S E L E C T I N G A N D T E A C H I N G R E P E R T O R Y F O R T H E S I N G E R S Y O U H AV E A N D T H E C H O I R Y O U W A N T T O B U I L D

J E N N Y B E N T | S O N O M A S TAT E U N I V E R S I T Y A N G E L M . VÁ Z Q U E Z - R A M O S | C S U B A K E R S F I E L D

O B J E C T I V E S

• Share ideas about choosing and teaching repertory that will help develop the ensemble.

• Share repertory that has worked for us and ideas on how to teach it.

W H AT I S T H E C H O I R W E W A N T T O B U I L D ?

• The ideal ensemble - sings with artistry and passion. Its tone quality is age appropriate, resonant, and free. It possesses impeccable intonation, balance, and clear diction.

I Loved All Lovely Things Middle School

Only in Sleep

H O W T O A C H I E V E I T ?

• Musicianship

• Vocal Technique

• Literature Selection

C O N S I D E R AT I O N S F O R D E V E L O P I N G S I N G E R S I N M S / H S

• Repertory that builds musical independence (Bowers, 2009)

• Melody

• Add an Ostinato

• Partner songs

• Descant

M E L O D Y

PA R T N E R S O N G

C O N S I D E R AT I O N S F O R D E V E L O P I N G S I N G E R S I N M S / H S

• Chord roots

• Round

• Transition Songs

• 2 or 4 Part Music

C O M E T O T H E M U S I C J O S E P H M . M A R T I N

O L D J O E C L A R K A R R . E A R L E N E R E N T Z

P H I L O S O P H Y A N D VA L U E S

Develop a strategic plan of short and longterm goals for the following:

• Your program (enrollment target, number/type of ensembles, program structure, etc)

• Each choir (voicing, musicianship goals, technical skills, performance achievements, preparation for moving into next level ensemble, etc)

How do you plan to achieve these goals?   Are they realistic?

P H I L O S O P H Y A N D VA L U E S

• Strengths: What do you have?

• Weaknesses: What do you need?

• Opportunities: What can you change now? Later?

• Threats: What can prevent your plan?

P H I L O S O P H Y A N D VA L U E S

Backward Design - start with the end in mind (Wiggins & McTighe, 1998)

P H I L O S O P H Y A N D VA L U E S

Repertoire must have a purpose within your strategic plan.

“The selection of repertoire is an ongoing process determined by the specific needs of each new school

year and each new chorus.” (Brunner, 1992, p. 29)

( R E A M E S , 2 0 0 1 , P. 1 2 2 ) .

“Researchers have found that effective choral music educators possess an advanced knowledge of choral literature and an ability to select music

appropriate for their ensembles.”

C O M M O N P R O G R A M M I N G “ M I S H A P S ” - W H E N W E F O R G E T O U R G O A L S

• Music is technically too difficult for choir (programming masterworks before choir is ready)

• Program is too big/difficult or small/easy (quality over quantity)

• Performance selections lack variety (style, time period, tempo, language, elements of diversity, etc)

• Music is not a good match for performance venue acoustic

Q U A L I T Y R E P E R T O I R E

• Form (Is there one? Does it make sense?)

• Melody (original, proper tessitura, logical text inflection, etc)

• Harmony (voice leading, well-prepared entrances, balance of tension and release)

• Expression (age level appropriateness, ability to affect the singer and listener, anticipation/surprise)

A C U C K O O F L E W O U T O F T H E W O O D S A R R . B . W AY N E B I S B E E

M A G N I F I C AT F R A N C E S C O D U R A N T E

Q U A L I T Y R E P E R T O I R E

Repertoire should never hinder the development of healthy vocal technique (breath support, resonance,

vowel placement, diction, etc.) It supports sequential teaching.

D I C T I O N : W H Y I S I T S O I M P O R TA N T ?

Unify regional dialects Improve tone and acoustic quality (ie Intonation) Promote choral “cleanliness” & vocal technique

Provide phrasing “blueprint” (inflection)

I N T E R N AT I O N A L P H O N E T I C A L P H A B E T ( I PA )

Those symbols you see in the dictionary in brackets following a word.

1 . C O N S O N A N T S V O I C E D V S . U N V O I C E D

Example offenders: [b] vs. [p] [z] vs. [s] [d] vs. [t] sad vs. sat [f] vs. [v] [m] and [n]

2 . R R R R R R F L I P P E D , R O L L E D , O R N E I T H E R ?

Italian/Latin Flip it if between two vowels (intervocalic) (“Libera”)

Roll otherwise (”Christe,” “Rex,”) “Libera me Domine de morte aeternam”

3 . T H E R O S E R U L E

In Latin and Italian, ”s” between two vowels is pronounced [z].

(Double “ss” is still pronounced [s])

In Latin, final ”s” if following a voiced consonant. Eg. “omnipotens”

4 . “ D ” A N D “ T ”

[d] and [t] are dental in Latin.

“Tina eats tuna fish on Tuesday”

5 . T H E L E T T E R “ H ”

Latin “mihi” [mi ki]

(otherwise “h” in Latin is always silent)

6 . D I P H T H O N G S

No diphthongs in Latin. (The combination of two sounds in one syllable.)

Sustain pitch on initial vowel sound. ”Deo” [dɛɔ]

“dona” [dɔnɑ]

7 . W O R D C O N N E C T I O NSeparate words when you run the risk of

unintended text

”Your age” “Its cares”

”He watching over Israel slumbers not nor sleeps.” “If ice melt” “Let us pray”

“Sing we and chant it”

8 . O P E N V S . C L O S E D V O W E L S

“e” and ”o” are open in Latin. “in” is [in], not [ɪn]

F L O W T H E O R Y

Developed by Hungarian psychologist Mihaly Csikszentmihalyi (b. 1934).

We place value on the "optimal experience," a "feeling of being in control of our actions leading to a deep

sense of enjoyment that is long cherished"

"a balance between skill and challenge"

(Hopkins, Michael. "Programming in the Zone." Music Educators Journal (June 2013): p.70.)

Z O N E O F P R O X I M A L D E V E L O P M E N T ( Z P D )

Russian psychologist Lev Vygotsky (1896-1934)

“the distance between the actual developmental level as determined by independent problem solving and the level of

potential development as determined through problem solving under adult guidance, or in collaboration with more capable peers.”

“What the child is able to do in collaboration today he will be able to do independently tomorrow.

(Hopkins, Michael. "Programming in the Zone." Music Educators Journal (June 2013): p.70.)

T H I S L I T T L E B A B E B E N J A M I N B R I T T E N

C O N C E R T P R O G R A M M I N G C O N S I D E R AT I O N S

• Theme

• Overall "flow" of the program

• Timbre

• Repertory that shows our values: social issues, female composers, ethnic & multicultural

C O N S I D E R AT I O N S F O R D E V E L O P I N G S I N G E R S I N M S / H S

• Matching Pitch

• Range - Male changing voice

• Unchanged/treble

• Cambiata

• Baritone

C A N S T T H O U L O V E M E , L A D Y ? A N D R E A R A M S E Y

S I S I N I M O J A J A C O B N A R V E R U D

R E F E R E N C E S

• Brunner, D. (1992). Choral repertoire a director’s checklist: Thoughtful selection of repertoire enriches choral music education. Music Education Journal 79(1) 29-32

• Hopkins, M. (2013). Programing in the zone repertoire selection for the large ensemble. Music Educators Journal 99,(4) 69-74

• Reames, R. (2001). High school choral director’s description of appropriate literature for beginning high school choirs. Journal of Research in Music Education 49 (2) 122-135

C O N TA C T I N F O R M AT I O N

• Jenny Bent Director of Choral Studies Sonoma State University bentje@sonoma.edu

• Angel M. Vázquez-Ramos Director of Choral & Vocal Studies California State University, Bakersfield avazquezramos@csub.edu