Becoming a Choral Music Teacher: A Field Experience Workbook by Patrice Madura Ward-Steinman
By Patrice Madura Ward-Steinman
This textbook prepares tune schooling and Choral accomplishing majors to be powerful center university and highschool choral song lecturers. It totally integrates the choral box event for hands-on studying and mirrored image and permits the coed to watch and educate the book’s ideas. It covers the necessities of vocal improvement, auditions, literature, rehearsals, lecture room administration, and useful issues.
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Additional resources for Becoming a Choral Music Teacher: A Field Experience Workbook
Effective teaching strategies fill this textbook. THE MENTOR Adolescents participate in choirs not only because they enjoy performing and learning about music, but also for the social aspect—the connection with people. This connection includes the mentorship by the choir teacher. The teacher cares not only about music, but also about the students. The choral experience is an emotionally and socially bonding experience, and the choir teacher is the one who provides a safe, structured, and healthy environment for adolescents to thrive.
Move quickly to the first piece of music, one that engages their minds, bodies, voices and imaginations. • Sing small sections of diverse works and make every effort to keep all students engaged in the music in some way. • When students achieve something musical as a group, congratulate them or thank them for their hard work. • Ask them to sit quietly. • After having a focusing musical experience, take a few moments for announcements. Procedures and Rules Set high standards for behavior. During the first week of class, explain these three management issues: • Procedures • Rules • Consequences.
Duncan McKenzie, Frederick Swanson and Irvin Cooper were pioneers in the development of the “new” view during the mid-1900s. MIDDLE SCHOOL SINGERS 25 First, • it is important to listen to the boys’ voices, individually or in small groups, approximately every six weeks to note any changes in range, quality, and ease of production; • octave displacement is often utilized to limit a song’s range or intervals; and • the teacher may have to put arranging skills to work to create parts that the boys can sing with ease, even if it is a limited note vocal ostinato at times.