CHORAL SESSIONS
ADAPTING A PIECE FOR YOUR CHOIR | Laura Hawley
Have you ever found yourself struggling to program repertoire for a particular group of singers? Sometimes we have no tenors. Sometimes we have only 2.5 changed voices. Perhaps you have a group with some singers who are very experienced, and some who are beginners. In this session we’ll explore different strategies for adapting repertoire to suit the needs of our choir. We’ll also take a look at different pieces of music that will demonstrate styles that lend themselves well to adaptation, and those that don’t, and build a strategic “checklist” of adaptability criteria.
Have you ever found yourself struggling to program repertoire for a particular group of singers? Sometimes we have no tenors. Sometimes we have only 2.5 changed voices. Perhaps you have a group with some singers who are very experienced, and some who are beginners. In this session we’ll explore different strategies for adapting repertoire to suit the needs of our choir. We’ll also take a look at different pieces of music that will demonstrate styles that lend themselves well to adaptation, and those that don’t, and build a strategic “checklist” of adaptability criteria.
CANADA 150 CHORAL COUNTERPOINTS - BEYOND THE MUSICAL BUFFET | Hussein Janmohamed
How can we change our perceptions and what do we need to know to allow us to assuredly learn and perform cultural diverse musics? This session seeks to address how we might re-imagine choral music through its inherent capacity to foster community, communal ethics, issues of exclusion and inclusion as a result of diversity, empathy and tolerance, to be an active bridge and pathway for addressing some of these issues beyond the 'international musical buffet.'
How can we change our perceptions and what do we need to know to allow us to assuredly learn and perform cultural diverse musics? This session seeks to address how we might re-imagine choral music through its inherent capacity to foster community, communal ethics, issues of exclusion and inclusion as a result of diversity, empathy and tolerance, to be an active bridge and pathway for addressing some of these issues beyond the 'international musical buffet.'
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CHORAL READING SESSION – ELEMENTARY, CHILDREN'S, AND TREBLE CHOIR
Choral music for children's and treble choir. A complimentary reading session packet will be available to the first 50 participants courtesy of Long & McQuade Music Ltd. |
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CHORAL READING SESSION - MIXED CHOIRS
Choral music for mixed choirs, including high school, youth, and community choirs. A complimentary reading session packet will be available to the first 50 participants courtesy of Long & McQuade Music Ltd. |
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CHORAL REPERTOIRE OF THE MUSLIM WORLD | Hussein Janmohamed
I want to teach choral music of the Muslim world. Where do I find it and what do I need to know to teach it? This session is a choral reading of published and unpublished choral music of the Muslim World. The session will address definitions of choral music, music of the Muslim world, and ethical-musical issues that may arise when presenting the music.
I want to teach choral music of the Muslim world. Where do I find it and what do I need to know to teach it? This session is a choral reading of published and unpublished choral music of the Muslim World. The session will address definitions of choral music, music of the Muslim world, and ethical-musical issues that may arise when presenting the music.
COMPOSING CHORAL IDENTITIES: COLLABORATIVE COMPOSITION IN THE CHORAL CLASSROOM | Hussein Janmohamed
How can we engage the inherent diversity of musical, cultural, religious backgrounds of our students in choral music settings? This session will offer ideas for choral collaboration in the classroom as a way to develop repertoire, build composition skills, create soundscapes, cultivate cultural conversations and build bridges across difference.
How can we engage the inherent diversity of musical, cultural, religious backgrounds of our students in choral music settings? This session will offer ideas for choral collaboration in the classroom as a way to develop repertoire, build composition skills, create soundscapes, cultivate cultural conversations and build bridges across difference.
CREATIVE PROGRAMMING | Laura Hawley
Programming is so much fun! Choral performance provides a fantastic arena for endless creativity. Thinking outside the traditional concert model that we know and love, we'll explore different frameworks for choral concerts; from those that bring community together, tell a story, shed light on a cause, bring together big cross-curricular ideas, and more. We’ll also look at possibilities for terrific concerts you can do with limited time and/or repertoire. In this session I hope to inspire your imaginations to consider a wider vision of what choral programming can be for your group.
Programming is so much fun! Choral performance provides a fantastic arena for endless creativity. Thinking outside the traditional concert model that we know and love, we'll explore different frameworks for choral concerts; from those that bring community together, tell a story, shed light on a cause, bring together big cross-curricular ideas, and more. We’ll also look at possibilities for terrific concerts you can do with limited time and/or repertoire. In this session I hope to inspire your imaginations to consider a wider vision of what choral programming can be for your group.
FIRST NATIONS SONGS FOR CHOIRS | Sherryl Sewepagaham
Join 2006 Juno-nominated Aboriginal trio singer, elementary educator, and music therapist, Sherryl Sewepagaham, in workshop specific for choirs. Sherryl will share her composed drum and rattle songs, as well as songs shared with her by other First Nations drum singers. Songs will be taught in the oral tradition using traditional hide drums, rattles, and sticks. All songs vary in complexity, chant syllables, and language, and cultural protocol and song histories will also be shared. Please bring a recording device to capture the songs taught in the oral tradition.
Join 2006 Juno-nominated Aboriginal trio singer, elementary educator, and music therapist, Sherryl Sewepagaham, in workshop specific for choirs. Sherryl will share her composed drum and rattle songs, as well as songs shared with her by other First Nations drum singers. Songs will be taught in the oral tradition using traditional hide drums, rattles, and sticks. All songs vary in complexity, chant syllables, and language, and cultural protocol and song histories will also be shared. Please bring a recording device to capture the songs taught in the oral tradition.
LET'S SING THAT AGAIN | Laura Hawley
Learning music thoroughly often involves a certain amount of repetition in rehearsal, and we’ve all been in rehearsals or have experienced personal practice sessions in which the repetitiveness is very apparent. Our brains love variety, and repetitive practice can actually hinder progress sometimes. In this session we'll explore when to repeat, when not to repeat, and how to repeat without being repetitive. I’ll offer some examples of ways to “sneak in” repetition that will help keep rehearsals engaging and inspired. You'll leave with some strategies you can implement in rehearsal right away, and some tools for developing strategies on your own later.
Learning music thoroughly often involves a certain amount of repetition in rehearsal, and we’ve all been in rehearsals or have experienced personal practice sessions in which the repetitiveness is very apparent. Our brains love variety, and repetitive practice can actually hinder progress sometimes. In this session we'll explore when to repeat, when not to repeat, and how to repeat without being repetitive. I’ll offer some examples of ways to “sneak in” repetition that will help keep rehearsals engaging and inspired. You'll leave with some strategies you can implement in rehearsal right away, and some tools for developing strategies on your own later.
REHEARSAL LAB – UNIVERSITY OF ALBERTA MADRIGAL SINGERS
Rehearsal labs are intended to give delegates the opportunity observe a conductor and their ensemble at work. The conductor will periodically "pause" the rehearsal to explain to delegates which of their tools are in use, and why they've chosen that particular approach. An opportunity for Q&A will be provided at the end of the session. Through the rehearsal labs, delegates will gain insight into rehearsal structure, choral techniques, and educational approaches, as well as learn new choral warm ups and hear excellent choral repertoire.
Rehearsal labs are intended to give delegates the opportunity observe a conductor and their ensemble at work. The conductor will periodically "pause" the rehearsal to explain to delegates which of their tools are in use, and why they've chosen that particular approach. An opportunity for Q&A will be provided at the end of the session. Through the rehearsal labs, delegates will gain insight into rehearsal structure, choral techniques, and educational approaches, as well as learn new choral warm ups and hear excellent choral repertoire.
TENETS OF PURPOSEFUL, EMBODIED SINGING; A NATURALISTIC APPROACH | Jim Sparks
Based on his case studies in singing leadership (Cuba, Kenya, Ukraine, and Denmark) as well as recent neurobiological studies into how we perceive, process, and produce singing, Jim will review strategies for choir directors in all contexts that can be efficient and relevant for skilled, purposeful, and connective singing. Bring your body, mind, and spirit for this interactive session!
Based on his case studies in singing leadership (Cuba, Kenya, Ukraine, and Denmark) as well as recent neurobiological studies into how we perceive, process, and produce singing, Jim will review strategies for choir directors in all contexts that can be efficient and relevant for skilled, purposeful, and connective singing. Bring your body, mind, and spirit for this interactive session!
