Academic Foundation and Unit Standards for Choral Work in the Primary School

Get Complete Project Material File(s) Now! »

Critical Cross-Field. Linkages/Articulation Possibilities

Participation in the choral music programme involves numerous trans-disciplinary learning experiences, i.e. critical cross-field linkages or articulation possibilities. In the first instance, this signifies links between learning areas (subjects) within the school, whereby various disciplines draw upon practices and skills taught in other learning areas. Examples of critical cross-field linkages with other learning areas taught in the GET (General Education and Training) phase are (listed in alphabetical order):
–Arts and Culture (Drama): expression of human emotions.
–Languages: lyrics of a song/work relate to language arts and poetry.
–Life Orientation: participating as an effective, conscientious, responsible and supportive team member of the choir. Developing leadership abilities by serving as a monitor or group/section leader.
–Science & Technology (Biology): knowledge about anatomy of breathing and other organs necessary for tone production, like the larynx, resonating cavities and ears.
– Social Sciences (Geography): geographic regions that the music originates from or relates to.
–Social Sciences (History): historical background of composers and songs/works.
In the second instance, there are career opportunities and cross-field linkages with some of
the fields (NSBs) within SAQA (listed in alphabetical order):
-Music Business and Other Related Fields (NSB 03 Business, Commerce & Management)
– Music industry professionals
– Manager of a concert venue
– Manager of a vocal/choral performing group.
– Music Composition (NSB 02 – Culture & Arts)
– Composer/arranger of choral/vocal compositions
– Writer/composer of background musicrrV commercial jingles
-Music Education (NSB 05 – Education, Training and Development)
– Choral director (within school, church or the community at large);
– Primary school teacher
– Lecturer/professor at a university or college
-Music Merchandising and Manufacturing (NSB 03 Management)
– Tape/CD retailers
– Sheet music retailers
– Recording tapes/CDs for manufacturing
– Sound technician for concerts or live performances Business, Commerce &
-Music Performance (NSB 02 – Culture & Arts)
– Pop/jazz/opera/recital singer
– Studio/choral singer
-Music Publishing (NSB 03 – Business, Commerce & Management)
– Music editor
– Sales
-Music Therapy (NSB 09 – Health Sciences & Social Services).
It can thus be seen that participation in the choral music programme lends itself to a wide range of critical cross-field linkages or articulation possibilities.

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.

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 to me that this success may result 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.

ABSTRACT
DEDICATION
ACKNOWLEDGEMENTS
NOTES TO THE READER
TABLE OF CONTENTS
LIST OF FIGURES
LIST OF EXAMPLES
LIST OF TABLES
LIST OF FORMS
LIST OF ACRONYMS AND ABBREVIATIONS
PART I Academic Foundation and Unit Standards for Choral Work in the Primary School
Chapter 1 RESEARCH OUTLINE
1.1 Background Information
1.2 Personal Motivation
1.3 Research Question
1.4 Purpose of the Study
1.5 The South African Cost Factor
1.6 The General Music Appraisal Programme
1.7 Delimitations of the Study
1.8 Target Groups
1.9 Research Methodology
1.10 Layout of the Thesis
Chapter 2 REVIEW OF CHORAL TRAINING, AND THE DEVELOPMENT OF  CHILDREN’S CHOIRS IN THE SECOND HALF OF THE 20thCENTURY
2.1 Choral Directing Books Specifically Aimed at the Primary School Level
2.1.1 Lifelinefor Children’s Choir Directors by Jean Ashworth Bartle (1988)
2.1.2 Directing the Children’s Choir by Shirley W. McRae (1991)
2.1.3 Teaching Kids to Sing by Kenneth H. Phillips (1992)
2.1.4 Teaching the Elementary School Chorus by Linda Swears (1985)
2.2 Books on Choral Directing Aimed at Secondary and Tertiary Levels
2.2.1 Kick-Start Your Choir by Mike Brewer (1997)
2.2.2 Choral Music: Methods and Materials by Barbara A. Brinson (1996)
2.2.3 Choral Conducting: Focus on Communication by Harold A. Decker  and Colleen J. Kirk (1988)
2.2.4 Conducting Choral Music by Robert L. Garretson, 7th Edition (1993)
2.2.5 Choral Director’s Rehearsal and Performance Guide by Lewis Gordon  (1989)
2.2.6 Group Vocal Technique by Frauke Haasemann and James M. Jordan  (1991)
2.2.7 « Die Groot Afrikaanse Koorleiersgids » edited by Sal6me Hendrikse  (1991)
2.2.8 Comprehensive Choral Music Education by John B. Hylton (1995)
2.2.9 We Will Sing! by Doreen Rao (1993)
2.2.10 Choral Music Education by Paul F. Roe (1970)
2.3 Summary of Trends in Choral Music Education and a Brief History of Children’s  Choirs in the Second Half of the 20th Century
2.3.1 Children’s Singing and Vocal Pedagogy
2.3.2 Male Vocal Modelling with Children
2.3.3 Choral Educator Competencies and Behaviours, Teaching Style and  Methods, and Rehearsal Techniques
2.3.4 Recruiting Choristers
2.3.5 The Mixed-Gender Children’s Choir
2.3.5.1 The Scandinavian Mixed-Gender Children’s Choir
2.3.5.2 The American Mixed-Gender Children’s Choir
2.3.5.3 The English Mixed-Gender Children’s Choir
2.3.5.4 The South African Mixed-Gender Children’s Choir
2.3.6 Philip McLachlan’s Influence on Choral Singing in South Africa in the Second Half of the 20th Century
Chapter 3 GENERATING CHORAL UNIT STANDARDS
3.1 Introduction
3.2 Choral Unit Standard: Intonation
3.3 Choral Unit Standard: Phrasing
3.4 Choral Unit Standard: Diction
3.5 Choral Unit Standard: Voiceffone Production
3.6 Choral Unit Standard: Balance & Blend
3.7 Choral Unit Standard: Stylistic Authenticity
3.8 Choral Unit Standard: Expression
3.9 Choral Unit Standard: Timing
3.10 Choral Unit Standard: Critical Evaluation
Chapter 4 ASSESSMENT OF CHORISTERS AND CRITICAL CROSS-FIELD LINKAGES/ ARTICULA TION POSSmILITIES
4.1 Assessment of Choristers
4.2 Critical Cross-Field Linkages/Articulation Possibilities
PART II Support Material for the Choral Educator in the Primary School
INTRODUCTION
Chapter 1 STARTING A CHOIR
1.1 The Rationale for Choral Singing
1.1.1 Musical Benefits
1.1.2 Non-Musical Benefits
1.2 What Skills do I need to be an Effective Choral Educator?
1.2.1 Musical Skills
1.2.2 Non-Musical Skills
1.3 Membership of the South African Choral Society
1.4 Who will Sing in the Choir and how Large should the Choir be?
1.5 Financial Budget
1.6 Consultation with the School Principal and other Staff Members
1.7 Rehearsal Time, Venue and Equipment
1.8 Gaining Support and Public Relations
Chapter 2 PLANNING AND ORGANISATION
2.1 Recruitment and Retention of Choristers
2.2 Development of the Child Voice
2.3 The Changing Voice
2.4 Auditions
2.5 Selecting Appropriate Repertoire
2.6 Involving Parents
2.7 Planning Performances
Chapter 3 PRE-REHEARSAL AND NON-VOCAL REHEARSAL PROCEDURES
3.1 Preparing for Rehearsal
3.2 Score Study
3.3 Attendance Record and Award System
3.4 Creating an Environment Conducive to Music Making
3.5 Humour in the Rehearsal
3.6 Pace of Rehearsal
3.7 Movement
3.8 Motivating the Choristers
3.9 Seating/Standing Arrangement and Placement of Voices
3.10 Routine Rehearsal Plan
3.11 Behaviour Management in Rehearsal
3.12 Audio and Video Aids
3.13 Use of the Piano
3.14 Accompaniment and the Role of the Accompanist
3.15 Guidelines for Dismissal from the Choir
Chapter 4 REHEARSING THE CHOIR
4.1 The Choral Teacher’s Voice as a Role Model
4.2 Intonation
4.3 Unison and Part Singing
4.4 Presenting New Repertoire
4.4.1 Song Acquisition
4.4.2 Expression of Text
4.4.3 The Musical Phrase
4.4.4 Rhythm and Pitch
4.5 Polishing and Interpreting Music
4.6 Memorising the Music
4.7 Mouthing the Words
4.8 Balance and Blend
4.9 HistoricaVStylistic Guidelines and Cultural Context
Chapter 5 DEVELOPING CONDUCTING SKILLS
5.1 Body Posture of the Conductor
5.2 Clear Conducting Gestures
5.3 Conducting with/without a Baton
5.4 StandardlBasic Conducting Patterns
5.5 Height Level and Size of the Conducting Movements
5.6 Using the Left Hand for Cueing and Interpretation
5.7 The Preparatory Beat
5.8 Attacks and Releases
5.9 Rehearsal and Perfonnance Gestures Differ
5.10 Fermatas
5.11 Getting Children to Watch the Conductor
Chapter 6 VOCAL PEDAGOGY AND MUSICIANSHIP SKILLS
6.1 The Vocal Instrument
6.2 Choral Tone Quality
6.3 Correct Singing Posture
6.4 Breath Management
6.4.1 Deep and Full Diaphragmatic-Abdominal Breathing
6.4.2 Catch (or Snatch) Breathing
6.4.3 Staggered Breathing
6.5 Resonance
6.6 Children’s Vocal Ranges and Registers
6.7 The Importance of Head Voice
6.8 Italian Basic Pure Vowels, Unifonn Vowel Colours and Vowel Modification
6.9 Diction
6.9.1 Pronunciation
6.9.2 Enunciation of Vowels and Articulation of Consonants
6.9.3 Clear Articulation of Consonants
6.9.4 Voiceless and Voiced Consonants
6.9.5 Diphthongs and Triphthongs
6.10 Agility and Flexibility
6.11 Use of Vocalises
6.12 Use of Imagery
6.13 Maintaining Vocal Health
6.14 Aural and Music-Reading Skills
Chapter 7 CONCERT PREPARATION 
7.1 Pre-Concert Rehearsals
7.2 The Final Rehearsal
7.3 Pre-Concert Activities
7.4 Performance Attire
7.5 Stage Deportment
7.6 Placement of the Piano
7.7 Acoustics
7.8 Compiling a Programme
7.9 Contests, Eisteddfodau and Festivals
PART THREE Conclusion
Chapter 1 CONCLUSIONS AND RECOMMENDATIONS 
1.1 Conclusions
1.2 Recommendations
Appendix: EMPOWERMENT THROUGH MUSIC EDUCATION: A GENERAL MUSIC APPRAISAL PROGRAMME (GMAP) FOR ALL LEARNERS IN SOUTH AFRICA by Petro Grove
SOURCES 
GET THE COMPLETE PROJECT