Choral 10, 20, 30 Course Content

This section describes broad foundational objectives, specific learning objectives, and instructional guidelines that apply to Choral 10, 20, 30. Foundational Objectives
The foundational objectives constitute the required content of Choral 10, 20, 30. Foundational objectives describe the general skills, abilities, knowledge, attitudes and values which the student develops as he or she progresses through the program. As the foundational objectives outline the critical learnings to be achieved, they must be used to guide instructional planning on all levels (semester/unit/lesson) and form the basis for student and program evaluation.
Teachers should ensure that all the foundational objectives will be thoroughly addressed over the three-year period of the complete program. Each level of the program will need to include distinct learning objectives derived from each of the foundational objectives. The teacher should delineate specific learning objectives for each level in such a way as to reflect sequential development from one level to the next. The teacher will need to keep an inventory to ensure that all the foundational objectives are met during the course of the Secondary Level choral program. Teachers should consider these objectives when selecting choral repertoire.
The foundational objectives are divided into five sections:

Aural Skills
Musical Literacy
Interpretation/Appreciation/Decision Making
Vocal Technique
Attitudes/Values.

Each section starts with a general description followed by descriptions of the foundational objectives.
The foundational objectives are designed to be developed over a three-year period. Consequently, each is directed toward a broad area of musical learning. Aural Skills
The art of music is expressed through sound. Aural skills are therefore of primary importance in studying music. Abilities should be developed in two general areas:

Perception -- those abilities which involve the recognition and basic understanding of what is heard.
Inner hearing -- the ability to imagine or hear notated music in one's head.

Traditional ear-training strategies such as dictation, sight singing and part singing should be employed to refine the student's ability to perceive and imagine musical sounds. Listening experiences should play an integral role in the choral experience. Excellent choral recordings offering a wide range of styles, periods and cultures should be presented regularly to the students. A climate which allows for reflective listening, open discussion and critical thinking should set the tone for classroom listening experiences.
The students will:
1. Demonstrate aural perception of the expressive and structural elements at work within a musical composition.
The development of aural perception should be directed towards:

Expressive elements -- factors such as text, timbral discrimination, dynamics, nuance and articulation.
Structural elements -- factors such as duration (pulse, tempo, meter, rhythmic patterns), pitch (vertical and linear structures), texture (monophonic, homophonic, polyphonic and antiphonal), and form (patterns of repetition, variation and repetition with variation).
Stylistic characteristics -- the combining of expressive and structural elements defines musical style. These must be understood from within the historical and cultural context of the composition.

2. Activate inner hearing to facilitate interpreting written musical ideas.
The term inner hearing in this document refers to the ability to imagine or hear in one's head what is written in musical notation. Students should continue to develop the ability to anticipate the effect of different musical signs, symbols and terms.
3. Activate inner hearing to facilitate creating and expressing musical ideas.
Students need to realize they are creative individuals and are capable of expressing themselves musically. To create and express one's own musical ideas, it is necessary to engage inner hearing in order to imagine original musical thoughts. Even though choristers are typically engaged in performing the music of established composers, opportunities for students to compose, arrange and improvise musical ideas should be provided. This will make ensemble activities more meaningful as students will begin to understand the effect different compositional techniques have on the repertoire being studied and how their individual part contributes to the work as a whole.

Musical Literacy

The term literacy is defined as the ability to read and write in a particular language. Literacy can also be extended to include the concept of having acquired knowledge in a given subject area. In this document, the term musical literacy will refer to the abilities to read and write musical ideas, use appropriate musical terminology, and understand the elements of music.
The students will:
1. Develop an understanding of the fundamentals of music theory and their application to structural elements of music.
It is not the intent of this objective that students receive in-depth instruction in music theory, harmony and counterpoint. It is important, however, that students develop an understanding of the fundamental theoretical principles upon which music is constructed (e.g., pitch and duration notation, scale and harmonic structures, intervals, formal structures, etc.).
2. Use musical notation to interpret and express musical ideas.
As vocalists, the students should develop the ability to read and interpret musical notation with independence and fluency. The development of sight reading skills and the ability to notate musical ideas (their own or others’) are important aspects of this objective.
3. Use appropriate musical terminology.
Throughout the process of developing musical literacy, students should become increasingly fluent with musical terminology. The focus should be on those terms and concepts encountered in the music studied.

Interpretation/Appreciation/Decision Making

The following objectives include aspects of both the affective and cognitive domains. Knowledge, experience and ability to think critically will enable students to become informed musical producers and consumers. To achieve this objective, the students will study, listen to, discuss and perform a wide variety of music.
The students will:
1. Understand and appreciate musical expressions from a variety of cultural and historical contexts.
It is important that music selected for singing and/or listening represent a broad spectrum of styles and types. Music should represent various areas of the world and a variety of historical periods including contemporary. Through a range of singing and listening experiences, students will begin to realize the importance of music in all societies.
2. Understand and interpret musical works from a variety of cultural and historical contexts.
Students should develop an awareness and understanding of stylistic and interpretative differences in music from a variety of cultures and historical periods. Students should be able to reflect this understanding and awareness by performing a particular type of music in a stylistically appropriate manner. As listeners, students should be able to recognize and identify the significant stylistic characteristics of the music of various cultures and historical periods. Students should learn to analyze, discuss and interpret a variety of musical expressions.
3. Formulate a greater understanding of the role of music in contemporary societies.
The choral program should provide opportunities for students to examine the role music plays in various contemporary societies, including their own. As well, by investigating the music of various societies and cultures, they will develop a better understanding of the different functions and influences music can have.
4. Become discerning consumers and producers of music.
By learning to assess the artistic merit of musical performances and compositions, the students will develop a more thorough understanding of music. Their opinions should be based on a broad foundation of knowledge, understanding and experience. Students should be encouraged to express and discuss their differing opinions on musical compositions they hear and play. Emphasis should be placed on supporting, not just stating, their opinions.

Vocal Technique

"Vocal technique" encompasses those physical skills required to use the singing voice as a means of musical expression. Vocal technique should be developed with a view to empowering singers to render a musical and expressive performance of the choral material being studied.
The students will:
1. Develop an exemplary vocal tone.
The development of a full, resonant vocal tone is the result of several factors:

Physical -- singing habits (posture, breathing, relaxed and open throat, voice placement, phonation, etc.).
Aural concept -- aural image of a desirable vocal tone directly affects tone production. By using models (live and recorded), the development of a mature concept of tone quality will be enhanced.
Expressive intent -- students should be encouraged to explore vocal colours and shadings in order to achieve a wider spectrum of artistic expression.

2. Work toward technical accuracy and fluency.
In order to develop vocal technique, a portion of each class should be devoted to vocal warm-up exercises and/or vocalises. In addition, procedures and routines for efficient individual practice should be emphasized.
3. Work toward singing in tune.
Good intonation is dependent on the singer's level of aural perception. The noted Hungarian musician, composer and educator Zoltan Kodaly has asserted that the practice of relying on the piano to alleviate faulty intonation is specious. To aid aural development, students should spend as much time as possible singing in two or more parts a cappella.
Classroom activities and rehearsal strategies should reinforce desirable singing habits and listening skills that will develop an ever-increasing sensitivity to and awareness of tone production, rhythmic and pitch accuracy, balance, and blend (vowel matching). As well, activities should promote critical thinking and problem solving in order to correct discrepancies in tuning.
4. Apply technical abilities as a means to musical expression.
This objective represents a synthesis of the previous three foundational objectives. Students should understand that vocal technique remains a means to an artistic end rather than an end in itself and, therefore, should be emphasized to the extent that it facilitates musical expression. Opportunities to work on solos and in various musical groupings (duets, quartets, chamber choir, etc.) are to be encouraged to help students accomplish this objective.

Attitudes/Values

As a result of their experiences in the choral program students should develop an appreciation for the art of music and a lifelong desire to be involved with music in a variety of settings. Students should begin to understand the importance of music in all societies, both past and present. Students will become aware of the many opportunities to be involved in musical activities within the community.
The students will:
1. Demonstrate a commitment to their own musical education and growth.
In guiding students toward independent and lifelong learning, teachers should place increasing responsibility on students for their own musical education. Students should be offered many opportunities to make meaningful contributions to the choral program. This could include organizing small ensembles, helping to select music, researching materials being studied in choir, and working individually to improve their musical contributions.
2. Develop an appreciation for the value of music as a lifelong source of enjoyment and personal fulfilment.
All encounters with music through the choral program should promote positive attitudes toward musical activities and a valuing of the art itself. The choral program should instill within students a desire to continue involvement with music, in some capacity, throughout life.