To analyze your music, do a thorough two-stage examina- tion of the pieces you have chosen to use with your choir. First, inspect each piece for musical and technical character- istics. These might include the following:


1. Identify the overall structure of the piece and note the characteristics of the contrasting sections.


2. Identify potential melodic, rhythmic or harmonic problem spots and list possible teaching strategies.


3. Study the pronunciation and vocal technique re- quirements of the text.


4. Design a sequential lesson plan to learn the notes, rhythms, and text.


The second examination is what will really deliver the ad- vertisement results to your choir. Take a calculating, reflec- tive look at the piece and decide on its most significant fea- ture. In other words, when you think of the piece, what is the predominant characteristic that first comes to mind? This might be the:


• Historical significance • Artistic significance • Cultural significance • Melodic contour • Rhythmic drive • Tone color • Formal structure • Compelling story • Dramatic significance • Poetic significance


Now, choose a feature to highlight in your teaching plan. We’ll call this feature the principal focus point (PFP). Be- cause music shares many concepts and a great deal of vo- cabulary with literature, drama, dance and visual art, the other fine art disciplines should be the first places to look for learning activities to emphasize the PFP.


What follow are a few examples of PFP activities that grew out of teaching specific pieces to my choirs.


Pastime With Good Company King Henry VIII arr. Catherine Bennett SAB, Shawnee Press D-428 (A very skillfully arranged SAB madrigal attributed to Hen- ry VIII, a great patron of the arts.)


PFP: Historical significance through Drama


1. Ask students to bring three facts about the life and times of 16th century England to class.


2. In groups of 5-8, have students use the facts to cre- ate table conversation for one of Henry’s dinner parties. The “skit” should end with Henry inviting


17


Figure 2: “I want to walk in the earthly garden” from Where The Music Comes From


Figure 1: “Where the sunlight melts the snow” from Where The Music Comes From


his guests to perform his latest composition, Pas- time With Good Company.


OUTCOME: Students will be able to attach an historical context to the piece and perform in a more relaxed, madrigal style.


Where The Music Comes From Lee Hoiby


SA, G. Schirmer HL50488946 (American composer Lee Hoiby’s beautiful art song in a two part treble choral setting. The text vividly expresses passion for music, life and love.)


PFP: Poetic significance through Visual Art


1. Have students choose a word from the text that is set in a particular fashion that they like, or that they especially enjoy singing.


2. Ask students to write or illustrate the word in a way that represents its musical style. For instance, is the word sung loudly, softly, legato, staccato, gently, with strength? What message is conveyed as they sing the word? For examples, see Figures 1 and 2.


3. Have students share their word artwork with the choir. Put all the word artworks in correct musical order and sing the song following the “art score.” Make your singing match the color and character of the illustrated words.


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