Broek Er 2000

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SELECTION OF REPERTOIRE

A CHILDR
DEVELOPING
CHOIR CONCERT
concertprogramis muchlikecomposing
Selectingpiecesfora successful a musical
planning,and creativity.
work.It requiresknowledge,

mong the many tasks gogically appropriatefor the perform-


expected of children'schoir ing choir. Therefore, conductors
conductors, one of the most should know the aural skills and the
creative and enjoyable is pitch and rhythm-readingcapabilities
choosing appropriatereper- of their choirs and should choose
toire for performingensembles.Just as repertoirethat lies within, yet slightly
a composer must create musical ideas challengesthose capabilities.
and then develop and order these ideas
to arriveat a pleasing composition, so
Foreignlanguagetexts Developing a children'schoir con-
cert is a two-step process,but the steps
too does a conductor find musical arewonderfulsinging are neither linear, independent, nor
ideas (appropriate pieces) and order hierarchical. In one step, directors
them to create a pleasing concert pro- forchildren.
vehicles choose individual pieces that are
gram. The current boom in choral Throughthem,children appropriatefor their choirs, creating a
"storehouse" of repertoire. In the
octavo publications and recordings,
especially those for young singers, can becomepartofour other, directors compile and order
leave conductors feeling overwhelmed. these pieces into a varied and pleasing
But such an increasein musical mater- globalculture. concert program. These steps inter-
ial makes consistent, creativeprogram- twine and take turns being the domi-
ming an attainablegoal. nant force in the process. At every
Appropriaterepertoireselection can juncture, the conductor relies on his
address several of the National Stan- or her own musical knowledge and
dards for Music Education. Standard creative, aesthetic sense to compose
1, singing alone and with others a var- the final program.
ied repertoire, is met when concert tion has a profound impact on the
programs expose young singers to shaping of musical tastes and often Individual
Choosing Pieces
pieces from numerous time periods, providesits participantswith a lifetime Since repertoire selection is so
cultures,and genres. Especiallyin chil- curiosity and desire to participate in important to the success of any choral
dren's choir settings, repertoire selec- the choral music experience. Varied, experience,many hours must be spent
high-quality repertoire forms the digging through exhibit bins at con-
foundation for continued music edu- ventions, playing or singing through
cation. Standard5, readingand notat- recent octavos sent by music publish-
Angela is director
Broeker at ing music, is met when the chosen
of choralactivities ers, listening to recordings, attending
theUniversity
of St.Thomas inSt.Paul,Minne- repertoire contains rhythms, pitches, children'schoir concerts, and consult-
sota. and expressivemarkingsthat are peda- ing professionalpublicationsfor reper-

26 MUSIC EDUCATORS JOURNAL

Downloaded from mej.sagepub.com at UNIV OF WESTERN ONTARIO on March 8, 2015


toire listings. (For some possible
resources,see the Sources for Listings
of Children'sChoir Octavos sidebar.)
Such a daunting task is made easier
Sourcesfor Listings of Children'
when the conductor enters the process Choir Octavos
with a set of criteria that may be
applied to evaluate a piece's potential
success with children. Six criteriathat
Bartle,Jean Ashworth. Lifelinefor ChildrensChoir Directors.Revised edi-
help when choosing individual pieces tion. Canada:Gordon V. Thompson, 1993.
are text, singability, form, part-writ-
ing, accompaniment, and pedagogical Chapman, Sandra. "SelectedChoral Literaturefor Junior High Choirs."
implications. ChoralJournal31 (February1991): 23-29.
Text Ferreira,Linda. "ClassicChoral Music for Children'sVoices."ChoralJour-
When evaluating the appropriate- nal29 (March 1989): 19-26.
ness of a specific text, conductors can
work under the assumption that chil-
Paulin, Carolin, and Anton Armstrong. "New Musical Partners: The
dren are intelligent, feeling, playful Children's Chorus and the Symphony Orchestra." ChoralJournal 29
human beings capable of assimilating
(March 1989): 29-32.
many kinds of texts with a variety of
subjects and themes. Selections using Rao, Doreen, ed. ChoralMusicfor Children:An AnnotatedList. Reston,
animal poems, children'srhymes, and VA: MENC, 1990.
folk song texts are appropriate.Selec-
tions using texts that are rich in emo-
Rao, Doreen. "ExtendedChoral Works for TrebleVoices Appropriatefor
tional meaning or historical and cul- Performanceby Children'sChorus." ChoralJournal23 (December 1982):
tural insights are equally appropriate. 27-31.
Such texts can often be found in
madrigals,motets, and art songs. Chil- Rheingans, Dennis. "Favorite Music for Performing Groups: Chorus
dren are capableof growing from such Grades 1-6." MusicEducators
Journal75 (April 1989): 46-49.
texts. Trite, poorly structuredtexts fail
to challenge and satisfy young singers
Stultz, Marie. InnocentSounds:Building Choral Toneand Artistryin Your
and audiencesalike. Children'sChoir.Fenton, Missouri:Morning StarMusic Publishers,1999.
Texts in foreign languagesare won-
derful singing vehicles for children.
Stultz, Marie. "Selecting Music to Improve and Inspire Your Children's
Through them, children become part Choir: An Annotated List."ChoralJournal34 (December 1993): 35-40.
of our global culture.They also master
new vowel and consonant sounds that
Swears, Linda. Teachingthe ElementarySchool Chorus. New York: Park
in turn widen their palette of vocal
timbres. For less-experienced choirs, PublishingCompany, Inc., 1985.
directors should analyze how much
Wedel, Eva. "Music in Worship: A Selected List for Children'sChoirs."
text is used in each foreign language
ChoralJournal31 (November 1990): 45-47.
selection. Pieces that repeat a small
quantity of foreign language text are
more accessible than those that con-
tain many differentverses.

Singability of appropriate repertoire. Therefore, repertoire that requires various vocal


Most children'schoir directors are selections should include the opportu- timbresso that students can gain expe-
entrustedwith a vast arrayof relatively nity for developing both the upper rience utilizing a variety of vocal tech-
inexperienced voices. Many children and lower registersof the voice. Direc- niques.1
enter their first choir rehearsal with tors should balance pieces using lower Other melodic characteristics also
little or no vocal training, and very tessituras with pieces using higher contribute to a selection's singability.
few study privatelyduring the elemen- ones. It is important for young singers Less-experienced singers will have
tary and middle school years, leaving performing two- and three-partmusic greater success if high pitches are
vocal development solely in the hands to alternatebetween alto and soprano accompanied by open vowels. As with
of the choir director. Normally lines on various songs so that all regis- adult choirs, children will have more
thought of as an areaaddressedduring ters are exercised. As choral educator difficulty with melodies containing
warm-ups, vocal development can and Mary Goetze has pointed out, it is also extended use of chromaticism than
should continue through the singing important to choose children's choir they will with diatonic melodies con-

JULY 2000 27
rect assumption that second parts
written in parallelthirds or sixths with
the melody are appropriate starting
points for part-singing. However,
these traditional harmony parts, with
the same contour, rhythm, and text as
the melody, may be the most difficult
to master. As Swears explains, "It is
difficult for many children to hear the
difference between parts written in
thirds, and if a child cannot distin-
guish the difference by ear, it is most
likely he will be unable to sing it cor-
rectly."5Inexperiencedchoristerseasily
become confused and wander back to
the primary melodic line. Singing in
parallel thirds is more appropriatefor
an experiencedchorus, whereas imita-
tion or other contrapuntal writing
with independent vocal lines is more
easily achieved by singers with less
Awell-plannedconcert andtheaudience
boththesingers
allows toexperience
a musical experience.
program journey. In the discussion of form, it was
observed that inexact repetition of
phrases is more difficult for young
taining more predictable patterns. similar. Unless a choir's aural and singers than exact repetition of phras-
Finally, melodies comprising conjunct reading skills are quite sophisticated, es. This principle is equally applicable
motion are easier to sing and easier to motives that are similar are difficult to when discussing imitation between
teach than are those with disjunct teach and learn.As the children'schoir voice parts. If second parts are imita-
motion. This does not mean that chil- gains experienceand develops musical tive, they are much easier for children
dren are incapable of singing disjunct, skills, pieces with more sophisticated when they exactly imitate the melody.
chromatic melodies, only that the forms will be successful repertoire Imitation with expandedor contracted
experience level of the choir should be choices. intervals, imitation beginning on a
taken into account before choosing different pitch level, or imitation with
such pieces. Part-Writing slightly different rhythms than the
Children's choirs should include a melody will increase the amount of
Form sample of unison songs in their reper- teaching time needed for the piece.
The clearer the form, the more toire. Much can be learned about
accessible the piece will be for chil- vocal technique, as well as choral tech- Accompaniment
dren.2 This principle is applicable for nique, through unison singing. Linda Treblevoices can be enhanced by a
the largest and smallest formal ele- Swears, in her book Teaching the Ele- beautiful accompaniment.Traditional-
ments of a work, from sections such as mentary School Chorus, observes that ly, piano and organ are standard
verses or refrains to phrases and to "expressive singing can best be nur- accompanying instruments, but
specific motives. Clear forms are those tured through [a] unison melodic line" instruments such as guitar, lute, and
that have regularphraselengths, clear- and cautions that "good part singing harpsichordwork equally well. Many
ly delineated large sections, and exact can only occur when students have composers have also written for treble
repetition ratherthan slight variation. developed their ability to sing voices and obbligato instrumentssuch
Pieces are more easily taught and independently."4 as flute, violin, or oboe. These instru-
remembered if they are divided into When directors determine that ments, along with the recorder, pro-
easily discernible large sections with two- and three-partmusic is appropri- vide a beautiful complementing tim-
regular phrase lengths. More impor- ate for their beginning children's bre to the treble voice. As with a
tant than regularity of section and choirs, they should look for pieces women's chorus, the continuous treble
phraselength, however,is the compos- with parts that sound like a melody. sounds during a children'schoir con-
er's use of exact repetition and con- This includes canons, as well as coun- cert may be balanced through the use
trast. Children will learn and remem- termelodies and ostinatos. For begin- of a bass instrument such as a cello or
ber more accurately if "themes and ning choirs, it is helpful if these sec- bassoon. Every time a new accompa-
motives are consistent throughout a ond and third parts have contours, nying instrument is introduced, chil-
piece."3 This exact repetition is easier rhythms, and texts unlike the primary dren expand their knowledge of tim-
for children than motives classified as tune. Directors often make the incor- bres and refine their tuning skills.

28 MUSIC EDUCATORS JOURNAL


Often, the addition of a bass instru- theConcert
Developing positions, composers effectively con-
ment gives a harmonicfoundation that From the storehouseof appropriate clude theirworkswith music of varying
facilitates intonation and preparesthe repertoiregatheredin a file drawer,the tempos, dynamiclevels,and characteris-
unchanged treble voice to eventually choral conductor can begin the pro- tics. Therefore, an effective closing
sing within a mixed choir. Including grammingprocess in one of two ways. selection in a children'schoir concert
some a cappella selections in the con- Sometimes, a few pieces rise to the may be fast,loud, and joyous.An equal-
cert is also recommended. There are surface and remain there, seeming to ly effectiveconclusion, however,might
few sounds in life more beautiful than call out for performance. Like the be to follow such a piece with a more
unaccompaniedsinging by children. motives that reside in a composer's quiet, reflectivecomposition.
sketchbook, some choral pieces may
show evidence of relatedness and
thereforesuggest a grouping, order for
performance, or concert theme. In
other instances, conductors may begin
with a concert theme. From this
As
with adult choirs,
imposed structure,pieces are gathered
As withadultchoirs, that work within its confines. Like
many composers, some conductors
childrenwill havemore find the creativeprocess most produc- Somechoralpieces may
tive when given boundaries or struc-
difficultywith melodies tures to work within. See the Sample showevidenceof
containingextendeduse Children'sChoir Programssidebar for
three differentways to structurea chil- relatednessand therefore
of chromaticism than dren'schoir concert.
As the pieces for a specific concert suggesta grouping,order
theywill with diatonic program are accumulated, conductors forperformance, or
melodiescontaining must also consider the musical variety
of the pieces. Audiences and singers concerttheme.
morepredictable enjoy hearing songs with different
meters, keys, and tempos. It helps to
patterns. make a listing of the genres, languages,
nationalities, accompanying instru-
ments, and historical eras represented
in the pieces chosen and then ask the
question, "Is there significant variety
in each categorylisted?"
After deciding upon a number of In between the beginning and end
pieces, the conductor would do well to lies a musical journey. It is up to the
Pedagogical
Implications allow for a gestation period during conductor to program a concert that
As part of the music education pro- which he or she can sit and ponder the takes listeners on an expedition
fession, the choral director has an possibilities for the order of perfor- through many musical landscapes
obligation to combine performance mance. There are no hard and fast with different hues and terrain. Does
with the "long-term development of rules for organizing performance this mean that five slow pieces in
the choristers."6 This development pieces, but many choral conductors minor keys should not be pro-
involves musical skills and conceptual follow some general principles. First, grammed in a row? Probably. But,
understandings that produce an edu- they consider concert openers and moreover,it means that sound, musi-
cated musician. Therefore, children's closers. What chosen piece "sets the cal reasoning must govern the order-
choir directorsmust also considerped- tone" for what will follow? Concert ing procedure.Composers toil to find
agogical implications when selecting openers do not need to be loud and just the right notes that provide transi-
repertoire. What can be taught from fast, and they do not need to be from tions in musical material;they search
the repertoirechosen?Are there specif- the Renaissance.Audiences will want for pitches that bridge the gap from
ic melodic, rhythmic, and formal ele- more if the concert opener shows best one musical idea to another. Conduc-
ments or societal and historical con- the strengths of the children's choir tors toil to find just the right piece to
siderationsto be gleaned from the per- and encapsulatesthe enthusiasm with follow what has come before and pre-
formance of a particularwork? What which the children will carry out the cede what is to follow. In this way, the
expressive elements are called for in remainderof the concert. children's choir concert has musical
the score?What expressiveinterpreta- The concert closer, and the pieces shape and musical motion.
tions might be inferredby the conduc- directlyprecedingit, lead to an aesthetic During the ordering phase, con-
tor or the students? conclusion. In extended musical com- ductors may find gaps or missing puz-

JULY 2000 29
Sample Children's Choir Programs

usinganoverallthemeandgroupings
Program Program
usinggroupings
only
Something Old, Something New (Concert opener)
Songs of praise, songs for fun, and songs of spring Art Thou Troubled? G. F. Handel
written before 1600 or after 1900

Songs of Praise
(Sacredselections)
I Will Sing New Songs Anton Dvorak Cantate Domino IsaacPosch

Clap Your Hands MichaelJothen Amazing Grace arr.Stephen


Hatfield
Alle Psallitecum Luya 13th century
anonymous
(Folk songs from outside the U.S.)
Ilalcluva, Pelo Tsa Rona South African
arr.Malcolm
Trallning
praisesong
Dalglish
Goin' up a'Yonder Hawkins/Sirvatka
Hoj! Hura Hoj! Otmar Macha
Aizu Bandaisan arr.Hiroshi
Songsfor Fun Ishimaru
(;iraffe Clare Grundman
Midnight RobertStarer (Folk songs from the U.S.)
All the PrettyLittle Horses arr.Scott Lewis
El Grillo Josquin des Prez
Johnson Boys arr.Jay Brocker Hold On! arr.Jay Broeker
En la Feriade San Juan arr.Leah Nemeth Sail Away arr.Malcolm
Dalglish

Songs of Spring withoutthemeorgroupings


Program
Maicnzcit 13th century
anonymous Praisethe Lord! arr.RalphJohnson
lTanzcnund Springen Hans Leo Hassler I Will Sing New Songs Anton Dvorik
Now Is the Month of Maying Thomas Morley Ave ReginaCoelorum Marc-Antoine
Sumer Is l'Cumcn In arr.RalphVaughan Charpentier
Williams Instructions Mary Goetze
May Day
I a
Carol arr.Betty Berteaux Johnson Boys art.Jay Broeker
Wild Mountain Thyme arr.Jay Broeker

otte: I h "SoIlething Old, SomethingNew" programwas developedas a collectiveeffortby the authorin conjunctionwith DaphneFix and
SandtiaKrllldson.

zle pieces. At this point, conductors can At some point in the processcomes Notes
referback to the firststep in the process the final "aha"experience when the 1. MaryGoetze, "Writingand Arranging
and retrieve individual pieces they children'schoir conductor knows that forYoungSingers,"ChoralJournal
29 (March
deem suitable for their choir. Unlike the chosen program is finished and 1989):36.
the initial gathering phases, however, complete. This knowledge is accompa- 2. Ibid.
this "searchand find" mission will have nied by a feeling that the musicaljour- 3. Ibid.
more direction and more defining ney has been satisfied.What lies ahead 4. Linda Swears, Teaching the Elementary
guidelines. Conductors may need an is the fulfillment that comes as choris- SchoolChorus(New York: Park Publishing
adagio piece in a minor key, for exam- ters learn the repertoireand claim it as Company,1985), 163.
ple, or a unison chant from Zimbabwe. their own. During performance,choir 5. Ibid., 164.
This referring back and finding the members and audience members alike 6. Mary Goetze, "Wanted:Children to
missingpuzzlepieces makesthe concert experiencea programthat is the result Sing and Learn,"MusicEducators
Journal75
developmentprocessa cyclicalone. of carefuland creativeplanning. (December1988): 28. ?

30 MUSIC EDUCATORS JOURNAL

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