PFP: Baroque polyphonic text painting through Dance.


1. After the students have a pretty firm handle on the notes, rhythms, and words, divide them into small SATB ensembles.


2. Each ensemble should choose 8-16 measures to dance, rather than sing. The “choreography” for each voice part should show the contour, style and rhythm of the line (i.e., if they are resting, there should be no movement.)


3. Perform the “dance scores” for the rest of the choir and see if they can match the movements to the correct measures.


OUTCOME: Students will be able to sing their musical line with more movement, focus and direction. They will also recognize which vocal lines should be prominent in the polyphony.


There is no question that the inclusion of PFP activities takes class time. With careful planning, even 10-15 minutes devoted to PFP’s can make a significant change in the focus and direction of the rehearsal and performance. And the change of pace the PFP activities provide often contributes to greater productivity and motivation for the rest of the class period.


Often, only talented soloists are recognized as choir stars. But with PFP activities, all students have the opportunity


to shine through projects that highlight their creativity and abilities in drama, dance, art, and creative writing. The new respect students acquire for each other makes group work and sectionals much more efficient and effective. Due to both the PFP activities and the use of the students’ diverse talents, the singers all take a sense of ownership in the mu- sic. They want to sing “their music” over and over.


By thinking differently about the use of rehearsal time and PFP’s, the students might just start writing their own adver- tisements as to why they can’t go a day without choir!


Reprinted from the Michigan Music Educator, Volume 40, Issue 02, pp. 13-17, (c) 2002, Michigan Music Educators Assoc., Saginaw, MI.


Norma Freeman recently retired from the Saline Area Schools where she taught high school choir, music the- ater, operetta workshop, music theory, AP music theory, guitar, 5th/6th grade Creative Arts, and 7th/8th grade choir. Freeman currently directs Voices Val- iant, a choral experience for adults over 50 through the School of Music, Theater and Dance at the University of Michi- gan. She also teaches piano privately to


students of all ages and serves as a choral festival adjudicator for the Michigan School Vocal Music Association.


2017 Michigan Music Conference MMEA Session Highlights


January 19-21, 2017 Amway Grand Plaza Hotel & Devos Place Convention Center (Grand Rapids, MI)


Teaching choral music to second graders - it can be done! Presenter: Kyle Zeuch, Michigan State University Community Music School


A choral experience for primary elementary students is not without considerable challenges: What choral music is appropri- ate for 7-9 year old singers? How do we explain vocal technique in a fun and healthy way? How long should we rehearse? How do we introduce a choral octavo to young singers? What choral expectations are important at this age? Do we sing in parts or not? In this session, attendees will be “a fly on the wall” of a Cantabile rehearsal. Cantabile is a choir of 7-9 year olds at the Michigan State University Community Music School. While watching these singers rehearse, attendees will gain ideas of approaches to these difficult questions. After our “rehearsals” and a small performance by the choir, Kyle Zeuch will explain and open a discussion for attendees to share ideas and ask questions. Teaching choral music to second graders- it can CERTAINLY be done!


Mentoring Student and Beginning Music Teachers Presenters: Lindsey Micheel-Mays, Michigan Center Dan Scott, Jennison Wendee Wolf-Sharf, Traverse City


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