MENC Forums

tenor2000,

The popular programs I've observed and sung with have had much of the following in common:

*High level of musicality, skill development, and training -- including vocal
*Efficient and fast-paced rehearsals
*Safe and supportive environment, emphasizing high expectations or mutual respect
*Fun and friendly atmosphere in rehearsals and concerts
*More than the typical two or three performances per year
*Some sort of festival, tour, or competition every year
*Repertoire which challenges, rewards, and delights both singers and audience
*A rehearsal and performance philosophy centered on engagement with the text
*Performing all but the major works FROM MEMORY (this makes SUCH a difference to both singer and audience)
*Full body engagement of the singers, including their faces -- all stemming from dynamic mental/emotional connection to text and musical expression of that text
*Some sort of traditional concert rep -- as in doing Twas the Night Before Christmas every Winter
*Having the advanced group put on a show every year, combining traditional choral, show choir elements (choralography), and solos/duets/trios... Providing dinner at this event makes it even more rewarding and special.

In short, if the kids are doing rewarding music, singing it well, AND are engaged with it wholistically (so that the audience will be drawn in and captivated) ... and if they have enough opportunities to experience the intrinsic rewards of the above, Choir will be perceived as high status and 'cool.'

All my best,

Tom

Last edited by Tom Carter (2008-04-24 20:44:10)

Dear Keeping Kids Invested,

Do you ever have your students work in small groups for a portion of the rehearsal or in sectional rehearsals with a section leader? Sometimes, giving students opportunities for leadership, responsibility and even creative work builds the feeling of personal investment and working together. Students can work in small groups to prepare a portion of piece to teach the rest of the class; they can be given the opportunity to create a new vocalise for the group; some students are capable of creating a song or piece for the group to learn; when you start a new piece and perhaps have given the students the overall sound experience the piece holds, engage the whole group by looking through the score and asking questions about what is on the printed page (if you do not do this already). As choral directors in schools, we are often so pressed for time that we “tell” our students everything instead of asking them and in this way engaging them in thinking more critically and creatively about their learning. “What can you tell me about the rhythm of this piece? Is it straightforward? Is it syncopated? Do you see any patterns or consistency in the rhythm? Are there places that might prove to be more challenging than others? What about the harmony? Are there any unison places in the piece?” etc. You can also engage students in 2-5 minutes of conducting technique and provide opportunities for students who would like to try conducting the group on a piece. Some of these suggestions require time and space so you have to do what is possible in your particular situation.

And yes, in addition, look for opportunities to involve the students in festivals or guest performances in the community if possible. Most choral students love to sing and they want to have opportunities to perform.

Best,

Lois Veenhoven Guderian