A Report on Lifeline for Children’s Choir Directors Essay

“I was super nervous” says Davis. As her and her fellow choir members were waiting to go on stage.The Westover Junior High choir were performing for the first time. “ It’s nerve racking because you never know if you will or someone else will mess up and then the whole choir could go down.” adds Davis. Mrs. Daniels finished her intro it was time for the big moment. “We walk onstage just like we practiced the day before.” explains Davis. The bright lights hit their faces as

It shows how the Flute family initially hid behind a cowardly shadow and explains why, at certain times through the novel, the characters let their pasts affect their attitudes and actions in the present. Most importantly, it illustrates how their hope and belief in finding a better life allows for the creation of an intangible child that will guide them to this new place. It allows for the creation of Thursday’s Child, a young, courageous boy who carries all their dreams and desires yet is just out of reach and cannot be caught; Thursday's child has far to go.

Back when the now seventy-nine-year old performer was only eight, her stepfather decided to get her singing lessons. Her teacher Lillian Stiles-Allen was hired promptly and began instructing young Andrews in operatic techniques. No sooner did they start training did they discover Andrews possessed a freakish four-octave voice, and an exceptionally advanced vocal talent and “crystalline” tone quality for an eight year old girl. Stiles-Allen states Andrews “possessed the rare gift of absolute pitch,” and even wrote a

​In his derogatory passage, Igor Stravinsky discusses the common views and reputation of orchestra conductors; he argues that conductors are not musical gods but rather destroyers of musical compositions and the glory that they are meant to receive. Because Stravinsky is a composer himself, he has firsthand experience with the relationship between composer and conductor and has dealt with conductors that have conducted his compositions. Stravinsky’s purpose in writing this passage is to convince the reader of the false perspective they possess of conductors. He wants to correct these pretenses and expose the façade of conducting in order for the reader to disassociate the conductor with being the star of the performance and help them focus

Danticat uses her Uncles loss of voice, to show us how different and hard it can be to not have a voice at all. When Danticat was 9 years old, her uncle was diagnosed with throat cancer and the doctors told him that he would need a radical laryngectomy to save his life. Danticat recalls her uncle, a bishop, having a grand voice, a voice that would invoke people to listen when she states, “he would model Fignolé’s forceful and direct Creole diction and speak in a clear, powerful bass, allowing only a few well-chosen pauses” (Danticat p.31) However, as a bishop, her father recalls a time when he’d watched his brother give a

Brea Heneveld is a freshman at Grace Bible College studying elementary education with a focus in mathematics and reading. She grew up in the small farming town of Hamilton, Michigan. Before heading to Grace, Brea attended Hamilton High School where she graduated the top 25 out of 200 students. While in high school she played basketball her freshman and sophomore year, was in choir all four years, eventually making into Hamilton’s top choir her junior year, and performed in two productions her senior year. She currently is employed at Cracker Barrel in Grandville and also The Good Earth Café in Holland. Music is a big part of her life and has been singing in front of groups ever since she can remember. She surrounded herself with friends who

Etien is able to work effectively with group members during collaborative class assignments. He is developing his note reading and writing capabilities and recently composed a short piece using a repeated motif. Etien is able to read and play the notes g through high d on the recorder with the correct fingerings and a good tone. A goal for Etien is to maintain better focus when singing with the class, in order to appropriately develop his vocal skills. I look forward to hearing his recent creation on Garage

1. Roy, Gabrielle. The Tin Flute. Translated by Alan Brown. Toronto: McCelland & Stewart Inc., 1989

WILLIAM stood at the back of the cider mill and stared over the makeshift classroom. Mary and Reverend Flowers stood at the front of the classroom. Forty students ranging from 5-years-old up to 18-years-old sat at tables arranged by grade level. Mary taught a lesson on long division to a group of 7-year-olds while Reverend Flowers monitored the rest of the students as they worked independently at their desks. Reverend Flowers walked to an 11-year-old boy in the second row who was doodling in the margins of a notebook instead of focusing on his reading assignment. Reverend Flowers grabbed the boy by his ear and yanked him out of his seat.

Becoming a band director is a tricky job. Not only are you a role model for all the aspiring musicians that you teach but you are constantly on the job. Band is a hobby/job that requires alt of hours, hours for practice, lessons, etc. What doesn’t make this easy either is the constant criticism of people looking down at your major. Saying things such as “Music is a waste o a college degree,” or “teachers don’t get paid enough to make a living. Why don’t you become a doctor.” These things generally don’t bother aspiring music majors, but it genuinely makes you think about how valid the degree you are receiving is. But despite the criticism, music is amazing. That’s the real reason why I would like that to be what I want to do for a

In Joanne Lipman’s “A Musical Fix for U.S. Schools”, she describes the benefits music can bring to a student’s IQ that allows them to perform superior in school. Music forces a person to think differently than how they usually may in other classes. This allows for new thinking strategies to form, improving the cognitive side of the mind. This positive difference is shown when a canadian study was done with music training where the results showed an increase in IQ in the group of people children studied (Lipman). With that study, the favorable results of music is clear for children. An IQ measures the intelligence of people, which is related to the cognitive abilities of the mind, and therefore the person. People may think that music may

For a future occupation, I would like to apply to be a music director. A music director is someone who leads a musical group or an orchestra. This career is one that I think According to Occupational Outlook Handbook, a typical schedule for a music director are “rehearsals and recording sessions are commonly held during business hours, but performances take place most often on nights and weekends. Because music writing is done primarily independently, composers may be able to set their own schedules”(OOH).

What have been some of the obstacles to the teaching of sight-singing in the contemporary choral rehearsal?

The most important activity I have done in my high school career is chorus. During school hours, we spend time preparing for concerts, and outside of school we have rehearsals, performances, extracurricular choirs, and concert tours in which we devote much of our time.

When preparing the choral rehearsal and music, the success of the program determines by how seriously the choral director plans. All concert dates should be planned in advance. Directors need to cheek with with the community, the all-school calendar, school sporting events and state tests to make sure there would be no conflict when scheduling for their school concert. Choral repertoire should be pick in advance, which will help with the selection of music and ordering early to watch the choral budget. Sometimes, directors create a chart that states: titles, composers, language, accompanied, and so on, to be able to either pick music quickly or pick a theme for the concert. When planning for a long-range schedule, a director needs to see how much time they are allotted per piece to make their concert work. Thus, some directors teach sight-singing skills that will sped up rehearsal times. Every rehearsal should have the goals or objectives that need to be meet that day. Rehearsal should reflect on the knowledge gained, skills improved, and a meaningful music experience. In rehearsal structures, there are three main rehearsal strategies a choral director