Loading presentation...

Present Remotely

Send the link below via email or IM


Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.


TCDA Dumping Ground or Land of Opportunity?

No description

Andrea Ramsey

on 2 August 2018

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of TCDA Dumping Ground or Land of Opportunity?

Non-Auditioned Chorus
Embracing the
Andrea Ramsey, Ph.D.
You have to accept whatever comes, and the only important thing is that you meet it with the best you have to give.” – Eleanor Roosevelt
Musical Baggage...
Beliefs about ourselves and our musicianship (for better or worse)
Damages from past musical encounters (the power of music is just as strong negatively as it is positively!)
Remnants of hurtful comments from previous teachers or peers
Every singer has a story...
Did not sign up for choir
Wanted to take art
Terrified by the thought of others hearing her singing voice
Auditioned for a different choir, wasn't selected
Is certain the choir director made an error in not selecting him
Lots to prove; needs you to know just how talented he really is
Sang in choir last year, but didn't like it, and is not shy about telling you that
Taking choir this year because mom made her (Mom LOVED her high school choir)
Did we mention Mom made all-state choir in high school? She'll tell you all about it at PT conferences!
Doesn't think he sings well because the elementary music teacher asked him to "mouthe the words" to the 5th grade musical
Wanted to be an office assistant instead of taking choir, but wasn't selected
Feels like everywhere he turns, he's never good enough
Straight As, puts a lot of pressure on herself
Teacher begged her to audition for a different choir, but...
Auditions give her anxiety, so she didn't try out
Loves singing, but slightly disappointed in what might have been had her nerves not gotten in the way
(cc) image by anemoneprojectors on Flickr
strong love of singing
minimal interest in singing
Ensemble Singer
Social Singer
42% Ensemble Singer
44% Social Singer
12% Soloist
2% Rebel
Auditioned choruses
higher % of soloists
higher % of ensemble singers
Non- auditioned choruses
higher % of social singers
higher % of rebels
Too often we try to teach a chorus full of social singers & rebels the same way we would teach a chorus full of
ensemble singers & soloists
Doesn't get a lot of attention at home, so he finds ways to get attention at school--often by acting out.
Desperately needs a place to belong, be accepted, be creative & expressive...
Succeeds in your class, but fails in many others
Starting the year at a new school
She's never been in choir, but her dad says she sounds like Taylor Swift
She doesn't know what a quarter note is, but she's excited!
Market Segmentation
Consider your market!
Musical Baggage
Pressure from family members or friends
..and many more...
When singers come to us with personal myths, preconceived ideas about choir, and musical baggage...
Let's Pretend...
Realities of the Job
Being performance ready: concerts, competitions, festival assessments
Uncertainty of balance between voice parts (working with what you have)
Navigating challenging or problematic singers
Standardized testing, paperwork burdens, additional duties
Other extraneous non-musical demands on your time that can drain your passion
Personal Realities
Often 'groomed' through our college experiences for fine tuning, working with advanced singers
Usually more exclusive than inclusive
Realistic personal need for artistic fulfillment
Realistic desire to perform meaningful repertoire
Pressures of concerts & audiences can create product rather than process-oriented focus
REMINDER: Our experienced musical reality and the singers' perceptions are often two different things. (all-region choir)
Singer enjoyment of the journey and the learning; more than artistic perfection
Celebrating every ounce of progress
Building community; creating family
"Choral Evangelism"
Every singer = potential patron of the arts
Believe & invest in singers as human beings
Seek out the good qualities you see & acknowledge/nurture
Do what you love & love what you do (esp. repertoire)
"Do no harm"
- Envision your students as 60 year olds: what memories are you making? What are their feelings toward singing?
Happy Restroom
Practical considerations
be genuinely excited; greet them with authentic enthusiasm!
acknowledge their reality; empathize; shift the power
Explore non-singing musical activities that require vulnerability before asking them to sing
set expectations but also

Explore the voice; explain the voice; explain the voice change
pay attention to and 'read' non-verbal cues, but do not be deterred by initial resistance or lack of encouragement in the students' body language or facial expression
First Rehearsal
Setting the foundation
Explore rote songs, part songs & canons BEFORE octavos
Work vocal technique within simple songs and within reason
Make it enjoyable- not tedious!
Incorporate movement, imagination, & creativity
Understanding & Responding to Gesture
Varying articulation & dynamic
Questioning &demonstrating
Diagnose me/ Teach me
Have singers conduct!
Consider Your Clientele
Higher % of social singers & rebels warrants a brisk pace & frequent changes of activity
Games; sound exploration; mini-lessons= all great ideas
Consider how you redirect & instruct; doing is better than telling
Avoid long blocks of same activity
Avoid 'dead time' at all costs!

Our attitude shapes those around us
"If you can't have fun at work, don't go."
Examining our
Perception is not always reality
The Shy One
The Overly-Confident One
The One Whose Mom Made Them Join
The One Who Thinks He Can't
The Timid Perfectionist
The One Who Drives The Other Teachers Crazy
The New Student
Thank you!
Approaching the Music
How Can We Keep From Singing?
By Joan Oliver Goldsmith
Reality check
To sing is to be vulnerable, start elsewhere
About your voice-> sirening, exploring sounds & resonance, and THEN singing
Less vulnerable rhythmic or community building activities BEFORE singing
You are building a foundation of rapport & trust
"Every act of creation
is first an act of destruction."
-Pablo Picasso
sometimes we need a reset.
What do I want my students to take from this choral experience?
What is THEIR best? Aim for it
Rhythm chairs
"Hide the pen cap"
Forbidden rhythm
Solfege duels
Solfege races
Novelty & humor
Family time/text exploration
Changing It Up
Full transcript