Hostname: page-component-cd9895bd7-dzt6s Total loading time: 0 Render date: 2024-12-30T20:27:16.015Z Has data issue: false hasContentIssue false
  • English
  • Français

Developing a choral conducting curriculum

Published online by Cambridge University Press:  18 December 2008

Colin Durrant
Get access Rights & Permissions [Opens in a new window]

Abstract

The teaching of choral conducting does not feature widely within higher education in the UK (Durrant, 1994, 1997). However, in recent years interest has been shown by the Association of British Choral Directors (ABCD) in the establishment of centres of choral conducting education in particular institutions around the country. Following recent research on the development of a model of effective choral conducting (Durrant, 1996; Apfelstadt, 1997), this article focuses on some of the key learning processes, methods and procedures that would be central to the development of a choral conducting curriculum in existing and potential higher education courses and programmes. The intention in the design and development of such courses is not primarily to create conductors of elite choral ensembles, but rather to ensure that those entering the teaching profession and directing amateur choral groups in churches and the community have the requisite choral conducting knowledge and skills to facilitate systematic and sustained improvement in the quality of choral activity at these levels.

Type
Research Article
Information
British Journal of Music Education , Volume 15 , Issue 3 , November 1998 , pp. 303 - 316
Copyright
Copyright © Cambridge University Press 1998

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Apfelstadt, H. (1997) ‘Applying leadership models in teaching choral conductors', Choral Journal of the American Choral Directors' Association 37 (8), 23–30.Google Scholar
Boult, A. (1963) Thoughts on Conducting. London:Phoenix House.Google Scholar
Cargill, S. & Pratt, G. (1991) ‘Up and running: an update on the RAMP unit's work at Huddersfield Polytechnic’, British Journal of Music Education 8 (1), 21–38.CrossRefGoogle Scholar
Cooksey, J. (1992) Working with the Adolescent Voice. St Louis, Miss.: Concordia.Google Scholar
Cooksey, J. & Welch, G. (1998) ‘Adolescence, singing development and National Curricula design’, British Journal of Music Education 15 (1) 99–119.CrossRefGoogle Scholar
Crowe, D. (1994) ‘Error detection abilities of conducting students under four modes of instrumental score study'. Doctoral dissertation, University of Arizona.Google Scholar
Dearnley, C. (1970) English Church Music 19650-1750. London:Barrie & Jenkins.Google Scholar
Decker, H. & Kirk, C. (1988) Choral Conducting: Focus on Communication. Engelwood Cliffs, NJ: Prentice Hall.Google Scholar
Donovan, A. (1994) ‘The interaction of personality traits in applied music teaching'. Doctoral dissertation, University of Southern Mississippi.Google Scholar
Durrant, C. (1994) ‘Towards a model of effective communication: a case for structured teaching of conducting’, British Journal of Music Education 11 (1) 57–76.CrossRefGoogle Scholar
Durrant, C. & Welch, G. (1995) Making Sense of Music: Foundations for Music Education. London:Cassells.Google Scholar
Durrant, C. (1996) ‘Towards a model of effective choral conducting: implications for music education, musical communication and curriculum development'. Doctoral thesis, University of Surrey.Google Scholar
Durrant, C. (1997) ‘An investigation into the teaching of choral conducting: implications for curriculum development in the UK', Canadian Music Educator 38 (3) 9–14.Google Scholar
Elbaz, F. (1983) Teacher Thinking: A Study of Practical Knowledge. London:Croom Helm.Google Scholar
Elliott, D. (1995) Music Matters: A New Philosophy of Music Education. New York: Oxford University Press.Google Scholar
Gackle, L. (1992) ‘Understanding the adolescent female changing voice’ in Thurman, L. & Welch, G. (eds.). Bodymindand Voice. Minneapolis: The Voice Care Network.Google Scholar
Gumm, A. (1991) ‘The identification and measurement of music teaching styles'. Doctoral dissertation, University of Utah.Google Scholar
Hart, L. (1983) Human Brain and Human Learning. Arizona: Books for Educators.Google Scholar
Jackson, E. (1994) ‘An exploratory examination of the electro-encephalographic correlates of aural imagery, kinesthetic imagery, music listening, motor movement by novice and expert conductors'. Doctoral dissertation, Ohio State University.Google Scholar
Johnston, H. (1993) ‘The use of video self-assessment and instructor feedback in evaluating conducting skills in student music teachers’, British Journal of Music Education 10 (1) 57–63.CrossRefGoogle Scholar
Kaplan, A. (1985) Choral Conducting. New York & London: W. W. Norton Co.Google Scholar
Kliewar, V. (1974) Aural Training: A Comprehensive Approach. Engelwood Cliffs, NJ: Prentice Hall.Google Scholar
Lebrecht, N. (1991) The Maestro Myth. London:Simon & Schuster.Google Scholar
Marvin, J. (1988) ‘The conductor's "process"’ in Paine, G. (ed.). Five Centuries of Choral Music: Essays in Honor of Howard Swan. New York: Festschrift Series 6, Pendragon Press.Google Scholar
Office for Standards in Education (1996) The Annual Report of Her Majesty's Chief Inspector of Schools, 1994/95. London:HMSO.Google Scholar
Peters, G. & Miller, R. (1982) Music Teaching and Learning. New York: Longman.Google Scholar
Pfautsch, L. (1973) ‘The choral conductor and the rehearsal’ in Decker, H. & Herford, J. (eds.) Choral Conducting Symposium. Engelwood Cliffs, NJ: Prentice Hall.Google Scholar
Rao, D. (1993) We will Sing!Choral Music Experience for Classroom Choirs. London & New York: Boosey & Hawkes.Google Scholar
Schon, D. (1987) Educating the Reflective Practitioner. San Fransisco: Jossey-Bass Publishers.Google Scholar
Schoenberg, H. (1967) The Great Conductors. New York: Simon & Schuster.Google Scholar
Strouse, L. (1987) ‘From analysis to gesture: a comprehensive approach to score preparation for the conductor'. Doctoral dissertation, Ball State University, Indiana.Google Scholar
Swanwick, K. (1994) Musical Knowledge: Intuition, Analysis and Music Education. London:Routledge.Google Scholar
Thackray, R. (1980) Aural Awakening: A Course of Aural Training and General Musicianship for Students and Teachers. Western Australia: University of Western Australia.Google Scholar
Thurman, L. (1992) ‘Human compatible learning and human antagonistic learning’ in Thurman, L. & Welch, G. (eds.) (1992) Bodymind and Voice. Minneapolis: The Voice Care Network.Google Scholar
Thurman, L. & Welch, G. (eds.) (1992) Bodymind and Voice. Minneapolis: The Voice Care Network.Google Scholar
Van Oyen, L. (1994) ‘The effects of two instrumental score preparation approaches on the error detection ability of student conductors'. Doctoral dissertation, University of Nebraska.Google Scholar
Wine, T. (1994) ‘A pedagogy for choral conducting based on score miniaturisation'. Doctoral dissertation, Florida State University.Google Scholar
Welch, G. (1986) ‘A developmental view of children's singing’, British Journal of Music Education 3 (3) 295–303.CrossRefGoogle Scholar