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Table of Contents
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii
Introduction by Heather J. Buchanan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xix
Part I: The Teaching of Music
CHAPTER 1 DOES IT COMMUNICATE? FINDING MUSICAL NUANCE
AND INSPIRATION THROUGH SCORE STUDY
by Janet Galvn
Think Like a Composer: The Work of the Mind . . . . . . . . . . . . . .4
Think Like a Composer: Text (Read Like a Poet) . . . . . . . . . . . . . .5
Text, Harmonic Function, and Musical Pace . . . . . . . . . . . . . .6
Text and Instrumentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Text and Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Text and Melodic Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Think Like a Composer: Present Like an Actor . . . . . . . . . . . . . .11
Think Like a Composer: Structure and the Role of Dynamics . . .12
Think Like a Composer: Illumination of Information
to Facilitate Learning the Piece . . . . . . . . . . . . . . . . . . . . . . . . .15
Think Like a Composer: Choice of Tempi . . . . . . . . . . . . . . . . . . .17
Think Like a Composer: Rhythmic Structure and Movement . . .18
Think Like a Composer: Style, Cultural Context,
and Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Think Like a Composer: Coach Like a Voice Teacher . . . . . . . . .21
Technique, Language, and Vocal Color . . . . . . . . . . . . . . . . . .21
Technique, Language, and Word Stress . . . . . . . . . . . . . . . . . .22
Sound Technique for Maximum Expression . . . . . . . . . . . . . .23
Think Like a Composer: Pitfalls on the Road to Phrasing . . . . . .24
Think Like a Composer: Direct Like a Creative Spirit . . . . . . . . .28
CHAPTER 2 THE LITERATE CHOIR
by James Jordan
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
The Language Parallel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
What Is Literacy? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Good Rote versus Bad Rote: Essentials of Music Understanding .36
What Is Essential to Begin the Music Listening Process? . . . . . . .37
The New Role of the Choral Accompanist . . . . . . . . . . . . . . . . . .38
The Accompanists Aural Cues: Wordless Clues
to the Harmonic Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
In a Mode or Key versus On a Mode or Key . . . . . . . . . . . . . .40
What Is Essential to Become Musically Literate? . . . . . . . . . . . . .41
The Human Dilemma of Listening . . . . . . . . . . . . . . . . . . . . . . . .42
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To Text or Not to Text: That Is the Question . . . . . . . . . . . . . . . .43
Resting Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Harmonic versus Melodic Hearing . . . . . . . . . . . . . . . . . . . . . . . . .44
The Dilemma and Challenge of the Major Ear . . . . . . . . . . . . .44
The Acoustic Environment of the ChoirThe Alto-in-Front
Seating Arrangement: Maximizing Your Choirs Sound
and Hearing Potential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Venturing into Solfege . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Choral Ensemble Pronunciation of Solfege Syllables . . . . . . . . . .48
Use of Solfege in Reading and Learning Choral Literature . . . . . .49
Pursue Rhythm and Pitch Issues from Different Pedagogical
Approaches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Understanding the Kinesthetic Structure of Rhythm:
Teach Within a Consistent Tempo at All Times . . . . . . . . . . . .54
Muscle Coordination Development . . . . . . . . . . . . . . . . . . . . . . . .55
Rhythmic Response to External Music versus Internal
Musical Impulse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
The Structure of Rhythm and Its Relation
to Choral Rhythm Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Natural Body Response to Rhythm: The Foundation
for Understanding Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Layers of Rhythm Audiation . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
The Role of Consistent Tempo in Music Performance
and Music Learning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
The Use of a Metronome to Establish Communal
Kinesthetic Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
How Does Music Reading Evolve? . . . . . . . . . . . . . . . . . . . . . . . . .61
Building Modal Aural Familiarity Skills . . . . . . . . . . . . . . . . . . . .61
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
CHAPTER 3 PREPARING THE CHORUS FOR PERFORMANCE WITH
ORCHESTRAL ACCOMPANIMENT
by Ann Howard Jones
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65
Preparing for Another Conductor . . . . . . . . . . . . . . . . . . . . . . . . .66
Preparing the Chorus for Your Own Performance . . . . . . . . . . . . .70
CHAPTER 4 THE CONDUCTORS DREAM: SCORE-BASED
IMAGINATION, IMPROVISATION, AND INSPIRATION
by Jerry Blackstone
Learn the Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
From Big to Little . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Marking the Score . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
Who? Why? When? Where? How? . . . . . . . . . . . . . . . . . . . . .85
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Imagining the Dream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86
Building Your Dream Account . . . . . . . . . . . . . . . . . . . . . . . . .86
The Score-Based Dream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86
Show the Choir Your Dream . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
Transform What Comes Back . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
En (In)-Spiration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Internalizing the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Is It Fabulous? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
CHAPTER 5 COMPOSING, WORDS, MUSIC
by Libby Larsen
Words Are Music/Music Is Words . . . . . . . . . . . . . . . . . . . . . . . . .96
Working for Musical Meaning with a Choir . . . . . . . . . . . . . . . . .97
Youve Got Music and I Can Feel It . . . . . . . . . . . . . . . . . . . . . .98
Words Signify More than Their Definitions . . . . . . . . . . . . . . . . .99
Three Audiences: Conductor, Attending Audience, and Choir .100
Composing with Musical Tools in Order to Suggest Meaning . .100
Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
What Is Pulse? Beat? Rhythm? . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Vocal Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Breath and Breathing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
A Word about Warming Up to Rehearse a New Work . . . . . . . .109
CHAPTER 6 ENHANCING MUSICAL PERFORMANCE THROUGH
SOMATIC PEDAGOGY: AN INTRODUCTION TO BODY
MAPPING FOR CHORAL CONDUCTORS
by Heather J. Buchanan
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Body Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
Why Body Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113
Musicians Move for a Living! . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Body Map Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Training the Senses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Training Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Training Attention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116
The Core of the Body . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
The Places of Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Breathing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Gathering and Lengthening . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
Breath Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
A Valuable Pedagogical Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
MindBodySpiritMusic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
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PART II: The Choral Conductor as Music Teacher
Repertoire Resource Guides
Introduction to the Repertoire Resource Guides . . . . . . . . . . . . . . . . . . . . . . . . . .135
LEVEL ONE
Mixed voices:
Im Going Home on a Cloud arr. Deibler, Sen . . . . . .141
O Music Mason, Lowell/arr. Rao, Doreen . . . . . .145
Ose Shalom (The One Who Makes Peace) Leavitt, John . . . . . .149
The Path to the Moon Thiman, Eric . . . . . .155
The Turtle Dove arr. Spevacek, Linda Steen . . . . . .159
This Little Light of Mine arr. Berg, Ken . . . . . .165
Verleih uns Frieden Mendelssohn, Felix . . . . . .169
Treble voices:
A New Year Carol from Friday Afternoons, Op. 7 Britten, Benjamin . . . . . .173
Hello, Girls arr. Pfautsch, Lloyd . . . . . .179
Song for the Mira MacGillivray, Allister/
arr. Calvert, Stuart . . . . . .183
Mens voices:
Hard Times Come Again No More Foster, Stephen/
arr. Moore, Donald 189
Sea Shanties arr. Jeffers, Ron . . . . . .195
Steal Away arr. Dennard, Brazeal W. . . . . . .201
LEVEL TWO
Mixed voices:
April Is in My Mistress Face Morely, Thomas . . . . . .207
Black Is the Color of My True Loves Hair arr. Churchill, Stuart . . . . . .211
Bullerengue Rincn, Jos Antonio . . . . . .215
Christ lag in Todesbanden, No. 7
from Opella nova I Schein, Johann Hermann . . . . . .219
Down by the Riverside arr. Ames, Roger . . . . . .223
Famine Song VIDA/arr. Culloton, Matthew . . . . . .229
Ive Been Buked, Children! arr. Dilworth, Rollo A. . . . . . .233
Lirum bililirum Mantovano, Rossino . . . . . .237
Mon coeur se recommande vous Weckerlin, Jean-Baptiste . . . . . .241
Praise His Holy Name! Hampton, Keith . . . . . .245
Sounding Joy Walker, Gwyneth . . . . . .249
The Divine Image Shank, Joshua . . . . . .253
Three Madrigals Diemer, Emma Lou . . . . . .257
Yet Gentle Will the Griffen Be, No. 3
from What Grandpa Told the Children Nuez, Francisco J. . . . . . .263
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Treble voices:
I Am His Child Hogan, Moses . . . . . .269
I Once Loved a Lad arr. Neaum, Michael . . . . . .273
Ich wollt, meine Lieb Mendelssohn, Felix . . . . . .277
Jentends le moulin arr. Patriquin, Donald . . . . . .281
Morning Moon Silvey, Philip E. . . . . . .285
There Is Sweet Music Here Lightfoot, Mary Lynn . . . . . .289
Mens voices:
Ave, maris stella Loomer, Diane . . . . . .293
Little Innocent Lamb arr. Bartholomew, Marshall . . . . . .299
Not While Im Around Sondheim, Stephen/arr. Page, Robert . . . . . .305
Sam Was a Man Persichetti, Vincent . . . . . .309
LEVEL THREE
Mixed voices:
Ave Maria Busto, Javier . . . . . .315
Ave Maria Stravinsky, Igor . . . . . .319
Buffalo Gals arr. Chilcott, Bob . . . . . .323
Domine, ad adjuvandum me festina Martini, Giovanni Battista . . . . . .329
Five Hebrew Love Songs Whitacre, Eric . . . . . .335
Hark, I Hear the Harps Eternal arr. Parker, Alice . . . . . .343
If Music Be the Food of Love Dickau, David . . . . . .349
Innisfree Custer, Gerald . . . . . .353
Ka Hia Manu Hatfield, Stephen . . . . . .359
Love and Pizen (Springfield Mountain), Op. 60, No. 3 Mechem, Kirke . . . . . .365
Love Walked In Gershwin, George/arr. Zegree, Steve . . . . . .371
O Jesu Christ, mein Lebens Licht, BWV 118 Bach, Johann Sebastian . . . . . .377
O magnum mysterium Victoria, Toms Luis de . . . . . .383
O Sing Joyfully Batten, Adrian . . . . . .387
Past Life Melodies Hopkins, Sarah . . . . . .393
Sing Me to Heaven Gawthrop, Daniel . . . . . .399
Suite Nordestina arr. Miranda, Ronaldo . . . . . .403
The Battle of Jericho arr. Hogan, Moses . . . . . .409
The Silver Swan Gibbons, Orlando . . . . . .415
Trs Cantos Nativos arr. Leite, Marcos . . . . . .421
Ubi caritas Durufl, Maurice . . . . . .427
Venite exultemus Domino Sweelinck, Jan Pieterszoon . . . . . .433
Verbum caro factum est Hassler, Hans Leo . . . . . .439
Treble voices:
Heart We Will Forget Him Mulholland, James . . . . . .443
Messe basse Faur, Gabriel . . . . . .449
Niska Banja arr. Page, Nick . . . . . .455
Whatll I Do? Berlin, Irving/arr. Shaw, Kirby . . . . . .459
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Mens voices:
An die Frauen (To Women), Hob. XXVb:4 Haydn, Franz Joseph/
arr. Vancil, Gregory . . . . . .465
Beati mortui, Op. 115, No. 1 Mendelssohn, Felix/arr. Weber, M. . . . . . .469
Brothers, Sing On! (A Choral Salutation) Grieg, Edvard/
arr. McKinney, Howard D. . . . . . .475
Im A-Rollin arr. Rardin, Paul . . . . . .481
What Shall We Do with the Drunken Sailor arr. Parker, Alice
and Shaw, Robert . . . . . .487
LEVEL FOUR
Mixed voices:
A Choral Flourish Vaughan Williams, Ralph . . . . . .495
A Spotless Rose Morton, Graeme . . . . . .499
Amor de Mi Alma Stroope, Z. Randall . . . . . .505
An Elizabethan Spring Chatman, Stephen . . . . . .511
Cantemus! Brdos, Lajos . . . . . .517
Daemon irrepit callidus Orbn, Gyrgy . . . . . .521
Die mit Trnen sen, SWV 378
from Geistliche Chormusik, 1648 Schtz, Heinrich . . . . . .525
Four Pastorales Effinger, Cecil . . . . . .531
Four Slovak Folk Songs Bartk, Bla . . . . . .539
Geistliches Lied, Op. 30 Brahms, Johannes . . . . . .543
I Have Had Singing Sametz, Steven . . . . . .549
John the Revelator arr. Caldwell, Paul and Ivory, Sean . . . . . .553
La Muerte del Angel Piazzolla, Astor/arr. Zadoff, Nstor . . . . . .559
Let Down the Bars, O Death, Op. 8, No. 2 Barber, Samuel . . . . . .565
O magnum mysterium Lauridsen, Morten . . . . . .571
Sfogava con le stele Monteverdi, Claudio . . . . . .577
Sing Ye Praises to Our King, Op. 20, No. 4 Copland, Aaron . . . . . .583
The Blue Bird Stanford, Charles Villiers . . . . . .589
Three Whitman Settings Clausen, Ren . . . . . .593
Vorspruch from Mrike-Chorliederbuch, Op. 19 Distler, Hugo . . . . . .599
Treble voices:
Las Amarillas Hatfield, Stephen . . . . . .605
O aula nobilis Mathias, William . . . . . .611
Salut au chevalier printemps, Op. 151, No. 2 Saint-Sans, Camille . . . . . .617
Mens voices:
Al naharot Bavel Rossi, Salamone/ed. Jacobson, Joshua R. . . . . . 623
Manly Men Knecht, Kurt . . . . . .629
Psalm 117 Hoffman, Stanley . . . . . .633
Sehnsucht Schubert, Franz . . . . . .637
Shall I Compare Thee Paulus, Stephen . . . . . .643
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LEVEL FIVE
Mixed voices:
Dieu! quil la fait bon regarder
from Trois Chansons de Charles dOrleans Debussy, Claude . . . . . .651
The Choir Inivisible Harris, Ron . . . . . .657
Treble voices:
Choral Hymns from the Rig Veda, Set 3 Holst, Gustav . . . . . .665
Mens voices:
Dlamn McGlynn, Michael . . . . . .673
Varjele, Jumala, soasta (God, Protect Us from War) Tormis, Veljo . . . . . .677
Index by Title for Teaching Music through Performance in Choir:
Volumes 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .681
Index by Publisher for Teaching Music through Performance in Choir:
Volumes 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .686
Index by Composer and Arranger for Teaching Music through Performance
in Choir: Volume 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .691
Index by Title for Teaching Music through Performance in Choir:
Volume 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .694
About the Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .697
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