Choral Music Education

1984 ◽  
Vol 70 (8) ◽  
pp. 27-28
Author(s):  
Fred Willman
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Choral Music Education

Investigating Choral Pedagogies

2017 ◽  
Author(s):  
Martin Ramroth
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Private School ◽  
Cultural Landscape ◽  
Western Europe ◽  
Organizational Context ◽  
Choral Music Education ◽  
Community Choir ◽  
Music Education Programs

While Western Europe heralds a celebrated tradition of classical choral music, conductors and choral pedagogues from other continents are often astounded to learn of the disparities among choral music education programs throughout the region. This chapter sets out to contextualize the role of music education in the curricula of the typical public or private school, and how private enterprise has evolved to provide music opportunities for those pursuing musical artistry and classical training. Does choral art thrive in a more diverse cultural landscape and a less regulated environment? How does the organizational context of school choir, church choir, community choir, choir club, or private initiative, predispose and shape the choral experience and the success of its endeavors? Is there a European methodology to teach choral music? Finally, how are artistic concepts such as the quest for a “German” choral music passed on?

Thinking Outside the Voice Box

2019 ◽  
Author(s):  
Bridget Sweet
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Classification Systems ◽  
Female Voice ◽  
Male Adolescent ◽  
Choral Music Education ◽  
Voice Change ◽  
Adolescent Voice ◽  
The Voice ◽  
Changing Voice

Thinking Outside the Voice Box: Adolescent Voice Change in Music Education is different from other books on voice change in that it encourages new and holistic ways of thinking about the female and male adolescent changing voice. It gives choral music educators (or anyone interested in the changing voice) the opportunity to step away from typical considerations of voice change and explore the experience within the bigger picture of adolescence. Female and male adolescent voice change are addressed at length, but special efforts have been made to bring new attention to female voice change to boost considerations of females in choral music education. Holistic considerations encompass the importance of understanding physical development during adolescence, including the body, brain, and auditory system; vocal anatomy and physiology in general, as well as during male and female voice change; the impact of hormones on the adolescent voice, especially for female singers; ideas of resolve and perseverance that are essential to adolescent navigation of voice change; and exploration of portrayals of voice change that have contributed to a situated reality not based in fact, but accepted in pop culture. Choral educators are also given a larger scope of voice classification systems and other foundational ideas in choral music education through examination of some of the most eminent works in the profession. Emerging considerations of adolescent voice change beyond classification systems provide new food for thought about working with the adolescent changing voice.

“I Dream a World”: Inclusivity in Choral Music Education

2017 ◽  
Vol 104 (2) ◽  
pp. 38-44
Author(s):  
Rhonda Fuelberth ◽  
Christy Todd
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Universal Design For Learning ◽  
Music Educators ◽  
Choral Music Education ◽  
Inclusive Practice ◽  
Barriers To Access ◽  
Music Standards ◽  
Design For Learning ◽  
Choral Programs

This article explores how choral music educators can facilitate access to meaningful music experiences for all students in their schools. In a changing landscape that honors equity and diversity, music education environments must also change to align with these values. To provide the optimal environment for successful inclusive practice, choral music educators should evaluate barriers to access in terms of scheduling, reconsider current curricular offerings, and imagine new solutions that support music learning for all students. Instead of structuring choral programs around traditional choral concerts and adjudications, directors can use the 2014 Music Standards and the framework of Universal Design for Learning to drive classroom content and acquire the flexibility needed to build inclusive classrooms.

Exploring Eminent Perspectives

2019 ◽  
pp. 133-160
Author(s):  
Bridget Sweet
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Classification Systems ◽  
Choral Music Education ◽  
Voice Change ◽  
The Creation ◽  
Voice Classification

To better understand the larger scope of voice classification systems and other foundational ideas in choral music education, the chapter explores some of the most eminent works in the profession by Emil Behnke and Lennox Browne, Duncan McKenzie, Irvin Cooper and Karl O. Kuersteiner, Richard Luchsinger and Godfrey E. Arnold, Frederick J. Swanson, John Cooksey, and Lynne Gackle. Such examination shows how cornerstone ideas have been fostered and how varying perspectives influenced the creation of new frameworks for working with changing voices. Also revealed is the deep dedication to certain beliefs about adolescent voices over the years. The chapter challenges choral educators to consider voice classification systems more as guidelines for helping teachers assist singers through voice change than as steadfast stages through which all voices pass. The systems are best utilized as supporting tools to help guide the process of voice change rather than label adolescent singers’ changing voices.

Choral Music Education

2019 ◽  
pp. 719-747
Author(s):  
Susan Wharton Conkling
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Cultural Influences ◽  
Music Educators ◽  
Music Teacher ◽  
Cultural Humility ◽  
Choral Music Education ◽  
Music Teacher Preparation ◽  
Choral Methods ◽  
Gradual Transformation

Preservice choral music teacher preparation benefits from reviews of literature, published over four decades that, taken together, document the gradual transformation of practice. These reviews of literature provide a place to begin the present chapter, followed by an update of that literature to determine where the field has remained stable and where boundaries have been challenged and expanded in the 21st century. Subsequently, a content analysis of major textbooks for choral methods courses is undertaken, revealing gaps between research and practice in these areas: (a) connecting vocal development to social development, (b) connecting teacher effectiveness to student progress, and (c) recognizing the multiple cultural influences on choral singers. The chapter concludes with a proposed framework for preparation of choral music educators, borrowed from the training of healthcare professionals, called cultural humility. Cultural humility is not intended to be learned in a classroom, but instead through ongoing clinical practice.

“Let the Whole World Rejoice!” Choral Music Education

2017 ◽  
Author(s):  
László Norbert Nemes
Keyword(s):  
World War Ii ◽  
Music Education ◽  
Choral Music ◽  
New Music ◽  
Choral Music Education ◽  
World War ◽  
Zoltan Kodaly ◽  
Choral Singing ◽  
The Times ◽  
Musical Literacy

Zoltán Kodály (1882–1967), one of the foremost figures of Hungarian culture and choral music in the twentieth century, laid the foundations of a new music pedagogical approach during the times immediately preceding and following the years of World War II. His concept of music education can be summarized into two important goals: (1) to draw more people near to classical musical art while developing the necessary skills in them for its in-depth understanding and reception, (2) to create opportunities from these precious musical experiences for the shaping of personality and the creation of valuable community bonds. Kodály Zoltán’s art was centered around choral music; singing and choral singing are of paramount importance in his educational philosophy. According to him singing was the most important tool for the development of musical literacy. And choral singing was a gateway to life-long inspiration received from the performance of masterpieces.

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