely trio melody, aspect of the piece that might be overlooked
both strong and lyrical, is set in relief and prepared so otherwise, and will give students at least one solid
beautifully by the very different, more aggressive melodies and concrete aspect of the piece to think about
which precede it. Or I may decide that the particular and understand.
combination of timbres (especially the piccolo versus
trombone soli) gives the piece its distinctive American Frankly, a good analysis is going to reveal many possible
military feeling which is its heart. Or I might even say that outcomes, but because of time we are usually limited to
the heart of the piece is its status as an icon of musical just a few (sometimes only one) to actually focus on with
patriotism in the U.S.A.—that it somehow “means” our students. Deciding upon a heart for the piece—even a
patriotism, at least musically, because of how most heart that might be different when you teach the piece
Americans tend to hear it and the associations they make again in 5 years—gives tremendous pedagogical focus and
when hearing it. clarity. So though it may not be the one and only
possibility, it is one strong one which students can latch on
One could make a case for all of these hearts. The first to, understand clearly, and remember. And that’s how a
three are more essentialist in nature—they depend on great piece finds a welcome home in the hearts of our
isolating a compositional aspect of the piece and students.
WHERE TO FIND IT
Finding the best music may take a little more time, but only if you want something
new or different. Sticking to the classic masterworks as a core curriculum is definitely
an insurance of quality. If you are tired of "old war-horses", then look for new works
by "old war-horse composers." A name like Brahms or Morley or Mozart on the piece is a pretty quick way to
decide if the piece will deliver musical depth.
Some other suggestions for finding new repertoire:

 a nearby college library (peruse the collected works of great composers)
 the WSMA Festival lists (there pieces are mostly tried and true)
 recommendations from colleagues whom you trust
 convention performances (Save the programs. Make notes to yourself)
 student suggestions from their summer music camp repertoire
 reviews in professional journals / magazines
 CDs and professional recordings. Browse the good record shops.
Other repertoire ideas, issues, musings:

• Buy single copies of interesting or recommended music any time, every time! Keep a home file of these to
go back to year after year. We can find interesting music, but not find a program to fit it into for several
years.
• Listen to lots and lots of choral music. Collect many CDs. Go to many concerts.
• Return to favorite composers, styles, etc. Some things work really well for certain groups or ages.
• Stretch yourself and your students beyond your comfort zone -- research new styles, try new choral
traditions. Isn’t it good for our students to see us try new things? do extra research? find excitement in
learning?
• How many centuries of choral music are represented in a given school year? cultures? traditions? genres?
• A few answers to the problem “Quality music isn’t being published or is going out of print”:
a ) DON’T buy poor quality music from the publishers. DO buy high quality music from publishers and
buy enough for each of your singers. In other words, please don’t photocopy! Ever!
b) Write the publisher for permission to photocopy “out of print” music for a small fee (I have yet to be
turned down by a publisher). It also lets them know that there are people who want to perform this
music! Print the “paid permission to copy granted by” information on each copy. It is a great example
to your students that you are respecting the rights of composers, editors, publishers, etc.!
c) Choral Public Domain Library: http://cpdl.snaptel.com/
d) Make your own editions of music in the public domain. This takes some research, time, and effort --
but you can adjust transpositions and voicings to fit your group. You also can bring some of the
exciting choral music repertoire that is not available in performance copy to your students! Music
libraries with facsimiles of manuscripts and first printings as well as collected works of composers can
be of great assistance in finding interesting music.
• Look in choral collections. Much of this music is available in octavo or permission to photocopy can be
sought from the publisher.
Some Recommended Publishers:
earthsongs
www.earthsongsmus.com • ph: (541) 758-5760 • fax: (541) 754-5887 • 220 NW 29th Street Corvallis, OR 97330
Treble Clef Press
www.trebleclefpress.com • ph: (919) 932-5455 • fax: (919) 932-5418 • 415 Wesley Dr., Chapel Hill, NC 27516-1521
Hildegard Publishing Company
www.hildegard.com • ph: (610) 649-8649 • fax: (610) 649-8677 • Box 332, Bryn Mawr, PA 19010
Northern Harmony
www.northernharmony.pair.com • ph: (802) 426-3210 • fax: (802) 426-3491 • 5748 Hollister Hill Rd., Marshfield, VT
05658
fasola.org
This site is a starting point to help you find information related to the tradition of Shape Note or Sacred Harp singing.
Boosey & Hawkes Doreen Rao Series
www.boosey.com/pages/teaching/features/seriesDetail.asp?seriesID=31 • ph: (212) 358-5300 • fax: (212) 358-5301 •
Boosey & Hawkes, Inc., 35 East 21st Street, New York, NY 10010-6212
Musica Russica
www.musicarussica.com • ph: 1-800-326-3132 • Fax: 1-203-421-3132 • (language tapes available) •
310 Glenwood Drive • Guilford, CT 06437 USA
Some Recommended Collections:

Brahms: Weltliche A Cappella Gesänge: Gemischter Chor. Herausgegeben von Kurt Soldan: Heft I (opus 42, 62) Heft II (Opus 93a, 104). C.F.
Peters, Frankfurt, Leipzig, London, New York, 1964. Two collections of Brahms partsongs -- German only. Edition Peters Nr. 3915a and Nr.
3915b.
Brahms: Geistlich Chormusik: Gesamtausgabe der motettischen Werke. Mit einer Einführung von Karl Michael Komma herausgegeben von Günter
Graulich. Includes an English translation of the Introduction and: Op. 12, 13, 22, 27, 29, 30, 37, 74, 109, 110. Carus-Verlag 403179.
The Chester Books of Madrigals. Edited by Anthony G. Petti. Chester Music, J & W Chester/Edition Wilhelm Hansen London Ltd. Eagle Court,
Lond EC1M 5Qd. Eight Volumes copyrighted 1982-1986. “The Chester Books of Madrigals offer an exciting collection of secular European
madrigals, partsongs and rounds from the 16th and early 17th centuries, newly edited from early sources by Anthony G. Petti, who contributes
copious historical notes to each volume. The majority of the settings are for SATB [though each volume includes selections of fewer and more
parts], and simplified keyboard reductions with suggested tempi and dynamics are provided as a rehearsal aid or as a basis for a continuo part where
appropriate. Texts are in the original languages, English, French, German, Italian, and Spanish, with modernized spelling and punctuation. In the
case of the non-English texts, translations are provided at the head of each piece. An important feature of this anthology is the arrangements by
subjects, which, it is hoped, should be of great assistance in program planning. Indispensable popular works are interspersed with relatively
unfamiliar but attractive and singable pieces.” 1. The Animal Kingdom 2. Love and Marriage 3. Desirable Women 4. The Seasons 5. Singing and
Dancing 6. Smoking and Drinking 7. Warfare 8. Place Names
The Chester Books of Motets. Edited by Anthony G. Petti. Chester Music, J & W Chester/Edition Wilhelm Hansen London Ltd. Eagle Court, Lond
EC1M 5Qd. Sixteen Volumes copyrighted 1977-1982. “The first sixteen volumes of this expanding series are devoted to a wide range of sacred
Renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published here for the first time
All appear in completely new editions by Anthony G. Petti.” 1. The Italian School for 4 voices 2. The English School for 4 voices 3. The Spanish
School for 4 voices 4. The German School for 4 voices 5. The Flemish School for 4 voices 6. Christmas and Advent Motets for 4 voices 7. Motets
for 3 voices 8. The French School for 4 voices 9. The English School for 5 voices 10. The Italian and Spanish Schools for 5 voices 11. The
Flemish and German Schools for 5 voices 12. Christmas and Advent Motets for 5 voices 13. The English School for 6 voices 14. The Italian and
Spanish Schools for 6 voices 15. The Flemish and German Schools for 6 voices 16. Christmas and Advent Motets for 6 voices
Continuum: The First Songbook of Sweet Honey In The Rock. Compiled and Edited by Ysaye M. Barnwell with Sweet Honey In The Rock;
Transcriptions by J. David Moore and Catherine Roma. Published by Contemporary A cappella Publishing, Exclusively Distributed by Hal Leonard
Corporation, 1999. 20 pieces by 5 Sweet Honey in the Rock composers, includes notes.
Endless Light: Spiritual Songs from a New Generation of Composers. Edited by Larry Gordon. “Comprising three- and four-part songs for equal
and mixed voices, written by teenage composers from the ensemble Village Harmony.” Northern Harmony Publishing Company, 1997.
Fanny Hensel-Mendelssohn: Weltliche a-cappella-Chöre von 1846. Edited by Elke Mascha Blankenburg in 5 volumes with a total of 18 partsongs.
Furore-Edition 510-514. Furore Edition, Kassel, Germany 1988. [Also available through Hildegard Publishing Company]
Fanny Hensel-Mendelssohn: Two Duets on Texts by Heinrich Heine and Three Duets on Texts by Heinrich Heine. ArtsVenture, 1993, 1994.
Distributed by Hildegard Publishing Company. The “Two Duets” are unaccompanied, the “Three” are with piano accompaniment.
The New Novello Part-Song Book: Forty-four British part-songs for mixed voices from Purcell to the present day. Edited by Robert Walker.
Novello, London, 1999. 44 partsongs, includes notes.
Northern Harmony. Fourth Edition. Edited by Larry Gordon and Anthony G. Barrand. “Plaine Tunes, Fuging Tunes and Anthems from the Early
and Contemporary New England singing Tradition.” Northern Harmony Publishing Company, 1998 .
Oxford:
Encores For Choirs. Compiled by Peter Gritton. Oxford University Press, Oxford and New York, 1998. “24 Show-stopping Concert Pieces.”
The English Glee. Edited by Percy M. Young. Oxford University Press, Oxford and New York, 1990. 26 glees by 20 composers.
The Oxford Book of English Madrigals. Edited by Philip Ledger. Oxford University Press, Oxford and New York, 1978, reprinted 1987. 60
English Madrigals by 17 composers.
English Romantic Partsongs. Edited by Paul Hillier. Oxford University Press, Oxford and New York, 1986. 30 partsongs by 19 composers.
European Sacred Music. Edited by John Rutter. Associate Editor, Clifford Bartlett. Oxford University Press, Oxford and New York, 1996.
“Contains over fifty of the finest examples of sacred choral music from continental Europe...selection ranges from the sixteenth to the twentieth
centuries.”
Folk-songs for Choirs. Edited by John Rutter in two volumes. Oxford University Press, Oxford. 12 and 13 unaccompanied mixed-voice
arrangements of folk-songs from the British Isles and North America.
The Oxford Book of French Chansons. Edited by Frank Dobbins. Oxford University Press, Oxford and New York, 1987. 84 chansons by 60
composers; includes English translations.
German Romantic Partsongs. Selected, Edited, and Translated by Judith Blezzard. Oxford University Press, Oxford and New York, 1993. 40
partsongs by 12 composers.
The Oxford Book of Italian Madrigals. Edited by Alec Harman. Oxford University Press, Oxford and New York, 1983. 55 madrigals by 22
composers; includes English translations.
Madrigals and Partsongs. Edited by Clifford Bartlett, Series Editor, John Rutter. Oxford University Press, Oxford and New York, 2001. 59
madrigals and partsongs.
Opera Choruses. Edited by John Rutter and Associate Editor, Clifford Bartlett. Oxford University Press, Oxford and New York, 1995. 35
opera choruses, includes notes and an index of vocal and instrumental requirements.
The Oxford Book of Spirituals. Edited by Moses Hogan. Oxford University Press, Oxford and New York, 2002. 28 spiritual arrangements.
The Oxford Book of Tudor Anthems. 34 anthems for mixed voices compiled by Christopher Morris. Oxford University Press, Oxford and New
York, 1978.
Renaissance Voices: Introduction to the Italian Madrigal for four voices; Newly revised and edited from the former Penguin Book of Madrigals for
Mixed Voices. Edited by Jerome Roche. Galaxy Music Corporation, New York, 1989.
Renaissance Voices: The Flower of the Italian Madrigal for Mixed Voices. Edited by Jerome Roche in three volumes: Volume I: Animuccia-
Marenzio; Volume II: Monte-Willaert; Volume III: Light Madrigals and Villanellas. Galaxy Music Corporation, New York, 1988, 1988, 1995.
The King’s Singers’ Madrigals. Edited by Clifford Bartlett in two volumes: Volume I: European Madrigals in 4 parts; Volume II: European
Madrigals in 5 parts. Includes performance notes and translations. Faber Music Ltd., London, 1984; Distributed by Hal Leonard Publishing
Corporation.
Some Recordings of Recommended Repertoire:

All in the April evening. Laudibus, Michael Brewer. Includes Elgar As torrents in summer. Hyperion CDA67076.
Awake, sweet love… Songs and lute solos by John Dowland and his contemporaries. James Bowman, David Miller, The King’s Consort. Includes
Ford Since First I Saw Your Face. 1991. Hyperion CDA66447.
Beyond Chant: Mysteries of the Renaissance. Voices of Ascension, Dennis Keene.1994. DELOS DE3165.
William Billings: The Continental Harmonist. Gregg Smith. Includes Hopkinton, When Jesus Wept, David’s Lamentation, The Bird, Kittery, and
Cobham. 1993. Premier Recordings 1008.
William Billings: A Land of Pure Delight. His Majestie’s Clerkes, Paul Hillier. Inclues: Shiloh, David’s Lamentation, Creation. Harmonia mundi
HMU 907048.
Johannes Brahms: Samtliche Chorwerke a cappella und mit Instrumentalbegleitung. Rundfunkchor Leipzig und Instrumentalsolisten, Wolf-Dieter
Hauschild. 1997. Orfeo C026 974.
Britten: A Ceremony of Carols, Friday Afternoons, Three Two-part Songs. (Includes Fancie). New Lond Children’s Choir, Ronald Corp. Naxos
8.553183.
A Collegium Choral Tapestry. The Cambridge Singers, The Choir of Clare College, Cambridge, The King’s Singers. Collegium CS002.
Dowland: Farewell, Unkind – Songs & Dances. The Boston Camerata, Joel Cohen.1996. Erato 0630-12704-2.
Josquin Desprez: Chansons. Ensemble Clement Janequin. Includes El Grillo. 1988. Harmonia mundi HMC 901279.
Orlando di Lasso: Villanelle, Moresche e Altre Canzone. Concerto Italiano, Rinaldo Alessandrini. Includes O bella fusa. 1995. Opus III 3094.
Endless Light: Spiritual Songs by a New Generation. Village Harmony led by Larry Gordon. 1997. Northern Harmony Publishing Co. NHPC 104-2.
English Madrigals. The King’s Singers. Includes: Weelkes Four arms, two neckes, one wreathing; The nightingale; Though Philomela; Dowland
Come again. EMI CDC 749265 2.
Fauré: Requiem and other choral music. Cambridge Singers, City of London Sinfonia, John Rutter. Includes Messe Basse. Collegium COLCD 109.
French Chansons: Josquin, Jannequin, Sermisy, Lassus. The Scholars of London.1993. Naxos 8.550880.
Handel: Judas Maccabaeus. Choir of New College, Oxford, The King’s Consort, Robert King. Hyperion CDA66641/2.
Stephen Hatfield: Resound! Boosey & Hawkes Marketing Department. Doreen Rao’s Choral Music Experience.
Stephen Hatfield: Amabile Youth Singers Sing the Music of Stephen Hatfield. Directed by John Barron & Brenda Zadorsky. 1997. AYS-006.
Johann Michael Haydn: Mass & Vespers for the feast of Holy Innocents. The American Boychoir, Members of the New York Collegium, James
Litton. LINN CKD 152.
Fanny Hensel-Mendelssohn: Chorlieder, Duette, Terzette. Kammerchor der Universität Dortmund, Leitung: Willi Gundlach. 1995. Thorofon
CTH2299.
Fanny Mendelssohn-Hensel: Gartenlieder. Leonarda Ensemble Köln, Elke Mascha Blankengurg. 1986. CPO 999 012-2.
Gustav Holst: This have I done for my true love: Partsongs by Gustav Holst. The Holst Singers, Stephen Layton, conductor. 1993. Hyperion
CDA66705.
Gustav Holst: Hymns from the Rig Veda, Two Eastern Pictures, Hymn to Dionysus. Royal Philharmonic Orchestra, Royal College of Music Chamber
Choir. Sir David Willcocks. 1985. Unicorn-Kanchana DKP (CD)9046.
Irish Folk Songs. The Robert Shaw Chorale, Robert Shaw, Conductor.1968. BMG Classics 60139-2-RG.
The King’s Singers’ Madrigal History Tour. King’s Singers with the Consort of Musicke. 1984. Includes Certon: La, la la, je ne l’ose dire. EMI
CDM 7 69837 2.
Kodály Karmúvészete: The Choral Music of Kodály 7. Children’s, Youth and Female Choruses. Cantemus – Nyíregyhaáza, Dénes Szabó. 1994.
Hungaraton Classic KFT – HCD 31291.
Libana: A Circle is Cast. 1986. Spinning Records SRCD-002.
Libana: Fire Within. 1990. Ladyslipper LR108CD.
The Long Day Closes. Includes Sullivan Echoes and Elgar As Torrents in Summer. Somm Recordings 204.
Lully: Armide. Collegium Vocale, La Chapelle royale, Philippe Herreweghe. Harmonia mundi HMC 901456.57.
Monteverdi: Canzonette (1584). Concerto delle Dame di Ferrara, Sergio Vartolo, Director. 1995. Naxos 8.553316.
Monteverdi: Scherzi musicali a tre voci. Concerto delle Dame di Ferrara, Sergio Vartolo, Director. 1995. Naxos 8.553317.
Mozart Nocturnes and Haydn Vocal Quartets. New York Vocal Arts Ensemble, Raymond Beegle. 1986. Arabesque Z6556.
Music of the Americas. Lawrence University Concert Choir, Richard Bjella. Includes Chatman There is Sweet Music Here. 1991
Music to Hear. Brian Kay, Conductor. Includes Vaughan Williams Love is a Sickness. Somm Recordings 207.
Música de Latino América. Maria Guinand, editor. 1998. earthsongs.
My Spirit Sang All Day. The King’s Singers. Includes: Finzi My spirit sang all day, Stanford Quick! we have but a second. 1988. EMI CDC7 49765
2.
Northern Harmony. Bayley-Hazen Singers, Larry Gordon. 1990. Front Hall Records FHR 205C. Includes Marlborough. Cassette available from
Northern Harmony www.northernharmony.pair.com.
One World Many Voices. earthsongs. 1998. CD 02.
One World Many Voices, Volume 2. earthsongs. 2001. CD 04.
One World Many Voices, Volume 3. earthsongs. 2003. CD 05.
Purcell: Odes for St. Ceecilia’s Day • Music for Queen Mary. Taverner Consort, Choir & Players, Andrew Parrott.1986, 1989. Virgin Veritas 7243 5
61582 2 1.
Poulenc / Ravel: Secular Choral Works. Choeur de Chambre Accentus, Laurence Equilbey. Pierre Verany, PV794042. 1994.
Salamone Rossi: The Songs of Solomon – Volume I: Music for the Sabbath. New York Baroque, Eric Milnes.1996. Pro Gloria Musicae, PM108.
Russia Sings. Glinka Choir of Leningrad. 1991. Teldec 9031-73241-2.
Vaughan Williams: Over hill, over dale. Holst Singers, Stephen Layton. 1995. Hyperion CDA66777.
Vaughan Williams:Toward the Unknown Region, etc. City of Birmingham Symphony Chorus & Orchestra, Norman Del Mar & Bournemouth
Symphony Chorus and Sinfonietta. Also includes: Norfolk Rhapsody No. 1 in E minor; Fantasia on a Theme by Thomas Tallis; Five Variants of
‘dives and Lazarus’; In Windosor Forest. 1994. EMI Classics 7243 5 65131 2 9.
CMP presenter email contact information:
Margaret Jenks, jenks@execpc.com • Randal Swiggum, rswiggum@wisc.edu • Rebecca R. Winnie, rwinnie@mtsd.k12.wi.us
OUP UNCORRECTED PROOF – FIRSTPROOFS, Thu Oct 06 2016, NEWGEN
Chapter 16
T he Art of Su c c e s sfu l
Pro gra mmi ng
Study, Selection, and Synthesis
Richard Bjella
It is a bit pretentious to think that one could influence the decisions of another regard-
ing the sacred crafting of one’s public program. However, with the hope that this may stir
some discussion and possibly some mental embers that have been left to smolder in the
same manner, we proceed.
My experience has been that too many concert programs are presented without
enough concern for the overall flow, purpose, and direction of the concert itself. Often
many wonderful selections are included, but rarely do they work together in tandem or
with enough significant diversity and color changes to warrant the complete attention of
the audience. In this age of diminishing attendance, fiscal resources, and rehearsal time,
we can still bring a lifegiving performance through more study and careful selection of
repertoire for that particular situation, and tap fully our ability to creatively weave the
material to capture our singers and our audiences at the same time.
This chapter will look at various models for programming at all levels and discuss why
certain tendencies seem to attract audiences and others tend to have them racing to get
out of the hall. We will look at our likelihood to program only certain kinds of repertoire,
and how we might break out of that mold and stretch our repertoire wings more com-
pletely. In addition, we will study ways to discover the strengths of our particular ensem-
ble, and decisions that may assist in bringing forth the best results. Also addressed will
be the aspect of fine tuning the concert itself, building sets of selections that can work
together seamlessly. Finally we will look at ways to completely engage the audience from
the moment the ensemble takes the stage until the final ovation. Discussed will be ways
not to water down the repertoire, but rather increase the aesthetic experience and sat-
isfaction in every rehearsal and performance as well. Finally, an addendum has been
added with programs that I have performed for the middle level, high school, college,
and professional choirs.
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282 Repertoire as Pedagogy
Study
We must always look first to our purpose for a concert. Asking a good deal of “why”
questions are always critical to success. Why now? Why this program? Why with this
particular choir? Why do it at all? If we cannot successfully answer this for ourselves,
it will certainly be a tough to convince the singers. What are the suggested outcomes?
How will this enhance the character of the program, of the singers, of the audience, and
of course, you? The problem is the solution, as it so often seems to be for most of us.
Without the truly digging in and doing the research and study, there is little of substance
that will remain after the final chord.
So after setting on a course with a clear mission, we must begin early and be inclusive.
Some programs will start with a single piece, others with a clear dream, sometimes with
a particular need of the ensemble, or a specific event. I would encourage you to place
several great recipes for success on the table before deciding the best menu for this par-
ticular occasion. Don’t clear the table too early. Don’t be afraid to “chase the rabbit”, it
will likely lead to a better diet possibility down the road for another event.
In addition to the usual sources, such as Spotify, YouTube, concerts on line, CDs, suc-
cessful colleagues, and countless choral competitions to help create successful choices,
don’t forget cpdl/ChoralWiki, IMSLP, handlo-music.com, canadianchoralcentre.ca,
madulo.com/mc/africares.html, and choirtx.com. Finally, if you are focusing on a com-
poser, spend a week with that composer and go through all of his or her works. Even the
most studied among us will find another gem of Schubert, Schütz, Stravinsky, Rossi,
Scarlatti, Monteverdi, Rameau, Victoria, Rogier, Scheidt, Brahms, Fauré, Sibelius, or
Mozart that has been forgotten or perhaps never realized as we were at a different place
in our own study and comprehension. Revisit the masters; they will delight and inform
everything!
Look carefully at how you are unfolding the different genres to a generation of singers.
When was the last time a great opera chorus was utilized? Are you avoiding that beauti-
ful folk setting from Lithuania just because you don’t know the language? Have you dis-
covered the golden nuggets of music theatre? Have you explored how chant can enhance
and cleanse the palate for you, your singers, and your audience? When was the last time
your singers experienced a beautiful motet of Machaut? Have you looked at all of the
Bach Cantatas that require very little in the way of instrumental demands and have only
a small demand on the chorus? Live in the musical cornucopia that is ours for the taking,
envelop it, and let your palate be touched by the genius through the ages.
Score study itself unfolds so many stories and treasures for us all. Often, unexpected
connections are found in unexpected avenues of our study. That harmonic progres-
sion in the Brahms may lead to a find of a contemporary composer with the same bent.
The text to that Italian madrigal from 1580 touches the hem of a late 20th century com-
poser as well. The folk tune melodic structure from 17th-century Latvia is surprisingly
seen in an English folk song from the 19th century. The counterpoint in an Ockeghem

The Art of Successful Programming 283
motet may trigger a new look at a secular cantata of J. S. Bach. All of our study, however
oblique, helps us in that journey towards the best piece for the ensemble.
Selection
An in-depth questioning of your selections will yield dividends in building a successful

program. Again, we come back to the “why” of each selection on the program. Ask your-
self; am I trying too hard to make the selection based upon an ill-conceived program?
Am I limiting my choir by the selection I am making? What does the piece teach the
singers? What will it teach me? What is the purpose?
We must know our singers, inside and out. What level of difficulty will allow for real
success for the tenors in your choir? Where is the literary IQ of your ensemble? Will this
piece move it forward? Do you have the likely soloists available to make this piece come
to life? What is the rhythmic and harmonic level of understanding for the choir? Where
does the choir live in terms of range and most especially tessitura? Can we, in the time
allotted, get the voices to ring truly freely on this piece of music? These are difficult and
challenging questions. If we are truly faithful to the choir in front of us, this may mean
that we may throw out our favorite piece from consideration!
What of the key of the piece? What is the overall key schematic of the entire concert?
How many pieces is one performing in that key? Am I living in F Major for too long? Is
this setting of I am a poor wayfaring stranger in the best key for this choir? How many dif-
ferent modes are being utilized during the course of one set of music ranging from 10 to 15
minutes? Has any thought been given to connection between the pieces with instrumen-
tal interludes to help with the key evolution throughout? Is one drawn to certain keys,
telling us subliminal details of the piece without our conscious mind fully knowing? The
key can influence nearly everything from character, to vocal strain, to creating an affect
that is perfect for the moment, to one that is too bright for the language of the poet.
What of tempi? We know that the most comfortable tempo is somewhere around 92
to the pulse. If you took the average musician and asked them to tap at about 92 to 96
beats per minute, most would be able to maintain this tempo quite well. As we move
away from this “golden mean” of tempo, does our program gain strength or lose it? What
is the balance of faster and slower selections of repertoire? Does the tempo of our pro-
gram cause one to take notice, or is it so expected that the audience knows the tempo
of any given selection before ever beginning? Is there some overriding tempo cycle to
the program? Is there a living, breathing pulse to the program? How do you deal with
silence in the program? Can this be cherished and nourished? Are there any clear or
oblique tempo relationships between pieces within a same set of music? I think that both
kinds of tempo relationships can be effective. Sameness kills energy, in all things, most
especially music. Incoherent extremes in tempo for contrast’s sake alone also causes
us to dismiss the program or that particular set as trivial or ill conceived. Sometimes a
surprising concern about tempo relationships can trigger phenomenal interest as well.

Imagine a piece beginning with a tactus pulse of 60 in duple meter, moving to a triple
meter equaling 80 to the pulse, and finally a piece in 7/8 that flies at 180 to the quarter.
Each drives the other through the subtle yet deeply felt tempo of 3 to 4 (60 to 80) and 3 to
1 (180 to 60) helping complete the picture.
What are your overall goals for the ensemble? When was the last time they sang a
great polyphonic motet or a bi-tonal bit of Charles Ives? When did they last digest a
great Bach Chorale or a Shaker tune? Why have we avoided French for so long? Can
the choir truly delve into a unison chant or a thick 12-part Brummel Mass movement?
What has the musical diet been during your tenure with the ensemble? What have you
avoided and thus, what have your singers been denied? What are we afraid to teach and
why? How many homophonic pieces are placed on the musical table every year? How
many ninth chords can one choir handle and still continue to grow? What of the wealth
of great counterpoint throughout the centuries? Has the choir explored a truly playful or
interesting piece in mixed meter?
Consider Ockeghem’s stunning Alma Redemptoris Mater, a striking example of great
early Renaissance counterpoint. This piece, like so many others of its kind, is critical
to the lifeblood of knowledge that is learned by the choir through its study and even-
tual performance. However, imagine that this is now a centerpiece between two much
earlier works: Hildegard von Bingen’s fanciful chant O Vis aeternitatis (for treble voices
only) with 21st century saxophone improvisation, and the early Kyrie from La Messe de
Tournai also presented with saxophone improvisation. Now this Ockeghem a cappella
masterpiece has a frame around it that gives it special light for an audience that would
likely have been left cold or completely confused by any one of these stunning pieces
alone. If texture, context, key, text, tempo, and time are all a pervasive underbelly to our
thinking, it is likely that something transcendent can occur in only a few minutes.
What poetry has been explored? So many of the great choral composers have savored
the writings of Octavio Paz, Emily Dickinson, e.e. cummings, Robert Frost, Federico
Garcia Lorca, Rumi, Henry David Thoreau, William Shakespeare, William Blake, Kahlil
Gibran, Walt Whitman, Langston Hughes, Ogden Nash, or Robert Browning and so
many more. Are you finding that the poetic diet is somewhat limited and you are only
concentrating on lesser poets? Has the choir explored the painful Book of Lamentations,
or the rich tapestry of the Psalm settings? Our selection of repertoire must touch the
mind and heart as well as the voice of the singers.
The very practical and realistic viewpoint of limited rehearsal time is essential to
balance as well as we are making our final selections. One of our most difficult tasks
is analyzing carefully how long each piece will take to realize during a rehearsal cycle,
especially for repertoire that is new to us. Our thorough study of the selected repertoire
as well as our honest assessment of the membership of the choir will help us fully know
what it takes to allow the piece to come to life.
Have we truly examined which musical elements are being addressed in each concert?
Do we tend to be drawn to one kind of harmonic language? Do we truly deal with a vari-
ety of textures and timbres in our programming choices? Are we only connecting to beau-
tiful melodies and ignoring a broad sweep of rhythms that may enhance the aesthetic?

Which musical forms are we drawn to, and, which are we avoiding? Are we truly looking
at the magnitude of repertoire that can move the heart, mind, and soul? Consider taking
one or two musical risks that put you outside of the repertoire you teach and conduct
well. I guarantee that you will approach old favorites with a new flair of enthusiasm and
understanding because of your willingness to take the risk to reach for the beyond.
Have we considered carefully the aspect of grouping pieces together? Our audiences
are often completely underwhelmed at the conclusion of a two-minute selection, but
may be truly moved to signal their appreciation at the end of a ten-minute segment that
included three contrasting choices that fed off the energy of the other. There may be a
piece that is made more complete by a pairing that unfolds. I am reminded of a pair-
ing of Josquin’s Mille regrets (A Thousand Regrets) with contemporary composer Eric
Barnum’s The Stars Stand Up In The Air. Both pieces are terrific on their own ground,
but together they create such an emphatic impact for the audience and performers alike.
What has been the balance of accompanied repertoire with piano, versus other
instruments? Is the written accompaniment one that could be changed to enhance
the piece? Would it be better to leave out all of the sometimes unnecessary doubling
with the voices? Can you add a colorful flute line that creates something truly unique?
Have you considered using harpsichord, or organ, or guitar as an optional accompa-
niment? I added a string quartet to the charming French Renaissance Chanson, Tant
que vivray by Sermisy, to bring this small strophic work to life for a 7th-and 8th-grade
all-state choir. This allowed the artistry of the adult professional quartet to inspire these
young artists as well. Many times adding a tasteful percussion line can add a great deal.
Even something as simple as finger cymbals, or handbells, or audience percussion can
add so much. We just performed Whitacre’s popular Cloudburst with the San Antonio
Chamber Choir in our A River Runs Through Us concert. However, we did not have the
space or budget to add percussion, so the audience took on the role of the heavy rain,
the loud claps of thunder, the hail, and finally the gentle wash of rain. After a minute of
instruction, they were completely involved and helped create the piece.
Are there elements of key relationships, tempo relationships, melodic contouring,
or the affect of the text that work together in a significant manner? For instance, the
melancholy of the Latvian tune, Kas tie tadi, set by Steven Sametz, may find a signif-
icant partnership with Sally Terri’s Poor Wayfarin’ Stranger. Place a significant motet
by Franco-Flemish composer Philippe Rogier between them (Laboravi in gemitu), and
the musical gesture of lament and mourning reaches across nearly 500 years and within
12 minutes may have an impact that can last a lifetime. The simple grouping of pieces
paired by thirds (i.e. C major, A minor, E major OR; A flat minor, C minor, E minor) can
entice the ear to listen anew.
Many of us have experienced concerts that seem to go on forever. Some of us have
experienced a concert that seems to last but a moment, but in reality lasted well over an
hour. I think the difference may be with this sense of a heartbeat to the concert, a driving
force that moves one to have no sense of time passing.
Finally, when considering your selections, buy wisely! I suggest that you follow the
80%/20% rule. Never allow yourself to spend more than 20% of your budget on music

that will likely only be used once and then sit on the shelves for years. Better if you can
think 90%/10% but that is fairly unrealistic with today’s prices. Also continue to look for
repertoire from the choral public domain library and other free sources for early music.
There is always a risk with free score sites, which sometimes contain countless errors,
but buying good editions for yourself can be a way to assist in correcting these mistakes.
Sometimes I will buy eight different editions of a score to compare decisions made by
different editors. Also, don’t be afraid to make your own editions of scores. You will learn
the score much more deeply, and, your singers will benefit from getting your ideas more
clearly presented in an edition you create.
Synthesis
Our considerably difficult yet most worthy goal is to balance unpredictability and con-
sistency. This will help to create a sense of transcendence through not only the stunning
repertoire selected, but also the manner in which it is placed and presented in the pro-
gram itself. This is a tall order, and after making the careful selections for this time and
for this ensemble, this final synthesis of the material into a cohesive form is critical in
helping bring the music to life.
Margaret Hillis, the late great chorus master of the Chicago Symphony, said to many
of us at a workshop in Ithaca, New York, “When you feel like you don’t have enough time
to study the score, slow down and study slower.” This quip about just “make the time”
is also critical to building a strong concert program as well. Let your program be your
textbook for the next six to twelve weeks perhaps. Let your thoughts ferment, like any
decent bottle of wine, don’t rush to swallow it up. My usual mode is anywhere from 9
to 20 revisions after the final program has been decided. Sometimes small things make
a huge difference in building synthesis to a cohesive program. Imagine creating a 10-
second improvised soundscape that imitates nature to draw two pieces dealing with the
connection to the earth together in a seamless scene.
Honor both your heart and head. You need to stay on top of the rehearsal schedule
and adjust if necessary. No one ever died because a concert was five minutes shorter
than originally planned. However, a bad selection or weak performance of that selec-
tion can taint the entire apple and create a toxic sense to what you tried so hard to create.
Your left and right brain need to fight one other to create the best synthesis of material
within the finite time frame of rehearsal that we all struggle to balance. Don’t ever allow
yourself to settle into just good enough. Keep your will strong and envision what can be,
even if the choir has never experienced it before.
The full and complete realization that “we is a lot smarter and better than just me”
changed me. Use all of your resources in and around the choir. Maximize the incredible
imagination of the students that are with you on a daily basis. When was the last time you
opened up a major decision to their collective ingenuity? Just three years ago we were
performing at a major convention and we had one transition between a Georgian solo
with a choral drone and a jazz piece by Bobby McFerrin and Roger Treece to finish the

program. I could not find a way to make the transition work, but the students did. Yes, it
took a bit of time, but it became a perfect ten seconds of material created by them. Do you
talk about serious programming issues with your colleagues? Do you reach out to those
you trust for some additional input into creating that more complete experience for all?
What is at the heart of your program? Yes, you may have a theme, you may have even
put together effective sets of music, but where is it headed? How do you hope the audience
feels at the beginning, in the middle, and as they leave the hall? Does the program grow
to a centerpiece work? Is the audience pulled to the final breath of the concert because of
how you began? It is not uncommon to try and build a concert on a theme or topic of inter-
est. There is always a danger of working towards a theme and ignoring pieces that are best
suited for a particular ensemble. As we work toward a cohesive structure for a concert, we
want to make certain to always honor the particular singers with a variety of opportunities
for growth, thus forcing ourselves to come to the theme too early may be a mistake.
Plan carefully the logistics to any concert. How do you unfold the package? Is it a
surprise every time? Can the logistics actually help the story? We began our “Mirrored
Messages” program with all of the students coming from every corner of the hall, talking
to one another, and taking on character roles. Some were priests, others vagrant tramps,
or street vendors. We had a good deal of flirting going on, business men next to prosti-
tutes, young children and very old people that had lived a hard life and church bells being
sounded, all to create the scene for our opening music of Carmina Burana from Carl
Orff ’s 20th century work and from original music from the 13th century intermixed. The
stage where the concert was held was pretentious and far removed from the audience, but
this opening scene allowed everyone in the audience to feel as though they were on stage.
They had something significant to latch unto and feel invited into the scene.
Can the program design, the actual quality of the paper itself, bring an immediate level
of respect to the artistry on stage as well? All of us are on rather tight budgets, but can we
fully explore how to make our program dollar stretch to help flesh out what the ensemble
has worked so hard to create? Are there ways to have some of the design work donated?
Is there a possibility that much of the work is done in house and then a higher-quality
paper is utilized at cost? Can you sell tasteful ads in the program to help pay for the entire
production? Many people do wish to help; they just need to be asked in a way that allows
them to see the need. Have you considered ways to share the text without printing it in the
program? Does a singer better share the translation while the introduction to the piece is
proceeding? Or, can superscripts be presented on a projector for all to see as the ensemble
is singing in Russian? Often our concert halls are not conducive to extensive reading of
the program. Are the notes better presented in writing or by a singer?
Are there areas where we can help the picture with a more interdisciplinary approach to
a concert? Perhaps a short discussion or lecture that touches on the life of the rural Russian
peasant in preparation for the second half of the concert presenting Stravinsky’s Les Noces
(The Wedding) is the best possible manner of bringing difficult music to life. Consider
presenting connections with community leaders about the health of the area river as the
choir performs music that touches on the river’s value to life itself. Performing music deal-
ing with human trafficking, while having lectures presented about the widespread abuse
of women throughout the world that still exists today may also motivate many others

in profound ways. Perhaps a fall preview concert in a school setting is presented to your
audience with several steps that allow the audience into the process of learning the music.
Rather than presenting a performance, you create an “informance” to let those in atten-
dance into all that goes into singing well and all that the students are learning.
Carefully scrutinize how much talking is going on in your concerts. Also look at the mes-
senger. If it is just you, this may come across as self-serving and not advantageous to truly
building community and connections between the audience and your ensemble. Is there
another way to present the material? Can the audience see it on a screen, be given a flyer,
be allowed to share individually after the concert? People come to concerts to hear great
things, not to listen to us speak, so analyzing what truly needs to be said will make an enor-
mous difference to the flow and the very integrity of the whole program. I went to a concert
recently where literally 12 minutes of the concert were spent on organizing a fundraising
event that had no place in this concert. I went away (and I suspect others as well) with a bit-
ter taste in my mouth regarding this misstep in leadership. Decide carefully what is included
in the program and what can be left for a committee meeting, or a pre-concert lecture.
Mentioned earlier was the aspect of allowing the music to be enhanced through
careful logistics, such as the case of our Carmina Burana presentation and the man-
ner in which the choir took the stage. As we think of staging the choir, it is critical to
allow ourselves to let the music speak more completely through some creative stag-
ing. When I was at Lawrence University we were invited to sing at the National ACDA
Convention in Oklahoma City in 2009. We performed on the final day of the conven-
tion and I knew (as I had experienced as a member of the audience for many years)
that there would be a weary bunch of conventioneers after three days of listening to
choirs. We decided to open that performance with Knowee by Stephen Leek, the bril-
liant Australian composer who set this selection with our four soloists having lanterns
searching and calling out for a metaphorical lost aboriginal child representing the
loss of the sun around the hall. The blackout, and then seeing only the single lanterns
around the audience, immediately woke up a tired audience. We had another expe-
rience that came to us at Texas Tech University that involved the centerpiece to our
concert called “Mirrored Messages” involving the first eight measures of the J. S. Bach
chorale, Come, Sweet Death. I first heard this sung by the Dale Warland Singers and
was completely mesmerized. After the brief presentation of the opening bars, the choir
is then set free to improvise completely on each note of those measures, allowing time
to hear and reflect what others are saying, interpreting syllables, and coloring every
inch of these opening phrases with individual color and life. At the suggestion of Paul
Head, we decided to move off the risers at that point and move independently forward,
reflecting passionately this powerful text and drama. We also had red scarves for the
women that had been purchased much earlier and quite frankly were not working well
in performance. One of the singers came up with the brilliant idea of waiting until this
moment to show the scarves and to carry and hold them with the obvious symbolism
seen be all. Then, we moved to Piazzola’s blistering tango/fugue, La Muerte Del Ángel
(The Death Of An Angel) that portrays the startling story of one woman trying to help
in the ghettos of Rio de Janeiro who is unfortunately murdered. The scarves were used

in this piece in a rather sensuous fashion imitating street life in Brazil, and then in a
manner that portrayed the blood of this missionary as well. It was a simple, unchoreo-
graphed six minutes that left the audience (and the performers) completely drenched
in emotion. Although this simple move caused things to momentarily move backwards
musically in rehearsal, it eventually caused the entire concert to take a giant leap for-
ward by drawing visual attention to this centerpiece through the use of the scarves and
the free motion of the choir reaching far beyond the risers.
Many European choirs are exploring the use of video projections during performances.
I am reminded of New York composer’s Robert Convery’s stunning work, Songs Of Children
set for choir and piano trio. The children interned at Terezín Concentration Camp for Jews
in World War II grace this thirty-minute work with their poetry. I often wish I had had the
foresight to add slides of the horrible atrocities of the Holocaust and the deprivation within
that ghetto, in particular, to allow that piece to come fully to life for the audience. When we
performed John Adams’s monumental work, On The Transmigration Of Souls, one student
took it upon himself to put together a 30-minute movie to the music of this 9/11 work. For a
variety of reasons we were not able to show it in the concert hall as the live performance was
going on, but those that saw it before the performance in a pre-concert setting were deeply
moved. The orchestra and chorus that performed it also saw it beforehand and this, perhaps
more than any single thing that occurred in rehearsal, moved the ensemble forward on this
most challenging work. In thinking about future concerts, we have also discussed having
footage of the original presentation of a work on one screen, while another showing the
performers now presenting the work in the present day. A great deal of planning goes into a
project of this nature, but undoubtedly pays great dividends.
We touched on lighting with the reference to Leek’s Knowee above. Sometimes a single
candle can be used to present a chant, to focus on a soloist, to feature an instrumentalist,
or to allow the audience to focus in a new way. For a concert called “A Kaleidoscope of
Choirs,” we began with America, recently set by Vince Peterson, which features an open-
ing extended cello solo before the choir comes in. With singers coming from all areas of
the hall, they enter quietly as the cellist is dimly lit with only one candle. The piece builds
quite creatively, and so does the lighting to reflect the progression of singers and sound,
thus creating a synergy between sight, sound, and personnel that is quite stunning.
We have all experienced holiday productions with featured lighting to accent different
repertoire, but have you ever started with no light at all and presented a piece that may
say more without seeing anyone? This may be a familiar piece like Amazing Grace, which
is so personal to so many that it may say more to the audience without any visual cues. If
you are able to light different parts of the concert hall, the idea of the audience being sur-
prised by the blackout on stage, and the immediate lighting in the second balcony on the
brass and then a string quartet in the organ loft without a pause can be thrilling. This kind
of surround-sound effect is made so much more powerful with added lighting effects.
Many scores are calling for movement to showcase the piece. Veljo Tormis’s Raua
Needine (Curse Upon Iron) is probably one of the most dramatic and powerful pieces
to consider. The composer has suggested moves throughout the entire middle section
(which is largely spoken) to sense the devastation that can occur if one does not heed

the warnings of perpetual war. War Song by Japanese composer Shin-ichiro Ikebe is also
only effective with choralography, and when we finished our 2009 ACDA performance
with Alberto Grau’s Arestinga, our choralographer, Yvonne Farrow wrote:
The movement for this work is based on the national dance of Venezuela called
Joropo. A couples dance, it is earthy and rhythmic, centered primarily below the
waist with an emphasis on footwork. Lively and syncopated, there are over 36 differ-
ent steps found in this folk dance. My intent is to give you a taste of the country and
its people who are of Indian, Spanish, and African descent. To me, the loose shaking
of the foot represents, for this work, the ‘catch’ our fisherman did not bring back to
his village.
So consider whether choralography will enhance or harm your program. It does take
time, great patience, and a full-fledged effort to allow motions to be free and seem spon-
taneous as well, always honest to the score itself. There is no right answer, but seriously
consider taking this programming risk.
When looking at creating a true synthesis to your program, look carefully at the long
and short repertoire involved. Does it seem to balance, or is it overflowing with one com-
poser? Is one selection dominating the set of music? Is there a lengthier piece that should
stand alone and create its own set? I put together a set of music dealing with grief and
despair of feeling forsaken by God and ending in almost religious ecstasy that was a bit
unusual. We opened the set with the first movement from Ginastera’s Lamentations—O
vos omnes with its allusions to Argentine folk music, then proceeded to Victoria’s setting
of the same text and finished with Ola Gjeilo’s “Dark Night Of The Soul.” The first two
pieces are only about six minutes long—however, Gjeilo’s setting is some 13 minutes in
length set with string quartet and piano and soprano obbligato. This decision seems to
work because of the minimalistic quality to the Gjeilo almost making it seem shorter. In
general, I like to see a similar length to the pieces within a set of music, thus allowing it to
be a true partnership of time and intent.
Think carefully about the location for your concert. Are there places that best help pres-
ent the repertoire you are about to unfold? I will never forget a concert in Milwaukee at a
most beautiful cathedral where we tried to perform Chichester Psalms of Leonard Bernstein
in the chamber music form from the rear balcony. This was absolutely the wrong choice for
this reverberant space, and the rhythmic vitality that is so critical to the piece was completely
lost in that environment. I can also remember the opposite happening while performing
Tavener’s haunting setting of Svyati in a completely dry setting and thus the silences that
always give the sense of eternity with this composer were completely swallowed up.
We discussed briefly the aspect of audience involvement as it related to Whitacre’s
Clouburst. I have also had the audience create a drone while a soloist or a section sings
a haunting melody. This seems to be most effective in Dorian or Phrygian mode. I will
never forget when Bobby McFerrin had the entire audience sing Twinkle, Twinkle Litte
Star while he improvised above and below. He had a thousand people all singing in per-
fect unison. Partner songs are often a great bridge to cross as well. In her Singing in the
African American Tradition, Ysaye Barnwell presents step-by step directions on her CD

in partnering these three incredible songs—Wade In The Water, I Wanna Die Easy, and
Motherless Chil’—which we performed with the audience being led by three of our sing-
ers in different parts of the hall. Nick Page from Vermont is the master at creating an
environment for success with the audience as well. His book Sing And Shine On is most
effective at demonstrating line-by-line how to teach an untrained audience to sing by
rote. Consider it a goal to truly include corporate singing with the audience. They want
to be involved. Figure out creative ways to make it most interesting for them and your
choir. Don’t forget your alumni as well if you are at a school that honors that tradition.
Conclusion
The art of successful programming is a long, arduous, circuitous, and yet most rewarding
task that requires a constant study of literature of all types. There is indeed great music in
all genres. Don’t let your personal bias rule out the possibilities for inclusion of something
you never dreamed you would perform five years ago. In this day and age, there is no
excuse for not finding the right piece for the particular choir you are teaching at any given
moment. I usually review over 10,000 scores for consideration per year. I could easily see
myself looking at twice that many in the future, but don’t forget the gems from 1380, or
1940, or 1828. Consider which parts of the world you have not yet investigated.
Your journey only begins after cutting your list down to a minor mountain of good
music, then comes that full tough-love analysis of what works best in your particular
situation. You are always reviewing the why, what, and where of any event. As your deci-
sions finalize, live and study the scores deeply before making final calls on the “keeper”
pile. How many different concepts are being taught every concert? How many different
cultures and languages are being experienced? How many different forms and genre are
being touched upon? Keep asking yourself, are these the best choices, and if so, why?
Through your selections are you truly able to allow for success and growth of every
singer? Will your programming selections reach the audience? Look seriously at the
ones in doubt and think about the synthesis of that music within the whole program.
Allow yourself time to live and breathe in the aroma of this program. Does it truly
have legs? Will it allow you to grow as a person, as a historian, as a singer, and as a
conductor? Having all pieces of equal difficulty is a recipe for disaster. Just like a well-
planned meal, some things take little time to prepare; others a great deal of time. They all
can satisfy the appetite, but eating fast food all of the time, well … you get the idea.
Consider the entire gestalt of each concert from beginning to end. Engender the exper-
tise of the members of the ensemble, close associates, and the ever present social media to
assist in helping with areas you are not as well-prepared to solve as others. Love your sing-
ers, love the process, and spend a bit of time enjoying the fruits of your labor. I am always
amazed when I get a letter from a former singer about an experience that in some cases
happened 20 years ago, yet they are still moved by that experience. Don’t ever underesti-
mate the power of great music to change lives. When we put that same music into context
that allows for full realization, the experience is profoundly held for a lifetime.

Appendix
Sample Programs
SPIRIT, MOVING OVER CHAOS

Wisconsin Middle Level choir –Oct. 2013
I
Spirit, moving over chaos -David Ashley White (handbells, synthesizer-drone)
405-633 -Selah Publishing Co. wwww.selahpub.com
Dona nobis pacem -Caccini arr. James Moore (AMP 0512)
II
Tant que vivray (done in English) -Claudin de Sermisy (string quartet)
Sumer is icumen in -Bjella (violin and cello) –Carl Fischer CM9372
III
Ríu ríu chíu (up a whole step)
http://www2.cpdl.org/wiki/images/1/10/Anonymous-Riu_Riu_Chiu-Uppsala_
41.pdf
3.30 Hava Blessing -Bjella (string quartet) Carl Fischer #10443565
AQ: “;3.30 Hava
Blessing - Bjella
(string quartet) IIII
Carl Fischer
#10443565 4.30 Deep Blue -Moira Smiley (SATB) percussion, cello/bass, water jug
IIII4.30 Deep
Blue - Moira
Smiley (SATB)
percussion, A RIVER RUNS THROUGH US
cello/bass, water
jug”;: Are these San Antonio Chamber Choir
timings? Why
only for these Richard Bjella, Artistic Director
pieces?
September 2014
HARMONY WITH NATURE
HARMONY OF THE SPHERES –JOEP FRANSSENS
BEAUTIFUL RIVER –LOWREY arr. BY WILLIAM HAWLEY
LONGING
SICUT CERVUS –GIOVANNI PIERLUIGI DA PALESTRINA (with saxophone
improvisation)
O WALY, WALY –SCOTTISH FOLK SONG arr. DARYL RUNSWICK (with cello)

MYSTICISM OF WATER
EFFORTLESSLY LOVE FLOWS –AARON JAY KERNIS
CLOUDBURST –ERIC WHITACRE (shortened -with audience)
BAR XIZAM (UPWARD I RISE) –ABBIE BETINIS
Intermission
TROUBLED WATERS
WADE IN THE WATER –LUBOFF arr. NORMAN
VANRAH VARSHA – BHATIA
LOVE
IN THE NIGHT WE SHALL GO IN –IMANT RAMINSH (with cello and HS students)
WATER NIGHT –ERIC WHITACRE
SHENANDOAH – STEVEN SAMETZ
FUN ON THE WATER AQ: Shouldn’;t

you also have
OLD JOE HAS GONE FISHING –BENJAMIN BRITTEN Henry Mancini
for “;Moon
MOON RIVER –arr. JOHN COATES River”; and
THE RIVER OF DREAMS –BILLY JOEL arr. Jeff Molush Paul Simon
for “;Bridge
Over Troubled
PRAYER Water”;?
DOWN TO THE RIVER TO PRAY –arr. M. Noia/R. Bjella (with HS Students)

DEEP RIVER –arr. NORMAN LUBOFF
BRIDGE OVER TROUBLED WATER –arr. VINCE PETERSON
SIX DEGREES FROM JS BACH

Texas Tech University –2013 Tour Program
Prelude
AQ: “;LISZT
variations on
JOHANN SEBASTIAN BACH (1685–1750) LISZT variations on CANTATA #12 CANTATA #12”;:
FRANZ LISZT (1811–1886) Weinen, Klagen, Sorgen, Zagen (1714) This and the
piece below must
BENJAMIN BRITTEN (from WAR REQUIEM) be in the wrong
order.
(1913–
1976) Kyrie eleison (chorale) (1961)
Matthew J. Carey, conductor
JONATHAN DOVE (from PASSING OF THE YEAR)
(b. 1959) Ring out, wild bells (2000)
Anthony King, David Kennedy, and Alex Kang, percussion

I
HILDEGARD von BINGEN O vis aeternitatis (c. 1160)
(1098–1179)
JOHANNES OCKEGHEM Alma Redemptoris mater (c. 1490)
(1410/25–1497)
UNKNOWN (13th century) (from LA MESSE de TOURNAI )
Kyrie (c. 1270)
Choral preparation by Stephanie Council
II
KRZYSZTOF PENDERECKI (from A POLISH REQUIEM)
(b. 1933) Agnus Dei (1981)
HUGO WOLF Der Feuerreiter (1888)
(1860–1903)
III
CLAUDE DEBUSSY (from TROIS CHANSONS de CHARLES
D’ORLÉANS)
(1862–
1918) Quand j’ai ouy le tabourin (1908)
Catherine Swindle, soloist
HENK BADINGS (from TROIS CHANSONS BRETONNES)
(1907–
1987) Soir d’éte (1930)
Ann Marie White, dancer
Andrew Kreckmann, conductor
IV
RODION SHCHEDRIN (from THE SEALED ANGEL)
(b. 1932) Lord’s Prayer (1988)
SERGEI RACHMANINOFF arr. Bjella Vocalise (1912)
(1873–1943)
MODEST MUSSORGSKY arr. Bjella (from PICTURES AT AN
EXHIBITION)
(1839–
1881) Great Gate of Kiev (1874)
Anthony King, David Kennedy, and Alex Kang, percussion
V
STEPHEN FOSTER (1826–1864) Hard Times (1854/2005)
Setting by CRAIG HELLA JOHNSON (b. 1956)
Catherine Swindle, Alicia Yantosca, Nathan Rhoden, Andrew Cravatt, soloists
Spiritual arr. ANDERS PAULSSON Bright Morning Stars (19th
century/1998)
(b. 1961)

Katie Webb, Nathan Rhoden, Stephanie Council, Marenda Natera, Corbin
DeSpain, soloists
JOHN ORFE (b. 1976) Fire! (2010)
Kurt Cereske, Kelsei Fortenberry, Mark Haddad, soloists
Epilogue AQ: Why is this

title (Epilogue)
here and in H1?
Please clarify.
(from WAR REQUIEM)
BRITTEN
Requiem (chorale)
JS BACH Weinen, Klagen, Sorgen, Zagen –

Sinfonia in
F minor
We shall not cease from exploration

And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.”
― T.S. Eliot, Four Quartets
ALL Northwest HS Festival – 2008

Richard Bjella, conductor
I
Plaudite tympana (from Missa Salisburgensis)
(16 part choir. 2 x 8 part choirs) Heinrich Biber (cpdl)
(opening section) (organ –3 trumpets)
Lord, Thou hast been our refuge Ralph Vaughan Williams

(organ, three trumpets, choir octet or 16)
II
Mille Regretz
Josquin Des Prez (cpdl)
The Stars Stand Up in the Air Eric Barnum (Walton)

(piano)
III
Symphony of Psalms (1st movement) Igor Stravinsky
(Boosey and Hawkes)
(piano 4 hands)

IV
Mi’kmaq Honor Song Lydia Adams
(Leslie Music Supply,Inc.)
Idumea
Ananias Davisson, 1816 (arr. Bjella) (Alliance Publications)
Vln/
vla
Dance of Zalongo
Carol Barnett
(piano 4 hands, hand drum. tambourine)
Mirrored Messages
Texas Tech University Choir, Richard Bjella, conductor
Clinton Barrick, accompanist
TMEA PROGRAM
February 10, 2012, 6:30 pm
Lila Cockrell Theatre
*percussion, +strings, **trumpets
I
*handbells
Carmina Burana
+*Gauthier De Châtillon: Fas Et Nefas Ambulant (hand drum, tambourine,
fiddle)
+Anon: O Varium Fortune Lubricum
*Fortune plango vulnera (grand casa)
Anon: Doleo Quod Nimium
*Orff: Carmina Burana -Cour D’Amours: Circa Mea Pectora –(grand casa, xylo-
phone, cymbals, grand casa, )
+*Chancellier: Bulla Fulminante (drum with sticks, fiddle)
*+Anon: Veni, Veni, Venias … Chume, Chume, Geselle Mîn (cello, vln),
hand drum,
*Orff: Carmina Burana -Cour D’Amours: Veni, Veni, Venias-triangle, cymbal,
Early scores courtesy of JOEL COHEN Music Director Emeritus of
Boston Camerata. <www.bostoncamerata.org>
Carmina Burana –Carl Orff
Schott Publications (female voices AP -118)/(Male voice ED 4920-02)
*Handbells
(without pause)

II
From Requiem Jean Richafort
Sanctus
Trey Davis, conductor -DMA Choral Conducting (anticipated summer 2012)
Jean Richafort (ca. 1480-ca. 1548), Opera omnia, edited by Harry Elzinga in 4
volumes Vol. I -Requiem -“Sanctus”
From Corpus Mensurabilis Musicae -Paul L. Ranzini, General Editor

*handbells
From Missa Angelorum Carl Rütti
Ite Missa Est
Escorial Edition 17–19 St George’s Street, Norwich NR3 1AB, England
III
From Reincarnations
The Coolin Samuel Barber
G. Schirmer #39970c
+O Waly, Waly arr. Daryl Runswick (with cello)
(performed with permission from the arranger)
(without pause)
IV
Come, Sweet Death Johann Sebastian Bach

+La Muerte del Ángel (The death of the angel) Piazzolla arr. José Bragato
violin, cello, piano (with choir) choral parts set by Richard Bjella
Cat.-No. 21064 TONOS Musiekverlags GmbH, Holzhofallee 15, D-64295
Darmstadt.

V
From Vier geistliche Gesänge Wolgang Buchenberg
Ich bin das Brot des Lebens (I am the bread of life)
Carus #7.351
Ich Bin Die Auferstehung Und Das Leben Heinrich Schütz (cpdl)
(I am the Resurrection and the Life)
(without pause)

VI
** *From ALEXANDER NEVSKY , Op. 78 Serge Prokofiev
Alexander Enters Pskov
Edwin f. Kalmus #6380

** *From AIDA Giuseppe Verdi
Triumphal scene
Oxford University Press, John Rutter (ed.), Opera Choruses
VII
Orovela Georgian folk tune (public domain)
*Messages Roger Treece and Bobby McFerrin
Messages, music by Roger Treece and Bobby McFerrin, lyrics by Don Rosler, ©
2010 by Lindalamama Music (ASCAP); Probnoblem Music (BMI); Vocabularies
Music (SESAC)
ACDA NATIONAL CONVENTION – 2009

LAWRENCE UNIVERSITY CONCERT CHOIR
Richard Bjella, conductor
Part 1
Knowee Stephen Leek (b. 1959)
(Sydney, Australia, 2008)
soloists: Rachel Niemann, Julie DeBoer, Adrienne Gallagher, Carolyn
Grieco
Te Lucis ante Terminum taken from Pablo Casals (1876–

1973) `
(16th c.Catalan carol) arrangement of Song of the Birds
Small ensemble: Michael Axtell, Justin Berkowitz, Michael Burton,
Nikolas Ross, Sanjay Seth manuscript arr. Edwin Higginbottom
ed. by Richard Bjella
Svatba (The Wedding) Khristo Todorov (1927–1980)
(Plodiv, Bulgaria)
Part 2
Laboravi in Gemitu Meo Philippe Rogier (c. 1560–1599)
(Lisbon, Spain, 1587?)
Les Voici! Voici La Quadrille! (from Act 4 of Carmen) Georges Bizet (1838–1875)
(Paris, France, 1875)
Part 3
*How Can I Cry? Moira Smiley (b. 1976)
(Indiana, 1995)
soloists: Lacey Jo Benter, Patty LeClaire

Arestinga Otilio Galíndez arr. Alberto Grau

(Caracas, Venezuela, 2003 Choralograher, Yvonne Farrow
Michael Axtell, baritone
A CENTURY APART - 2006
Lawrence University Choir program
I
Exultate justi in Domino—Viadana (1560 – 1627)
Salmo 150 Ernani Aguiar (b. 1949)
II
Amor (Lamento della ninfa—Monteverdi (1567–1643)
I Gondolieri—Giovanni Rossini (1792–1868)
Viking Chorale
V
Annus novus in Gaudio (Let the New Year now begin)—(CC men) (c. 1139)
Soloists:
Hugh Naughtin, James Antony, Evan Bravos, Jesse Weinberg, Andrew Sparks
Concert Choir men
Salva Regina—Ramona Luengen (1960–)
Cantala and Concert Choir women
VI
Absalon, fili mi—Josquin des Prez (small group) (c. 1455–1521)
Scott Sandersfeld, conductor
When David Heard—Norman Dinerstein (b. 1937–)
Emily Fink, soprano
VII
Ich bin die Auferstehung und das Leben (I am the resurrection and the life) Heinrich
Schütz (1585–1672)
Effortlessly Love Flows (1998)—Aaron Jay Kernis (1960–)

VIII
Lamentations of Jeremiah Alberto Ginastera (1916–1983)

O vos ommes qui transitis per viam
Hard Times (1864)—Stephen Foster arr. Craig Hella Johnson (1956–)

Lacey Jo Benter, soloist
IX
An die Sonne (To the Sun)—Franz Schubert (small group) (1797–1828)
Sarah Botsford, conductor
Hymn du Soleil (Hymn to the Sun)—Lili Boulanger (1893–1918)

Sarah Botsford mezzo soprano
Concert Choir
February/March Texas Tech University Choir on Tour 2015
---W H I S P E R S - - - -

of the distant past
KNOWEE Stephen Leek
WHISPERS Steven Stucky
of peace
GLORIA (from Heiligemesse) Joseph Haydn
MISSA PAX (Sanctus, Hosanna) Timothy Corlis
of steadfast faith
GEISTLICHES LIED Johannes Brahms
ECCE SACERDOS MAGNUS Anton Bruckner
of longing
KAS TIE TADI Steven Stucky
LABORAVI Phillipe Rogier
POOR WAYFARIN STRANGER Sally Terri
of grief and salvation
O VOS OMNES Alberto Ginastera
O VOS OMNES Antonio Lotti
DARK NIGHT OF THE SOUL Ola Gjeilo

of hope and joy

DOMINUS REGNAVIT Levente Gyöngyösi
PEACE LIKE A RIVER arr. Bjella
AIN’T NO GRAVE Caldwell/ Ivory
Alaska All-State Nov. 15–17, 2012
I
Sumer is icumen in—arr. R. Bjella (vln, c) Carl Fischer Publication CM9372
Psalm 96 –Sweelinck
http://www2.cpdl.org/wiki/images/sheet/swee-96.pdf
II
Adoramus Te, Christie—Quirino Gasparini
http://www2.cpdl.org/wiki/images/sheet/gasp-ado.pdf
Jubilate Deo (KV 117)—Mozart
III
Famine Song—arr. Matthew Culloton Santa Barbara SBMP 575
From Here on in –arr. Brumfield (4) Hal Leonard ZHL8752843
IV
O Swiftly Glides the Bonnie Boat—Beethoven (vln, c) (2) National Music Publishers
CMS - 126
Loch Lomond—arr. Jonathan Quick (4) Cypress Press CP 1045
V
All My Trials—arr. Norman Luboff (3) HL 7066S (originally Walton Publications)
No Rocks a Cryin’—Rollo Dilworth (3) HL.8711307

CHORAL
PROGRAM
DESIGN
STRUCTURE
AND SYMMETRY
Thereare many waysto organizea choralconcertprogram.David L. Brunner
examinesthe commononesand suggestssomealternatives.
T he choral conductor as a cal, and emotional effects that various then seeks to unify ratherdiversecom-
teacherstrivesto explore and programsmay have upon the listener. positions around a general idea or
choose high-quality reper- We often program according to some concept, for example, "Musicfor Mul-
toire of a variety of styles, vague theme or chronological order, tiple Choirs,""Musicfor Holy Week,"
genres, historical periods, perhaps without real thought to or "Music for Voices and Instruments,"
and languages that will contribute to justificationfor our choices. "A Concert of Choral Comparisons,"
the development of healthy singing, or "ACelebrationof Masses."
expressive performance, and musical to Programming
Approaches Though these approachesmay pro-
learning in his or her singers. Litera- Chronologicalprogramming is the vide some general structure, there are
ture that is appropriateto the age and most common method. The conduc- further considerations that may help
understanding of the singers provides tor arrangesthe pieces from the earli- the conductor build a programthat is
the foundation for a musical experi- est through the most recent: Renais- closely knit, has symmetry and pur-
ence of substance and quality. The sance, Baroque, Classical, Romantic, poseful design, and succeeds in mov-
conductor as a performerand presen- and Twentieth Century. A spiritual or ing the audience in some way.
ter of public performancesalso tries to folk song and a planned encore from
createcohesive programsthat will pro- any period often follows. This BuildingRelationships
vide an entertaining, educational, and approach demonstrates the progres- Everychoir should have the experi-
emotional or aesthetic experience for sion of styles as well as, presumably, ence of singing high-quality literature
the audience. the versatilityof the choir. A variation of a variety of styles, languages, tex-
Composers have long sought the- on this theme might illustrate the tures, and difficulties. A balanced
matic unity, structure, and balance in development of a particular form or repertoire, therefore, will result in a
their works, particularly in longer period of music. series of varied programs. Within
pieces. It's like architecture:the com- Thematic programming features every program, however, the conduc-
poser puts elements in certain rela- music on a certain theme or for a spe- tor can build structureby finding rela-
tionships to create a meaningful cific occasion, season, or purpose. tionships among individual pieces or
whole. The motets and cantatas of Church musicians craft such programs groups of pieces.
Bach are carefullystructuredworks of weekly that take account of the eccle- * You can group works by com-
severalmovements, as are Haydn'sand siastical seasons and festivals. Other monalities of mood, voicing, text, tex-
Mozart's string quartets and sym- examples of thematic programs ture, type of accompaniment,compos-
phonies and Schubert's song cycles. include "Patriotic Music," "Songs er, poet, or historicalperiod. Look for
Conductors, however, do not always from the Parlour-The Great Senti- similarities between pieces and ask
know how to shape a meaningful mental Age," "Welcome Spring," "What relationships exist that can be
whole out of smaller pieces; they may "Musicfrom the Court of Isabellaand built upon to provide continuity with-
not consider the physical, psychologi- Ferdinand,""Bach and His Sons," or in a group of pieces?"
anniversaryconcerts in honor of a par- * Conversely,juxtaposing different
David
L.Brunner
is director
ofchoral
activities
at ticularcomposer. moods, voicings, texts, textures,
theUniversity
of Central in Orlando.
Florida Conceptprogramming assemblesand accompanying forces, composers, or

periods creates another kind of struc-
ture. When you avoid the predictable
sequence of pieces, your program can
Figure1. Alphabeticallistingof programselections by composer
have a strong and positive effect on
* Ahlen, "The EarthAdorned"
the listener. This juxtaposition, how-
ever, should be by design, not by
* Billings, "The Rose of Sharon"
chance. Look for contrasts between
works and ask "What two dissimilar
* Britten, "GreenBroom"(from FlowerSongs)
pieces might make a strong emotional,
intellectual, or musical statement by
* Britten, "The Sally Gardens"
being paired?"
* Consider other factors when
* Dickau, Threefrom Shakespeare:
deciding to pair or juxtapose particu-
lar works: the sacred or secular nature "O MistressMine"
of the texts, metric and rhythmic "Silvia"
structure, length, dynamic contours,
"LoversLove the Spring"
and familiarity of style. For example,
you can make an avant-garde piece
* Distler, "PraiseYe the Lord"
more accessibleto an uninitiated audi-
ence by placing it strategicallyin the
* Durufle, "Ubi Caritas"
program.
* As an individual work evolves by
* George, "The Lamb"
way of harmonic progression, so the
order of a concert programcan create
* Hayes, "Home on the Range"
tension, movement, resolution, and
repose by the evolution and relation-
* MacGillivray,"Song for the Mira"
ship of underlying key centers. When
arranging pieces in program order,
* Maggs, "PlentyGood Room"
ask: "Do three pieces in differing keys
have a different effect on the listener
* Mason, "O PraiseGod in His Holiness"
when sung in different orders?Which
is the most effective and moves the
* Miller, "O, No John"
programalong in the manner I wish?"
* Think about the pacing of a pro-
gram with regardto both the perform-
ers and the listeners. For the singers, different formations enhance how the hearing the entire program with the
the programshould not be vocally tir- audience or the singers hear the vari- audience'sears.
ing but should provide a variety of ous textures and styles? If several
tempos, tessituras,and vocal demands. choirs are performing in the same AnExercisein Program Building
For the audience, the programshould concert, you must also consider how Figure 1 contains fifteen selections
not be aurallytedious but should have and when they enter and exit the that were chosen without thought to
contrast, momentum, and shape. stage-this will effect the flow and their compatibility;all are appropriate
Consider organizingthe concert like a continuity of the entire program. to high school singers. There was no
gourmet dinner or a stroll through a There are instances where a piece attempt to represent all periods of
purposefully arranged art gallery. of literature is appropriate for the music history nor any number of lan-
When evaluating the sense of flow, ensemble, the director, and the bud- guages;they are simply in alphabetical
momentum, and series of tensions and get, but it will not fit a particularpro- order.
releases, ask: "What is the cumulative gram and so must wait for another This exerciseis contraryto how the
effect of this programon the listener? occasion. Each work should con- conductor would normally develop a
Tiring?Tedious?Stimulating?Refresh- tribute something to the overalldesign program but demonstrates that rela-
ing? Tear-jerking?Will the audience and effect of a specific concert pro- tionships can be found even among
be moved in some way? Will they be gram. The program should be an pieces not specificallyintended for the
differentthan when they entered?" entertaining,educational, and aesthet- same concert.
To provide visual interest, consider ic experience for the audience and Before attempting to group the
alternatives to the formal choir-on- should present both music they want pieces, I analyzed each work with
risers presentation of traditional con- to hear and music that they should regard to text, key, texture, accompa-
certs. Will a different staging of the hear, arranged in a manner that niment, tempo, mood, and character.
choir heighten certain aspects of the enhances their listening experience. Severalrelationshipsbecame apparent.
works or add a sense of drama?Will Building a successful programrequires Some pieces shared common keys or
MAY 1994 47
...... to all secular, classic texts in the last
group. The two middle groups are
Figure2. Sampleprogram withvarietyandstructure transitions: group two consists of
sacred and pastoral texts (all in Eng-
Group Key Composer/Title Voicing Tempo lish) and the third group is lighter in
I character, with all pieces reflecting
1. G YetheLord"
Distler,"Praise SATBa cappella F folk-like subjects.
2. G George,"TheLamb" SATBa cappella S A strong design is reinforcedby key
3. Durufle,"UbiCaritas" SATTBB a cappella S centers so that the listener experiences
4. F Mason,"0 PraiseGodin HisHoliness" SATBa cappella F (though he or she may not be con-
sciously awareof) a logical progression
II of sound. Each group'stonal architec-
5. F(-B') Maggs,"Plenty GoodRoom" SABa cappella F ture is different,yet each has structure
6. D; "TheSallyGardens"
Britten, unisonwithpiano S and form, and there is a smooth tran-
7. A Billings,"TheRoseof Sharon" SATBa cappella F sition from one group to the next. In
8. A Ahlen,"TheEarth Adorned" SATBa cappella S group one, the first two pieces share
the key of G major. The common
III tone G in the final chord of the sec-
9. D "SongfortheMira"
MacGillivray, SATB,solo, oboe,piano S ond piece connects, much like a pivot
10. G(-A,) Hayes,"Homeon theRange" SATB,harmonica, piano S chord, to the key of E_;major for "Ubi
11. D "Green
Britten, Broom" SATBa cappella F Caritas."The last piece is in F major,
12. G Miller,"0,NoJohn" SATBa cappella F the pitch around which the other keys
circled (G-El-F).
IV The first piece in the second group
Dickau,ThreefromShakespeare: SATB,piano is also in F major,which modulates to
13. D "0MistressMine" M Bk.The common tone F servesto con-
14. BF "Silvia" S nect the listener to Dl major for "The
15. F "Lovers LovetheSpring" F Sally Gardens." The final two pieces
are in A major, a major third above
the key of the first piece, as the Dl, was
a major third below it (the relation-
could be arrangedso that key centers songs that are all accompanied. ship here F-DK-A). The reaffirmation
evolved in some way, others were relat- There is also a more subttle internal of A in the fourth work closes the first
ed by subject matter, and some could architecture. If you consider the last half of the programjust as two pieces
be grouped by texture,tempo, or style. set of pieces the finale, a ballanced and in a common key opened the concert.
Figure 2 shows a program that pro- symmetricalframeworkeme:rgesin the The relationship between the clos-
vides varietyin pacing, texture, mood, first three groups: piecess 1-2 and ing key of the second group (A) and
and character,yet has an underlying 11-12 are of the same textiure (SATB the opening key of the third group
structureand sense of flow. This is not a cappella) and form an ouiter frame- (D) is V-I, further reinforced by the
the only solution to arranging the work, pieces 3 and 9-10 are of the common tone A and the melodic rise
pieces, however, and conductors may thickest and most varied te)Ktures,and to a sustainedA in the oboe part. The
find others that work equallywell. 4-5 and 7-8 (SAB, SATB) Iform inner second piece of the group is in G,
frames around 6 (unison), vvhich is of with a common tone D in the first
UnificationandSymmetry the simplest texture. The fiirst half of chord (again, the V-I relationship).
The program in figure 2 is unified the program (1-6) is a milrror image Though "Home on the Range"modu-
in a number of ways and on several of the second half (6-12). . It is also lates to Al,, there is another return to
levels: texture, text, key, tempo, and noteworthy to see what h appens in the V-I relationship in the last two
general considerations of style and pieces 9 and 10. This poirit of most pieces and a final move to V (this time
character. One consideration was to color and variety (the addlition of a minor) at the beginning of group four.
group pieces so that there would be soloist, oboist, and harmonica player) The final three pieces are related by
variety in vocal scoring and texture. occurs approximatelytwo-thlirdsof the the third, both below and above the
There is a gradualgrowth in complex- way through the program of fifteen initial key (D-Bl,-F), as was the sec-
ity of texture and a change in color pieces, or according to the Iproportion ond group.
throughout the program. The first (used by many composers and other With regardto tempo, each group
group consists of all a cappella works, artists) of the "golden se:ction" or contains variety: group one is
the second has three a cappella pieces "goldenmean"(see figure 3) fast-slow-slow-fast; group two is
and one accompanied piece, the third From the perspective o f text and fast-slow-fast-slow; group three is
adds more instruments to two of the subject matter, there is a p)rogression slow-slow-fast-fast; and the final
works, and the final group contains from all sacred texts in the first group group is moderate-slow-fast. Similar

Figure3. Programreflectingthe "GoldenSection"principle
"Golden
Section" Finale
1 2 3 4 5 6 7 8 9 10 11 12 13-15
SATB SATB SATTBB SATB SAB Unison SATB SATB SATB SATB SATB SATB SATB
acap acap acap acap acap piano acap acap piano piano acap acap piano
+ +
solo harmonica
+
oboe
Note:"acap"
stands
foracappella.
- ----------
-.-
!-!&
lp--mA-, -
MMML.- I
V-1.
---V
- --
Figure4. Thesequence of tempos

GroupI GroupII GroupIII GroupIV
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
F S S F F S F S S S F F M S F
*Notethatthepointofslowesttempos(8-10)corresponds
tothatofmosttextural
contrast
so thatthereis notstagnation
orsameness, and
butvariety
interest. I
tempos between the last piece of one keep the interest and attention of the three pairs two North American folk
group and the first of the next link the listener and provide variety for the songs with two of English origin.
first three groups. This provides vari- performers as well. Each work and This example of program building
ety in pacing and sustainsattention by group of works also has a certain emo- demonstrateshow a diverse collection
alternating moments of momentum tional energy or intensity, created not of pieces can be arrangedso that there
with moments of repose. This only by tempo but harmonic lan- is order, symmetry, shape, momen-
sequence of tempos is shown in guage, voicing, tessitura, dynamics, tum, and structure built on relation-
figure 4. and text. The shape of a programwill ships of text, tempo, texture, key cen-
Pacing of the program is closely differ depending on the occasion, the ters, mood, and character. The pur-
related to tempos and also to the choice of repertoire, and the desired poseful selection of compatible pieces
cumulative effect of the pieces in suc- outcome for the listener. will result in even more tightly knit
cession. Though each segment of this Additional examples of symmetry programsthat contribute significantly
program is approximately equal in occur in the first group, which frames to the musical and aesthetic experi-
length, each has a different contour in two contemplative works with lively ences of the teacher, the performers,
time (see figure 4) and will therefore pieces using texts of praise. Group and the listeners.v
MAY 1994 49
The Conductor as Servant-Leader
By R a m o n a M. Wi s
The"servant-leader"
paradigmapplied
he conductor of an ensemble is, by definition, a leader. to conductors
With a gesture or move of the baton, conductors decide
when the sound starts and stops. They make the large-
scale decisions regarding choice of repertoire, curricu- providesa model
lum, and program design, as well as the day-to-day
decisions focusing on the methodology used in rehearsal. In for leadership
preparation for this role, aspiring conductors complete under-
graduate programs covering conducting technique, vocal and
that empowers
instrumental pedagogy, rehearsal methods, and how to be "in
control" of the class-all designed to develop their ability to lead ensemblemembers
from the podium.
Yet something is missing. All these courses, techniques, and throughpositive
skills help music education majors become efficient and techni-
cally proficient, but do these things preparethem for the leadership influence,goals,
role of conductor?
Where and when do conductors learn to lead? How do they and a vision
develop leadership abilities, and from whom do they learn how to
lead? What is the role of leadership as it relates to conductors, and
how can their approach to leadership provide for the optimal for success.
ensemble experience?
4ow
4. I
I
RamonaM. Wis is the Mimi
s;-
Rollanddistinguished
o
g:
professor
in thefineartsat NorthCentral
0 , Collegein Naperville,Illinois,
-s, I'
J and visitingassociateprofessor
of music at Northwestern
A t a
_O
Universityin Evanston,Illinois.
NOVEMBER 2002
Roots of Leadership: The management. While managers main- Conductors must be skilled, and
Development of a Personal tain a certain course, leaders have the their role indisputably charges them
Philosophy ability to change course. Managersare with many management tasks. But
Like so much of what is learned, an focused on efficiency, whereas leaders those skills and managerial abilities
individual'sapproachto leadershipcan are focused on effectiveness. Managers must be subordinated to the role of
often be an amalgam of the styles of can get things done, but leaders have leader At the optimal level, the
individual teachers and conductors to the ability to create a vision and ensemble experience should provide
which one has been exposed over the inspire the momentum needed to students with the opportunity to
years. Philosophies are absorbed, con- move things forward.As Steven Covey develop a part of themselves-their
sciously or unconsciously, by experi- says in Principle-CenteredLeadership, aesthetic sensitivity and artistic intel-
encing each teacher'sparticularmethod we "managethings, but lead people."2 ligence-in a unique and empower-
of providing leadership.But to become ing way. If approached as music edu-
a leader,each conductor must question cation through performance, instead
the nature of those experiences (and of performance education through
the philosophies that underlie those music, the ensemble experience can
experiences) to test if they reflect who be the venue through which students
the conductor is and what he or she learn how to perceive what is going on
believes. If inherited philosophies and,
A new viewof leadership in the music, how to make artistic and
by extension, inherited approaches to fromthe podiumis required creative decisions, and how to sing or
leadership are not examined, conduc- play expressively. For this to happen,
tors may simply imitate their teachers if the ensembleis to grow however, the conductor must go
and may find themselves, sooner or beyond traditional notions of leader-
and if its membersare to
later, teaching "throughsomeone else's ship to a different approach in which
skin"-feeling unrewarded, uncom- functionas artistsrather the needs of the students, as well as
fortable, and dispassionate, not the art, are served.
because they chose the wrong profes- than artisans. A new view of leadership from the
sion, but because they have no real podium is requiredif the ensemble is to
understandingof the conductor'srole. grow and if its membersare to function
The first step toward becoming a as artists ratherthan artisans.The con-
leader is to consciously examine one's ductor who desires optimal growth for
beliefs about music-its nature, role, the individual and the group strives to
and power-and about teaching. As critical as they are to one's suc- serve the ensemble in all aspects of the
Reading, reflecting on, and debating cess, clean conducting, good diagnos- job, from programmatic decisions to
the writings of philosophers and edu- tic/prescriptive techniques, and the day-to-daymethods used in rehearsal.
cators in the field,1 especially within ability to keep the ensemble attentive
the context of a well-taught philoso- are only the means to a much greater An Alternative View from the
phy of music education course, can be end. Without a larger goal for the Podium:The Servant-Leader
life-changing. Without a consciously ensemble experience, the conductor Approach
developed personal philosophy, there relying solely on these tools is, at best, Though not a contemporary con-
is little foundation on which to build a skillful managerof the musical expe- cept, the idea of servant leadership has
personal leadership. rience. The major shortcoming of the recently been brought to prominence
The second step toward becoming skillful manager model is that it per- by Robert K. Greenleaf.In his seminal
a leader is to purposefully study lead- petuates the notion that the ensemble essay "The Servant as Leader,"Green-
ership. Though often aimed at the experience is the conductor'sexperi- leaf describes the essence of the ser-
corporate environment, the field of ence, that the artistic decision-making vant-leader:
leadership studies is fast-growing and is, in the words of Bennett Reimer,the
offers much insight to the conductor "sole prerogative"3of the conductor. The servant-leader is servant
who wishes to pursue excellence in "When performance group directors first.... It beginswith the natural
leadership, as well as in artistry.The ... are directing the music making of feelingthatone wantsto serve,to
principles and practices found in the students but make all the decisionsfor servefirst.Thenconsciouschoice
wealth of materials on this topic can them, ... those directors are creating, bringsone to aspireto lead.That
easily be adapted and applied to the but their students are surely not," personis sharplydifferentfrom
conductor's role as a leader (see the observes Reimer.4 With this model, one who is leaderfirst,perhaps
Resources on Leadershipsidebar). the musical growth and aesthetic becauseof the needto assuagean
experience also belong primarily to unusualpowerdriveor to acquire
Leading vs. Managing the conductor, clearly making the materialpossessions. For such, it
Before going further, it is important ensemble experience only tangentially will be a later choice to serve-
to define what is meant here by "lead- educational for the ensemble and leav- after leadership is established. ...
ership." Perhaps the best way to do ing little room for individual or collec- The best test, and difficult to
this is to contrast leadership with tive growth. administer, is: Do those served
Resourceson Leadership
Axelrod,Alan.ElizabethI, CEO:StrategicLessonsfromthe LeaderWho Builtan Empire.Paramus,NJ:Prentice Hall,2000.
Bennis,WarrenG. On Becominga Leader.Cambridge,MA:Perseus Books, 1998.
Blanchard,Ken,BillHybels,and PhilHodges.Leadership
bythe Book:ToolstoTransform NewYork:William
YourWorkplace.
Morrow and Co., 1999.
and the OneMinuteManager.NewYork:WilliamMorrow
Blanchard,Ken,PatriciaZigarmi,and Drea Zigarmi.Leadership
and Co., 1985.
Cashman,Kevin.Leadershipfromthe InsideOut:Becominga Leaderfor Life.Provo,UT:ExecutiveExcellence Publishing,
1999.
Covey,Stephen R.FirstThingsFirst New York:Fireside,1994.

Leadership.New York:Simon and Schuster,1990.
Covey,Stephen R.Principle-Centered
Covey,Stephen R. The 7 Habitsof HighlyEffectivePeople.NewYork:Fireside,1989.
Jazz. New York:Dell Publishing,1992.
DePree, Max.Leadership
GreenleafCenter for Servant Leadership,921 East86th Street, Suite 200, Indianapolis,IN 46240 (www.greenleaf.org).
journeyinto the Natureof LegitimatePowerand Greatness.New York:Paulist

Greenleaf,Robert K. Servant-Leadership:A
Press, 1977.
Greenleaf,Robert K. Teacheras Servant:AParable.NewYork:PaulistPress, 1979.
Hunter,James C. The Servant:ASimpleStoryaboutthe TrueEssenceof Leadership.Rocklin,CA: PrimaPublishing,1998.
Institutefor Servant Leadership,15 MaconAve.,Asheville,NC 28801-1522 (www.servleader.org).
Jackson,Phil,and Hugh Delehanty.SacredHoops:SpiritualLessonsof a HardwoodWarrior.New York:Hyperion, 1995.
San Francisco:Berrett-KoehlerPublishers,1996.
InnerPathof Leadership.
aworski,Joseph.Synchronicity:The
to
Teachers
Johnson,Spencer,and Constance Johnson.TheOneMinuteTeache:How to TeachOthers Themselves.New York:
William Morrow and Co., 1986.
Leadership.New York:Hyperion, 1995.
Jones, LaurieBeth.JesusCEO:UsingAncientWisdomforVisionary
Mackoff,Barbara,and GaryWenet. TheInnerWorkof Leaders:Leadershipas a Habitof Mind.NewYork:Amacom,2001.
Columbia,TN:LeadershipEducationand Development, Inc., 1987.
Manske,FredA.,Jr.Secretsof EffectiveLeadership.
Maxwell,John C. The 17 Indisputable
Lawsof Teamwork. Nashville,TN:ThomasNelson, 2001.
Maxwell,John C. The21 IndispensableQualitiesof a Leader.Nashville,TN:ThomasNelson, 1999.
Lawsof Leadership.Nashville,TN:ThomasNelson, 1998.
Maxwell,John C. The21 Irrefutable
Maxwell,John C. Developingthe LeaderwithinYou.Nashville,TN:ThomasNelson, 1993.
Neuschel, Robert P.TheServantLeader:Unleashingthe Powerof YourPeople.EastLansing,Ml:Visions Sports Management
Group, 1998.
Palmer,ParkerJ.LetYourLifeSpeak:Listeningfor the Voiceof Vocation.San Francisco,CA:Jossey-Bass,1998.
Palmer,ParkerJ. The Courageto Teach:Exploringthe InnerLandscapeof a Teacher'sLife.San Francisco,CA:Jossey-Bass,
1998.
Grand Rapids,M: BakerBooks, 2000.
Rima,SamuelD. Leadingfromthe InsideOut:TheArt of Self-Leadership.
Managementfrom the World'sOnly
Seifter,Harvey,and Peter Economy.LeadershipEnsemble:Lessonsin Collaborative
Orchestra.New York:Henry Holt and Co., 2001.
Conductorless
Spears,Larry,ed. Insightson Leadership:

Service,Stewardship, New York:JohnWiley & Sons,
Spirit,and Servant-Leadership.
1998.
Spears,Larry,ed. Reflectionson Leadership:

How RobertK.Greenleaf'sTheoryof Servant-Leadership
InfluencedToday's
Top
Management Thinkers. New York:
JohnWiley & Sons, 1995.
19
NOVEMBER
NOVEMBER 2002
2002 19
withoutaddingvalueto others.It
is not self-expressionfor its own
thatcre-
sake;it is self-expression
ates value for those aroundyou.
Therefore, keyintoyourgifts,but
don't stop there. Focus on
expressingyour gifts to improve
the lives of everyoneand every-
thingyou touch.6
Servant-leadersare not focused on

displaying their gifts; rather, they use
gifts to make a difference,to createpos-
itive change. In this way, they serve
rather than impose; they empower
ratherthan control.
Conductorsas Servant-Leaders
"Leadershipfocuses more on peo-
ple than on things; on the long term
.. I rather than the short term; on devel-
oping relationships rather than on
methods, techniques, and speed,"
observes Covey.7 In developing these
priorities, one must understand that
servant leadership is not an exact
model; there is no prescribed "to-do
list" that, when completed, qualifies
P :,?
one as a servant-leader.Rather,what is
important is an approachto leadership
a that focuses on people, principles, and
the "big picture." Servant-leadersare
recognized by several characteristics.
Service. Servant-leadersare primari-
Photo by Chuck Saige. courtesy of North Central College
ly motivatedby a desire to serve and to

"see life as a mission, not as a career."8
growas persons?Do they,while While such confusion is under- They have a passion for their work,
being served, become healthier, standable, serving and leading are seeing it as a kind of calling. They
understandand accept that they have a
wiser, freer,more autonomous, really two sides of the same coin. If
morelikelythemselvesto become the leader (in this case, the conduc- responsibility to others, and they see
servants?5 their gifts and endeavors as contribut-
tor) always asks, "Whatis best for the
students?"-he or she is leading by ing to a larger whole, much greater
than themselves.
Initially, it may be difficult to fully serving the students before consider- As a conductor, the servant-leader
understand what servant leadership ing personal needs and desires. This demonstratesa passion for everyaspect
really means because the term "ser- kind of conductor rejects the notion
vant" can conjure up several negative of the experience: the music, rehear-
that leaders must be autocratic and
sals, musicians, and audience. Such
images. For some, "servant"can imply trusts that all the musical goals will
someone who is weak, unskilled, conductors see their role as facilitating
be reached if the focus is on serving
unable to lead, incapable, or without the student'sentire musical experience,
the musicians and the music.
freedom or creativity.Isn't serving the one that extends beyond the bounds of
Thus, serving involves using one's
technical knowledge and skill. They
opposite of leading? How can these gifts in ways that add value to others'
two terms go together? And what realize that they stand between the
gifts. In Leadership from the Inside music and the student's experience,
about all those courses and books on Out, Kevin Cashman discusses the
classroom management that say and they consciously strive to be a
relationship between purpose and
things like "don't smile until after service: doorwayratherthan a wall. Often these
conductors, as students, were "ser-
Thanksgiving,"demanding the imme-
diate establishment of "authority" vants":they spent time during lunch or
Purposealwaysserves-it is afterschool helping their band or choir
(read "autocracy")and control? How the mannerin whichwe use our
does all that match up with the notion directorplan a tour,organizethe music
gifts to makea differencein the
of servantleadership? world. Purposeis not purpose library,or run sectional rehearsals.And
they did it because they wanted to help, dent's individual contribution can be they must be involved in making artis-
to make things better-to serve. felt and each student's educational tic decisions," says Reimer.11 The
Vision. Servant-leadersare, accord- needs can be better met. National Standards support this
ing to Greenleaf, "betterthan most at Another common issue has to do approachby calling for students to lis-
pointing the direction."9 They have with seniority: tradition may dictate ten to, analyze, describe, and evaluate
vision: that seniority,ratherthan ability,is the the music that they perform, in addi-
main determinant for moving stu- tion to mastering the necessary techni-
Theleaderneedstwo intellec- dents to upper-level ensembles. The cal skills.12
tual abilitiesthatareusuallynot servant-leader, however, understands In every case, the conductor'svision
formallyassessedin an academic the challenges presented by teaching involves risk-takingby dealing with the
way:he needsto havea sensefor varying ability levels in the same "unknowable and unforeseeable."
the unknowableand be able to group-challenges of selecting reper- Conductors without vision are less
foreseethe unforeseeable.Lead- toire and managing students' boredom likely to provide opportunities for aes-
ersknowsomethingsandforesee or frustration-and may opt for abili- thetic growth because they usually
somethingswhichthosetheyare ty-level grouping. In these examples, function on automaticpilot. Such man-
presumingto lead do not know the common threadis not the decision agers tend to see only the obvious and
or foreseeas clearly.10 itself, but the conductor's conscious do the expected, an approach that can
choice to look beyond "what has seem bereft of vitality. This lack of
This ability to have vision is one of always been done" to what may be energy will, sadly, be reflected in the
the most telling differences between best for given students at a given time music itself.
the conductor who is a leader and one in order to reach unified goals. Responsiveness.Servant-leaderslis-
who is only a manager.Vision implies ten carefully to those they serve and
forward motion and growth, explo- accept responsibilityfor the situation:
ration, and risk, while managing tends
to focus on efficiently maintaining the Theusualleaderin the faceof
status quo. a difficultytendsto reactby trying
For the conductor, vision is rooted to findsomeoneelse on whomto
in philosophy: What kind of program Conductors whoare I pin the problem,ratherthan by
is this going to be? What are the musi- automatically responding:"Ihave
cal and educational goals? How do cultivatea
servant-leaders a problem.What is it? What can I
these fit into the bigger picture (the do about my problem?"13
school district, the community,or state atmospherej
forward-looking
and national standards)?What unique in rehearsalevenif Conductorswho are servant-leaders
gifts do I have that can move this pro- will understand that virtually every
gram forward? Answers to questions problemsarise.j problem can in some way be tracked
like these help the conductor shape a back to them. Without becoming para-
plan for the future and provide a sense noid or unrealistic, these conductors
of forwardmomentum at all times. recognize their responsibilityfor creat-
Vision is also responsible for every- ing the learning environment and the
day managerial and pedagogical deci- overall atmosphere, as well as the actu-
sions. From choosing repertoire to al curriculum and the day's rehearsal
scheduling performances to deciding Perhapsthe most artistic manifesta- plan. If students are supposed to work
how to tier multiple ensembles within tion of the conductor'svision relates to out a weak spot in the music before the
a program, the conductor with vision the music itself. When choosing reper- next rehearsal and they do not, then
understandshow these decisions relate toire, the conductor asks, "What will the students are responsible. But the
to and impact everything and every- the ensemble learn from this piece? servant-leaderrealizes that, at a greater
one, from the largergoals to each indi- How will it help them grow individual- level of responsibility,he or she may
vidual musician who walks through ly and collectively?"When rehearsing, have failed to set up clear expectations
the doors. the question is "How can I help stu- or manage the rehearsalschedule well;
For example, consider the issue of dents understand the music more or may have set a task before the
determining the number, size, and fully?" Focusing on these questions, ensemble in a coercive,ratherthan per-
makeup of ensembles within a pro- the conductor strives to choose music suasive, way. This kind of awarenessis
gram. While there is no one "right" that is expressive but not trite, chal- necessary if conductors are to assume
way to design a program, the conduc- lenging but not a mere exercise in tech- full responsibility.
tor's driving question should be nical skill. In rehearsal,the conductor Trust. Servant-leaders set great stan-
"What will best serve the students?" resists an autocratic approach, involv- dards of excellence by believing in
Common practice may point toward a ing students in creative decision mak- other people. They trust others:
"bigger-is-better" mentality, but the ing by asking questions rather than
servant-leader may opt for smaller providing all the answers. "When stu- Truly,believing is seeing. We
ensembles to ensure that each students arebeing involved in creatingart, must, therefore,seek to believe in
NOVEMBER 2002 21
the unseenpotential.Thiscreates says, "Achievements come as natural Coercion may appearto have the same
a climateforgrowthand opportuni- by-products of our connection to our or even better results, but these results
ty. Self-centeredpeople believe purpose."15 tend to be short-livedand achieved at a
thatthe key lies in them,in their Persuasion. Servant-leadershave a greater cost. Greenleaf explains it in
techniques,in doing"theirthing" healthy perspective on power; they this way: "The trouble with coercive
to others.This worksonly tem- understand their potential influence power is that it only strengthensresist-
porarilyIf you believe it's "in" and use it in persuasive, rather than ance. And, if successful, its controlling
them, not "in"you, you relax, coercive, ways: effect lasts only as long as the force is
accept,affirm,and let it happen. strong. It is not organic."17 Covey
Either way, it's a self-fulfilling Youcan'thave empowerment observes:
prophecy.14 withoutfirsthavingtrust.If you
don't trust the people you are Coercivepower is based on
This characteristic is one of the workingwith, thenyou mustuse fearin boththeleaderandthefol-
most important for servant-leaders.In control rather than empower- lower. Leaderstend to lean on
dealing with those whom they serve, ment.16 coercive power when they are
they must trust: trust that individuals afraidtheywon'tget compliance.
can accomplish the goal, that they pos- While on some level it may be true It is the "bigstick"approach.It is
sess untapped potential, and that, if that titles create leaders and positions an approachthat few publicly
they are shown where they can go, they create power, the essence of authentic support but may use, either
will want to go there. For this atmos- power is influence. Conductors, becauseit seemsjustifiedin the
phere of trust to exist, conductors because their role is an especially visi- face of other,biggerthreatshov-
themselves must be trustworthy-they ble one, must recognize this power to eringover the leaderor it is the
must be consistent and reliablein their influence and use it in a positive way expedientthingto do and seems
daily attitudes, preparation, proce- to workat the time.Butits effec-
dures, and methods of dealing with tivenessis an illusion.18
people. An ensemble will have difficul-
ty trusting the conductor who is a dif- Theensemblethat does not i But what about students who do not
ferent person from day to day or situa- choose to follow the leader, do not
meet the conductor's
high
tion to situation. respond positively to the conductor,or
Once trust is established, accounta- standardsand clear challenge authority?How does the ser-
bility can legitimately take place. The vant-leader handle this situation? The
ensemble that does not meet the con- expectationsshouldbe held guiding question in this approach is
ductor's high standards and clear "What will best serve the students?"
accountablein a not "What do the students want?"
expectations should be held account-
able in a professionalway. This means With this critical clarificationin mind,
professionalway. the conductor understands that struc-
honestly telling students: "This is not
your best work. We could accept it, but ture, clear expectations, and consistent
you and I know it's not your best. You consequences combine to form a foun-
deserve to do better, and I'm here to Autocratic leadership views power dation for serving the needs of the
help you get there.What do we need to as coercion: "Youwill do this because I ensemble. When this foundation is
do to make this better?" say so." Servant leadership views accompanied by solid teaching meth-
Conductors who are servant-lead- power as persuasion:"Youwill want to ods, high-quality repertoire, and an
ers cultivate a forward-lookingatmos- do this when you understand why." authentic passion for the students and
phere in rehearsal even if problems Coercive power can take subtle their experience, the conductor focuses
arise, because they always expect forms-guilt trips, sarcasm,or musical on the music, not on managingthe stu-
growth. They do not view rehearsalas punishment (extra rehearsals)-or can dents. When challenges present them-
a process in which the ensemble has be more obvious (threats and displays selves, they must be dealt with individ-
something done to it; rather,they look of temper or frustration). Unfortu- ually and immediately; broad labeling
at rehearsal as the drawing out of the nately,conductors are not only excused of all students in an ensemble is inef-
ensemble's potential. When there is but sometimes deified when they fective, creating barriers between the
always the expectation of growth, stu- exhibit these behaviors. Historically, conductor and the ensemble and lead-
dents remain excited about setting conductors' fits and tantrums have ing to low morale. Students who
standards of excellence. When they been viewed as evidence of great artis- choose to be disruptive and uncooper-
achieve their goals (whether an excel- tic ability and passion. In reality,coer- ative must understandthat they will be
lent performance, a trophy, the mas- cion has no place at the podium. The dealt with in an appropriatemanner.
tery of a difficult passage, or a power of the music, strength of teach- These interactions are best done out-
Division I rating), they realize that ing, and quality of trust between the side rehearsal and without showing
these accomplishments are the result ensemble and conductor are the ele- anger or degrading the individual in
of regular, consistent, daily work, not ments that work together to move the any way Even in these situations, pro-
the goal of that work. As Cashman ensemble in the right direction. fessionalism and respect for the stu-

dent must be maintained. lifelong students of music, fully avail- For the harder I work, the more
Character. Servant-leaders under- able to students and fully prepared to I live. I rejoice in life for its own
stand that character counts for every- guide their learning. sake. Life is no brief candle to
thing. They work to improve "from Secondly, conductors must contin- me. It is a sort of splendid torch
the inside out." They "radiatepositive ue to work on refining their manage- which I've got to hold up for the
energy"19 Cashman observes: "Man- ment skills, whether as managers of moment and I want to make it
agers control by virtue of their doing. tasks or monitors of the atmosphere in burn as brightly as possible
Leaders lead by virtue of their the rehearsal room. In the quest for before handing it on to future
being."20 excellence in leadership, good man- generations.22
Character, one of the most hum- agement techniques and managerial
bling and difficult of attributes, skills alone are not sufficient, but they Notes
involves wrestling with the realization are necessary to provide structure and 1. The readeris urged to consult Bennett
that who we are off the podium is who consistency. Nothing can be accom- Reimer, A Philosophy of Music Education,
we are on the podium. Although some plished in a chaotic, confused, or 2nd ed. (Englewood Cliffs, NJ: Prentice
conductors seem to have differentper- indecisive atmosphere. Leadersrealize Hall, 1989), for a solid foundation and
sonalities in different settings, their what the managerial needs are and overview of the philosophical issues.
essential qualities-whether they are find ways to take care of the details. 2. Stephen R. Covey, Principle-Centered
passionate, compassionate, detail-ori- Finally, as conductors strive to be Leadership(New York:Simon and Schuster,
ented, lackluster, angry, underconfi- servant-leaders, they must prepare 1990), 17.
dent, or otherwise-will come out "from the inside out"-observing, 3. Reimer,A Philosophyof MusicEduca-
intentionally or unintentionally Ser- interviewing, reading, and reflecting. tion, 193.
vant-leaders tend to be people whom The focus needs to be more on the 4. Ibid., 69.
others enjoy being around-they are who than on the what, a message that, 5. Robert K. Greenleaf, ServantLeader-
attractivenot because of charisma but though not often verbalized, comes ship:A Journeyinto the Natureof Legitimate
because of purpose.Everyone wants to across clearly from the podium. When Power and Greatness (New York: Paulist
be a part of something purposeful and mistakes are made, they need to be Press, 1977), 13-14.
significant. Servant-leadersbring peo- admitted, learned from, and used to 6. Kevin Cashman, Leadershipfrom the
ple to action because their internal change direction. As Cashman con- Inside Out: Becoming a Leader for Life
compass is set for true north; people cludes, (Provo, UT: Executive Excellence Publish-
instinctively want to come along on ing, 1999), 79.
the journey. Ultimately, a leader is not 7. Covey, Principle-CenteredLeadership,
judged so much by how well he 270.
The Road to Servant or she leads, but by how well he 8. Ibid., 34.
Leadership or she serves. All value and con- 9. Greenleaf,ServantLeadership,15.
Leadershipis many things: respon- tribution are achieved through 10. Ibid., 21-22.
sibility, influence, passion, and serv- service. Do we have any other 11. Reimer, A Philosophy of Music
ice. Leadership involves multiple purpose in life but to serve? As Education,69.
spheres of influence, including, for leaders, we may think we're 12. Consortium of National Arts
music educators, the ensemble. While "leading," but in reality we're Education Associations, National Stan-
the realization of the many facets of serving.21 dards for Arts Education (Reston, VA:
leadership can be daunting, the con- MENC, 1994).
ductor wishing to grow as a leader George Bernard Shaw also gave 13. Greenleaf,ServantLeadership,17.
should take heart in one very impor- food for thought in these observations 14. Covey, Principle-CenteredLeader-
tant fact: leadership can be learned. about service: ship, 35.
The lifelong pursuit of excellence 15. Cashman,Leadershipfrom the Inside
in leadership, as well as attempts to This is the true joy in life- Out, 76.
grow as a servant-leader on the podi- that of being used for a purpose 16. Covey, Principle-CenteredLeader-
um, can be fueled by specific actions. recognized by yourself as a ship, 65.
First, conductors must continue their mighty one, that of being a force 17. Greenleaf,ServantLeadership,42.
own development as musicians. of nature instead of a feverish, 18. Covey, Principle-CenteredLeader-
Though musical skill alone will not selfish little clod of ailments and ship, 103.
ensure leadership ability, a positive grievances complaining that the 19. Ibid., 34.
correlation exists between effective- world will not devote itself to 20. Cashman,Leadershipfromthe Inside
ness as a leader and basic musical making you happy. I am of the Out,47.
knowledge and ability Without a solid opinion that my life belongs to 21. Ibid., 126.
musical foundation, conductors can- the whole community and, as I 22. George BernardShaw, as quoted in
not offer students what they deserve. live, it is my privilege to do for it Stephen R. Covey, The 7 Habits of Highly
Leaders must, as part of their growth, whatever I can. I want to be Effective People (New York: Simon &
"master the context" by remaining thoroughly used up when I die. Schuster,1989), 299. E
NOVEMBER 2002 23
Age Grade Body Brain Identity Music School Peers Family Romance
Height Decisions Self Concept
Weight Risk Taking Self Esteem
Hormones Cognition Self Aware
Voice Organization
10 4th – 5th Concrete Aptitude Awareness of
Stabilized Attraction
11 5th – 6th Onset for

Girls
12 6th – 7th Onset for Crowd Middle Heavily

Boys Memberships Invested
13 7th – 8th Clothes Peak of Cliques: Conflict

Voice Single
Change Gender
14 8th – 9th Abstract Peak of Peak of Power
Voice Peer Struggle
Change Pressure
15 9th – 10th Processing = High Social 1st
Adult Media Relationship
16 10th – 11th Maturity for Introspective LGBT

Girls Egocentric Coming Out
17 11th – 12th Maturity for Skepticism Cliques:

Boys Mixed
Gender
18 12th – FR.
Age Grade Body Brain Identity Music School Peers Family Romance
Height Decisions Self Concept
Weight Risk Taking Self Esteem
Hormones Cognition Self Aware
Voice Organization
19 Fr. – So. Significant University
Stabilization
20 So. – Ju.
21 Ju. – Se.
22 Senior
23 Beyond
24 Wisdom No Final Effects of Effects of

25 Maturity Endpoint Divorce Divorce
Please take a few moments to write one word in each box that is significant to you.
TRANSITIONS: Nurturing the Journey from Middle School to the University
Dr. Kristina Caswell MacMullen
Middle School
Who am I?
What is happening to my body?
Desire to belong
Social risk-taking
Crave freedom AND adult support
Begin to form identity
Peer pressure
Require structure
Hot seat
High School
Who will I become?
What are my strengths?
Desire to belong
Experiential risk-taking
Crave empowerment and challenge
Confirm identity
High-stakes academics
Require respect
Family time
University
Wait, who am I?
How do I manage this freedom?
Desire to belong
Philosophical risk-taking
Pressure to succeed
Question life trajectory
Career acquisition
Require relationship
The “Other” in Rehearsal
Kristina Caswell MacMullen
The Ohio State University
Macmullen.1@osu.edu
“A team is not a group of people who work together. A team is a group of people who trust each other.”
Simon Sinek
In my eight years as a 6-12 educator, I became a game collector…or, a thief! I didn’t seek arbitrary “time-
fillers.” Rather, I sought activities that would build a rich fabric within the ensemble. This collection became
an integral part of our music-making process. As the years progressed, this investment reaped dividends
both musically and inter-personally. While initially I was concerned about missing time for music, I
eventually found that I couldn’t afford to forgo these activities. It was a delight to share these strategies this
summer with those in attendance at the conference. Because so many people responded to the session, I
thought you may find this list beneficial. Should you have any questions, please feel free to contact me. Be
brave, and enjoy the opportunity to know your students!
Getting To Know You

Silent Line – Ask your students to line up silently by shoe size, birthday, color of pants, height, etc. If, in the
process, they form a circle, this can lead to another activity.
Name Game – Ask the students to form a circle. Each student should choose an adjective or object that
begins with the first letter of their name. Following each student’s choice, the teacher (or class) should try to
repeat those already offered. Finally, the teacher is the last person in the sequence. This is an excellent
opportunity for us (and our students) to learn the names of each individual. As we know, this communicates
great worth to our kiddos – to be known and to know.
Hot Seat – Choose a stool or a chair, and place it in the front of the ensemble. Students ask appropriate
questions of the student in the “hot seat.” For example, “What is your favorite pizza topping?” or “What is
your favorite movie?” It is important to preface this game with the disclaimer, “I have the right to strike any
inappropriate questions from the record.” This will allow you to protect your students from potentially
uncomfortable situations. Depending on the size of your ensemble, you can choose to do this with one
student per day or week. It can serve you well during the final two minutes of class when the children are
restless!
Circle Mixer – Have your students for a large circle. Ask them to count off, “1,2,1,2,” etc. Ask all of the
“ones” to take one step forward and turn to face a “two” in the outer circle. Ask both circles to travel to the
right. They should be traveling in opposite directions. You can control the movement of the circle by playing
music and stopping it randomly, much like musical chairs. Prepare a series of questions. These can be
quite benign and safe. They can deal with the repertoire at hand. They can relate to the emotion of the
piece. The sky is the limit! Before asking a question, be sure to set up a framework that will make it as
minimally uncomfortable for all involved. Be sure to identify who will speak first. You can choose the
students’ age or height as a determining factor. Give them a time limit, and have fun!
Song Sharing – Much like the hot seat game, this can be reserved for the end of rehearsal each day. Each
student shares a song of particular significance to them. Be sure to ask them to isolate the track to the most
important (and school appropriate) minute. They should play this for the class. Then, they should share
briefly as to why it is important to them. Many will be brave. Some will not. Regardless, you will find this to
be incredibly informative. Students will share beautifully meaningful narratives to the group. It is always
astonishing, and ever so worthwhile.
“Mork and Mindy” – Create enough celebrity pairs for each student to have one identity. Write them on
index cards, and tape one card to the back of the back of each student. They must find their partner by
asking only “yes” or “no” questions.
Guess the Celebrity – On index cards write the name of a celebrity, famous musician, politician, etc. Create
enough cards for each student to have their own. Tape one card to the back of each student. They must
determine their identity by asking only “yes” or “no” questions.
Choose A Nickname – This is a fantastic tradition to start in middle school. At the beginning of the year, ask
your sixth graders to choose a nickname for themselves. Their childlike (in most cases) imagination will fire,
and they will choose a nickname that will haunt them in high school when they are much cooler. Such fun.
Two Truths and A Lie – One student tells the others two truths and one lie. The other students guess which
fact is the lie. This is a great way to learn interesting things about your students.
Encouragement
Taking the time to invest in our students, by encouraging them, will develop in them an openness to one
another and to you. When the tougher days come, and these students are hurting, the foundation you have
built can serve as an in-road for the most important moments of influence.
Yellow Sticky Notes – Distribute a pad of sticky notes to each student. One student stands in center of
circle. Those on the outside write a brief note of encouragement/compliment. Collect the completed sticky
notes and give them to the subject. Next, require the students to type up their messages, and turn in a copy
to you. This forces them to consolidate these words, and allows you to share in the experience. One of my
students carried his typed sheet with him in his wallet. Three years following the activity, he still had it with
him.
Warm Fuzzies – One person stands at the front of the classroom. The others share “warm fuzzies” with this
person. These can be anecdotal, complimentary, thoughts of gratitude, etc. It is very important that you, the
educator, demonstrate by sharing a “warm fuzzy” with each student.
Paper on Back – Tape a piece of paper on the back of each student. Looking like a swarm of bees,
students write kind thoughts on fellow choir members’ backs/sheets of paper.
Letters to Seniors – Each underclassman selects a senior, and writes a letter sharing their impact. These
can be delivered at the final concert or choir banquet.
Paper Plate Awards – Seniors create awards for all underclassmen. They can spend an afternoon creating
these awards out of paper plates. We would award these during our finals breakfast (see below.)
Traditions
Bluebook Journals – Purchase or create blue books for each of your students. They will keep these for the
four years that they are in choir. Each semester, the students respond to the same questions. For example,
“Which piece did you find the most challenging?” Keep these, and give them to the students at end of four
years.
Breakfast for Finals – While the students are working on their bluebooks, cook them breakfast! Pancakes
are cheap and easy. Members of the class can bring in orange juice, syrup, butter, and paper supplies.
Following their bluebook work, you can use the remaining time for further bonding activities (such as the
Paper Plate Awards).
Mongolian – When we traveled to choral festival annually, we selected a restaurant and frequented it each
time. In one case, it was Mongolian BBQ. It needn’t be expensive. When I worked in a poorer district, we
chose Cici’s pizza buffet. The students enjoyed this just as much as festival.
Leaves on a Tree – Paint a bare giant tree on the wall of the choir room. When a student graduates, they
can paint their own leaf. As the years progress, the tree becomes increasingly filled with leaves. This is a
beautiful scene for students to revisit when they return following graduation.
Banquet – Many of you probably already do this. A choir banquet is a great way to recognize students for
their work throughout the year.
Birthday Board – Set aside a small bulletin board in your classroom to serve as the birthday board.
Purchase a choir prop, (we chose a helmet with horns and braids ala Wagner) and send the birthday
student to capture a candid shot for the birthday board. Print and post the picture.
Storytime – Read the seniors the same book each year on their last day of class. We used “Oh, the Places
You Will Go” by Dr. Suess.
Alumni Songs – Have the students sing these at the holiday and/or final concert
Big Brother/Sister – Assigned at beginning of year, pair a novice member of the ensemble with a veteran.
Use these partnerships throughout the year for various activities. The mentor is responsible for the newbie,
helping them to navigate concerts, solo and ensemble, festival, etc.
Understanding
These activities are very useful in developing extra-musical understanding purposed for expression and
interpretation.
Mix-Pair-Share (Kagan & Kagan) – Students walk around room to music. They freeze when it stops. The
closest person to them is their partner. Prompt the students with a directive. For example, “What do you
believe the poet means in line three of the text?” The pairs should share with one another. Structure is vital
to avoid “hogs and logs.” A “hog” is a student who always answers, and a “log” is a student hesitant to
share. Much like in the circle game, determine who will speak first and for how long.
Poetry Slam – Gather an assortment of poetry connected to the music/concept being explored. In small
groups, students choose from several poems and discuss amongst themselves. Each groups chooses one
person to distill the thoughts of the group and communicate to the entire ensemble.
Creative Writing – Ask each student to write a story that connects to the music. Read these anonymously to
the ensemble, aiming to construct a narrative that will bring the music to life.
Create a Drama – Divide the class into small groups. Begin the piece of music. At a critical point, stop the
ensemble, and direct them to each create a drama. Or, assign each group a different moment in the piece.
They should perform these for one another. Then continue the music.
Find a Painting – Ask each student to choose an image online that connects to the music. You can
prescribe the medium or leave it open to interpretation. They should email this to you. Create a compilation
of the images to share with them as they listen to the piece.
Quotes – Ask them to respond to a quote. Perhaps they walk in the door to your classroom, and collect a
quote from a basket. They can use this quote throughout the year/concert season. Or, you can confine its
purpose to the lesson of the day.
Tom Jackson. Activities That Teach, (Red Rock Publishing: 1993).
Laurie Kagan and Dr. Spencer. Cooperative Learning Strategies, (Kagan, Kagan Publishing and
Professional Deveopment: 2004).

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c/' e tz Wt f. ti-// , /// // m-e/s

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