Choral journal irehearse professional#

It is at this point when I am forced to reevaluate where in the rehearsal process I was ineffective.

However, when things do not go so well and there are apparent problems with vocal production, intonation, balance, blend, vowel unification, or even the lack of emotional content from the performance, I am even quicker to blame myself. With my own ensembles, I am quick to dispense congratulatory accolades to the signers when a performance goes well, or when the intangible elevation and inspiration are achieved.

Good rehearsals are built upon the passion, skill, organization, gesture, and empathy of the conductor. Good performances are built upon good rehearsals. Dehning, the objectives of rehearsal are: 1) to achieve the best results in the shortest time with the least strain, vocally and generally 2) to promote the aesthetic and personal growth of everyone in the room through increasing musical awareness and skill.2 The second objective (and perhaps the more important) refers to the process and not the product. We should be excited about what we do, we should seek to teach as well as conduct, and we should always keep in mind the musical, intellectual, personal, and social needs of the ensemble.” 1 WHY DO WE REHEARSE?Īccording to Dr. William Dehning encourages us to remember, “The human responsibilities of the conductor are to remain human even in light of our position or title. In his book, Chorus Confidential: Decoding the Secrets of the Choral Art, Dr. Choirs can (and do!) exist without conductors. Rather, they are there for a multitude of reasons and without the singers, the choral conductor no longer exists or is necessary. We must be aware that the singers in our ensembles are not there only for the conductor (or even only for the music). It is also our responsibility to promote the aesthetic and personal growth of everyone in the room through increasing musical awareness and skill. But it is during the rehearsal process where the true foundations of fine performances are established.Īs choral conductors it is our responsibility to achieve the best results, in the least amount of time, with the least amount of vocal strain. What is not always clear is exactly how the ensemble got to that point? Do they simply have better singers in their ensemble? Does their conductor know something I don’t? Why don’t my ensembles sound like that? At the heart of every good choral performance is an ensemble of singers committed to working for the common goal of creating a well-coordinated and inspired representation of the composer’s intentions. We all know a fine choral ensemble when we hear one. PROCEDURE & STEWARDSHIP IN THE CHORAL REHEARSAL PROCEDURE

UPDATE: Applications of Research in Music Education.

Choral journal irehearse professional#

Professional Development via Music Educators Journal.NAfME Teaching with Primary Sources Curriculum Units for the 2014 Music Standards.Copyright Guidance for Distance Learning for Music Educators.NAfME Academy®: Professional Development Webinars.NAfME Online Professional Learning Community Webinars.Virtual Learning Resources for Music Educators.Return to Music Guidance Phase III August 2021.