Sing at First Sight is a sequential sight-singing curriculum for all choirs! This Level 2 book opens with a comprehensive Rhythm Review and Pitch Practice reinforcing the concepts studied in Sing at First Sight, Level 1. Each of the four units that follow features a helpful Getting Ready page, progressive Rhythm Readiness exercises, and thorough music-reading Lessons with practice Exercises, useful Hints, and motivating Challenge Exercises. Unit summary and assessment is easily achieved with choral excerpts from Alfred’s Choral Designs series, fun-filled Review games, and Evaluating Your Performance questions. Plus, Alfred has included a full-length Performance Piece to measure and celebrate your choir’s sight-singing progress, and then perform in concert. Includes: * Singing in Minor * Chromatics * 2-Part, 3-Part, and 4-Part Harmony * Major and Minor Intervals * Changing Meter * Sixteenth-Note Patterns

What role does contemporary choral activity play in the construction of social and musical meaning? How can historical knowledge and analysis shed light on contemporary choral problems and possibilities? And how can choral research promote the development and expansion of new music today? Questions like these are addressed in this anthology from a wide range of disciplines and perspectives. The book comprises a selection of papers presented at the International Conference on the Concepts and Practices of Choral Singing in Lund, Sweden, in October 2012. The aim of the conference was to highlight the contemporary dynamic developments in choral research, and to explore interdisciplinary investigations and interaction between practice-based and historical approaches. The conference was also the fourth meeting of the network “Choir in Focus”, which was initiated in 2009 at Southern Choral Centre (Körcentrum Syd), a joint venture between Malmö Academy of Music, the Department of Musicology, Odeum (all at Lund University), Malmö Symphony Orchestra and Music South (Musik i Syd), Sweden. The continuous ambition of the network has been to provide a forum for co-operation across national and disciplinary borders and to encourage debates around the musical and social function of choirs in modern society as mirroring collective and individual needs for meaning, music-making and well-being. In the introductory chapter, the editors describe choral practice as a field of simultaneous (re)presentation, (re)production and (re)creation, and suggest that these three aspects may be seen as umbrella themes for the fifteen chapters of the anthology. The authors come from Sweden, Norway, Finland, Estonia, Germany, United Kingdom, Portugal and Belgium, and explore choral practice from differing theoretical and methodological starting points. Together, they contribute to a transdisciplinary discussion about the origins, functions and meanings of choral singing.

Distills the essentials of good choral vocal technique into eleven concise lessons.--

Bringing together perspectives on history, global activity and professional development, this Companion provides a unique overview of choral music.

(Methodology Chorals). Excellence is not something stumbled upon by accident. You won't achieve great things while flailing about in paperwork nor partake of true musical artistry by folly. Success requires a concrete plan of action: a big-picture plan followed by all the little details that, together, create a complex mosaic that forms a beautiful and intricate picture of choral excellence. This practical text offers a wealth of information for running a choral program. The two successful veteran teachers offer advice for dozens of solutions to issues facing the choral director. Includes a CD-ROM of bonus material, an introduction by Paul Salamunovich, and these chapters: 1. GET READY... The Calendar for the Year, The Choir Handbook. 2. GET SET... Preparing for Class, Herhearsal Structure and Techniques, Selecting Literature, Blueprint for Teaching Choral Literature, Effective Classroom Management. 3. GO! Conducting Concert Dos and Don'ts, Memorization, Contests and Festivals, Programming Themes and Variations, Enrichment Opportunities for Students, The Blessing of Added Extras, Identifying Prospective Audiences. 4. AFTER ALL, THEY DO CALL YOU A TEACHER! Grading Policies, Paperwork, Teaching Sight-Reading and Music Literacy. 5. TAKING CARE OF BUSINESS Copyright Law for the Choral Director, The Art of the Interview, Teacher Observations and Evaluations, Professional Resources. 6. HOW TO GET ALONG AND PLAY WELL WITH OTHERS Building Your Support System, The Recruitment and Retention of Choir Students, Effective Publicity and Public Relations. HOW TO DO STUFF Fund-Raising, Uniforms, Music Library Organization and Maintentance. 8. HOW TO KEEP THE TAIL FROM WAGGING THE DOG Show, Pop, Jazz, and Swing Choirs, Chamber Singers and Madrigal Groups. 9. WHO SAYS CHOIR IS BORING? Choir Traditions, Fun and Games, Trips, Tours, Parties, and Banquets. 10. ALL THE REST THAT'S FIT TO PRINT... Topics Overlooked in MusEd 101, The Great Miscellany of It All. 11. VAULTING INTO THE BIG LEAGUES VIPs of the Profession, "You Are Cordially Invited...", International Travel Epilogue, Table of Contents for CD Appendix, Index

In Transforming Choral Singing: An Activist's Guide for Choir Directors, author Charles W. Beale draws from his many years of choral directing experience to put forth a new vision for choral singing: to move audiences and change the world. He lays down a non-canonical and inclusive framework, grounded in critical musicology and pedagogy, for mission-driven and activist-oriented engagement with the choral arts and provides practical takeaways for choral practitioners and conductors through a lively mix of practical workshops, tips, and suggestions.

While there are many similarities between solo and choral singing, they are not the same discipline, and it is important to realize the different approaches necessary for each. In The Solo Singer in the Choral Setting: A Handbook for Achieving Vocal Health, Olson presents the unique perspective of choral singing from a soloist's viewpoint, providing a clear outline of several issues facing the solo singer in the choral setting. She discusses concepts as diverse as body position in rehearsal and acoustic sound production, and she offers practical ideas for solving these challenges. Teaching examples and case studies help illustrate the problems and offer potential solutions for handling the challenges of the choral environment. After a general overview of vocal technique, the chapters address the physiological, psychological, pedagogical, acoustic, and interpretive issues facing the solo singer in the choral setting. Concepts, such as phonation; resonation and timbre; approaches to diction; voice classification; choral blend; interpreting emotion; relationships among choral conductor, singer, and teacher of singing; and the use of vibrato are examined in detail. Concluding with a conversation with two choral conductors, as well as a glossary, bibliography, and index, this volume is beneficial to singers, teachers, and conductors alike.