This action might not be possible to undo. Are you sure you want to continue?
, with others. This is what harmony means.
A Selected Bibliography of Articles, Book Chapters, and Videotapes for the Choral Conductor
by Dr. Jeffrey Richard Carter
----------. “An Interview with Robert Shaw.” Teaching Music (April 1994), pp. 40-41. Brief but illuminating interview with the grand man himself. Focus pointed toward practiced tips for those of us who are lesser stars. Anderson, Brian L. “The Habits of Highly Effective Music Educators.” Teaching Music (October 1999), pp. 48-51. Draws lessons for musicians from the book by a similar title. Highly recommended!. Archibeque, Charlene. “Making Rehearsal Time Count.” Choral Journal (September 1992), pp. 18-19. Rehearsal strategies to creat joyous, musically rewarding, productive rehearsals. Armentrout, Marsha. “Solving Vocal Problems Through the Creative Use of Warm-Ups.” Common Times [SW-ACDA divisional newsletter] (Spring 1997), pp. 5-7. A very helpful treatise on the hows and whys of creative beginning of rehearsal activities. Armstrong, Susan and Scott Armstrong. “The Conductor As Transformational Leader.” Music Educators Journal (May 1996), pp. 22-25. Effective leadership through the transformational leader. Barrow, Lee G. “Programming Rehearsal for Student Success.” Music Educators Journal (September 1994), pp. 26-28. Program a rehearsal as you would a performance.
Steven. pp.” Music Educators Journal (November 1996). 25-28.” Choral Journal (February 1993). Darrough. Strongly recommends plainchant melodies as the basis for activation exercises. Advocates a generous mixture of major and minor key vocal etudes to broaden the choir’s aural spectrum. Demorest. but still useful. “Customizing Choral Warm-ups. pp. Not overly deep.” Teaching Music (April 2000). Briggs. pp. pp. writing your own. 37 ff. Examines common ways to organize a choral concert program. “It’s a Major Key World. Brunner. A lengthy technology report.” Music Educators Journal (January 1996). “Electronic Learning for Twenty-first Century Choirs: Rationale. Using breath exercises to create focus and cohesion as well as better tone. “Structuring a Musical Choral Rehearsal. Brunner. 71 ff. David L. Susan. Altering existing exercises. pp.” Music Educators Journal (May 1996). Brunner. The way we rehearse a piece of music should be guided by its compositional nature. 29-32. “Breathing Your Way to a Better Chorus. and making music through the process of vocalizing.” Choral Journal (December /2002). 27 ff. Cobb. pp. “Choral Repertoire: A Director’s Checklist. “Choral Program Design: Structure and Symmetry. Strategies. 31-32. pp. Suggests alternatives based on tempi. and golden mean. Exercises should be as varied as the members of the choir themselves. pp. Robert. Steven. David L. Demorest. . A little planning goes a long way. Cogent and intelligent discussion of musical elements. David L.” Music Educators Journal (May 1994). James F. From playing CDs to having them write their own music on-line. 25 ff. variety and structure. 26-30.” Choral Journal 38:10 (May 1998). Galen P. Nancy. 36-39. pp. Owes much to the work of Frauke Haasemann. Illustrates how choral directors can benefit from this population’s musical knowledge.” Music Educators Journal (September 1992). “Making Choral Music with Older Adults.” Music Educators Journal (December 1992). this article gives pointers on incorporating technology into the choral classroom.Boardman. pp. and Values. 46-49. Daugherty. “Vocal Warm-ups: From the Sublime to the Ridiculous. “Carefully Crafting the Choral Rehearsal.
” Teaching Music (October 1996). Changing Times.Dickson. 35 ff.” Music Educators Journal (November 1999) pp. Allen. Thomas. Recent developments in changingvoice theory can help adolescent boys and girls sing through the change. 54. “On the Voice. Text is a primary consideration for this author. “Score Study: A ‘Magical Eye’ for Musical Blueprints. Lannom. 53ff. John. Glover. but thorough discussion of study of non-verbal communication and implications for conducting. ed. “Implications for Non-Verbal Communication and Conducting Gesture.” Choral Journal (February 1993). Hansen. Addresses the unique challenges of the volunteer church choir. Eclectic and esoteric article. Joseph K. but packed with truth. pp. 9. “Creating a Choral Sound. and printed the Repertoire and Standards column for church choruses. Kendra Kay. pp.” Choral Journal 40:5 (December 1999). Written by evangelical with a mid-week rehearsal period. and points out approaches from which to illuminate the music for the audience. Personnel placement and personal choice as the basis for a signature sound. “When the Orchestra Arrives.” Choral Journal 40:5 (December 1999). Lengthy and detailed discussion of macro to micro score study. Henry. Tracy. not much practical application.” Choral Journal 39:8 (March 1999) pp.” Choral Journal 42:1 (August 2002) pp. “Why and How Vocal Solo and Choral Warm-ups Differ. A close look at the expectations of two . “Rehearsing the Volunteer Church Choir: Principles and Techniques. 53 ff. Leenman. 81 ff. Not for the faint-hearted. Written for high school teachers. 37-39.” Choral Journal 42: 3 (October 2001). Lee. Sally L. Ford. following model of Julius Herford and Margaret Hillis. and very helpful. Academic and detailed. pp. De rigueur reading for all of us—just a short letter. “Program Notes: Myriad Benefits for Audience and Choir. Hinson.” Choral Journal (December 2002). Michele. “Changing Voices. Sharon. pp. 26 ff. Advocates regular use of program notes. pp. 17 ff. “A Discarding of Meaningless and Self-Centered Inhibitions. Friar. William Hall and Dennis Shrock prove controversial in discussing divergent viewpoints on choral tone and the use of vibrato. 17 ff.” Choral Journal (October 1998). Lloyd. pp.
Wilson.” In Psychology and Performing Arts. 27 ff. “The Relationship between Nonverbal Communication and Conducting: An Interview with Rodney Eichenberger. 1991. A worthwhile . Minter. Barbara.” Missouri-ACDA Reporter (Summer 1990). One way to develop a free. “Making a Statement. A must-read for those who have not participated in band or orchestra Lyne. “Effective Bodily Communication. Alan C. “Personal Reflection on a Summer with Robert Shaw. Michelson. Miller. McClung. pp. n. Steven. 28-30. mind. Word of wisdom from one of this country’s finest voice teachers. and must communicate with the audience.” Teaching Music (February 2000). Glenn D. Mark. “The Solo Singer in the Choral Ensemble. natural sound in men’s choral singing is to develop the head voice. Penn. Insightful. and soul to become one with the music.: Swets and Zeitlinger. Refers to many of Shaw’s choral solutions in a reverent portrait. 151-162. Gregory K. Neuen.” Opera News (November 1999).” Choral Journal (September 1979). “The effective conductor: A matter of communication and personality. Matthew. Pp. ed.p. Helpful and provocative. “The ‘White Canvas’ Approach to Beginning Conducting. Richard. Drew. pp. Every little movement has a meaning all its own.” Choral Journal (August 1992). Mailman. 16-17. Christopher. pp. Written from an instrumental conductor perspective. Donald. A conductor is a communication link. “Sweet Singing in the Choir. The master of non-verbal is interviewed. pp. Practical advice.” Music Educators Journal (January 1993).” Choral Journal (March 1995). Pearce. Berwyn. 16 ff. 60-62.” Music Educators Journal (May 2000). 17 ff. “Moving Musical Experiences in the Choral Rehearsal. pp. Thorough and detailed.musical cultures: instrumentalists and choristers. pp. The operatic star and recital singer reflects on his days in the chorus too.” Choral Journal 36:10 (May 1996). A performer must unite heart. pp. Pollack. Peterson. “Tone Quality and the Male Voice. 31 ff.
Kimberly. “A Fantasia on Teaching: Frieder Bernius at Work in a Choral Conducting Master Class. 35 ff. pp. Katherine.” Choral Journal 40:1 (August 1999). “Chorophony: The Art of Father Finn. pp. William J. Reflections of a participant in a master class of tremendous proportions. 37 ff. pp. Verdolini.P78 1991 Pollack. and how we can continually be better. pp.’” Choral Journal 42: 7 (February 2002). 67 ff. 33 ff. Uses Meyer-Briggs Type Indicator terminology. 30 ff. “Perceptions of Non-Verbal Communication: Implications for Beginning Conductor Training. Smith. Very practical. A choirmaster/organist speaks in layperson’s terms about the basics of being a better choral singer. what our job is. PN 1590 . “The Psychologist and the Conductor: Solving Rehearsal Problems Using Awareness of Personality Types. Robinson. 44-45. pp.” Choral Journal (December 2002). Gregory M. Perry.” Choral Journal 42:9 (April 2002). Pysh. appears in the April 2003 issue. 31ff. “Hands-Off Approaches to Teaching Breath [Energy]. “Voice Building for Choirs: Building the Vocal Instrument. Fred.” Choral Journal (November 1996). 9-16. Stoltzfus. pp. Advocates nontouch methods and gives specific exercises in helping singers learn how to use breath properly. William David.” The American Organist (April 1996). Smith. Highly recommended and very worthwhile reading. A serious discussion of Fr.” Teaching Music (December 1993). pp. Very helpful for those who wish to know more about the non-musical factors at work. Finn’s methods and means.” Choral Journal 36:10 (May 1996).” Teaching Music (June 1998). Russell.read from a clinical psychologist’s perspective. “Learning Science Applied to Voice Training: The Value of Being ‘In the Moment. Van Weelden. “Achieving and Maintaining Quality in Choral Music Education. Stufft. pp. 34-35. “Balance or Blend? Two Approaches to Choral Singing. A rebuttal by James Daugherty et al. Barbara and Harriet Simons. P76 . 47 ff. Advocates knowing why we teach. pp. a choral technique he called chorophony. . Brenda.
“Invite. Advocates use of auditory. and student movement in the rehearsal. Ramona M. Thoughtful. pp. The conductor as inspirer. What They See Is What You Get. visual. Demonstrates the effectiveness of singer movement to sensitize the ensemble to more subtle artistry. 57ff. Hinshaw Music. Lori. Instruct. Wis. Hinshaw Music. Daily Workout for a Beautiful Voice. imagery. Ramona M. Videos Adams. pp. here called Whole/Part/Whole. 31 ff. “Score Analysis 101. “Physical Metaphor in the Choral Rehearsal: A GestureBased Approach to Developing Vocal Skill and Musical Understanding. Lengthy and engaging article.” Choral Journal (May 1994). but a testament to community-based music making at the University of Michigan. and Voice. 31 ff. The Art of the King’s Singers. Enhancing Musicality Through Movement. and the kinetic to promote artistic choral singing. Rodney. Dated but entertaining introduction to their sound world and philosophies. and kinesthetic activity.” Choral Journal (April 1999). Santa Barbara Music Publishing. 38-40. Set. A bit long and over produced. 25 ff. Santa Barbara Music Publishing. pp. “Passion and the Conductor.” Choral Journal 40:3 (October 1999). Terry. pp. Discusses roles of metaphor. . The SAS approach. Charlotte. Ready. Concert footage intercut with workshops. Two quick pages filled with pointers for score analysis. Inspire. Santa Barbara Music Publishing. Eichenberger. Johnson. Perhaps the single most important video you’ll ever buy. Wurgler. Jeff.” (Student Times Column) Choral Journal (December 2002). Wis. Working With Male Voices. “An Adjudicator Lists Ten Common Vocal Sings. Santa Barbara Music Publishing. Body. A must-read. Linking the visual.Wiest. York. Pamela S. the aural. pp. Sing: Activating the Mind. Eichenberger. Blackstone. physical gesture. Rodney. Ten basics we all should constantly reinforce. Jerry.” Teaching Music (June 1998).
com> MENC also offers a number of choral rehearsal methods videos. Useful. Hinshaw Music. Content geared toward advanced ensembles. Ensemble Diction: Language and Style.hinshawmusic. Dale Warland Singers are the guinea pigs. Jordan. Timothy. <www. More than fifty exercises are presented on this 75 min. Hinshaw Music. James with Craig Denison. 1997.com> <www. this 90 min. Principles and Application. Hal Leonard. Mount. Warland. Dale. video teaches general principles of diction while presenting specific ways to apply those concepts to any choral situation. Santa Barbara Music Publishing. In both lectures and demonstrations. Fine Tune Your Conducting Skills. Face-to-camera discussion combined with actual choral excerpts. but a bit too self-aware. James and Constantina Tsolainou. and they are usable for choral ensemble at any level.sbmp. and workshops with several high school choirs.Jordan. video. Constantina Tsolainou. Group Vocal Technique: The Choral Ensemble Warmup. James. This self-instructional video contains four master teachers who conduct eight complete warm-ups with their ensembles. Vincent Metallo. Attention to Detail. Jordan. informal interviews. Hinshaw Music. King’Singers: A Workshop. Features concert footage from Dallas rehearsals. Group Vocal Techniques. Back to syllabus .