starting a choir

42 Pages·2009·1.96 MB·English

Ch apter 1
STARTING A CHOIR

1.1 The Rationale for Choral Singing
It is absolutely essential to have a clearly defined rationale (or purpose) fonnulated for a
choral programme. This gives a sense of direction and contributes to a well-organised,
efficient and productive programme. We have to know where we are coming from (a
basic philosophy) to be able to know where we are going to. Every choral educator has to
decide what the choir's basic function is to be. The benefits that a chorister acquires from
singing in a choir will now be discussed under two separate headings: Musical Benefits
and Non-Musical Benefits.
1.1.1 Musical Benefits
The Primary School Choir has the wonderful potential for laying the foundation for
a life-long love of choral music. The choral educator's goal is to provide the
choristers with a challenging, musical and artistic choral programme. The
choristers deserve the most enriching musical experiences possible: to make every
choral work they perfonn fresh and exciting - a moving and aesthetically
memorable moment. Singing in a choir can be such a tremendously great force. In
some cases it may even be considered as a life transfonnation experience. It
provides avenues for the choristers to grow emotionally and intellectually. The
choral educator has many opportunities to show the choristers the exquisite beauty
of life through music. Mary Goetze, a highly respected figure in music education
in the USA, states the following:
As one who has been active with a children's chorus for ten years, I am
convinced that participating in this activity has a profound effect on the
musical attitude and achievement of my choristers. While there are
numerous sources for the positive effects choral experience has, it seems
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to me that this success may resu lt in large part from the children's active
participation in music-making, refining music for performance, learning
its system of symbols, and knowing the work of composers from the
inside out (American Choral Directors' Association National Committee
1989:17).
It should be every choral teacher's goal to develop to the utmost each chorister's
ability to enjoy music with perception, sensitivity and discrimination. Teaching
choristers the skill of fine listening and the ability to perceive (and articulate) the
subtleties of an outstanding performance, is of paramount importance. The music
appreciation skills thus gained will aid the development of sensitive citizens who
are involved in musically aesthetic and satisfying experiences for the rest of their
lives. (Refer to Part 1,3.10 "Choral Unit Standard: Critical Evaluation".)
Aesthetically sensitive people have a more rewarding, interesting, fuller
life: people who are insensitive to aesthetic experiences are confined to a
sombre and lack-lustre existence (Wolff 1992:1).
Music touches the soul and is therefore one of the vital components or basic
elements in our lives.
Just how basic became apparent in a most powerful way when Americans
first entered Somalia. The nightly news programs showed hundreds of
starving, naked Somalis and their children waiting for death. Yet they
sang and tried to move as if to dance. It appeared to be the only
sustaining force in their nearly spent lives (Miller & Coen 1995: 10).
Development of musicianship and music reading ability are some of the
vitally important skills that a chorister gleans from singing in a choir. (Refer
to Part 11,6.14 "Aural and Music-Reading Skills".) Singing in the choir
provides the children with the opportunity to practise the fundamentals of
good singing, which leads to choral artistry. Healthy vocal production and
artistic interpretation should be taught and nurtured in the choral rehearsal.
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1.1.2 Non-Musical Benefits
Some of the non-musical benefits of being in a school choir include being able to:
• perform,
• travel with the group,
• wear a special choir outfit, and
• hear the applause of an appreciative audience.
The choir, thus, offers a unique opportunity to develop a strong sense of group
solidarity and cohesion, of social interaction with other children, and pride in
accomplishment. A choir performance takes place in a co-operative setting. The
success of the performance depends on the co-operation of the individuals within
the group. They learn about each other and bonding occurs; this builds a
tremendous sense of esprit-de-corps.
The beauty of group singing in a classroom or choir lies in its corporate
nature. There are few places in life or the school curriculum where
people actively join together in a group effort to share their feelings and
thoughts about life. Whatever its benefits, expressive group singing is a
tradition of humankind that has as its basis this need to share and express
what makes people human. These affective elements are a natural
extension of this innate need to share and are powerful in a group effort,
especially among adolescents. The expressive elements of vocal music
should not be ignored (Phillips 1992: 336-337).
John Rutter writes as follows in the foreword to Ronald Corp's book:
Choral singing remains one of the most richly rewarding of corporate
experiences. In an age where the solitude of the computer screen drives
people apart and threatens to oust real group activity, the world needs its
choirs more than ever before, in church, in school, in the concert hall, and
in the community (Corp 2000: 3).
The choristers gain life orientation skills, that enable them to function optimally in
life, like:
• sense of community,
• respect for others and the ability to blend in with the group,
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• civil behaviour as an exemplary and contributing citizen.
Choristers engage in emotional aspects such as self-understanding by developing
sensitivity to inner feelings, self-esteem, poise, confidence and identity. Whilst
singing in the choir, one is inclined to lose the sense of selfand to experience a
congenial, amicable bond of harmony with the rest of the choir. Self-esteem and
self-confidence are nurtured and strengthened as a result. The choristers, thus,
learn more about themselves and more about the world around them.
Before we can attain harmony, balance and blend within the music, we
must establish it with one another. To build and strengthen our musical
performances, we have to build and strengthen our personal relationships
within the group (Lautzenheiser & White 2000: 15).
According to the American psychologist Mihaly Csikszentmihalyi one of the most
important benefits of singing in a choir, is growth in the form of self-knowledge.
He says that "you forget yourself while you sing, but if you master an unfamiliar,
difficult work and you think back on what you have done, you feel that you have
grown" (Csikszentmihalyi 1995:17).
Music participation can be crucial to a pupil's overall intellectual development.
The study of music heightens critical thinking skills and stimulates the creative
part of the brain. In speaking of his renowned Theory ofRelativity, Albert Einstein
said: "It occurred to me by intuition that music was the driving force behind that
intuition and my discovery was the result of my musical perception"
(Lautzenheiser & White 2000: 12).
Within the choral framework, choristers engage in profound intellectual, emotional
and aesthetic activities such as:
• Kindling or intensifying of multi-dimensional thinking that reinforces the
highest level of intellect - i.e. discernment/judgement/discretion, subtlety,
refinement, reflection, breadth of view, depth, profoundness, open-mindedness,
tolerance/consideration;
• Memorising;
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• Stimulation of the creative mind;
• Fine nuances of non-verbal communication;
• The ability to cope with unforeseen circumstances in performance (wisdom in
action);
• Inquiry and expression of human feelings;
• A sense of order and prioritising;
• Speaking clearly and eloquently; and
• Expressing ideas in other languages.
One often hears choir members remarking on how well, exhilarated or energised
they feel after a choir rehearsal. This is partly due to correct diaphragmatic
breathing that ensures an abundant oxygen supply into the bloodstream. Singing is
indeed potent medicine for health and general well-being.
The study of music (and choir participation) cultivates better-disciplined and
harder working citizens. The choristers soon become aware of just how hard one
has to work to attain a modicum of success and they consistently expect of
themselves the highest standards attainable. This persistence in working towards
and attaining goals inculcates and reinforces a standard of excellence that is a vital
component for success in all of life. Most former pupils that had the privilege to
study music (sing in a choir), will tell you that the one subject that teaches
perseverance, hard work and the importance of self-discipline better than any
other subject, is music.
The choristers learn about their own cultural heritage and the world around them.
Doors to the musical heritage of other cultures within South Africa's diverse
society ("rainbow nation") are opened and this discovery instils respect, which
diminishes racial and cultural differences. Thus we are acknowledging the fact
that, in spite of our variance and diversity, we are one country. Educators are
obligated to establish a harmonious culture for all learners in South Africa. The
following quote is an extract from a speech made at a Heritage Day assembly at
Redhill School:
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Diversity is not about agreemen t. We do not have to share a common
culture, a common political ideal, a common world view. But it is vital
that we make the effort to understand and embrace our differences. The
motto of the old SA was 'Unity is Strength'. I do not think that this is
accurate. Rather, I believe our strength will be found in our differences.
[... ] May our children go forward without fear. May our children go
forward with hope. May our children go forward with the courage to be
different (Mitche1l200l).
The choristers also learn that music is a powerful force in the everyday life of
people around the world. (Refer to Part 1,3.2 "Choral Unit Standard: Intonation",
Range Statement: "varied repertoire".) The Global Village is becoming a reality at
an ever-increasing pace. Television and information technology puts us in contact
with people all over the world and challenges us to find common ground for
mutual understanding.
Singing in the choir challenges the intellect, stimulates the imagination and expands
musical appreciation. The choristers learn to set goals and have high aspirations. It is an
aid to giving cultural perspective and gaining greater sensitivity, appreciation and
understanding of other cultures. The choir also gives members the opportunities for self­
expression and developing self-esteem, confidence and poise.
1.2 What Skills do I need to be an Effective Choral Educator?
The effective and successful choral teacher must not only be a competent musician and a
skilful educator, but also a pleasant, genial and amicable person. Some of the skills that
are required by the choral educator will now be discussed and are classified under the
following two headings: Musical Skills and Non-Musical Skills.
1.2.1 Musical Skills
Dynamic and effective choral teachers need to be thoroughly trained musicians,
possessing excellent musicianship. They should be able to analyse the musical
components of the choral work to be studied. These include the overall form; the
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harmonic, melodic, and rhythmic st ructure; text and style. Furthermore, they
should have an inner sense about music and its expressive powers and possess a
musical imagination. They are, thus, very sensitive to the "magic" within the
music. They are charismatic and gifted teachers and they can express beauty in the
music with their choristers.
The choral teacher has to fully grasp the meaning and emotion in the text and
the music. (Refer to Part II, 4.4.2 "Expression of Text" and 4.4.3 "The Musical
Phrase". Also refer to Part I, 3.8 "Choral Unit Standard: Expression" and 3.3
"Choral Unit Standard: Phrasing".) This knowledge is then transferred to the
choristers. Ifthe teacher speaks clearly, precisely and eloquently, uses poetic
expression and has a supply of colourful, descriptive, captivating and imaginative
ideas, the choristers are more likely to understand and grasp the meaning and
emotion of the song. With children one cannot deal too much in abstract technical
concepts and terms. One, therefore, has to resort to linguistic tools like metaphor,
simile, imagery and life analogy. The children love to have their imaginations
stimulated. The choral educator needs to inspire them to sing the music with
passion, to love the music and share its beauty with the audience.
To direct a successful choir, the choral teacher needs to have an in-depth
understanding of the vocal instrument and needs to be able to
model/demonstrate healthy vocal technique. The choral teacher does not
necessarily have to be an extremely talented singer. Many of the most successful
choral conductors are or were merely average singers. They should, however, have
an exceptionally good ear. The development of aural sensitivity is an on-going,
life-long process.
Knowledge about the physiology of the human voice enables one to diagnose a
vocal problem and to prescribe an appropriate remedy. One has to constantly
study by reading extensively and attending choral training workshops in order to
find new ways of teaching and gaining insights and specific ideas on how to solve
choral problems. (Refer to Part II, 1.3 "Membership of the South African Choral
Society", below.)
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It is necessary to have an in-depth knowledge of a variety of choral music from
different historical periods, cultures, and different styles and genres. The musical
menu has to provide the choristers with a balanced programme from these
historical periods, cultures and musical styles. Knowledge of these styles and
sensitivity to the interpretation practices is needed. (Refer to Part II, 4.9
"Historical/Stylistic Guidelines and Cultural Context".)
Excellent keyboard skills are a great advantage to the choral teacher. The ability
to sing or play any vocal line or rhythm accurately is absolutely essential. If a
good accompanist is available, however, only elementary keyboard skills are
required.
1.2.2 Non-Musical Skills
The conductor's personality and teaching style playa tremendously important
role in the development of group dynamics. A warm, friendly, sincere and
understanding choral teacher who creates a nurturing environment is more likely to
succeed than one who is merely concerned with musical perfection. The choristers
willieam more readily if they like and respect the teacher.
The choral teacher's speaking voice should be strong or clear enough to be heard
by all the choristers. It should be pleasant, versatile and well-modulated so that it
can be raised and lowered to retain attention. It should possess a quality of
confidence, assurance and decisiveness - an aura of firm, yet genial, authority.
The choral educator needs to motivate the children so that they want to sing. To
be able to do this, one has to be highly resourceful and even crafty at times. The
teacher's ingenuity and gentle persuasion will establish a positive rapport with the
pupils. This, in tum, will hopefully have the result that the children increasingly
develop a positive rapport with the music. One should be demanding and not
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accept second rate effort or results but, at the same time, one has to be patient and
sensitive to the children's rate of progress.
Imagination, resourcefulness and the ability to be stimulating is absolutely
essential in order to hold the choristers' attention. Facial expressions, tone of
voice, posture and gestures are used to emphasise, elaborate or anticipate and
establish greater contact with the group. The teacher's enthusiasm for the art of
choral singing should rub off on the choristers to create a passionate love for and
involvement with the choral programme.
An effective choral teacher should have excellent organisational skills in order to
give firm direction and to attain specific goals. Without good organisational skills,
rehearsals would probably be meaningless and become unruly. The choral
programme will suffer and the choristers will lose interest.
It is essential that the choral teacher acknowledges the immense value and
impact of choral music as a life-enriching, aesthetic experience involving both the
intellect and the emotions. Music has the amazing ability to transform, to elevate,
to enhance and enrich the lives of those that perform and hear it. Unless the
teacher firml y believes in the inherent power of music, there will be scant hope for
the development of a dynamic and successful choir in that particular school.
The successful choral educator needs to be pro-active. That means that one has to
search for ways to prevent a situation developing that might give rise to a problem.
Should one plan meticulously for a rehearsal, one is more likely to avoid becoming
re-active by trying to solve a problem after it has occurred.
The choral teacher needs to be in command of the rehearsal. Body language and
stance goes a long way to project confidence. A "drooping daisy" stance will most
definitely not succeed, whereas an alive, enthusiastic and confident stance will
arrest the attention of the choristers and they will be more readily prepared to co­
operate. Confidence, obviously, is also fostered through musical and pedagogical
preparation. The secret lies in thorough score analysis and careful planning of a
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logical sequence of teaching strateg ies. (Refer to Part II, 3.2 "Score Study" and
3.1 "Preparing for Rehearsal".)
The Primary School choral teacher should have a sincere and infectious
enthusiasm for music, children, and teaching. A genuine fondness of children
this age is indispensable. They have to be respected as individuals and be
challenged to attain their full potential-to be the best they can be.
The ability to use third-rate talent and to succeed in producing a second-rate
performance is the mark of a good teacher. This refers to teachers who seem to be
able to extract greatness out of ordinary children by touching their souls and
inspiring them to reach for the outer limits of their ability.
The conducting and directing of a choir is an enormous human and musical responsibility.
At the same time it is a most interesting, stimulating and rewarding task. Nevertheless, it
is highly challenging and is definitely not for the faint-hearted, apathetic or lazy teacher.
1.3 Membership of the South African Choral Society
The successful choral teacher should have an attitude of intellectual curiosity and the
potential to continue to learn in the field of choral singing. It is essential not to become
complacent, but to continually develop, augment and broaden one's expertise by attending
choral workshops, clinics or courses. This will result in greater competence in
implementing the choral programme. By becoming a member of the South African Choral
Society one receives their regular newsletter and information about upcoming choral
events and courses. The South Mrican Choral Society contact details are as follows:
Postal Address: SACS
P.O. Box 31950

Fichardtpark

BLOEMFONTEIN

9317

The e-mail address:[email protected]
Telephone number: 0829546637
Fax number: 1 448 2003
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