CHILDREN’S CHORAL REPERTOIRE: HEARING THE VOICE OF SOUTH AFRICAN

Abstract involved as respondents. Firstly, the composers This article offers a South African perspective on were asked to reflect on personal aspects that play the role of composers as an important link in the a role in their interest in composing choral music process of conductors selecting repertoire for and that affect the nature of their compositions children’s choirs. The following research question and, secondly, on their general opinion regarding is explored: “What is the role of South African the choice of repertoire. The conductors, in turn, composers with regard to the challenges that reported on various role players that influence their conductors experience in their quest of choosing choice of repertoire, and commented on the extent repertoire for children’s choirs?” In this qualitative to which they include South African compositions study, various factors that influence the origin and as repertoire. nature of new compositions are examined. Methods of data collection include literature The author concludes that communication reviews, interviews and questionnaires. between composers and conductors is one of the key issues in the creative process of finding and South African composers as well as local and expanding existing suitable South African international conductors of children’s choirs were repertoire for children’s choirs. rakende die keuse van repertorium. Dirigente bied op hul beurt sienings aan oor die verskeie Samevatting rolspelers wat hul keuse van repertorium Die artikel bied ’n Suid-Afrikaanse perspektief oor beïnvloed, asook die mate waarin hulle Suid- die rol van komponiste as ’n belangrike skakel in Afrikaanse komposisies as repertorium in hul die proses waarvolgens dirigente repertorium vir konsertprogramme insluit. kinderkore kies. Die volgende navorsingsvraag word ondersoek: “Wat is die rol van Suid- Die outeur kom tot die gevolgtrekking dat Afrikaanse komponiste met betrekking tot die kommunikasie en interaksie tussen komponiste en uitdagings waarvoor dirigente in die keuse van dirigente ’n sleutelfaktor is in die kreatiewe proses repertorium vir kinderkore te staan kom?” van die keuse en uitbreiding van bestaande Suid- Verskeie faktore wat die oorsprong en aard van Afrikaanse repertorium vir kinderkore. nuwe komposisies beïnvloed, word in hierdie kwalitatiewe studie ondersoek. Metodes van data- insameling wat gebruik is, sluit literatuurstudie, Key words: onderhoude en vraelyste in. Composers / Composers of choral music / South African composers Suid-Afrikaanse komponiste sowel as plaaslike en Children’s choir internasionale dirigente van kinderkore is as Choral repertoire / South African choral respondente betrek. Eerstens is komponiste repertoire versoek om insette te lewer oor persoonlike faktore Choral compositions / Choral arrangements wat ’n rol in hul belangstelling in die komponeer Commissioned choral works van koormusiek en in die aard van hul komposisies Concert programmes for children’s choirs / speel en, tweedens, oor hul algemene opinie Compositions for children’s choirs

1

INTRODUCTION conductors constitutes an important focus of this article. The study documents the views of This article offers a South African perspective on composers and conductors on how repertoire is the role of composers as an important link in the chosen, and determines whether interaction with process whereby choral conductors select composers plays a role in this process. repertoire for children’s choirs. The purpose of the study is to explore the view of South African Definitions of key aspects composers regarding their role in a conductor’s quest to choose suitable repertoire for children’s The research focuses on children’s choirs, which choirs and to investigate aspects that influence the are referred to in the article as choirs consisting of origin and nature of their compositions. The “unchanged voices” (in some sources referred to as argument pursued in the article is that greater “treble voice”, “equal voice” or “upper voice” interaction between composers and choral choirs). conductors could influence the choice of repertoire and, consequently, the nature of concert The term “choral repertoire” may include various programmes. It is suggested that communication focal points: either a specific musical work or between these two role players could influence the collection of works that a specific choir performs notion that South African children should sing on occasion in an annual programme or over a South African compositions composed within a longer period of time, or the general collection of South African context. The actual interaction compositions available for choral performances. between composers and conductors is examined, as well as the extent to which such contact influences For the purpose of this article, the term the choice of repertoire for children’s choirs. “” refers to a person who creates (or literally “puts together”) a musical work by Seven South African composers were included as combining “numerous diversified elements such as respondents to determine their view on the role voice parts” (Apel, 1979: 189) to form a musical that they play in the choral conductor’s quest to composition to be performed vocally and/or choose appropriate repertoire for children’s choirs. instrumentally. Firstly, an analysis of responses to questions provides an insight into the view of these The concept “experimental techniques” used in composers regarding the origin, nature and quality this article refers to a trend that has since the 20th of repertoire for children’s choirs in . century been used in choral compositions where Secondly, the opinion of choir conductors composers experiment with shouting, whispering, nationally as well as internationally was tongue clicks, imitations of natural sounds, body investigated to determine whether interaction with percussion sounds and movements, etc. composers play a role in their choice of repertoire. Although the study is approached from a South The term “arrangement” refers to a work not African point of view, the opinion of both South regarded as an original composition. It is based on African and internationally recognised conductors original material (for example a folk song, another of overseas children’s choirs was articulated. This choral composition or instrumental composition) offered a local as well as broader international and has been arranged in a new form. perspective on the research question.

The choice and context of the research topic GENERAL HISTORY AND derives from the author’s personal interest in BACKGROUND OF CHILDREN’S children’s choral work and her local as well as international experience as choral conductor of CHOIRS school and regional children’s choirs over a period For centuries, particular attention was devoted to of seventeen years. Since conductors often find it the rounding off of boys’ voices, especially in difficult to locate sources of suitable choral choirs in England and Central Europe. The use of repertoire, interaction between them and

2 boys’ voices in church choirs was highly popular children’s choirs. This has had an important impact in the Middle Ages and the Renaissance period on the available choral repertoire and resulted in (Broeker, 1996: 16). According to Pohjola, boys’ more South African composers choosing to choirs such as the Thomanerchor in Leipzig, the compose for children’s choirs. Wiener Sängerknaben, the Montserrat Monastery Boys’ Choir and the Kings College University of Repertoire for children’s choirs Cambridge Choir acquired legendary reputations in the twentieth century (Pohjola, 2003: 13). It is The available repertoire for children's choirs has only after the Second World War that children’s grown significantly along with the increasing choirs of both genders became popular. Wolff popularity of such choirs during the course of the refers to these choirs with both unchanged boys’ twentieth century: and girls’ voices as “mixed-gender children’s Although Zoltán Kodály choirs” (2001: Part I, 2.3.5). composed for children’s voices in Hungary as early as in the The children’s choir genre in South Africa 1920s, the new type of children’s and youth choir has The purpose of school choirs in South Africa has only developed as an instrument changed since the 1970s. Van Pletzen describes in the last half century (Pohjola, choirs before 1970 as “choirs for occasions”. 1993: 148). These choirs prepared only a few works for specific occasions. During the nineties, however, Pohjola’s statement is supported by two facts – it is the picture started changing and Van Pletzen indeed very hard to find original repertoire for remarks that “it is gladdening that during the past treble-voice children’s choirs composed before the decade there has been a growing tendency towards twentieth century, and the composition of singing choir literature of a high quality (1995: 184 repertoire for children’s choirs has enjoyed a & 337). flourishing period since the beginning of the twentieth century (Broeker, 2000: 26). At present choral singing in South Africa is a cultural activity that enjoys great support among Internationally, the choice of repertoire is people from various ages and from various considered to be one of the most important population groups. “With the years, choral singing challenges faced by choral conductors (Broeker, has become the culturally most pursued activity in 2006: 43; Gackle, 2006: 54; Apfelstadt, 2000: 19; South Africa … Choral singing is one of the Rao, 1993: 7-8). According to Cox, the “selection dynamic forces in South African music” (Van der of literature for children’s choirs is an important Walt, 2004: 19). Since the 1960s, the key which unlocks the doors of success” internationally growing prestige and popularity of (2006: 101) and Lamb agrees that “perhaps no the children’s choir as ensemble has influenced decision by the elementary choir director is more trends in South Africa (Van Aswegen, 2006: 1-4; important than repertoire selection” (2006: 8). Verster, Viljoen & Niemann, 2009: 53): Ashworth-Bartle emphasises this viewpoint by The mixed gender children's remarking that “[c]learly, one of the most choir movement has grown from important and time-consuming jobs that a strength to strength and has conductor of children’s choirs must do is choosing become the norm rather than the repertoire" (2003: 182). Pohjola also stresses the exception in the entire western important role played by a conductor’s choice of world. Music educators repertoire: discovered what a tremendously One of the first conditions for rewarding aesthetic instrument successful choir work is the the mixed-gender choir can be ability to choose your (Wolff, 2001: Part I, 2.3.5). programme correctly. This is at the heart of the conductor’s Thus, over a period of forty years there has been an professional skills. One could enormous increase in the number of South African almost say – tell me what you

3

sing, and I’ll tell you what sort taken in isolation. To some extent the different role of conductor you are (Pohjola, players are always taken into consideration. A 1993: 194). review of the available literature and the data collected reveal that various role players influence The way in which a conductor selects repertoire the way in which conductors choose repertoire. and the resources that are available for finding Decker and Kirk maintain that conductors who suitable repertoire both play an important role in choose successful repertoire are those who develop successful choral work. Therefore, when it comes sensitivity towards the expectations of the different to choir training, the choice of repertoire is role players. "The conductor who develops an considered to be one of the most important factors understanding of the diverse interests of others is in educating potential choir conductors (Pohjola, better able to recognize and respond to those 1993: 191; Rao, 1993: 7-8; Broeker, 1996: 35; interests" (1988: 5). Brinson, 1996: 74; Apfelstadt, 2000: 19). Ala- Pöllänen states that repertoire is one of the most According to Gordon (1989: 28), taking into important components of a conductor’s work. “The consideration the influence of role players in repertoire is the basic thing. I carry out my combination with other factors constitutes the pedagogical aim via repertoire. It is one of the recipe for successful repertoire choice. The most important tools” (Questionnaire: 2004). Rao following graphic representation is based on argues that choral music implies intellectual Gordon’s view of how various role players involvement and that the choice of repertoire influence the choice of repertoire. therefore has strong educational value: “The ability to sing in a choir counts as a form of Illustration 1 knowledge” and “stylistically diverse and Schematic representation: Role players that distinctive repertoire forms the centrepiece of influence the choice of repertoire instruction” (1993: xiv & 8). Consequently, a major challenge that faces the conductors of As illustrated in the above schematic children’s choirs is to find suitable and representation, many authors in the literature educationally sound repertoire. Reynolds points review that was covered for this study do not out that “We [as] music educators can make no consider the composer as an important role player more important decision than the selection of the in the process of choosing suitable repertoire material with which we teach our students” (Gordon, 1989; Van Pletzen, 1995; Gackle, 2006). (Reynolds, 2000: 33). The educational value of Some authors do however recognise the quality choral music for children’s choirs seems to importance of the composer as a role player be one of the basic fundamental aspects that should (Decker & Kirk, 1988; Broeker, 2006; Ashworth- be taken into consideration by conductors working Bartle, 2008; Levy, 2009). with children, as well as composers composing for children. Ashworth-Bartle emphasises the importance of including works composed by contemporary Role players that influence the choice of composers and the necessity of conductors to work repertoire in collaboration with composers. She supports the contribution of the conductor when working with a When choosing repertoire, a conductor is composer in composing a new work for a specific influenced in various ways and the success of the choir as follows: “Often composers do not choir depends on various factors. “In a sense, understand the needs and limitations of the child’s repertoire selection is a juggling act in which voice as well as you” (2008: 75). In interviews several ingredients for success are balanced” with successful conductors of school choirs in the (Gordon, 1989: 28). An essential “element” in this United States of America, Broeker reports on two “juggling act” is interaction between choir conductors who successfully joined forces with conductors and other role players. local composers and “who often give them the honor of premiering a new work” (2006: 43). One Although the conductor is responsible for the of these respondents reflects on the value of such choice of repertoire, decisions in this regard are not collaboration as follows: “Their pieces are usually

4 well crafted and reflect an understanding of the depends upon the performer's skills in vocal development of younger singers” (Broeker, communication for enjoyment and understanding” 2006: 43). Levy refers to Harlow (President and (Decker & Kirk, 1988: 1). Collaboration between owner of Santa Barbara Publishing Company) who conductors and composers is accordingly recommends that composers of music for recognised by some authors as a vital requirement children’s choirs become “familiar with the kind of in creating new works and enhancing choral choir” for whom they are arranging music (Levy, programmes. 2009: 9). According to Freer, “occasionally, the most satisfying repertoire develops through Within the challenging process of choosing collaboration with composers” (2007: 32). When repertoire, the role and view of South African he conducted interviews with choral directors to composers are often underestimated. This find out how they choose repertoire, one phenomenon is evident from the fact that full-scale respondent reported as follows: printed sources reporting on the history, It is extremely important to contribution and views of composers were only collaborate with living published as little as four years ago – in 2006. composers in the presentation of Besides earlier, short publications or booklets on music from our time. It is the South African composers, a book on the composer relationship with the artist, and Stefáns Grové (edited by Walton and Muller) was the participation in the creative the first full-length study of any South African process, that I have found to be composer to be published. According to Walton, so enriching for my ensembles this 2008 publication on South African composers and my own growth as a was published “very late indeed for any ‘first’ in a conductor (Freer, 2007: 32). country” (Walton, 2008: 42).

Some authors do however acknowledge the To some extent, the role of composers could be important role that composers play in the process seen as an important “missing link” in the process of choosing appropriate repertoire. Brinson of choral conductors selecting repertoire for (1996: 75) suggests that good programmes reflect children’s choirs. It could be argued that better conductors with receptivity for the new ideas, interaction between composers and choral works and styles of composers. “Directors should conductors could greatly enhance the choice of strive continually to broaden their level of comfort repertoire and, consequently, the nature of concert to include a variety of styles, eras and composers” programmes. (Brinson, 1996: 75). Jean Ashworth-Bartle formulates her opinion of whether commissioned RESEARCH DESIGN works are essential as follows: Absolutely, this [interaction between conductors and The primary research question addressed in this composers] is critical. article is: “What is the role of South African Composers cannot work in a composers with regard to the challenges that vacuum. They will improve their conductors experience in their quest of choosing craft enormously if they hear repertoire for children’s choirs?” The study their works performed regularly. presents a perspective on how composers view Not all new pieces will be great. their role in composing repertoire for children’s But it is every conductor’s choirs and the importance of interaction between responsibility to make sure that themselves and conductors during this process. they improve the standards of The research involves a descriptive qualitative composing in their country. study of the role and function of composers in exercising repertoire choices. The methods used Decker and Kirk support the notion that composers for data collection included descriptive information should also be regarded as important role players. from the literature study and information derived “The composer communicates with an audience from open-ended questionnaires and interviews. through performers. Conversely, an audience Data collected by means of questionnaires were

5 followed up by personal and telephonic interviews The responses that were received from the with some composers. According to Robson participating composers were analysed and listed (1993: 241) such interviews offer the opportunity under four main topics: for “corrections of obvious misunderstandings and  The origin of and reasons for composers’ possible use of probes”. The interviews and hard interest in composing for children’s choirs copies of the author’s interpretation of data that  Specifications received from conductors who were sent to the composers for comments gave request commissioned works credibility to the findings.  Composers’ view on the development of the children’s choir genre in South Africa over the The main focus of the research is the data collected past ten years or more from seven participating South African composers.  Views regarding the inclusion of various types Purposive sampling was applied in choosing these of arrangements in children’s choir repertoire composers. The composers who participated in this research include musicians writing music for choirs, as well as professional composers. The A. THE ORIGIN OF AND REASONS FOR author concentrated on South African composers COMPOSERS’ INTEREST IN whose works have been performed by her own COMPOSING FOR CHILDREN’S choirs, or who are known to her. Composers of CHOIRS works from the 1970s to 2004 have been included. The following seven composers (in chronological Questions asked in the questionnaires and order) were participants in the research: interviews focused on how composers became  Stefáns Grové (born 1920) interested in composing for children’s choirs. Four  Chris Lamprecht (born 1927) of the seven composers indicated that their interest  Rykie Pienaar (born 1929) in children’s choirs as a composition medium  Marlene Wessels (born 1931) resulted from requests by conductors. Once they  Hendrik Hofmeyr (born 1957 started writing commissioned works, their interest  Johan Cloete (born 1957) in composing for children’s choirs was aroused.  Niel van der Watt (born 1962) The other three respondents’ involvement in Apart from these composer respondents, fifty- composing for children’s choirs could be ascribed seven South African and seven overseas to an interest in the involvement of the composer’s conductors of school choirs and regional children’s own children in school choirs and operettas, the choirs were involved in the research as nature of the respondent’s work as a music lecturer respondents. Respondents were chosen on the basis in choir conducting and a natural interest in the of purposive sampling. Initially conductors known sound of a children’s choir. For example, Hendrik by the author were involved. This led to “snowball Hofmeyr remarked that “as a child I dreamed of sampling”, since these respondents introduced the singing in the Drakensberg Boys’ Choir. The author to other conductors who were willing to sound of a children’s choir has always fascinated participate. Questionnaires were completed and me”. some conductors were interviewed. In this article, however, the focus is mainly on the role of Some conductors have the perception that composers and on the interaction between composers work in isolation, and come to a composers and conductors in the process of decision when they have an artist’s inspiration and choosing repertoire. urge to compose a new work. Although some of the composer-respondents revealed the importance of inspiration as the basis for a new composition, a FINDINGS OF THE STUDY significant number of them reported that the interaction between themselves and conductors

played a determining role in the origin of their SECTION 1: Findings based on the analysis compositions. Six composers indicated that of responses received from the composers commissioned works and requests play the most important role in the development of their

6 compositions. Hendrik Hofmeyr explains: “My Frequently the conductor gives fairly compositions for children’s choirs often originate specific indications: A cheerful song in commissioned works. The particular sound in Afrikaans, or even worse, quality of children’s voices and the kinds of ‘something which sounds like…’ atmospheres that can be conveyed by their voices (Niel van der Watt) determine the style of the work.” The purpose of the commissioned work Specific requirements by conductors who commission works, as well as the nature of the The reason why compositions are requested can relationship between the conductor and composer determine the character of the work: "Is it meant practically influence compositions. This for a competition, for singing happily, or for an information reveals that composers and conductors overseas tour?" (Niel van der Watt) are equally dependent on each other in adding new compositions to existing repertoire. Requests by The relationship between the composer and the conductors are an important motivation and conductor stimulation for composing new works for children’s choirs. According to Van der Watt the nature of the relationship between the composer and the Some of the commissioned works initially came conductor who requests the commissioned work about through rewriting existing works originally also plays a role: “My relationship with the composed for mixed choirs. As Johan Cloete conductor has a subjective influence on the recollects: composition.” (Niel van der Watt) During a conversation with Hennie Loock of the Tygerberg The unique sound quality of a particular choir Children’s Choir I became totally hooked, although in the Some composers reported that the particular sound beginning I did not experience quality and character of a specific choir influenced an overwhelming reformation, new compositions. Their work with choirs was the more the rewriting of existing springboard that sparked their interest in material (in this case material composing music for children’s choirs, something taken from my "White Mass" – which they had not considered previously. Niel 1993-4). van der Watt reported that he attends rehearsals or performances of a choir, or asks for CD recordings According to Johan Cloete, inspiration plays a before composing the commissioned work. This role: “As with most of my music it must be enables him to determine the sound quality, something visual, even theatrical, that evokes a standard, experience and character of a choir. strong emotional yet mystical unknown core.” A deeply-felt inspirational element therefore seems to Geographical location of choirs be another factor that influences the development of compositions. Another factor that influences compositions involves geographical aspects that are taken into consideration when new works are composed. The B. SPECIFICATIONS RECEIVED FROM repertoire requirements of choirs in rural towns CONDUCTORS WHO REQUEST often differ from those in cities: COMMISSIONED WORKS I normally write at the request of, and/or commissioned by, The nature of a particular choir affects the work of conductors. This determines that the composer. For example, the number of voice I write differently for the choir parts in a particular choir and the range of a small school in the country possibilities of the voices can play a role. than for an established regional Composers also often receive other requests from choir. (Chris Lamprecht) conductors that can affect the composition:

7

Data revealed that geographical location indeed Composers sometimes use poems or create suitable plays a role, since choirs in rural areas often do not texts themselves. For example, Rykie Pienaar enjoy the privilege of professional teacher- remarked as follows: “I usually composed songs conductors and accompanists as in the case of for one and two voice parts with relevant topics of choirs in bigger cities. On the other hand, children interest to children. I use existing poems or write in cities are often much more engaged in my own lyrics.” extramural activities which lead to time constraints with regard to rehearsals. In some cases choirs in Apart from poems, Johan Cloete reported using cities have more performance opportunities and “...predetermined, unchanged texts from the exposure to other choirs and composers, which all Catholic Mass”. Stefáns Grové pointed out that the play a role in the choice of repertoire. character of a text to be set to music and whether it has expressive value should also be considered. The choice of text for compositions for Marlene Wessels indicated that she takes into children’s choirs consideration the musical rhythm of words in a text: Texts prove to have an important effect on the Every person has an inherent origin of a composition. A composer might be musical rhythm. Different inspired by a certain text and he/she either starts a aspects of this rhythm will new independent composition, or links the text to a appeal to different people. The commissioned work. linear rhythm of the text built into the flow of the word accent Feedback from Stefáns Grové, Niel van der Watt interests me. and Rykie Pienaar shows that text can influence the development and nature of a composition. It was predicted by the author that, inevitably, From a response by Niel van der Watt it can be composers would use text related to the age level seen that text, as well as the personal interest of the and intellectual, emotional and musical levels of composer at a given moment, does play a role: experience of the choir members’ age group. Other What I, as a composer, am factors that influenced composers’ choice of texts occupied with at present included texts from which children might learn and [influences my composition]: receive positive messages, humorous content, For example, I am currently existing poems, or predetermined unchanged texts, examining texts of N.P. van for example Biblical verses, texts from the Wyk Louw. If the commission Catholic Mass and own texts created by the should link up with this it would composers themselves. affect the decision regarding a new composition. (Niel van der Composers further highlighted the importance of Watt) the relationship between the rhythmic and melodic character, and the atmosphere of the music and the Most of the respondents indicated that they take text. into consideration the world of children’s experiences – consequently, a text suitable for a The role of religion or any other conviction children’s choir is considered as an important prerequisite. According to Chris Lamprecht, Religion to a greater or lesser extent plays a role. “[t]exts for children’s choirs should preferably fall Responses that were received from the composers within the comprehension and emotional maturity in this regard can be divided into three groups: of children”. Niel van der Watt supported this view those composers who indicated that religion has no and added that “[a]s far as context is concerned the effect on their compositions; those who felt text should be suitable for children. It should be strongly about religion and insisted that their child-like, or informative (contain a lesson), or inspiration for devotional or secular works humorous”. emanated directly from God; and composers who liked to compose devotional music and had a

8 preference for using sacred themes and texts, for Most respondents have no preference concerning a example, liturgical and Latin texts. cappella or accompanied compositions. Two composers, however, remarked that a cappella A predilection for folk music choir music has greater appeal for them: Gradually a cappella became The appreciation for the value of folk music is my preferred medium, more for another aspect that was found to influence practical reasons than anything compositions. Lamprecht is well known for his else. I now prefer it because significant role in promoting and preserving supposedly it seems to have a Afrikaans folk music in South Africa. His purer character. (Johan Cloete) preference for Afrikaans folk music has played a definite role in the origin and nature of his As far as writing is concerned I compositions and arrangements. This is also the prefer neither the one nor the case with compositions by other South African other, but I must admit that to composers, such as Hubert du Plessis, which had me much choir music with piano been inspired by folk music (Krige, 2007: 131). accompaniment sounds trite: this is not necessarily the fault of the Preference for, and views regarding, a cappella medium. (Hendrik Hofmeyr) versus accompanied works It can be inferred that personal preferences When choosing between a cappella versus regarding accompanied or a cappella works do not accompanied compositions, feedback indicates that largely influence the compositions of the the type of commission and the skills of the choir respondents. The nature of the commission and the play a greater role than the personal preference of ability of the choir in this regard are stronger the composer. Niel van der Watt wrote the considerations. In the present study, composers following on the use of a cappella and pointed out that the standard of performance of accompanied compositions by South African young or/and inexperienced choir singers is often children’s choirs: better when compositions with accompaniments In South Africa there are only a are chosen. An accompaniment can also supply a few choirs that should sing a baseline that may have a positive influence on the cappella. Generally choir intonation and sound of an equal-voice choir. leaders aim too high. The younger the youngest member of The use of experimental techniques a choir, the more simple the work should be. Three composers reported that they do not use Accompaniment, therefore, is experimental techniques in their compositions. the norm. One respondent from this group, however, stated that this technique will be considered for future The absence of a bass line in children’s choral compositions. Four composers indicated that they singing is another factor that plays a role in had included experimental techniques. An example deciding whether a composition should be a in this regard is the echo effects and imitation of cappella or accompanied: natural sounds used in Chris Lamprecht’s SSAA music should preferably Tsitsikama. Hendrik Hofmeyr admitted that he had be accompanied. SSAA a to some extent used experimental sounds in his cappella singing creates a composition Tu pauperum refugium. The problem because of the lack of composition included experimental ideas, for bass sonority. Actually it only example, “...tongue clicks, hissing sounds, succeeds if there are very good whispering and optional stamping of feet and altos in the choir. (Niel van der murmuring”. In How sweet the moonlight he Watt) admitted to have used “...whispering and aleatoric rhythmical activities within sound clouds”.

9

It can be concluded that experimental techniques who states that the performance of experimental that are prominent internationally in 20th century works, especially as chosen repertoire for choir choir compositions are to an increasing extent competitions, has become an international trend. being used in South African compositions for Exposure to choirs from all over the world serve as children’s choirs. Especially since the late 1960s, a stimulus which leads to South African the use of experimental sounds and techniques has conductors including more contemporary become popular in compositions for children’s compositions in their programmes and, choirs. The lead in this regard was taken by consequently, to composers composing more composers from the Scandinavian countries. experimental works. In the present study, some Examples of these works performed by various respondents maintained that composers should not South African children’s choirs are Aglepta include experimental effects merely for the sake of composed in 1969 by Arne Mellnäs, Dreams 1, Op artificial effects, but that they should be 85 composed in 1977 by Erik Bergman and purposeful, well designed and fit in with the nature Revontulet (Northern Lights) composed in 1983 by of the work. Pekka Kostiainen. In his response to the question on the use of experimental techniques, Chris Lamprecht remarked as follows on the influence of C. COMPOSERS’ VIEW ON THE overseas trends on South African choirs and DEVELOPMENT OF THE CHILDREN’S compositions: CHOIR GENRE IN SOUTH AFRICA Overseas tours are apparently a OVER THE PAST TEN YEARS OR great stimulus towards MORE prompting more contemporary composition. One good choir Composers were asked whether there was now a and conductor can often greater demand for original compositions and stimulate new compositions and arrangements for children’s choirs than there had performances, which indicate been in the past. Their answers indicated that over growth. the past decade there has been growth in this field. According to Niel van der Watt there is an The inclusion of experimental techniques in increasing demand for children’s choir music. He compositions can be innovative for a number of added that there are frequent demands for light reasons: South Africans should remain informed of choral music. international trends; this composition style lends interesting variation to a programme, and the Chris Lamprecht stated the following with regard performance of these works presents a challenge to to the general standard of children’s choir work choirs. The use of experimental techniques, and choice of repertoire in South Africa: however, is not a criterion for quality, and I am glad you conduct the artificiality should be avoided. Niel van der Watt research from a South African gave an informative response in this regard: perspective, because, as we all If an experiment is used simply for know, we lag far behind the sake of experimenting then it is overseas countries as far as merely a gimmick and has no apprehension, educational value musical justification. Experimental and expert assessment in singing must be functional and fit in programme content are with the spirit of the work. concerned. There is, however, a gradual growth in musical In the contemporary era, an increasing number of standard as well as in choral compositions include experimental programme selection. As there techniques. The author has observed that more are more choirs than ten years South African conductors prefer to include and ago, there is also a greater even overshadow their concert programmes with demand for choir music. works that exhibit experimental techniques. This view correlates with that of Simon (2000: 108-109)

10

Lamprecht’s view is supported by Rykie Pienaar the African culture as well. A who agreed that the standard of children’s choirs challenge indeed. (Chris had improved and the repertoire selected was of a Lamprecht) higher quality than ten years ago. Chris Lamprecht pointed out that children’s choral Apparently, as a result of international exposure, repertoire are mostly created because composers regional children’s choirs have improved more as receive commissions from conductors. The far as the performance standard as well as the disadvantage of this state of affairs is that there is standard of repertoire selection is concerned. This no on-going planning through which South African trend has given rise to the creation of South children’s choral repertoire can be created African compositions that are in demand overseas according to needs and a planned structure. He and are being performed by choirs at international suggested the following: level: As requests appear sporadically The international exposure and randomly there is no enjoyed by our best choirs leads carefully considered planning to a greater demand for South for children’s choir African works to be performed compositions. Ideally there overseas, and to more should be proper planning appreciation for, and interest in, according to South African that which originates in our own needs after which chosen country. (Hendrik Hofmeyr) composers should be approached for assignments on The social and political changes in the country an annual basis. Whether this have an impact on children’s choir repertoire. The will come about in our country responses offered by Johan Cloete and Chris is to be wished for, but, sadly, Lamprecht provide insight regarding this aspect: unlikely. All the politicising of the past ten years naturally brought about a Lamprecht suggested that it could be helpful if a definite development regarding the South African choral organisation could take the elimination of ‘apartheid’-oriented initiative to promote and structure commissioned boundaries between Afro- and works. In his view, South African choral repertoire Eurocentric music. In other words can greatly benefit from such an enterprise. choir music can be seen as one of the bridges between (previously) The data obtained from participating composers advantaged and previously less- revealed a growth in the interest in children’s advantaged groups. But more than choirs in South Africa over the last decade. mere politics: together with a new Although there is now a greater demand for ‘paradigm’ (ca. 1999 – 2001) children’s choir music and despite a gradual comes a greater consciousness of improvement in the standard of children’s choirs our (mankind’s) fragile grasp on and repertoire, some composers reported that this planet. Children play an programme selection in South Africa still could not important role in this be compared to international standards. It was consolidation which of course is found, however, that international exposure transmitted to appreciation for this (especially of regional children’s choirs) had specific genre. (Johan Cloete) improved the performance standard as well as the standard of repertoire selection. Social and In South Africa, moreover, we are political changes over the past decade not only in a unique situation as we have imply challenges, but also create opportunities for eleven different cultures / choir singing and the selection and composing of languages that should be taken repertoire in South Africa in the future. into consideration with great insistence from overseas to utilize

11

D. VIEWS REGARDING THE INCLUSION Chris Lamprecht remarked that arranging OF VARIOUS TYPES OF compositions for mixed choirs as works for equal- ARRANGEMENTS IN CHILDREN’S voice choirs had limitations that posed challenges CHOIR REPERTOIRE to the arranger. “The voice range of SATB compositions is approximately three octaves Six of the respondents were not opposed to compared to SSA choral music which range is arrangements, but had certain reservations in this approximately two octaves. This creates technical regard. For example, “As long as it is done and artistic limitations.” This challenge can, idiomatically and in a singing style” (Hendrik however, be successfully overcome and South Hofmeyr), and “[a]cceptable, provided the African compositions originally composed for integrity of the original work is not affected" mixed choirs are often rewritten by the original (Johan Cloete). Stefáns Grové, however, did not composer for equal voices. Examples of such regard arrangements as material of good quality: “I compositions are White Mass by Johan Cloete and am strongly opposed to arrangements in any form O diepte van die Rykdom by Chris Lamprecht. since they alter the original message.” Chris Lamprecht had ambivalent views. On the one Arrangements of instrumental compositions as hand, he maintained that original compositions works for equal-voice choirs should take preference over arranged works: “In the ordinary sense of the word, arrangements are Only three composers commented on the inclusion translations – never as good as the original.” On of arrangements of instrumental compositions. the other hand, he pointed out that the art of Marlene Wessels remarked that “...by doing this, arranging should not be underestimated and that many possibilities can be created to let the skills the compositions of well-known masters often and tone of the instrument reverberates in the developed from arrangements: voices”. Hendrik Hofmeyr and Chris Lamprecht The more artistic value is added argued that these arrangements could be included, to the original material, the less provided that the material lends itself to choral of an arrangement it is – and the arrangements and is arranged in a style that can be more it becomes a composition. successfully performed vocally. Aan die Noordweste is an example. Often there is more Arrangements of compositions in a popular work involved in an artful style as works for equal-voice choirs arrangement of given material than in a brand new Respondents were mostly sceptical about composition, because the arrangements of popular music. According to composer is restricted by the Rykie Pienaar, the large number of arrangements potential which the given of popular music resulted from the great popularity material places on the of this music among South African audiences. ‘arranger’. I am therefore of the Chris Lamprecht indicated that he was not an opinion that it is short-sighted to advocate for the arrangement of light songs and give in to the present tendency added that copyright problems could arise. to regard arrangements as somewhat inferior to original Arrangements of indigenous folk music as works. After all, without works for equal-voice choirs ‘arrangements’ we would not have had Schubert’s Ros’lein or Generally speaking, respondents were in favour his Der Lindenbaum. (Chris of the inclusion of arrangements of folk music in Lamprecht) choral repertoire. Chris Lamprecht argued that “[a]ny folk melody in its original state has to Arrangements of compositions for mixed voices undergo some form of ‘arranging’ for public use as works for equal-voice choirs (harmonizing, accompaniment, notation, et cetera)”. Hence, the use of arrangements is

12 unavoidable if any folk music is to be included way, as long as the text and the in choir repertoire. way it is composed represent something with which children The author’s impression that arrangements are can identify. In musical often regarded as inferior was confirmed by the assessment the same norms respondents’ views. Most composers maintained apply as in any other work. that original compositions should be a conductor’s first choice. They argued that arrangements often In an interview with the conductor Petru Gräbe in did not relate to the original message and could 2004, he gave the following reply when requested never be as good as the original. They nevertheless to provide his views on criteria for good quality pointed out that arranging music should not be repertoire: underestimated. This skill could well be regarded ‘Good quality’ is very vague. It is not as an art form as it required a highly skilled and easily definable. I do not think one can say artistic musician to pull it off successfully. With what the ideal piece is for a children’s regard to folk music, the respondents generally choir. There are too many parameters. agreed that any folk music in its original state had There are compositions that are good to be arranged with regard to writing down its works for children’s choirs, but those are notation and creating an accompaniment, completely contrasting – for example, harmonisation and other musical aspects to add to works by Bartók as against those of an interesting performance. Interaction between Lamprecht. Music from the Scandinavian composers and conductors could spark an interest countries can be the other corner of the in folk music and consequently lead to a larger triangle. There are no rules. To say, for number of arrangements of folk music or example, that a work should be harmonic compositions based on elements in folk music. according to traditional rules, contradicts twentieth century works in which Opinions regarding qualities needed to deem a experimental harmonies often occur. So, composition or an arrangement a ‘good one’ say for example that a piece should be harmoniously in order, but gainsaying Chris Lamprecht stated that “all music should be twentieth century works in which grammatically and artistically accountable”, while experimental harmonies are common. The Johan Cloete pointed out that the criteria for a work must complement the choir as well good work depended on personal views: as the ability, preference and talent of the Criteria for good children’s conductor. Naturally there are choral repertoire differ from compositions in choral literature that person to person, depending on would be considered to be of a high the subjective factors such as standard by most authorities. It is, what can be regarded as however, difficult to formulate just what artistically mature or, less the common characteristics of these works subjectively, what testifies of are. technical skilfulness. Feedback from respondents offered valuable According to Cloete, therefore, music must appeal insight regarding criteria for quality choral music to the intellect as well as to the emotions of the for children’s choirs. It is, however, clear that it is singer and listener. Hendrik Hofmeyr offered a not an easy task (in fact, it will require an ongoing meaningful summary of criteria for children’s discussion) to pin down the qualities needed to choir compositions: deem a composition or an arrangement a “good Vocally it should not be too one”. demanding. On the musical level children can cope surprisingly The next point of focus in the article involves well with exacting works – there opinions formulated by conductors. The views of is no need to write in a conductor respondents were documented to shed condescendingly ‘childlike’ further light on various role players, including

13 composers, who influence the choice of repertoire rank order of role players according to as well as the inclusion of South African respondents taking part in the research. commissioned works. Illustration 2 Graph: Rank order of role players SECTION 2: Findings based on the analysis of the responses received from conductors Based on her own observations, the author maintains that most conductors of school choirs do The analysis of interviews with and questionnaires not realise the importance and value of completed by participating conductors resulted in communication with composers. The respondent the identification of two main themes: conductors who have been involved in the study  The role of various role players in the process are, however, experiencing success with their of choosing repertoire choirs and most of these choirs enjoy a high profile  The extent to which South African of success in concerts and competitions. This compositions and commissioned works are suggests that the interaction between conductor included as repertoire and composer indeed has a positive effect on repertoire choice. Respondent conductors reported that they were aware of the importance of inviting A. THE ROLE OF VARIOUS ROLE composers to listen to a choir, communicate with PLAYERS IN THE PROCESS OF choir members and the conductor, and compose a CHOOSING REPERTOIRE work suitable for that particular choir. The data collected disclosed the composer as an important Conductors involved in the current study reported link in the process of conductors choosing their that a number of role players influence the way in repertoire. The interaction between the various role which they choose repertoire. These include the players in the process of choosing repertoire can be choir members, the audience (listeners with little illustrated as follows: background knowledge of choral singing, as well as experts in the choir community, for example, Illustration 3 adjudicators of competitions), and governing Schematic representation: Interaction between bodies (e.g. school principals or parents in parent various role players committees). In addition to the conductor, choir members, audience, choir community and Although some conductors of children’s choirs management bodies, the following role players who have experienced success and international were also identified based on the questionnaire exposure, value the role of the composer and data: the composer, the accompanist, organisations interact with composers by consulting them and or persons who prescribe repertoire for requiring commissioned works, it is the opinion of competitions, and clergymen who make the author that most conductors of children’s suggestions for performances during church choirs generally underestimate this valuable services. Apart from management bodies, the opportunity. Some conductors do not even school principal plays an important role in the consider the option of interacting with composers choice of repertoire for school choirs. A number of and seem to regard such opportunities exclusively respondents indicated that they could not for ‘high profile’ regional and school choirs. determine a rank order of role players, as they believed that interaction between all those Most South African respondent conductors concerned played an equal role. indicated that they made use of existing South African compositions. Local respondents were, Apart from the conductor, various other role however, found to make less use of new players who influence the conductor regarding the commissioned works than their overseas choice of repertoire were identified in the counterparts. literature review as well as by the data collected. The following graph presents an illustration of the May (2007) refers to the composer Hendrik results of the data collection. The data reveal the Hofmeyr as “probably the most commissioned

14 composer living in South Africa” especially with original compositions, as this stirs up composers’ regard to choral works (2007: 8). However, this motivation and contributes towards expanding the collaboration between conductors and composers existing South African repertoire for children’s seems to be the exception rather than the rule. The choirs. Requests from conductors are the most role of South African composers in the process of a important stimulus for composers to compose conductor’s quest to choose suitable repertoire for music for children’s choirs. Composers’ interest in children’s choirs can only be fulfilled if better children’s choir repertoire and the composing of communication is established between conductors most works result from commissions that they and composers in South Africa. receive.

Interaction between composers and conductors B. THE USE OF SOUTH AFRICAN could lead to the creation of more original South COMPOSITIONS AND COMMISSIONED African compositions as well as more WORKS arrangements of South African folk music. This would offer local choirs the opportunity to choose Conductors were asked to what extent they used from a richer variety of locally composed music, or commissioned works. An analysis of feedback arrangements within a South African context. from South African conductors and conductors abroad revealed that South African conductors are Reponses from composers suggested that less inclined to request commissioned works from structured commissioned works, under the composers. The following graph illustrates that leadership of a South African choir organisation, more conductors abroad interact with composers in can make an enriching contribution towards a comparison to South African respondents. balanced and varied treasure of children’s choral repertoire in South Africa on an annual basis. Illustration 4 Improved collaboration between composers and Graph: The use of commissioned works: a choral conductors, as well as the involvement of comparison between overseas and South national organisations can exert a very positive African respondents influence on the wealth of repertoire for children’s choirs. In this research it was found that the role of interaction between conductors and composers can Respondents agreed that during the past decades make a valuable contribution towards enhancing there has been growth in the standard of South the repertoire of children’s choirs. It consequently African repertoire for children’s choirs. expands and strengthens the collection of existing Contemporary South African compositions for original South African choral compositions. children’s choirs compare favourably with those overseas. Moreover, there is an increasing demand Finding suitable music for children’s choirs proves for repertoire in this field. The respondents also to be a great challenge. The author concludes that maintained that international exposure was having more interaction between composers and an influence on the choice of repertoire of South conductors can play a positive role in this respect. African children’s choirs. Only a few of the conductors involved in this study were shown to realise the value and importance of The following has emerged regarding factors that interaction with composers. Communication play a role in new compositions: the use of between composers and conductors over a wide experimental techniques has become a trend over spectrum (from regional choirs to school choirs of the last decade and such techniques are employed different levels of quality) is one of the key issues to an increasing extent. Although a cappella in the process of finding and expanding suitable singing is regarded as of higher value in choral repertoire. More conductors, especially those singing, both a cappella and accompanied singing involved with school choirs, should be encouraged are equally applied in compositions. Personal to commission works specifically for their choirs. factors, for example, their own participation as It was found in this study that composers need the children in children’s choirs, or exposure to interaction with conductors who request from them excellent children’s choirs sparked an interest in

15 composers’ enthusiasm to create works for children’s choirs varies. Most South African children’s choirs. The role of religion as an conductors who took part in this research indicated inspiration for new compositions varies; some that they made use of existing choral compositions. composers regard religion as an important force This implies that local respondents make less use behind their compositions, while for others religion of new commissioned works than do their overseas does not play a role. counterparts. Feedback from respondents confirmed the notion that composers do not work The respondents generally agreed that choral in a vacuum and that collaboration between arrangements can make a positive contribution to composers and conductors has a significant effect choral repertoire, especially with regard to folk on their compositions. Requests and specific music. Arrangements of popular songs, however, requirements by conductors who commission met with a negative reaction. It has to be noted, works, the unique sound quality of a particular however, that in a world where children are choir and even the nature of the relationship increasingly exposed to the media and a between the conductor and composer play a role. commercial approach, music from a popular genre Apart from inspiration, other factors that play a cannot be ignored and could be included as role include the rewriting of existing works repertoire without neglecting folk and serious originally composed for mixed choirs, the music. geographical location of choirs, religion (to a greater or lesser extent) and a predilection for compositions based on, or arrangements of folk CONCLUSION music.

In this qualitative study, various factors were Since conductors often find it difficult to locate examined that influence the origin and nature of sources of suitable choral repertoire, requesting new compositions for children’s choirs. Methods commissioned works from composers for specific of data collection included literature reviews, choirs offers a constructive solution to this interviews and questionnaires. South African problem. This would support the belief that South composers, as well as local and international African compositions composed within a South conductors of children’s choirs were involved in African context should constitute an important part the study as respondents. The seven composers of local concert programmes. It is every involved reflected not only on personal aspects that conductor’s responsibility to ensure that composers play a role in their interest in and the nature of from their own country compose new works, their compositions, but also on their general views thereby contributing to the body of repertoire and regarding the choice of repertoire. The conductors improving the standard of local choral repertoire. involved reported on various role players that Composers who are invited by conductors to attend influenced their choice of repertoire, and the extent their choir’s rehearsals and concerts feel better to which they themselves included South African equipped to compose suitable works for specific compositions as repertoire. choirs and seem to develop a better understanding of the needs and limitations of young singers. The The research revealed that the choice of repertoire standard of South African compositions could also for children’s choirs is considered to be one of the improve through regular performances and most important challenges faced by conductors. recordings of commissioned works. The author The decisions that choir conductors make when concludes that collaboration between composers choosing repertoire do not take place in isolation. and conductors as artists can be an enriching Different role players affect the way conductors experience for all role players. This partnership is choose repertoire. The preferences, planning and one of the key elements in the creative process of objectives of the conductor, the interests of the finding and expanding suitable South African choir and the expectations of the audience all play repertoire for children’s choirs. a role. However, the role of composers is often underestimated. The study found that the role that South African composers play in the process of a conductor’s quest to choose suitable repertoire for

16

BIBLIOGRAPHY three-part series). The Choral Journal, September 2007: 26-31. Apel, W. 1979. Harvard Dictionary of Music. 2nd edition. London: Heinemann. Gackle, L. 2006. Repertoire Standards: Children’s Choirs – Selecting choral literature for Apfelstadt, H. 2000. First things first: selecting children’s choirs: A closer look at the process repertoire. Music Educator's Journal, July – Part II. The Choral Journal, December 2006: 2000: 19-22, 46. 49-55.

Ashworth-Bartle, J. 1998. Lifeline for children’s Goetze, M. 2000. Challenges of performing choir directors. Toronto, Canada: Gordon diverse cultural music. Music Educator's Thompson Music. Journal, July 2000: 23.

Ashworth-Bartle, J. 2003. Sound advice – Gordon, L. 1989. Choral director’s rehearsal and becoming a better children’s choir conductor. performance guide. New York: Parker. New York: Oxford University Press. Gordon, D.G. 2001. Introductory vocal pedagogy Ashworth-Bartle, J. 2008. A lifelong passion for in the elementary music classroom. The singing in choirs. The Choral Journal, Choral Journal, August 2001: 19-24. November 2008: 71-75. Hennings, P. 2000. The heart of the matter: helpful Brinson, B.A. 1996. Choral music methods and hints for successful programming and efficient materials. New York: Schirmer Books. rehearsing. The Choral Journal, August 2000: 37. Broeker, A. 2000. Developing a children’s choir concert. Music Educator's Journal, July 2000: Kaschub, M. 2000. Repertoire and standards 26-30. committee reports: high school choirs: is there time to sing and chase the ball? The Choral Broeker, A. 2006. An interview with six successful Journal, February 2000: 39. elementary school choral directors. The Choral Journal, April 2006: 38-48. Krige, P. 2007. Hubert du Plessis – ’n Komponis vir Suid Afrikaners? Musicus, Vol 35 (1): 130- Broeker, A.E. 1996. Seventeenth-century vocal 133. music suitable for children’s choirs, with guidelines for teaching. Unpublished DMus Lamb, D. 2006. Singing diverse repertoire in the thesis. Oklahoma: University of Oklahoma. elementary school choir. The Choral Journal, April 2006: 8-16. Brouckaert, L. 2002. Songs sung by South African children. Gatesville Grassroots Educare Trust. Levy, C. 2009. Some thoughts on arranging music for the children’s choir. The Choral Journal, Cox, N. 2006. Repertoire Standards: Children’s December 2009: 7-11. Choirs – Selecting choral literature for children’s choirs”: A closer look at the process May, J. 2007. Chronicles / Kronieke: Hendrik – Part I. The Choral Journal, November 2006: Hofmeyr at fifty: a short biography with a 101-109. worklist and discography. Musicus, Vol 35 (2): 7-18. Decker, H.A. & Kirk, C.J. 1988. Choral conducting – focus on communication. Persellin, D. 2000. The importance of high-quality Englewood Cliffs, New Jersey: Prentice Hall. literature. Music Educator's Journal, July 2000: 17. Freer, P.K. 2007. The conductor’s voice: Experiencing choral music (Part two in a

17

Pohjola, E. 1993. The Tapiola sound. Fort Van der Walt, A. 2004. Choral singing in South Lauderdale, USA: Walton. Africa. International Choral Bulletin, Volume XXIII, No. 3, 2nd Quarter: 19. Rao, D. 1993. We will sing! Choral music experience for classroom choirs. New York: Van Pletzen, C.C. 1995. Die aktiwiteite van Boosey & Hawkes. geselekteerde skoolkore en hul invloed op die musiekopvoeding in die Oranje-Vrystaat. Reynolds, H.R. 2000. Repertoire IS the Unpublished MMus dissertation. curriculum. Music Educator's Journal, July Bloemfontein: University of the Orange Free 2000: 31-36. State.

Robson, C. 1993. Real World Research: A Verster, H., Vijoen. M. & Niemann, R. 2009. resource for social scientists and practitioner- Choral techniques for children’s choirs: A researchers. Oxford: Blackwell Publishers. qualitative account. Musicus, Vol 37 (2): 52- 62. Sharp, W.T. 2000. Hallelujah! how can we sing a strange song in the Lord’s Land? The Choral Walton, C. 2008. South African music history Journal, August 2000: 51-54. through the looking glass. Musicus, Vol 36 (2): 42-44. Simon, S. 2000. Zeitgenössische Chormusik im Spiegel der Deutschen Chorwettbewerbe Wolff, U.L. 2001. Choral unit standards and (1982-1998). Unpublished MMus dissertation. support material for primary schools in South Mainz: University of Mainz. Africa. Unpublished DMus thesis, : . Theron, A. 2004. Die impak van Phillip McLachlan en die “McLachlan-werkswinkels” op die ontwikkeling van koormusiek en koorleiers in South Africa. Unpublished paper presented at the Phillip McLachlan workshop X, Stellenbosch, April 2004.

Tong, L.S. 2004. An outstanding children’s choir. International Choral Bulletin. Vol. XXIII, No. 3, 2nd Quarter, 2004: 47-48.

Van Aswegen, H.J. 2004. Europe Cantat Junior (13-21 July 2002) – Report. Cantando Gaudeamus, February 2004, Edition 53: 8-10 & July 2004, Edition 54: 14.

Van Aswegen, H.J. 2006. Repertoire for Children’s Choirs: A South African perspective. Unpublished DMus thesis. Pretoria: University of Pretoria.

Van der Sandt, J.T. 2001. Towards a curriculum for the training of undergraduate choral conducting students. Unpublished DMus thesis. Pretoria: University of Pretoria.

18