Choir in Focus International Conference on the Concepts and Practices of Choral Singing Lund, Sweden, October 17-20, 2012

This conference is organised by the network Choir in Focus in connection with Southern Choral Centre and Musik i Syd and supported by Allhemsstiftelsen. It will take place within the framework of Lund Choral Festival 2012 (http://www.lundchoralfestival.org/in-english/). In order to make visible and available the contemporary dynamic development of choral research, this conference aims at encouraging communication between theory and practice. With the integration of the conference into Lund Choral Festival, the purpose is to highlight interdisciplinary investigations and interaction between practice-based and historical approaches in choral research. Researching choir culture demands and encourages a multitude of research strategies in different disciplines.

The papers focus the interaction of choral concepts and practices since the 18th century, especially on the following themes: 1. Conceptualisations of Choral Practices and Musics, 2. Theories and Methods of Choral Research and 3. Psychological and Social Dimensions of Choral Singing

Keynote speakers: Prof. Andreas C. Lehmann, Systematic Musicology and Music Psychology, University of Music, Würzburg, Germany Prof. Karin Rehnqvist, Composition, Royal College of Music, Stockholm, Sweden

Venue: Department of Arts and Cultural Sciences, Lund University, Biskopsgatan 7, 22100 Lund, Sweden

Conference convenors: Dr. Ursula Geisler, Department of Arts and Cultural Sciences, Lund University and Dr. Karin Johansson, Malmö Academy of Music, Lund University. Email: [email protected]

Programme Wednesday, October 17 Thursday, October 18 Friday, October 19 Saturday, October 20 9.00 Keynote: Karin Rehnqvist Keynote: Andreas Lehmann Courage and resistance: Composing From vocal grooming to female for choir tenors: A music psychologist’s view Chair: Karin Johansson of choir singing Chair: Ursula Geisler 9.45 John Perkins Soila Jaakkola Mary Black Choral Soundtrack to a Short Film – Aural Training Books for Adult Choir ‘Bouncing and dancing:’ the use of Interdisciplinary and Organic Singers Showing Six Paths to verbal imagery in choral directing Processes Meaningful Aural Training Chair: Pia Bygdéus Chair: Karin Johansson Chair: Ursula Geisler 10.25 Coffee Poster: Pedro Santos Coffee Coffee The sharing of themes between the choir and the orchestra in ”Ljus av ljus” by Karin Rehnqvist Chair: Karin Johansson 10.40 Elfriede Moschitz Joy Hill Dag Jansson The a-cappella Choir Music in the The artistic impact on choral Towards a holistic model of choral Oeuvre of Giacinto Scelsi performance with young adult leadership (1905-1988) singers of newly composed music Chair: Sverker Zadig Chair: Guillaume Lurton Chair: Martin Loeser 11.20 Registration Josephine Hoegaerts Martin Ashley Lauren Holmes Frankel Little citizens and ‘petites patries’: 1000 Years and 1000 Boys’ Voices: The Tapiola Choir and Finnishness: learning patriotism through choral The crisis and radical challenge for Institutional and Government singing in Antwerp in the late choral singing Support for Contemporary Music in nineteenth century Chair: Martin Loeser Finland Chair: Guillaume Lurton Chair: Sverker Zadig 12.00 Lunch break Lunch break Light buffet 13.00 Introduction Ann-Charlotte Carlén Choir in Focus Network meeting 13.15 Ursula Geisler/Karin Johansson Mihai Bejinariu Swedish choral practice in the 20th The avant-garde generation of the century Romanian School of Choral Composition during the second half of the Twentieth Century Chair: Anne Haugland Balsnes 2

Wednesday, October 17 Thursday, October 18 Friday, October 19 Saturday, October 20 14.00 Deanna Joseph Laine Randjärv Anne Haugland Balsnes Stephen Muir A Practical Guide to 19th Century Choral singing and politics. Reper- Choral singing for a better life for From the shtetl to the Gardens and Choral-Orchestral Performance toire of Song Celebrations. Estonian persons with chronic illnesses beyond: identity and symbolic Practice Song Celebrations as driver for Chair: Gunnel Fagius geography in Cape Town’s Chair: Karin Johansson political and social change synagogue choirs Chair: Ursula Geisler Chair: Anne Haugland Balsnes 14.40 Annika Lindskog Alexander Arlt (Friedhelm Brusniak) Susan Knight Coffee “Siehe, ich sage euch ein New choral-sociological studies “You may not sing - just mouth the Geheimnis”: questioned collectivity concerning the choral society words”: Exploration of the singing in 19th century choral music movement in the first half of 19th ensemble as a site for ‘non-singer’ Chair: Karin Johansson century identity formation in childhood Chair: Ursula Geisler Chair: Gunnel Fagius 15.20 Coffee Coffee Coffee Poster: Michael Bonshor Exploration of confidence issues amongst adult amateur choral singers Chair: Ursula Geisler 15.40 Thomas Caplin/Stig Eriksson Martin Loeser Janete Costa Ruiz How does 2 + 2 become 5, in a The 19th in the 21st century? The Figurative Speech and Imagery in musical context? German male choir block buster Developing Children’s Choir Chair: Helmke Jan Keden „Die Wacht am Rhein“, „Lützows Performance wilde verwegene Jagd“ and its Chair: Karin Johansson mediality on YouTube Chair: Ursula Geisler 16.20 Jason D. Vodicka Helmke Jan Keden Graham Welch Empowerment, Engagement, and „Grüß Gott mit hellem Klang!“ The The impact of singing on children’s Transformation: A New Paradigm socio-political medialisation of sense of social inclusion in a chorus for the Choral Rehearsal bourgeois singing culture as setting Chair: Helmke Jan Keden exemplified by German films about Chair: Karin Johansson choirs in the Weimar Republic Chair: Ursula Geisler 17.15 Light buffet Light buffet Light buffet 18.30 Departure to concert Departure to concert Departure to concert

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with composers such as H.G. Nägeli, F.X. Schnyder Abstracts von Wartensee, L. Spohr and F.M. Bartholdy. Above all, it is about identifying the local and transregional New choral-sociological studies concerning linkages and networks as the animating spirit behind the singing festival of 1838 and its impact on the civic the choral society movement in the first half as well as on Jewish emancipation movement in of 19th century Germany. The persons responsible of the festival as Alexander Arlt, Singers Museum, Feuchtwangen well as some outstanding personalities are well known, (Friedhelm Brusniak, Prof., Würzburg) indeed; still in the dark is, however, why the festival sent out groundbreaking messages to Jewish emanci- Early 19th century‟s choral society movement is seen as a pation, the civic idea of tolerance and freedom and to pacemaker of Germany‟s modern civic society. During the goal of a German nationality unrelated to social the reign of German nobility, it had gained the role of a status. In addition, there are still only very vague ideas concealed liberal opposition movement which has still as to which contribution musical culture and musical been failed to be recognized even by youngest history. practice made to the development and closeness of a Thus the first German Singing Festival (Deutsches society based on civic freedom and egality. Sängerfest) in Frankfurt am Main 1838 with its The leading role Frankfurt‟s musical life took in encompassing transregional aspiration proved to be a above mentioned development can be traced back to milestone of German liberation movement on the way to the interaction of a large number of confident free 1848‟s revolution and further on to the Frankfurt citizens. As a result, it is now about comprehending Parliament. Even the still existing “Mozart-Foundation” the organizational interlinking principles which also (Mozart- Stiftung) owes its formation to this singing expanded transregionally on other European festival and must, since its name giver also ranks as an countries. Apart from the in Frankfurt strongly outstanding representative of freemasonic mindscape, be differentiated scene of Freemasons‟ lodges, diverse seen in close context of the times‟ political development civic associations represent the most important field as well. of study. Under the restrictive conditions of Latest choral – historical and – sociological Germany‟s restoration of nobility, in early 19th century research, done in relation to an exhibition staged on civic self-will seems to have developed primarily in occasion of the German Choral Society‟s 150 year jubilee city-states. Music and song are thereby understood as during the German Choir Festival of 2012 in Frankfurt a. a medium of social and political communication, M., does not only aim to reveal the deeper background whose contribution to the development of modern of 1838‟s singing festival and the neglected contacts to civic society is yet to be determined more closely. Swiss choral society movement as well as relations 1000 Years and 1000 Boys’ Voices: The crisis response to trends toward earlier puberty and social maturity from the 1990s onwards? Choral music is still and radical challenge for choral singing coming to terms with a fundamental split between Martin Ashley, Head of Research in the Faculty of youth and adult music of the 1950s.One key outcome Education at Edge Hill University of the programme has been the digital audio database of over 1000 voices aged Martin Ashley is Head of Research in the The actual meaning of the English word between ten and fifteen, Faculty of Education at Edge Hill University, “crisis” is “turning point”. The gender individually sampled. The imbalance towards females in choral near Liverpool, UK. After an early career in sound recording with the BBC he trained as database is a resource to singing has been noted, described and map, explore and analyse the analysed for at least one hundred years, but a middle school music teacher and taught for seventeen years in state and process of vocal adaptation choir research seems to have had little to the physical, social and impact on the relentless trend in the loss of independent middle schools, including a period at a cathedral choir school. emotional changes of male voices to choral singing. Are we now puberty. It is hoped that it near to a turning point? The year 2012 sees He was until 2007 Reader in Education at the University of the West will have many uses, the conclusion of one of the largest studies including as a baseline for undertaken of choral singing by boys aged of England, Bristol. On moving to Edge Hill he was awarded both institutional the tracking of speaking and between ten and fifteen. Spanning a period and personal chairs, the latter for his singing voices across of ten years and three research grants, the extensive portfolio of research and decades and centuries in programme has examined the interaction publication in young male identity order to map trends in boys‟ between sociological, psychological and development and the voice. He is active puberty. This presentation physiological aspects of voice within the in choral outreach associated with boys will draw on the audio over-arching framework of young male and lectures widely on the subject of database to provide identity. This presentation will be the first boys’ voices and involvement in singing convincing evidence of the to announce the final conclusions of the during the period of voice change. need for a radical challenge study programme and will argue that boys‟ to choir directors to re- singing needs strong leadership to see through the most examine their role in relation to young male singers. fundamental, radical, root and branch reform in school, The author will argue that the fundamental problem to church and community for 1000 years. be solved has little to do with boys and boyhood, but The research has increasingly demonstrated everything to do with the adults who compose and levels of disagreement between researchers, singing arrange for boys, lead them, teach them, coach them, teachers, voice coaches, choir directors, audiences for direct them and listen to them as audience members. and “fans” of boys‟ singing. What should be the

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The avant-garde generation of the Romanian repertoire has to deal with: the formative structure in the polyphonic language of the twentieth century School of Choral Composition during the (textures and polyphonies); diatonicism and second half of the Twentieth Century chromatism in the contemporary modal systems; Mihai Bejinariu, PhD student, associated lecturer at the determination and non-determination in the modern choral conducting department, National University of compositional language; the instrumentalization of Music, Bucharest choral singing etc.

Composers such as Stefan Niculescu,Tiberiu Olah, Aurel Mihai Bejinariu received his Bachelor in Music (2006), Master of Stroe, Anatol Vieru, Nicolae Moldovan belong to this Arts (2008) and is finalizing his doctoral studies at the National generation of the Romanian school of Composition. University of Music from Bucharest. He is an associated lecturer These composers - formed as symphonists within the at the choral conducting department at this university since patterns of serial thinking - have dedicated most of their 2009. choral works to the National Chamber Choir “Madrigal”. His thesis is entitled “The avant-garde generation of A vast repertoire resulted, with symphonic features, has the Romanian School of Choral Composition during the been performed in first audition by the Madrigal choir. second half of the Twentieth Century”. The sources of their inspiration refer to the national folklore and Byzantine music. The style of the new avant-garde school of composers abandons Serialism and ‘Bouncing and dancing:’ the use of verbal makes use of the national resources combined with imagery in choral directing modern solutions: heterophony, mathematical approaches, modes with infra or supraoctaviant Mary Black, part-time PhD student, Music Department of structures etc. They proposed a new musical language, Leeds University new repertoires raising numerous choral problems, on „Can we make this phrase bounce a bit more? Let it dance.‟ which I‟ll partially try to answer in my presentation. Phrases such as this were the initial impetus for this Therefore, through this paper I intend to research. Through experience as both singer and choir emphasize the importance of the avant-garde director, the author had heard and invented many similar generation‟s works giving examples of analysis and examples of verbal imagery. However, there had been no auditions, the role of the Madrigal choir and especially previous consideration of why this type of expression of its conductor, Marin Constantin, the impact the was being used and whether it was effective. These communist regime had on the choral movement in questions were the springboard for this research which Romania, as well as the theorizations regarding the aims to investigate the use and effect of verbal imagery in problems that the modern and contemporary choral choral directing. The research will determine the choral directors use, especially gesture, there is little circumstances and efficacy of verbal imagery in choral specifically on the use of verbal imagery. rehearsals through videoed observations, interviews and Secondly, if verbal imagery is so frequently used, questionnaires which will demonstrate how different what is its function? It may be used in an attempt to participants understand and respond to verbal imagery. explain what cannot be seen; this refers to both the The research shows that singers are able to interpret the inner workings of the singing mechanism and to that verbal imagery and that there is remarkable agreement on which is not visible in notation. this interpretation, both between singers and their Thirdly, there is a long history of the use of directors and also from one choir and director to verbal imagery in voice teaching, therefore data is another. The research establishes that singers modify the currently being collected to determine whether and sound they sing in response to verbal imagery and also how verbal imagery is transferred from vocal teaching demonstrates other functions of verbal imagery, for into the choral situation and in what circumstances. example its role as a mnemonic. If it is the case that directors who are also Although recognising that many attributes of the experienced singers use verbal imagery more choral director are effectively, choral directors may want to employ Mary Black is a part-time PhD interdependent, the verbal imagery more consciously. student in the Music Department author concentrates of Leeds University, where her on verbal An exploration of the differing levels of research focuses on ‘The use and communication rather effect of verbal imagery in choral than for example, confidence amongst adult amateur choral rehearsals’. She is a singer and gesture or body singers (Poster) choral director and has directed a language, that is, any number of choirs ranging from of the non-verbal Michael Bonshor, Ph.D. student, Music Department, The primary school to chamber choir forms of University of Sheffield at university level. She is also communication. This I present an in-depth, qualitative study, based on a series Senior Lecturer in Music and area of research has of focus groups and semi-structured interviews with Music Education at Liverpool been chosen for active participants in organized singing activities. The aim Hope University, where she several reasons: of the research is to explore the lived-in experience of teaches on undergraduate and Firstly, there is choral singers; to identify some of the main influences on post-graduate courses. little concentration on their perceptions of their voices and performance ability; verbal communication in current literature. Although to highlight some of the factors affecting their there is a great deal of research on the techniques that confidence as singers. The first stage of this study,

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Thomas Caplin is Professor in music at the Hedmark University College, Hamar, Michael Bonshor is a PhD candidate in the Norway. He received his education as a Department of Music at the University of involving four see as perhaps the biggest focus groups and contributions of the Gestalt singer, conductor and choral pedagogue at Sheffield, England. He holds a Master’s degree the Royal Academies of Music in in Music Psychology, specializing in the twelve individual method: interviews with - The insight into how Copenhagen and Stockholm. His management of performance anxiety in adult publications include books on choral experienced choral everything influences the singers. Michael’s doctoral research focuses on conducting in Sweden and Norway, as well singers, has been singers and the conductor in exploring some of the factors relating to as a number of compositions, differing levels of confidence amongst adult completed. The mutual interaction arrangements and CD recordings. In 2004 amateur choral singers. themes and - How the whole and the he was awarded the recognition “Choral His research interests are informed by significant issues musical result can amount to Director of the Year” by the Norwegian his previous experience as a professional identified so far will both less and more than the Choral Directors’ Association. He has singer, as well as by his work as a vocal be used to inform sum of the individual factors received international recognitions for his coach, accompanist and choral director. the next stage of involved. leadership of several choirs. Michael’s other musical interests include the project. This We have also put Internationally he is in the writing choral arrangements and playing the will include forward the question whether steering committee for the IFCM drums. interviews with there is correlation between mentor program “Conductors Without choral directors, as current curricula for Borders”, and is the Norwegian well as further interviews with singers. It is hoped that conductor‟s training programs representative in the Interkultur World this research will result in a set of useful and the practice theory that is Choir Council. recommendations for singers, teachers and conductors necessary and has been Stig Eriksen has been teaching since 1985 who have an interest in confidence issues. recorded in this area. and since 2006 as an Assistant Professor, In our research project at Faculty of Education and Natural How does 2 + 2 become 5, in a musical our wish has been to develop Sciences, Hedmark University College, and merge musical, Norway. context? psychological and pedagogical He is a member of the Teacher Thomas Caplin, Prof. & Stig Eriksson, Prof., Hedmark knowledge, with focus on how Education Department, where he University College, Hamar to strengthen the interaction lectures on counselling/coaching/ and between the ensemble and its strategic leadership with a special focus The purpose of this presentation is to explain why we leader on learning organization and gestalt consider it imperative for the leader of a music ensemble psychology. He is involved in a lot of to conduct “the whole human being”. By reflecting on research and development projects, current practice in the field of conducting and up-to-date and during the last two years he has theory on pedagogical psychology, we explicate what we combined his professional and private interest in pursuing a project entitled: ”The insight in how everything influences the singers and8 the conductor”.

This we try to achieve by: Swedish choral practice in the 20th century Merging relevant theory from both the music and the pedagogy/psychology areas, which together Dr. Ursula Geisler & Karin Johansson, Ph.D., Lund will be able to make previously silent knowledge and University, Malmö Academy of Music practice into new and explicit and transferrable This paper deals with Swedish choral practice from a knowledge. twofold perspective. On the one hand, aspects of Developing new methods – and implementing historical and sociological relevance are brought up in a already established methods for collecting and long-term perspective and, on the other hand, these are processing data. combined with and contrasted to a focus on today‟s So far we have utilised both divergent and choral practice in Sweden. qualitative method in our approach, and since autumn In Sweden, the research that has been conducted 2010 we have so far challenged 197 agents, both on the phenomenon of choruses and choral singing in conductors, singers and music students in describing Sweden has been varied. However, it is to a large the reality they experience and what they mean extent traditional mixed choir singing that is referred represents a good musical leader for an ensemble. to when Swedish choral issues and the ”The Swedish In collaboration with Norges Korforbund choral miracle” are discussed. According to Lennart (Norwegian Choir Association) we have Reimers, the latter is closely associated with a specific simultaneously developed and tried out our own pilot choral ‟sound‟, and he has pointed out that ”this project within choral conducting at Hedmark ‟miracle‟ was not a sudden event following the Second University College. Additionally we have – in a form World War but a crystallization of various historical, for action research – had a research partnership with cultural and national traditions which go back a long an ensemble during autumn 2011/spring 2012. This way in time, primarily to the period between the end comprises video recordings followed by analysis of of the 18th and the beginning of the 20th centuries“ “what is really going on” in the ensemble, together (Reimers 1993, 141). with the agents. Presently we are following up with As described by Richard Sparks (2000), Sweden phase 2 in the project, where our next goal is to follow was still a uniform culture (enhetskultur) during a large the same methods of interaction with the conductors part of the 20th century, with social institutions like for field band and orchestra. the church, school, unions and student contexts as The presentation will be conducted in a dialogue stable bases for choir singing and music making. This form. situation formed a stable pyramid with a base and an elite. Today, however, the situation is different – multifaceted, unclear and unpredictable. Against the

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background of an interview study with 26 professional Choral singing for a better life for persons Swedish choir leaders we will suggest possible future directions for choral practice in education and with chronic illnesses performance and give some pictures of where choral Anne Haugland Balsnes, Associate Professor, Ansgar leadership in Sweden might be heading. College, Norway In recent years an extensive body of research has emerged which points towards the positive effects of Ursula Geisler is a research fellow in Musicology at the choral singing; physically, psychologically, cognitively, Department of Arts and Cultural Sciences at Lund socially and in terms of meaning and coherence in life. University since 2002. Her thesis ‘Gesang und nationale Studies of choirs for seniors, the homeless, rehabilitation, Gemeinschaft. Zur kulturellen Konstruktion von prison inmates, the mentally ill and so on have been schwedischem “folksång” und deutscher made. Common to all of these, is that the choirs studied “Nationalhymne”’ (Nomos 2001) focused on transnational have a therapeutic objective and are set up for a specific aspects of singing. In this Swedish-German perspective group of people. The studies conclude that choral singing several choir and chorus aspects in Europe were included has therapeutic effects. Furthermore, Anne Haugland Balsnes from the French Revolution until the end of World War II. research exists which demonstrates that is Associate Professor at In her research she focuses mainly on transnational music „healthy‟ people who sing in more Ansgar College, Norway. aspects and the history and development of musical ideas traditional choir practices with musical She has many years of as well as music transformations in society. Together with and/or social objectives experience that experience as a college Karin Johansson she has initiated the research network their participation is health promoting. teacher of music and as Choir in Focus. However, the present study focuses on a choral conductor and Karin Johansson is a research fellow at Malmö people who have various chronic singer. Academy of Music, Lund University, Sweden. After illnesses, yet still participate in regular finishing her thesis ‘Organ improvisation – activity, choir practices without any therapeutic objective. action and rhetorical practice’ (2008), she is involved in The purpose of the study is to document and research on higher music education and in the project understand the experiences that people with chronic (Re)thinking improvisation. Together with Ursula diseases have with choral singing and increase Geisler she initiated the research network Choir in knowledge about how „musicking‟ may improve health Focus in 2008. She is currently completing a qualitative and quality of life. The study is based on the following study of high-ranking Swedish choral conductors’ views research question: How does choral singing influence on research, musical quality and artistic value. how the chronically sick perceive their own health and quality of life?”

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The study is part of the ongoing post-doctoral Little citizens and ‘petites patries’: learning project “Choral Singing for a Better Life”, which investigates how choral singing has the potential to patriotism through choral singing in affect the health situation of individual people. The Antwerp in the late nineteenth century results are preliminary. Currently, three semi- Josephine Hoegaerts, Post-doctoraal onderzoeker FWO, structured interviews have been carried out. One Faculteit Letteren, KU Leuven interviewee has arthritis/rheumatism, one a diagnosis of schizophrenia and a third has chronic lymphocytic The relation between nineteenth century choral singing leukemia and fibromyalgia. The plan is to interview a and nationalism has mainly been researched by focussing total of eight individuals. The analysis is inspired by on men's choirs. In Flanders, however, these male choirs phenomenology and discourse analysis. The material seem to have been less popular, and less important, in will be illuminated by theory from the the endeavor to spread patriotic emerging music and health field. The Josephine Hoegaerts is a fwo post-doctoral discourses and emotions. Ad preliminary analysis shows that in researcher at Leuven University. Currently she hoc choirs, consisting of relation to a social and psychological is conducting research into the evolution of members of local choirs, school dimension, choral singing is of vocal (pedagogic) practices in Western Europe teachers and children (together existential importance for a best in the long nineteenth century, and gender often counting up to more than possible life despite the various and age-related discourses of vocal a thousand singers) were more chronic diseases the interviewees differentiation. visible. On these occasions of suffer from. Recent publications include mass choral singing, the choir The knowledge which comes to ‘Benevolent Fathers and Virile Brothers. not only passed on patriotic light through the “Choral Singing for Metaphors of Kinship and the Construction discourses through the lyrics a Better Life” project will be relevant of Masculinity and Age in the Nineteenth they sang, but also 'represented' for the music education field, for Century Belgian Army’, BMGN-Low the nation as a people singing example in connection with the Countries Historical Review, vol.127-1 in unison. The presence of training of choir directors, but also (2012), 72-100; ‘Manoeuvring Men: singers with different local for public health in a wider sense. Masculinity as Spatially defined accents especially, underlined Readability’, Gender, Place and Culture 17:2 the image of a nation unified in (2010) 249-268, and ‘Domestic Heroes: its difference, a mosaïc of a Saint Nicholas and the Catholic Family number of 'petites patries' Father in the Nineteenth Century’, Journal constituting one country. of Men, Masculinities and Spirituality 3:1 Moreover, on a more individual (2009) 41-63. level, these concerts and the

11 practice sessions leading up to them provided singers The artistic impact on choral performance with the opportunity to perform their identities as model 'Belgians'. In a constant repetition of specific discourses with young adult singers of newly composed as well as specific somatized experiences and corporeal music acts, they crafted their selves as citizens, mothers, Joy Hill, Royal College of Music, London protectors, nurturers and, in the case of children, the future of the nation. I have been invited to write a chapter for the Oxford In this paper, I aim to show that this Handbook of Singing, entitled The Collective Choral Voice: construction of a national identity, with its specific Youth Choirs. Writing this chapter is giving me the characteristics depending on gender and age, was part opportunity to look Joy Hill directs the Royal College of Music of a conscious policy shared by local politicians, closely at the issues that Junior Department Chamber and Girls’ Choirs. educators on the national and the local level (the are involved when She also conducts the Vigala Singers, which ministry of education and teachers) and the nation‟s creating successful comprises RCMJD Chamber Choir alumni, and acclaimed artists. Drawing on scores by patriotic choirs for young adult the Purcell School Chamber Choir, where she composers such as Peter Benoit, Albert De voices and has is also a member of the academic music Vleeshouwer and Jan Blockx, on descriptions of the highlighted, for me, the department. performances of their work, on school manuals, intrinsic value of cross Joy also works increasingly as a reports and correspondence of school inspectors, and cultural exchanges with conductor and adjudicator internationally, on political speeches surrounding choral concerts, I young singers and, in most recently in Japan, Estonia, Latvia, will analyse the practices of mass choral singing by particular, the choice of Lithuania, Italy, South Africa, and Uganda. Antwerp volunteers in the second half of the music that is performed Originally a first-study pianist nineteenth century. My main aim is to compare the by the choirs. studying with Eric Parkin and Christopher performances of different actors on the ad hoc stages. Consequently, I Elton, Joy went on to work in music By contrasting mature with young singers, soloists am beginning to education as a teacher, advisory teacher with choir members and musicians with politicians, I investigate some current and lecturer. will show to which extent the figure of the small boy, ideas and general She was Senior Lecturer in Music and singing in unison (rather than the mature male soloist) principles that are Music Education, University of Surrey represented a unified Belgium while remaining tied to employed, by recording Roehampton, Lecturer at the Institute of his local environment of mother, home and village. It interviews with eminent Education London University and member was the inhabitant of the „petite patrie‟ and the not-yet choral conductors and of the Centre for Performance Science at citizen, then, who was thought to adequately represent composers of music for the Royal College of Music. Her published the nation as a whole. youth choirs from research focuses on conducting young several countries. voices and choral performance practice.

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I have personally recently led international Some of the results of my choral composition choral exchanges with choirs from Uganda, Estonia projects have been presented at Music Education and Latvia. In my previous professional work as Conferences and Choral Symposiums and the conductor and Senior Lecturer, University of Surrey response is often that „the artistic outcomes of these Roehampton and Institute of Education, London University creative, artistic projects should be recorded in order and as founder and director of New Commonwealth to build on their acknowledged success in relation to Voices. http://www.thercs.org/youth/newcommonwealthvoices, the highest level of choral performance with the I have always acknowledged the value of international young singers‟. exchanges as a means of enriching the lives of all involved, both musically and socially, and developed The Tapiola Choir and Finnishness: projects in Finland, Belgium and Lithuania. The creation of a joint choral commission can be Institutional and Government Support for a good foundation for an international choral Contemporary Music in Finland exchange and I have initiated this idea with the Estonian composer Urmas Sisask in Estonia, with the Lauren Holmes Frankel, Ph.D. candidate, Musicology, Yale University Estonian T.V. Girls’ Choir and my RCMJD Chamber Lauren Holmes Frankel is Choir. Gabriel Jackson, Associate Composer of the Founded by Erkki Pohjola in 1963 as Ph.D. candidate in BBC Singers, has written „A Ship With Unfurled Sails‟ a school ensemble, the Tapiola Choir Musicology at Yale University for my Vigala Singers based on the text of Estonian became one of Finland‟s most and writes on a dissertation poet Doris Kareva for a choir tour to Estonia where celebrated choirs. The mixed-voice entitled “Music and the we shared performances with young Estonian singers. children‟s choir first rose to Nation-State: Finnish Music I also encourage young composition students to write prominence after winning the BBC‟s from Nationalism to for choirs. This not only captures the imagination of Let the Peoples Sing competition in Postnationalism”. In 2006 their peers but also helps to ensure that young people 1971. After continuing to gain she finished her M.A.-studies are involved in the creative process of composing for recognition through recordings and at Rice University with a voices. tours, the choir was awarded thesis on “Music and My Chamber Choir at the Royal College of UNESCO‟s Prize for the Promotion Musicality in the Works of Music Junior Department, London U.K. are part of of the Performing Arts in 1996. From Virginia Woolf”. She has the ground-breaking composition project Living Song its inception, the choir promoted regularly presented with the English Folk Dance and Song Society. contemporary music, working with conference papers in both http://www.efdss.org/news/newsId/223 many of the leading Finnish the USA and Finland and has composers of the 20th century, teaching and performance experiences. 13 including Erik Bergman, Aulis Sallinen, and Einojuhani their shared Finnish background, the combination of Rautavaara. The Tapiola Choir came to be seen as one of singing and playing instruments, collaboration with Finland‟s most successful cultural ambassadors, and, like contemporary composers, and promoting many Finnish musical institutions, received support from international understanding. The evolution of these multiple government grants. Due to its status within ideas, observable in his many lecture notes, offers Finland and its influence abroad, the choir provides an valuable insight into Pohjola‟s conception of choral excellent case study of the interactions between singing‟s role in the development of both nationalism government funding, institutional ideology, and and contemporary composition. By relating this to individual experience in producing a 20th-century Finnish arts policies and choir members‟ own national identity through choral music. Although choral experiences, I offer a nuanced understanding of the music‟s role in the nationalistic projects of 19th-century Tapiola Choir‟s effect on Finnish identity and musical Europe, particularly in countries working to establish culture. their independence, such as Finland, has been well established, its role in maintaining those national Aural Training Books for Adult Choir identities within the changing political climates of the 20th century bears further investigation. Singers Showing Six Paths to Meaningful In this paper, I draw on government reports, Aural Training archival research at the Tapiola Choir, and interviews with former choir members, choir staff, and members Soila Jaakkola, Ph.D. student, Sibelius Academy of parliament to explore the productive tensions that In this paper I would like to share my findings of my exist between differing conceptions of music and dissertation. The purpose of my research is to find nationalism influencing a given institution and the meaningful tools to the aural training of adult choir musical practices that result. While parliamentary singers who have choir singing as their hobby. I have reports and funding decisions demonstrate the applied the content analysis method to my data, 40 pieces government‟s cultural goals, Pohjola‟s principles are of aural training books made for adult choir singers, of found in his writings. Prior to his retirement in 1993, which six books are taken as cases. With the help of Pohjola also became a sought-after lecturer, speaking these six cases I have found (1) four viewpoints which at choral conferences and festivals around the world are important to adult choir singer‟s aural training book, on the ideological principles underlying his and (2) six paths (or ways) to meaningful choral aural conducting. In these lectures, and later his book, he training. In this presentation I will illustrate these formulated four principles that he believed to be the findings and discuss their far-reaching consequences in foundation of the choir‟s success: a sound based on choral education.

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Master of music Soila Jaakkola has graduated from Sibelius My main contribution to choral assumptions and narrow perspectives on musical Academy, Department of Music education is to enhance the ability leadership. The research tradition has a pedagogic bias, Education. She is teaching aural of sight-singing of adult choir leaving little room for the conductor as artist, co- training, theory and history of singers which means the ability of musician, and team builder. Conductors´ own writing music in the Helsinki hearing, reading, and about their practice is only exceptionally research based Conservatory of Music. She is a understanding the structures of and naturally has an intentional view. Little attention has Ph.D. student in the Sibelius choir music. Often in the choir been given to the singer viewpoint and the impact view: Academy and she is going to rehearsals we are concentrating on what works and why? How do choral singers perceive the have the public defence of her (1) vocal training in the beginning conductor role and how is musical leadership dissertation in autumn this of rehearsals and after that (2) experienced by those who actually produce the sounding year. Jaakkola is also the jury preparing the repertoire. Many music? This is the research question of an ongoing PhD secretary and member of the adult choir singers neither don‟t project, focusing on choral leadership as lived experience. organization of the read music fluently, nor can use Experience is captured by interviews with 22 singers with International Harald Andersén aural analysis during singing. college and university degrees in music, of which many Chamber Choir Competition. Therefore the learning of the work as professional or semi-professional singers. A choral repertoire is a long process, hermeneutic-phenomenological methodology is being mainly with the help of good applied. memory. When enhancing the aural training ability of A number of common themes emerge from the choir singers, the learning process of unfamiliar music singer interviews, themes that in various ways describe shortens, among other valuable things. Being aware of what goes on when great musical leadership is being this aural training material and using it (or using the ideas exercised. A model that connects these themes is demonstrated in this material) in the choral education we proposed, where the headline themes are mastery, could find new, diverse and meaningful tools for coherence, and intersubjective space.Great musical rehearsing and improving choirs, and their adult singers. leadership is characterised by mastery, not only of the music material, but also in terms of deeply Towards a holistic model of choral understanding the situation and the singer needs. Coherence is about the integrity of the conductor, leadership ranging from authority and sincerity to gestural Dag Jansson, Ph.D. fellow, Norwegian Academy of Music congruence. The ultimate goal of the leadership is to create an intersubjective ensemble space for the The conductor role is a complex and multi-faceted role. musicking process. This space can only be created Yet, it has been researched only to a limited degree, and the research is often approached with simplistic

15 where there is a sense of security and singers feel A Practical Guide to 19th-Century. Choral- liberated and unconstrained. The research findings provide a basis for Orchestral Performance Practice reflecting on a number of issues conductors Deanna Joseph, Ph.D., Georgia State University continuously are faced Historically informed performance procedures have with. How important Dag Jansson is currently Ph.D. become quite popular with musicians of the past fifty are skills and fellow at the Norwegian Academy years. Baroque performance practice is the most competences versus of Music, with professor Even Ruud developed field of this research, and in this day and age, the conductor being as supervisor. He holds a master educated musicians can talk with ease, if not total and how the role is degree in musicology from the agreement, about subjects such as the number of singers enacted? What is the University of Oslo. He conducts in Bach‟s choir, the use of period instruments, the significance of gesture three choirs, Vox Humana, Indre influence of dance forms, and expressive elements such in light of other facets Østfold Kammerkor, and Alle-kan- as tempi, tone color, and articulation. of the role? What are synge-koret in Østfold. He also But what about performance practices of the the pitfalls of holds an MBA degree from Insead 19th century? How did the music of Brahms, rehearsal management in France. Based on a previous Mendelssohn, and Wagner sound? Imagine for a that conductors run career as business leader and moment hearing a Brahms symphony either on a the risk of falling into? consultant, he has experiemented recording or at the last live performance you attended. This project does not extensively with choral singing and What are the colors coming from the orchestra? What have a clear answer to conducting for team building and is the size of the ensemble? Are the tempi generally all these questions. leadership develpment. fast or slow, steady or flexible? Do the strings in the However, the holistic With Vox Humana, Jansson has orchestra make a consistent use of vibrato and approach, taken from recently been responsible for portamento? Virtually all modern-day classically the singer viewpoint, releasing two CDs, Yuletide last trained musicians have grown up playing and listening sheds new light on year (on the Quattro label) and to the music of Romantic composers such as Brahms, several ideals and Ømhetens tre this year (on the Mendelssohn, and Chopin. Today, there is a certain conceptions about Nordic Sound label), featuring comfort level with this repertoire, so much so that choral conducting that Magnar Åms oratorium. He was for musicians have a preconceived sound concept for this are often taken for a number of years singing tenor in music. How do musicians know, however, that the granted. Grex Vocalis and is currently singing way this Romantic literature is being performed is in the project based choir Ensemble historically informed? Are there resources to which Energico in Østfold. modern-day musicians can turn to educate themselves

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on the way that 19th-century musicians played the teachers of the Romantic period. music of their time? This lecture is an exploration of 19th-century Fortunately, music of the late Romantic era is performance procedures. The goal of the project is to preserved in the most valuable of all possible primary present viable new options for performing, sources: recordings. In fact, the earliest surviving interpreting, and experiencing choral-orchestral works music recording is that of a choral performance from of the late Romantic era. the 1888 Crystal Palace Handel Festival in London When performing the music of the 19th century, featuring portions of Handel‟s Israel in Egypt. An however, we must respect the fact that we are dealing enormous number of recordings survive from around with the music of people who valued a different 1900 that allow present-day musicians to enter this aesthetic. Musicians were encouraged to be expressive world of the past. in every way possible. Each performance of a piece Performance practice scholarship of the last was to be a different artistic experience aimed to stir twenty years has seen the emotions of the audience. My hope is that with Deanna L. Joseph is Conductor and an increase in analysis increased study of performance traditions of the 19th Director of Choral Activities and of these recordings, as century, musicians today may be freed from the Assistant Professor at Georgia State well as research into restraints of our time and get in touch with the sound University, Atlanta, USA. She serves as 19th-century books on world of the people who composed and performed it. the primary administrator and sole singing technique and This will present more options for the performance of conductor of the Georgia State interpretation, and this music. University Singers, Georgia State’s techniques of playing premier vocal ensemble. She teaches the piano, violin, and „Grüß Gott mit hellem Klang!‚ - The socio- undergraduate conducting, graduate other instruments. choral literature, and graduate Additionally, many of political medialisation of bourgeois singing conducting. From 2007-2008 she was these treatises shed culture as exemplified by German films Interim Director of Choral Activities and light on issues of about choirs in the Weimar Republic Visiting Assistant Professor at University tempo, phrasing, of Massachusetts, Amherst after being dynamics, and tone Helmke Jan Keden, Prof., University of Cologne, Germany Assistant Director of Choral Activities color, serving as virtual With film technology developing to become a mass and Lecturer at Smith College, “how-to” guides medium, films in the 1920s became more and more a Northampton, 2004-2007. She has a long straight from the pens useful channel for the dissemination of choir music. The range of teaching, conducting and of the actual difficult and time-consuming process of producing a film singing experiences including performers and led to the main emphasis being less on reporting current responsibilities as Artistic Director.

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events and more on making self-images and ideals within technology behind the transition from silent movies to the largest of the German lay choir unions accessible to a sound films. My first film excerpt from – „Das wider audience. On the basis of selected examples and deutsche Lied“ (1928) – a silent movie! – will show using analytical methods I would first like to present the idealisation of bourgeois lay choir singing. Then I techniques of historification and idealisation. At the same would like to review the first sound film - „Grüß Gott time it will be useful to compare the content of the films mit hellem Klang!“ - produced on the occasion of the with other sources to try to find out what motivated 11th German Festival of Singing in Frankfurt in 1932 people to produce such films. - as an example of how attempts were made to Examination of a few randomly chosen films maintain an illusionary culture of reminiscing. portraying the music that was deemed appropriate for young people at that time reveals that the cineastic ‚You may not sing - just mouth the words‛: content certainly did not present a realistic picture of current musical culture. In fact they should be Exploration of the singing ensemble as a site interpreted as the products of an illusionary ideal for ‘non-singer’ identity formation in world of singing childhood Helmke Jan Keden is Professor of Music that must be Susan Knight is Founder and Artistic Education at the University of Cologne, viewed as being Susan Knight, Ph.D., iMerc, Director Emerita of Festival 500: Sharing Germany. His previous research concentrated typical of an Institute of Education, University the Voices and SHALLAWAY- on the use and abuse of German choirs and idealistic culture of London, UK Newfoundland and Labrador Youth in choir music in the Third Reich. Currently he is of glorifying the The literature reveals a Chorus. She holds Bachelor degrees in working on the influence of the ‘young past. I would like prevalent notion in Western Music and Music Education (Memorial people’s movement’ on German male voice to demonstrate culture that singing ability is University, Newfoundland and Labrador), choirs in the first thirty years of the twentieth this antagonism governed by inherent, a Masters of Arts in Music Education (St. century. In this research he aims to apply on the basis of biological variability. Thomas University, Minnesota) and a mainly hermeneutic methods to examine the clips from two Conversely, singing is widely Ph.D. from the University of London. She discourses, reactions and correlations in films that may be evidenced as a learned has taught music education at the German choirs and to relate them to the regarded as being behavior, proceeding elementary, undergraduate and post- ideologisation that occurred later on in the typical of the developmentally. This paper graduate levels over the past three Third Reich. He is also working on modern genre and in explores that apparent decades, and is active internationally as a concepts in the promotion of music-making in doing so I would contradiction by examining a researcher, clinician, keynote speaker, German education. like to growing body of evidence that demonstrate the consultant and producer. Her research adults self-labeling as „non- centers principally on the phenomenon of the adult non-singer and the role of choral music-making in the development18 of empathy and community. Andreas C. Lehmann holds a master’s degree in singers‟ report such identity formation as originating in and speech has received music education and a Ph.D. in musicology an early negative childhood attributional encounter some interest in recent from the Hochschule für Musik und Theater involving ensemble singing. The attributor was reported years, and we can now Hannover (Germany). He conducted as predominantly an authority figure – most often a safely say that after one postdoctoral research in psychology at the teacher - that silenced the child‟s singing attempts million years, both Florida State University, Tallahassee (USA). He without offering any developmental instruction activities have come to is currently professor of Systematic Musicology intervention, encouragement, or other facilitation. serve different purposes at the Hochschule für Musik Würzburg This evidence is discussed with regard to the but rely on similar (Germany). He teaches in the area of music critical role which developmentally appropriate perceptual mechanisms. psychology and related topics. He is associate pedagogy serves in early singing instruction, the Foremost, editor of Musicae Scientiae as well as president exposed personal nature of ensemble singing and the researchers have pointed of the German society for music psychology. power/influence of authority attributions. These to the social bonding of His research interests concern the structure factors are then contextualized within the framework speech and song for early and acquisition of high levels of instrumental of evidenced psychological and social dimensions of a hominids. Singing might music performance skill (sight-reading, child‟s halted/obstructed singing development and also provide the basis for practice, generative processes), they include consequent exclusion from choral singing experience language learning. It is historical studies on the development of across the lifespan. Further research is recommended therefore understandable expertise, and they cover a broad range of regarding teachers‟ professional preparation/support that research on choral topics in music education (e.g., competency in developmental singing pedagogy, childhood singing singing straddles the modelling, amateur music making and education practice, child/adult „non-singers, and boundary between participation). societal views on the non-singer. general psychology and sociology (social history), as communal singing From vocal grooming to female tenors: A redefines itself continuously and adapts to new cultural situations. Research on choral singing from a music psychologist's view of choral singing music psychology perspective is surprisingly rare. (Keynote) Three perspectives lend themselves for study and will be considered in the presentation using Prof. Dr. Andreas C. Lehmann, Systematic Musicology appropriate examples: (1) the perspective of the and Music Psychology, University of Music, Würzburg individual singers and their use of singing in everyday There is no doubt that singing occupies an important life, (2) the singer-conductor and singer-singer place in the lives of many human beings, even of those interaction during performance and outside the actual who claim to be unmusical. The anthropology of singing act of singing, and (3) the choir-audience relationship.

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In our own studies we have tried to study the limits of nature, are made up of large groups of humanity acting in conductor-singer communication in a controlled concordance and unity, it has required little effort to laboratory condition. equate them with a representation of a group of „people‟, Here, we were able to show that some gestures defined according to setting and context, but always in a are clearly well understood even without rehearsal, responsive position to what is seen as the main narrative whereas others require planning on the part of the of the soloists. singer and therefore verbal communication with the The historicity of these choral works are conductor. Furthermore, we will present some new embedded in the 19C master ideology that saw data on research regarding the assessment of manipulated and labelled groups of people form both children‟s vocal performance. In particular experts the essence and the reason for solidifying nation states seem to agree quite well on the quality of sung – often associated in music with, as Michael Steinberg performance. The summary will argue for an puts it, „national and nationalist consciousness‟ integrative view of the different research perspectives (Listening to Reason, 2004, p163). Hearing these and emphasize the current public interest as an choruses solely and continuously as verifiers of important incentive to promote such research. perceived ideology is however a limited reading of their part and role, and Steinberg argues further for Siehe, ich sage euch ein Geheimnis: considering them as a „collective voice‟ rather than „the alleged voice of [a]nation‟. The distinction is seminal, questioned collectivity in 19C choral music and opens up for a contextualising of the choral Annika Lindskog, Lecturer in Swedish, Department of position that allows a multiplicity in expression, Scandinavian Studies, School of European Languages, emotion and empowerment, and enables an Cultures and Societies, University College London investigation of the choral participation that is not preconditioned by a rhetoric of representation. Ever since the baritone in Beethoven‟s Ninth symphony This paper hopes to further explore the tenet first stepped out in front of the chorus and called his that choral roles might be understood as more multi- „Brüder‟ to harken, the choral role in 19C symphonic- layered and flexible than many traditional readings scale works has habitually been considered, if it is allow for. The relationship between a chorus and its considered at all, as a given collective, subservient and soloists are of particular interest here, as it is often the representative. There has therefore been little room to perceived dominance and superiority of the former consider the choral behaviour beyond the initial call-and- that shackles how we understand the choral role into response exchange, and the chorus‟s largely independent one determined by one-dimensional possessivity and and at times both inventive and challenging activities go leadership. The relationship between the chorus and unnoticed. Further, as choral bodies, by their defining

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the baritone in Brahms‟ Ein deutches Requiem is one changed with respect to its new context and example for where the inheritance from Beethoven‟s presentation? Is there today another kind of meaning of has been particularly influential and has dictated an this in former times very clearly intended choir music? uncritical – and largely limiting – understanding of the dynamics the chorus is responsible for both in the The a-cappella Choir Music in the Oeuvre of passages with the baritone soloist and the requiem as a whole. By allowing for a more multi-dimensional Giacinto Scelsi (1905-1988) interpretation of both soloists and choirs, we may hear Dr. Elfriede Moschitz, Department Choral Conducting: more of what they are telling us. Voice Training and Ear Training for Choral Conducters, University of Music and Dramatic Arts Graz, Austria The 19th in the 21st century? The German Since the 1980s Giacinto Scelsi has male choir block buster „Die Wacht am received increasing attention and esteem Elfriede Moschitz has a Rhein‚, „Lützows wilde verwegene Jagd‚ in critical and musicological discourse as teaching assignment at the well as on the concert stage. Department of Choral and its mediality on YouTube Nevertheless, he is still an exceptional Conducting: Voice Training Dr. Martin Loeser, Department of Church music and figure in recent music history. Scelsi‟s and Ear Training for Choral Musicology, Ernst-Moritz-Arndt University, Greifswald music lies at the boundary between East Conducters at the and West, composition and University of Music and The paper is dealing improvisation, rationality and mysticism Dramatic Arts Graz, Austria. Martin Loeser is a postdoctoral fellow at with the mediality of and provides a challenge to those seeking Her dissertation was Department of Church music and two of the most an approach through research, listening entitled „Luigi Nono Das Musicology, Ernst-Moritz-Arndt- successful pieces of or performance. atmende Klarsein Text – University in Greifswald, Germany. He German male choir in The opening of the Scelsi Archive Musik – Struktur“ (Pfau earned a doctorate in 2008 with a Ph.D. the 19th century. How in Rome in May 2009 was no doubt a 2010) and her Master of on the Oratorio in France from 1850 to many versions are turning point for scientific and artistic Arts, Diploma Thesis was 1914 (Olms 2011). posted on youtube and pursuits of the composer. Since then, the based on the scholarly His current main research is the how are they presented? Scelsi bequest has been accessible for subject: Ernst Kreneks Oper musical culture of Hamburg in the late How many people used research. In addition, the recordings Orpheus und Euridice 17th and early 18th century, them and which which formed the basis for the (2001). particularly the relationship between commentaries are made? transcription of Scelsi‟s compositions are music and the gallant discourse. He is In how far the reception particularly valuable. On the basis of these tapes, the also working on the social and cultural of these pieces has history of choir music. question of the relationship between tape and score,

21 which is pivotal to Scelsi‟s works, can be pursued in a 3. Meaning of Sound in Giacinto substantiated manner. An analysis of compositional Scelsis œvre, processes, and at the same time a fundamental 4. Dynamic in a new contextuality, for discussion on the aesthetic status of Scelsi‟s music, is example forte as „compression‟ of possible only as a consequence of this questioning. A sound study of Scelsi‟s sketches, notes, letters and his private and library allows an authoritative reconstruction of 5. Sound examples life and with Scelsi‟s aesthetic thinking and a precise account of his recordings of these three cultural and religious references. characteristic works. Especially within Giacinto Scelsis Vocal Works there are characteristic pieces, which give ensembles From the shtetl to the Gardens and beyond: and their high demand for a professional performance the possibility to work, perform and present identity and symbolic geography in Cape contemporary a-cappella music out of the 20. Century. Town’s synagogue choirs Scelsis Three Latin Prayers: Pater Noster, Ave Maria and Alleluia (1970), for Solo-Voice and also for Stephen Muir, Ph.D., Senior Lecturer in Music, Unison – Choir, give an example for the completely University of Leeds new way to interpret a-cappella music in the second In the popular South African tourist destination of Cape half of the last century. Paradigms in Interpretation Town, Western Cape, a compact but vibrant Jewish like dynamics, music/text ratio and sound, are not community, supporting at least ten synagogues of varying anymore valid and must be seen differently – the sizes and affiliations, plays out a complex musical aesthetic dimension has to be seen in an extend narrative that both reflects and projects an equally context and that includes also paradigms of tension complex set of national, cultural and religious identities. and depths of sound and with audible consequences In this paper I address only a small aspect of that musical of perception! narrative, as expressed by the Ashkenazy Orthodox Precondition and Process in the choral practise community‟s two remaining synagogue choirs. In doing for the interpretation of Giacinto Scelsis Vocal Works: so I hope to shed light for the first time on some of the ways in which, through the agency of musical practice, 1. Compositorial concept in the Three members of this community negotiate a variety of Latin Prayers, identities as musicians, Jews, and South Africans, and 2. Technical condition of the singer‟s (re)construct diverging symbolic geographies from voice, apparently similar historical and cultural backgrounds (a

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Stephen Muir gained a BMus (1994) and PhD (2000: ‘The operas of N. A. Rimsky-Korsakov from 1897 to 1904’) from Birmingham University. He is now a Senior Lecturer in Music at the University of Leeds, for their members, in many respects „fostering an specialising in performance, 19th-century Russian and Czech music, idealized social system to help replace traditional and Jewish liturgical music. Recent publications include articles on mores being undermined by modernization‟ (2006:3). Rimsky-Korsakov, Dvořák, critical editing and a chapter on South With these ideas in mind, the study of synagogue African Jewish music in The Globalization of Musics in Transit choral activities seemed an ideal way to „get under the (forthcoming, Routledge, 2013). skin‟ of a community‟s musical identity. The paper‟s He is also a professional performer, having studied singing case studies demonstrate how musical choice has been with Alastair Thompson and Bridget Budge, percussion with Evelyn incorporated into strategies addressing the threat of Glennie, and conducting with George Hurst, and has performed diminished congregations and dwindling synagogue and recorded extensively throughout the UK as a tenor soloist and memberships, but with strikingly different musical percussionist. He is Assistant Director of Leeds University Liturgical solutions to the complex identity issues faced by Jews Choir. He is associated with Leeds University Centres for in modern-day South Africa. Along the way, a number Historically-Informed Performance, Opera Studies, Jewish Studies, of methodological and cultural issues are addressed, and African Studies. some specific to the investigation of Jewish choral activities, but also some relevant to choral and large majority of the South African Jewish community is ethnographic research more broadly. of strikingly uniform Lithuanian origin). The paper is based upon a fieldwork trip Choral Soundtrack to a Short Film – undertaken in early 2012. With support from the John Perkins is Assistant Professor of Music at Kaplan Centre for Jewish Studies, University of Cape Interdisciplinary and Organic Processes American University of Sharjah, United Arab Town, I interacted with Rabbis, Cantors and choral Emirates, since 2008. He holds a Doctor of John Perkins, D.M.A., Assistant Professor of Music, Musical Arts in Choral Conducting from directors, and arranged private interviews with Performing Arts, American University of Sharjah members of the two choirs involved. Like Abigail University of Arizona and a Master of Music in Wood (2010), whose account of Jerusalem‟s „Singing Three artists comment upon the subject of “parenthood” Choral Conducting from Temple University. Diplomat‟ choir was published shortly before my through the medium of a short film – a poet, 2009-2010 he was Associate Conductor of UAE South Africa visit, my ethnographic investigation composer/choral musician (the author of this text), and a Philharmonic Orchestra in Dubai, UAE. He has emphasises the local, personal circumstances of the filmmaker. The order of process began with the written teaching practice from Tempe Preparatory singers involved. As Karen Ahlquist has observed, word, music, and finally film. This additive process is Academy 2007-2008, at Choral and Theory „choral performance can assert artistic and educational abnormal for most film-making procedures, however, Faculty and was Artistic Director to an achievement, aesthetic merit, and social, national, each artist agreed that the spontaneity of such an order auditioned community chorus in Tucson, AZ, religious, or ethnic identity‟ (2006:2). Furthermore, she would produce a natural and fresh result. This paper 2005-2007. continues, choirs provide vital support mechanisms focuses on my conception of this vocal/choral He is the founder and Artistic Director of the composition after receiving the poem from the poet. first Arabic, four-part choir in the Gulf/U.A.E. and unique to only four other choirs world- 23 wide mainly devoted to Arabic choral music. This extra-curricular, auditioned ensemble is

dedicated not only to music-making, but, philosophically aimed at spreading cultural John Perkins is Assistant Professor of Music at American University of The poetic program follows in three parts: 1) A Sharjah, United Arab Emirates, since 2008. He holds a Doctor of Musical Arts man and woman imagining their ideal mate; 2) a in Choral Conducting from University of Arizona and a Master of Music in meeting in a dream; and 3) upon meeting, the union of Choral Conducting from Temple University. 2009-2010 he was Associate their ideal imaginations in a physical act of conception, Conductor of UAE Philharmonic Orchestra in Dubai, UAE. He has teaching with a short “coda” of the child‟s commentary. The practice from Tempe Preparatory Academy 2007-2008, at Choral and Theory landscape is a primordial scene, emphasizing opposite Faculty and was Artistic Director to an auditioned community chorus in characteristics of woman and man, and including a Tucson, AZ, 2005-2007. central text which is the thoughts of the future child – He is the founder and Artistic Director of the first Arabic, four-part a third-person observer of the parents. The text of the choir in the Gulf/U.A.E. and unique to only four other choirs world-wide child appears, in printed form, in the film. The spoken mainly devoted to Arabic choral music. This extra-curricular, auditioned (audible) text of the woman and man occur in ensemble is dedicated not only to music-making, but, philosophically alternation. (See attached poem.). I chose the medium aimed at spreading cultural tolerance and enriching Arabic heritage inside of the voice and choir, as it represents the most and outside of the Arab world; 2010-2011. primordial of all instruments. Following the “organic” parts arrive together at the conception, in the third nature of the poet‟s intentions, I endeavored to part. From voice itself, such techniques result in a symbolically compose with similar intent. character-based composition, organically layered onto In addition to sung tones, un-pitched choral the medium of film. The reading of this paper will sounds imitate the masculinity and femininity of both conclude with a presentation of the film. characters (albeit stereotypical depictions). Each part of the program advances the man and woman closer Choral singing and politics. Repertoire of together, until final union, and therefore, the un- pitched sounds from the choir integrate, until both the Song Celebrations. Estonian Song Celebra- female and male chorus have adopted both sounds. tions as driver for political and social change Likewise, the male and female spoken texts begin on the left and right channels (stereo) of the recording, Laine Randjärv, the Vice-President of the Riigikogu eventually arriving in the center channels of the (Estonian Parliament), PhD student, University of Tartu, recording. Estonia. The male character forges a metal bracelet for Song celebrations served as a prelude to our Singing the female. In each of the sections, the choir sighs Revolution and restitution of independence. We sang us down or up depicting the vertical part of the ring; free and the singing liberation process began already after while, at the same time, the sound is panned left-to- the WWII. right, creating the horizontal aspect of the ring. These

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This paper will focus on the role of song In order to understand the message of song celebration tradition and creative intellectuals in socio- celebrations, the repertoire of post-WWII celebrations political processes, observing mostly the post-WWII has been analyzed. From the aspect of intellectual period. Throughout centuries, Estonian song resistance, the three most powerful examples of song celebrations - as the celebrations in other Baltic celebrations date back to 1947, 1969 and 1980, when countries - have played crucial role in the involvement more than half of the programme was made up of of masses, therefore appearing as a powerful stimulant original Estonian compositions despite of some for social processes. Moreover, the tradition played communist orientation. Today, even though that times crucial role in the resistance have changed and we‟re movement and consolidation of Laine Randjärv is the Vice-President of the independent again, the nation. Shortly before the Riigikogu (Estonian Parliament). She is also the hundreds of thousands of restitution of independence of the Chairman of the Estonian Delegation to the Baltic people – more than ever – Republic of Estonia, the song Assembly since 2011. still come together to sing celebration became a crucial Randjärv is currently involved in the PhD and take part in this event, influencer of the course of history. programme of the University of Tartu, the but we have still think Back in those days music Faculty of Philosophy. The topic of her thesis is about the future and culture was inseparable from „The role of creative intellectuals in socio- possible transformation of politics. Music figures of those political processes and the Estonia’s Song the celebrations. days had to perform “Soviet Celebration Tradition in 1940–1980”. Song Celebrations are repertoire” with their choirs, as this so much more than just a was the only way to real repertoire – beloved Estonian cultural phenomenon. They have been drivers of songs that were living in people‟s hearts, no matter political and social changes. Today, the role of cultural what. Any choir was able to exist only this way, by and creative industries around the Song Celebrations including ideologically prescribed compositions in is becoming increasingly important for local their repertoire. Choirs and conductors were under communities and the whole country. The ideals of the tense observation; each concert programme had to be Song Celebration are still alive and younger approved by several departments of the Communist generations are discovering new ways to interpret the Party Committee first [Glavlit]. Dodging between the tradition. possible and the impossible, they managed to perform both Estonian classical music and early music with his choirs.

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Courage and resistance: Composing for choir how it can be attained on the level of phrases as well as in the composing practice as a whole. (Keynote) I will relate this discussion of the use and Prof. Karin Rehnqvist, Composition, Royal College of formulation of courage and resistance to questions Music, Stockholm about the role of contemporary music in society and the challenges facing composers of today. As an introduction, the concepts of courage and resistance in music will be developed from my viewpoint as a composer. What is musical courage in today‟s music Figurative Speech and Imagery in making and composing? And what does resistance in Developing Children’s Choir Performance music mean to contemporary composers and musicians? Against the background of some chosen Janete Costa Ruiz, Universidade do Minho, Centro de compositions, for example, To the Angel with the Invest. em Estudos da Criança fiery hands (Till Ängeln med de brinnande händerna), The purpose of this qualitative research is to study and I will exemplify resistance in the activity of categorize the possible advantages, extent and ideal composing. In practical demonstration, I will describe circumstances for the use of imagery, metaphors and Karin Rehnqvist is one of Sweden’s best-known and widely performed figurative speech in vocal pedagogy with children‟s composers. Between 1976 and 1991 Karin Rehnqvist conducted and choirs. was the artistic director of the choir Stans Kör. This cemented her Considering that singing is a learned behavior special affinity with vocal music and also fired her interest in (Phillips, 1996) and that a healthy and effective singing experimental approaches to concert presentation. involves an energetic but yet relaxed posture, the Between 2000 and 2004 Rehnqvist was Composer in Residence ability to match pitch, tone, rhythm, and to express with the Scottish Chamber Orchestra and Svenska Kammarorkestern in emotions and text, we cannot neglect the need for collaboration. Her choral symphony Light of Light, which features research on the importance of the experience of children’s choir and symphony orchestra, was singled out for critical kinesthetic sensations as well as the probable benefits acclaim at its world premiere in Paris in 2004, and has enjoyed of the use of figurative speech in enhancing an subsequent performances in the UK and Sweden. expressive performance. In 2001 she was awarded the Kurt Atterberg Prize and in 2005/06 Based on the premise that the voice is the centre the Rosenberg Award. In March 2006 Rehnqvist was accorded the of all music activity (Small, 1998) and that teaching to honour of a major retrospective by the Royal Stockholm Philharmonic sing is to teach to think of the singing voice as an Orchestra. In 2007 she was awarded the Hugo Alfvén Prize. instrument there is a need to objectify the idea of Karin Rehnqvist has 2009 been appointed Professor of singing, relating it to the singer‟s self-consciousness. Composition at the Royal College of Music in Stockholm. This makes Traditionally, imagery and figurative speech have been her the first woman to hold a chair in composition in Sweden. 26

Janete Costa Ruiz is born in Oporto, Portugal and graduated in singing in the used in vocal their philosophies and strategies related to the use of class of ESMAE ‘s Professor Fernanda instruction with verbal instruction and figurative speech as a method Correia, attending master classes with good results, to teach musical meaning and expression. We expect Liliane Bizineche, João Paulo Santos, helping to teach to identify expressions related to technical training Rudolph Knoll, Rudolf Piernay, Gundula posture, breathing, (posture, breathing, onset, phonation, resonance) as Janowitz, Jill Feldman, Lied interpretation pitch matching, well as to expressive and creative singing and the with Charles Spencer and interpretation melodic phrasing development of aesthetic sensitivity. Later in the of opera with Enza Ferrari. and expression. process, we will observe and analyze choir rehearsals She graduated in Art History in Because the voice and ask the children about their understanding of the the Oporto University, has a Master in is regularly used for conductor‟s instructions. We wish to understand and Musicology from the University of self-expression, the categorize different aspects of how poetic language Coimbra and is attending the Ph.D. singing voice has to affects the children‟s musical perception and how it program in Child Studies at the “translate” poetic helps their musicianship and artistry skills. University of Minho. and cultural As a singer she has developed a meanings as well. The sharing of themes between the career as an opera, concert and Learning to sing is oratorio performer. She works with not just about children’s choir and the orchestra in Ljus av children’s choir since 2005 and is a activating muscles ljus by Karin Rehnqvist member of the International Alliance and sounds, but for Women in Music. She teaches at also about learning Pedro Santos, Doctoral Program in Composition, Academia de Musica Valentim Moreira how to mobilize, University of Aveiro, Portugal de Sá, in Guimarães, Portugal. strengthen and Composing for children's choir and symphony orchestra refine that impulse to express emotions and thoughts, is always a challenge. When comparing the sound as well as aesthetic perceptions through music; this characteristics and the expressiveness of a children's means researching how to improve the connection choir with those of a symphony orchestra the former between imagination, the body, the vocal sound and presents less variety of timbres, registers and intensities. communication. However what appears to be a weakness is an added This research focus on the description of the use value. The singularity of the children‟s voice enriches the of images, comparisons metaphors and other figures sound palette of the symphonic orchestra and influences of speech by conductors of children‟s choirs in the orchestration in a determinant way, resulting in a Portugal. In the study we will question conductors work with its own identity and characteristics. about the use of this practice in rehearsal and about

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Pedro Santos completed a degree in Composition at the Superior School of Music and Performing Arts of Porto (Portugal) and also a Masters in The work Ljus av ljus by Karin Rehnqvist is a Composition at the Royal Conservatory of Music of The Hague (Netherlands). reference in contemporary repertoire for children's Currently he is a student of the Doctoral Program in the Department of choir and symphony orchestra. The musical language Communication and Art at the University of Aveiro (Portugal) where he of this composition combines elements and materials develops a research in composition for children's choir. of varied nature: diatonicism, chromaticism, He is Pedagogical Coordinator at Jobra’s Music Conservatory in microtonalism and clusters. The vocal writing is Branca (Portugal), where he also teaches Analysis and Music Theory. extremely idiomatic and highlights the characteristics Furthermore he is Assistant Professor of Composition at Superior School of the children‟s voice: the phrases are not too long, of Music and Performing Arts of Porto. melodic and harmonic intervals are often diatonic and As a composer his output includes several works for a variety of vocal lines have very clear tonal centers. The instrumental ensembles, solo instruments and choir, particularly combination of the children's choir and orchestra is children’s choir. For several years he is also singer in both amateur and well balanced: the orchestra frequently reinforces the professional choirs and was also a conductor of Children’s and Youth structural notes of the choir and does not overlap the Choirs. vocal sonority, always giving it space for projection. The orchestration is rich and imaginative, such as the orchestration, the formal structure and the demonstrating a mutual influence between the relations between the text and the music. children's choir and the symphony orchestra. These characteristics reveals that Rehnqvist has a deep Empowerment, Engagement, and knowledge of the children‟s voice and a great experience in composing music for this medium. For Transformation: A New Paradigm for the these reasons the analysis of Ljus av ljus is Choral Rehearsal recommended for composers who want to write for children's choir and orchestra. Jason D. Vodicka, Presidential Graduate Fellow, The The poster presents an analysis of selected University of Georgia thematic material (in its melodic, harmonic and Choral ensembles are promoted as opportunities for timbral dimensions) and also a number of musical growth and personal expression, yet much about observations about the thematic interaction between the traditional choral rehearsal inhibits these processes. the children's choir and the orchestra. These contents Director‐centered and music‐centered approaches silence can be used as a guideline for composers and, on singers‟ “voices” while preventing them from making another perspective, they may also serve as a starting meaningful musical decisions. The reconfiguration of the point for a broader and deeper analysis of Ljus av ljus choral music rehearsal as singer‐centered is not only on which other musical elements may be considered, desirable, but critical for the sustainment and

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advancement of choral singing in the world. The While the traditional rehearsal eschews talking of any educational fields of Critical Pedagogy and Social kind, verbal and musical dialogue were found to be Constructivism provide meaningful insight into the useful tools in addressing both artistic content and structure of the choral rehearsal while offering simple yet skill‐building. The study also found that self‐diagnosis radical pedagogical innovations. and self‐correction were keys to the ensemble‟s This paper presents a newly imagined rehearsal musical progress. Further, connecting material to the structure informed by techniques of empowerment students‟ world was effective in addressing not only and engagement, ultimately seeking to transform musicality but also technical issues. The ensemble singers and conductors. Such a new rehearsal members were eager for such new rehearsal strategies, paradigm involves a new physical arrangement for the and ultimately many singers were transformed by the rehearsal space; shared power between ensemble and study. Singers began to act as conductors, listening conductor; meaningful musical, physical, and verbal meaningfully to each other while diagnosing and dialogue between singers and with the conductor; correcting musical issues on their own as well as problem‐posing rehearsal strategies; connecting collaboratively. material to singers‟ lives; and the contribution of singers in making significant musical decisions. This paper also presents findings from a recent study by the The impact of singing on children’s sense of author on the implementation of such strategies in social inclusion in a chorus setting teaching Schubert‟s Mass in G to a high school choir. Graham Welch, Institute of Education, University of London Jason D. Vodicka is a conducting associate at The Weill Institute at Carnegie Hall and The Young People’s Chorus of New York. He was The presentation will focus on reporting empirical Graduate Teaching Assistant at The University of Georgia and Vocal evidence from two European studies, one in Italy and Music Instructor at Pennsbury High School, Fairless Hills, PA. 2003- one in the UK, investigating the impact of singing on 2011 he was Director of Music at Ewing Presbyterian Church Ewing, children‟s sense of social inclusion, particularly in a New Jersey. 2006-2011 he was choral conductor at the chorus setting. In relation to the first of these, amongst Westminster Choir College of Rider University, Princeton, NJ, for the Italian Government‟s foci for its Progetto Musica the Vocal Institute Women’s Choir. Regione Emilia-Romagna was, in the first year, to increase He worked as a Piano and Organ Accompanist at the numbers of school choirs in each of the nine Westminster Choir College of Rider University, Princeton, New provinces and, in its second year, to deepen and develop Jersey and had various positions including principal accompanist teachers‟ understanding of how best to facilitate musical for Schola Cantorum, Chapel Choir, and Bach Festival. development through choral and other musical group

29 activity. The impact analysis by the author and colleagues demonstrated that effective leaders of choral and embraced data from n=190 children in eight schools in group musical activities with children are likely to the Emilia Romagna region and also n=221 teachers, the adopt pedagogical strategies that foster collective latter representing 74% of those attending special success and that support a positive singing identity. professional development workshops to increase their The presentation will provide a synthesis of the data skills to lead singing and choral activities. from these two projects and set the findings in a The UK research findings draws on data from a broader meta-theory of why collective singing can be longitudinal evaluation of the Professor Graham Welch holds the Institute of such a powerful medium National Singing Programme Sing Education, University of London. Established Chair for the enhancement of Up. This involves a comparison of of Music Education and is Head of the Department participants‟ sense of individual singing behaviour and of Early Years and Primary Education. He is social inclusion. also attitudes to singing of 11,000 President of the International Society for Music pupils from across England. A Education (ISME), elected Chair of the Society for special set of questions, identical Education, Music and Psychology Research to those used in the Italian study, (SEMPRE) and a member of the UK’s AHRC Review were constructed in questionnaire College for Music. Current Visiting Professorships format for completion by both include the Universities of Queensland (Australia), sets of children. Part of the Limerick (Eire) and Roehampton (UK). Publications content specifically focused on number approximately three hundred and embrace children‟s sense of social musical development, music education, teacher inclusion. Findings: The Italian education, the psychology of music, singing and data demonstrated that children voice science, music in special education and who had participated in the choral disability, and the wider benefits of music. project saw themselves as Publications are primarily in English, but also appear significantly more socially in Spanish, Portuguese, Italian, Swedish, Greek, included than their non-project Japanese and Chinese. participant peers. Similarly findings were evidenced in the UK study. In part, the underlying reasons for these findings relate to the quality of teaching and choral leadership experienced by the children. A related observational study of teaching and learning quality, for example,

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Participants Alexander Arlt, Singers Museum, Feuchtwangen, Germany [email protected] Martin Ashley, Prof., Faculty of Education, Edge Hill University, UK [email protected] Mihai Bejinariu, Ph.D. student, National University of Music, Bucharest, Romania [email protected] Mary Black, part-time Ph.D. student, Music Department, Leeds University, UK [email protected] Michael Bonshor, Ph.D. student, Music Department, The University of Sheffield, UK [email protected] Pia Bygdéus, Ph.D. student, Malmö Academy of Music, Lund University; Music director, Linnaeus University, [email protected] Sweden Thomas Caplin, Prof., Hedmark University College, Hamar, Norway [email protected] Stig Eriksson, Assistant Prof. of Pedagogy, Hedmark University College, Hamar, Norway [email protected] Gunnel Fagius, M.A., Choral Centre Uppsala, Uppsala University, Sweden [email protected] Ursula Geisler, Dr. phil., Musicology, Lund University, Sweden [email protected] Anne Haugland Balsnes, Associate Prof., Ansgar College, Norway [email protected] Joy Hill, Royal College of Music, London, UK [email protected] Josephine Hoegaerts, Ph.D., Faculteit Letteren, KU Leuven, Belgium [email protected] Lauren Holmes Frankel, Ph.D. candidate, Musicology, Yale University, USA [email protected] Soila Jaakkola, Ph.D. student, Sibelius Academy, Helsinki, Finland [email protected] Dag Jansson, Ph.D. fellow, Norwegian Academy of Music, Oslo, Norway [email protected] Karin Johansson, Ph.D., MMus, Malmö Academy of Music, Lund University, Sweden [email protected] Deanna Joseph, Ph.D., Georgia State University, USA [email protected] Helmke Jan Keden, Prof., Department of Music Education, University of Cologne, Germany [email protected] Susan Knight, Ph.D., iMerc, Institute of Education, University of London, UK [email protected] Andreas C. Lehmann, Prof., Systematic Musicology and Music Psychology, University of Music, Würzburg, [email protected] Germany Annika Lindskog, M.A., Department of Scandinavian Studies, School of European Languages, Cultures [email protected] and Societies, University College London, UK Martin Loeser, Dr. phil., Department of Church Music and Musicology, Ernst Moritz Arndt University [email protected] of Greifswald, Germany Guillaume Lurton, Ph.D., Coordonnateur du DGCI chez Ministère français des affaires étrangères, [email protected] Institut Français d’Egypte au Caire, Egypt Elfriede Moschitz, Ph.D., Department Choral Conducting: Voice Training and Ear Training for Choral [email protected] Conducters, University of Music and Dramatic Arts Graz, Austria Stephen Muir, Ph.D., Senior Lecturer in Music, University of Leeds, UK [email protected] Karin Oldgren, Manager at Choir & Church Music, Gehrmans Musikförlag, Stockholm, Sweden [email protected] John Perkins, D.M.A., Assistant Prof. of Music, Performing Arts, American University of Sharjah, United Arab Emirates [email protected] Laine Randjärv, Ph.D. student, Vice-President of the Riigikogu (Estonian Parliament), Faculty of [email protected] Philosophy, University of Tartu, Estonia Karin Rehnqvist, Prof., Composition, Royal College of Music, Stockholm, Sweden [email protected] William Renco, Choir singer, Music and IT entrepreneur, Sweden [email protected] André Ruiz, Composer, Braga, Portugal [email protected] Janete Costa Ruiz, Ph.D. student, Child Studies, University of Minho, Portugal [email protected] Pedro Santos, Conservatório de Música da Jobra, Portugal [email protected] Julie Smed Jensen, Choir Conductor, Copenhagen, Denmark [email protected] Jason D. Vodicka, Presidential Graduate Fellow, University of Georgia, USA [email protected] Carolyn Watson, Conductor, Music Educator, Sydney, Australia [email protected] Graham Welch, Prof., Chair of Music Education, Institute of Education, University of [email protected] London, UK Janet Youngdahl, D.M.A., Associate Prof. of Music, Centre for the Arts, University of Lethbridge, Canada [email protected] Sverker Zadig, Ph.D. student, Teacher, Malmö Academy of Music, Lund University, Sweden [email protected] Anne Ørbæk Jensen, Ph.D., Librarian, Music Department, The Royal Library, Copenhagen, [email protected] Denmark

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