Chapter 9

1. A choral conductor should choose new music that is on the easier side so that they do not
make the new singers discouraged with their ability to sing.
2. Literary value can be determined by literally looking at the text and determining whether or
not students will find the text immature or sentimental. Text should have substance and
meaning to the students, and gender biases should be considered.
3. The advantage is in if the students have the language the piece is in as a part of the
school’s curriculum. The disadvantage is if the diction is not clear enough to be understood
by the audience, or if the audience does not have access to a translation.
4. Vocal rather than instrumental writing refers to the complexity and versatility of the music in
question. A composer who comes to mind who writes music that is more instrumental in it’s
writing is Frank Tichelli (his There Will Be Rest translating to it’s full symphonic version
Rest).
5. When accompaniment is written in such a way that rather than complementing the voices, it
becomes the musical entity that the audience listens to more, whether it be a volume issue
or an arrangement issue.
6. Personally I don’t believe there is a major gender bias, but as a cisgendered homosexual
male who sings low bass, I probably have the upper hand.
7. Gender bias can effect the choosing of music by the conductor believing that they need to
pick something appeasing to the boys because they tend to be more difficult to work with
and are harder to sell to the class.
8. To combat this, one must consider texts that surround strong female voices, composers, and
perspectives.
9. Vocal range is the physical note range to which a person can physically sing. Tessitura is the
part of the vocal range in which a section or group feels most comfortable singing in (what I
refer to as “their sweet spot.”)
10. Re-arrangements of master works are unnecessary as there is enough literature to cover
what certain re-arrangements may attempt. Not only that, but why tamper with something
that is already good?
11. ACDA and NAfME
12. Programming comprehensive musicianship in the choral classroom involves having the
students perform music that teaches them about music that goes beyond what they can
learn from the music. Having the music itself get progressively more difficult will allow
students to become better musicians, yes, but it’s also about developing the skills necessary
to be lifelong choristers, such as a lifelong love of music and a better sense of self when
they can connect to the music. This is why choosing quality choral literature is so important.
13. Research suggests that performance quality is not hindered when conductors take the time
to teach students about history and theory of the music itself.
14. The overall objective is to expose students to the vast variety of music such that they can
understand it and learn to appreciate it.
15. One must make sure that they are choosing music that is going to not be harmful to
students voices such that they are not frustrated. They must walk the delicate balance of
making sure that it is a challenge without being impossible, or else they could seriously
damage the student’s voice.
16. Programming to entertain is a legitimate concern because audiences should be able to
enjoy the concerts in order to have them keep coming back and maintain parent support.
17. When only programming to entertain, educational value can be lost to give way for asking a
choir to create the sound of a six piece rock group.
18. NAfME: Vital and important to the study of music history and should be included. Supreme
Court: the music must be educational and not devotional. Constitution: So long as the music
is used for secular purposes and not for worship, it is allowed.
19. A “holiday” concert where music from all faiths and secular music is programmed, or having
a mid-winter concert in January or February that doesn’t include holiday music.
20. Always program to educate the students, vocally, musically, historically, and expressively.