M OIRE: DIRECTORS? CRITERIA FOR SELECTION, QUALITY, AND APPROPRIATENESS Except where reference is ma dissertation is my own or was done in collaboration with my advisory committee. ssified information. ________________________________________________ Jennifer Leigh Kirkland Canfield ______________________________ ______________ ______________________________ William C. Powel Margaret E. Ross Associate Profess Associate Professor Music Educational Foundations, Leadership and Technology ______________________________ George T. Flowers Dean Graduate School IDDLE AND JUNIOR HIGH SCHOOL CHORAL REPERT de to the work of others, the work described in this This dissertation does not include proprietary or cla Certificate of Approval: _____________________________ hn berly C. Walls, Chair Jane M. Kue e Kim Assistant Professor Professor Curriculum and Teaching Curriculum and Teaching _______________ l or M OIRE: DIRECTORS? CRITERIA FOR SELECTION, QUALITY, AND APPROPRIATENESS Jennifer Leigh Kirkland Canfield A Dissertation Submitted to aculty of University l Fulfillment of the Requirements for the gree of Doctor of Philosophy Auburn, Alabama August 10, 2009 IDDLE AND JUNIOR HIGH SCHOOL CHORAL REPERT the Graduate F Auburn in Partia De iii M OIRE: DIRECTORS? CRITERIA FOR SELECTION, QUALITY, AND APPROPRIATENESS Permission is granted to Auburn University to make copies of this dissertation at its discretion, upon request of individuals or institutions and at their expense. The author reserves all publication rights. __________________________ Signature of Author ____________________________________ Date of Graduation IDDLE AND JUNIOR HIGH SCHOOL CHORAL REPERT Jennifer Leigh Kirkland Canfield __________ iv M OIRE: DIRECTORS? CRITERIA Y, AND APPROPRIATENESS d Canfield Doctor of Philosophy, August 10, 2009 (M.S., Troy State University, 1977) iversity, 1976) middle school and -item school choral directors? criteria of quality choral repertoire and appropriate choral repertoire. The population for the study included 301 middle and junior high school choral directors from l music program. well as information about genres, historical periods, languages, and voicings of choral repertoire purchased and programmed during the 2007?2008 school year was obtained through the questionnaire. Responses to 20 criteria used in the selection of choral literature were recorded using a four-point Likert-type scale. In addition, participants categorized criteria DISSERTATION ABSTRACT IDDLE AND JUNIOR HIGH SCHOOL CHORAL REPERT FOR SELECTION, QUALIT Jennifer Leigh Kirklan (B.M.E., Troy State Un 139 Typed Pages Directed by Kimberly C. Walls The purpose of this study was to determine criteria used by junior high school choral directors when selecting choral repertoire. A 72 questionnaire was designed to collect middle school and junior high Alabama, Mississippi, and Louisiana whose schools offered a chora Demographic information on the school, choral program, and director as v as applicable to either appropriate choral literature, quality choral literature, both ality choral % return rate. Results usic most purchased and programmed on concert more than other voicings. The vocal ability and tors, an indication dolescent voice d all criteria as music was considered appropriate choral literature (44%) only. No statistically significant difference in choral repertoire selection was found among Novice, Experienced, and Master Teachers. appropriate and quality choral literature, or neither appropriate nor qu literature. Seventy-eight questionnaires were completed for a 26 found middle school directors programmed and purchased Holiday m frequently, followed by spiritual or gospel, and patriotic music. Two-part music was maturity of the singers was considered very important by 67% of direc that most participants were aware of the challenges associated with the a and choose choral literature to address those challenges. Directors labele both appropriate and quality choral literature with the exception of one criterion. Popular vi ACKNOWLEDGMENTS I would like to acknowledge my professors at Auburn University who guided this study, Dr. Kim was wonderful father, William Kirkland, I finally have my degree from AU. This dissertation is dedicated to the memory al talents. Thank you, Catherine and William. How many parents are able to experience co you also to Emmie, Tony, and Oscar, for their faithful watch through the nights of research and typing. Finally, a very special ?thank you? to my husband, Michael, for encouraging me to follow my dream, believing in me, and loving me. Thank you for always being there, even if we were 400 miles apart. berly Walls, Dr. Jane Kuehne, Dr. William Powell, and Dr. Margaret Ross. Thank you for your support during this entire process. To my brother and sister-in-law, David and Teresa Kirkland ? It to be close and become closer. Thanks to a true Auburn man, my of my mother, Edith Pelham Kirkland, who instilled in me the joy of learning, the importance of education, and recognized and encouraged my music llegiate life with their children? I am so proud of both of you. Thank vii journal used: Publication Manual of the American Psychological Style manual or Association, 2001 (5th edition). ? Computer software used: Microsoft Word 2003, Microsoft ? Excel 2003, and SPSS (Statistical Package for the Social Sciences) for Windows Release 14.0. viii TABLE OF CONTENTS x ...... 1 ...... 7 ...... 8 Assumptions................................................................................................... 8 Definitions...................................................................................................... 9 9 .... ............... 9 ...... 11 Instrum 12 .... ............... 17 ...... 32 ..... ................ 42 ...... 44 ...... 46 Population Selection ...................................................................................... 46 ...... 47 .... ............... 49 .... ............... 49 .... ............... 50 IV ..... ................ 51 Demographics ................................................................................................ 52 Genres, Historical Periods, Languages and Voicings.................................... 54 Criteria for Choral Repertoire Selection........................................................ 59 Differences among Novice, Experienced, and Master Teachers ................... 61 Criteria for Determining Appropriate and Quality Choral Literature............ 66 V. DISCUSSION................................................................................................ 69 LIST OF TABLES ?????????????????????? I. INTRODUCTION ................................................................................... Purpose of the Study ................................................................................ Research Questions.................................................................................. Limitations ..................................................................................................... Delimitations......................................................................... ...... II. REVIEW OF LITERATURE .................................................................. ental Repertoire Selection Research.................................................. Choral Repertoire Selection Research .................................. ...... Repertoire for Middle and Junior High School Choirs............................ Repertoire Lists.................................................................... ..... Summary.................................................................................................. III. METHODOLOGY .................................................................................. Instrument for Data Collection ................................................................ Procedure .............................................................................. ...... Survey Returns...................................................................... ...... Data Analysis........................................................................ ...... . RESULTS ............................................................................ ..... ix REFERENCES .......................................................................................................... 80 ...... 92 ... ................ 93 ...... 101 ... ................ 109 d .. ............... 114 Appendix E: Responses from Choral Directors .......................................... 116 Appendix F: Choral Literature Performed by Respondents in 2007?2008 124 APPENDICES ..................................................................................................... Appendix A: Questionnaire ............................................... ....... Appendix B: Office of Human Subjects Approval Form...................... Appendix C: Information Letter........................................ ....... Appen ix D: Post-card ....................................................... ........ x LIST OF TABLES rical .... ............... 56 ased (N = 78)............................... 58 Table .... ............... 60 and Master Teachers (N = 78) ................................................................. 62 Table 5 Criteria for Selecting Choral Repertoire, Descriptive Statistics, Frequencies, and Percentages.................................................. 66 Table 1 Frequency and Percentage of Genre and Histo Periods Programmed and Purchased (N = 78)................ ...... Table 2 Frequency of Voicings Represented on Concerts and Mean, Standard Deviation of Voicings Purch 3 Criteria for Selecting Choral Repertoire (N=78) ............ ...... Table 4 Chi-Square, p, and Frequency of Criteria Used to Select Choral Literature among Novice, Experienced, 1 CHAPTER I. INTRODUCTION A goal of music education is to produce independent musicians who hold a truct buildings ality materials that , the responsibility . The chosen choral literature provides a foundation for classroom learning. The selected repertoire provides the es the students te and quality music as been addressed through various academic symposia and projects including the 1963 Yale Seminar on Music Education, the 1967 Tanglewood Symposium, and the Contemporary Music ction in the schools. repertoire used in elementary and secondary classrooms failed to enhance and encourage musicality. These music professionals felt the music was of appalling quality, lacking in variety of historical styles and genres. Music was chosen based on the technical skills of the instructor, rather than educational needs of the students. The arrangements and lifetime love and appreciation for music. Just as the builder strives to cons that will last a lifetime, music educators must use appropriate and qu will stand the test of time. To reach their goals in the choral classroom of choosing appropriate and quality music rests with the choral director choral director a blueprint for teaching musical skills and giv opportunities to engage in aesthetic experiences. Therefore, appropria provide the essential building blocks for a sound music education. The quest for appropriate and quality music in the classroom h Project (1966?1968); each stressed the importance of musical sele Participants in the Yale Seminar on Music Education found the 2 transcriptions of songs used were not of high quality and the inclusion of authentic music owest common de 64). ide variety of music periods, and various genres of music. Furthermore, music collections for the classroom should include d historical periods, riods, including e commission of experienced com al appropriate teaching materials for the curriculum (Palisca, 1964). 1968) ic early in a rs should begin m that point to address other types of music. It was further recommended that all junior high students should be including listening, discussion, performing, and m Declaration cal periods, styles, forms, and world cultures as well as a variety of modern music including popular, American folk music, and avant-garde music. The repertoire is a major teaching tool for the comprehensive music teacher. In order to teach comprehensively, teachers must understand music from various historical was rare. Choral music was selected to meet the needs of the l nominator, and the texts were boring and lacked character (Palisca, 19 The findings of the Yale Seminar recommended including a w in the classroom, including music from other countries, historical monophonic music such as chants and canons from all countries an polyphonic music written for various voicings, and all styles and pe current Western music. The panel also encouraged th posers, rather than the younger Ford Foundation composers, to write addition Participants in the Tanglewood Symposium (Murphy & Sullivan, recommended the inclusion of avant-garde and new contemporary mus child?s music education. An additional recommendation was that educato with the student?s tastes in music under consideration and work fro required to take a general music course usic from various historical periods other cultures. The Tanglewood specifically recommended repertoire encompassing music of all histori 3 periods and genres. The students? understanding of the historical, technical, and aesthetic sic Project omprehensive musicianship classes po aracter, an inherent feature, degree of excellence, superiority in kind, and a distinguishing attribute? 1017). The use of this definition to de tors because the categories. Music excellence is determined by qualities such as its artistry, inventiveness, . These qualities of sic. Musical etic experience derived d performer. There is no scale to judge the quality of music in regards to its greatness; excellence in available for music education. Music of good quality can be found in all genres and from all historical periods, including popular music. Music educators are equipped to select good music through their own aesthetic experience, education, and training. An aesthetic music education will include aesthetically valuable music from any source (Reimer, 1970). aspects of music creates independent musicians. The Contemporary Mu (Willoughby, 1971) indicated students educated in c ssessed a greater understanding of a wide repertoire of music. The term ?quality? is defined as ?a peculiar and essential ch (Merriam-Webster?s Collegiate Dictionary, 2004, p. termine quality choral literature can be a daunting task for choral direc decision whether music is of quality or in good taste is subjective. According to Reimer (1970), the extent of goodness in music can be placed in two complexity and variety, musical clarity, skillfulness, and cleverness excellence can be applied by music educators when choosing good mu greatness is based on the deepness of musical meaning. The aesth from musical greatness can have a major impact on both the listener an music is more defined. Reimer goes on to state that very good music, that which encompasses qualities of both greatness and excellence exists and is 4 Brunner (1992) indicated that students should be challenged musically and ouse (1972), uality repertoire. arse and perform. should find the music aesthetically pleasing. The text should be age appropriate and work major works should test of time. ublishers control the availability of standard choral literature (Collins, 1993; Garretson, 1998; Hylton, 1995; Lamble, 2004; O?Toole, 2003). irectors must irs. Merriam- e? as ?especially econdary school choirs, many criteria must be taken into consideration. Choral method textbooks and sic directors in ttle, 2003; Brinson, 1996; Collins, 1993; Ehlmann, 1968; Garretson, 1998; Gordon, 1977; Hylton, 1995; Jorgenson & Pfeiler, 1995; Lamb, 1971, 1974; Lamble, 2004; Pagel & Spevacek, 2004). Furthermore, professional articles and textbooks include suggested repertoire lists appropriate for special concerts and choral festivals (Apfelstadt, 2000; Battle, 2003; intellectually through quality music. Apfelstadt (2000), Leonhard and H Phillips (2004), and Roach (1989) have suggested several attributes of q First, quality music should be worth the time and effort required to rehe The music should be well crafted and expressive. Choral singers as well as the audience in tandem with the music. Arrangements of folksongs, spirituals, or be true to their original style. Finally, quality music must stand the According to choral music education textbook authors, music p and the marketing of new choral literature In addition to locating and choosing quality choral literature, d determine whether the selected repertoire is appropriate for their cho Webster?s Collegiate Dictionary (2004, p. 61) defines ?appropriat suitable or compatible.? When determining appropriate literature for s professional journals include suggested criteria to guide choral mu choosing appropriate and quality repertoire for their curriculum (Ba 5 Beery, 1994, 1996; Broeker, 2000; Chapman, 1991; Crocker, 2000; DeLorenzo, 1992; Go lson, 1994). couragement for uthors direct form directors of authentic performance teaching strategies (Abril, 2006; Anderson, 1992; Goetze 2000; h as Cosenza (1997), ) wrote that early music dle Ages and Renaissance lends itself for practice in sight singing. In addition, the opportunity to sing le, 2003; Lind & and performance s (2005) provided choral directors advice in locating music of the twentieth and twenty-first centuries. l notation. He encouraged choral directors to try to expand their comfort zone by including repertoire of new and different music. Another genre of modern music, often neglected in the choral repertoire, includes works by female composers. DeLorenzo (1992) stressed the importance of performing choral works by current female composers. rdon, 1977; Lamb, 1971, 1974; Phillips, 2004; Roach, 1989; Torke Besides criteria and repertoire lists, journal articles contain en choral directors to choose music of various styles, periods, and genres. A music educators in their quest to locate multicultural or world music and in Griswold, 1994; Parr, 2006). In addition to world music, authors suc Hawkins & Beegle (2003), Herman (1988), and Yarrington (1980 is well suited for middle school voices, particularly music from the Mid Renaissance periods. The modal harmony found in music of the Middle Ages and in a foreign language provides students a challenge (Hawkins & Beeg Butler, 2005; Thomas, 1995). Articles provide information to aid choral directors in the choice of new avant-garde music which may be an unfamiliar genre. Coste Braun (1988) listed several avant-garde choral works along with instructions for reading their unconventiona 6 At the middle school level, physical changes that occur in the adolescent voices of nd junior high ed the stages of after research in male changing voices, identified four stages to categorize the adolescent ctors allow directors must st (2000, 2001) weekly basis. In some cases, choral directors need to arrange music to meet the specific vo ts be placed in choral f maturing ed to choral music. Budiansky and Foley (2005) reviewed research in instrumental literature selection ire for wind bands Forbes (1998, 2001) studied high school choral directors from Florida, Georgia, South Carolina, North Carolina, and Virginia to determine criteria used in selecting choral repertoire, and to ascertain their perceptions of quality music. Researchers have found that music educators agree with the MENC National Standards; students should be both males and females may necessitate the primacy of range and tessitura over other considerations when choosing appropriate music for middle school a school choirs. Cooksey (1977a, 1977b, 1977c, 1978, 1992) categoriz development in the male adolescent voice. Gackle?s (1987, 1991) research, patterned female voice. Both Cooksey and Gackle recommended that choral dire students to sing the vocal part within their comfortable range. Choral recognize changes in their students? voice. Crocker (2000) and Demore emphasized the value of listening to middle school and junior high school voices on a cal needs of their students. In addition, it is important that studen ensembles, utilizing voicings that accommodate the range and tessitura o voices. Research involving the selection of repertoire has not been limit and determined literature used for high school wind band ensembles was lacking in quality. Furthermore, many compositions, considered standard reperto are out of print (Harris & Walls, 1996). 7 exposed to a wide variety of music from different historical periods and genres (Beery, 01; Ogdin, 1981). l music programs Devore, 1989; Forbes, 1998, 2001; Hunsaker, 2007; Reames, 1995, 2001). Despite previous research, questions regarding criteria used to determine the repertoire rectors have not been appropriate for a perceive appropriate choral literature and quality choral literature in the same ways? rience? Issues crete, however, the ual interpretation. t have stood the test of time? On the other hand, can newly composed or arranged choral music be considered quality and appropriate musi usic educators choose appropriate and qu dents? These Purpose of the Study The purpose of this study was to determine criteria used by middle school and junior high school choral directors when selecting choral repertoire for grades six through 1994, 1996; Davis, 1970; Devore, 1989; Diddle, 2005; Forbes, 1998, 20 Much of the research on repertoire selection has centered on high schoo (Bolt, 1983; Dahlman 1991; Davis, 1970; appropriate and quality choral literature still exist. More specifically, selection criteria of middle school and junior high school choral di addressed. How does one determine if a particular piece of music is middle school choir or a work is considered quality literature? Do choral directors Furthermore, does this perception change and evolve with teaching expe regarding the selection of appropriate and quality literature appear con terms appropriate and quality are subjective, and are subject to individ Does quality or appropriate repertoire contain only those works tha c? How do choral m ality materials that will provide the musical foundation for their stu questions provided the impetus for this study. 8 nine. A questionnaire was designed to collect middle school and junior high school choral directors? criteria of quality choral repertoire and appropriate choral repertoire. The following questions were posed 1. What genres, historical periods, languages, and voicings do middle school al repertoire used 2 oral directors use om? 3. Are there differences in the criteria used to select choral repertoire among 4 ppropriate choral literature as perceived by middle school and junior high school choral directors? 5. What are the termine quality choral literature as perceived by middle and junior high school choral directors? with the following assumptions. 1. Middle-level choirs from Alabama, Mississippi, and Louisiana share similar characteristics. 2. Middle-level choir directors from Alabama, Mississippi, and Louisiana share similar characteristics. Research Questions to research this problem: and junior high school choral directors select for the chor in their classrooms? . What criteria do middle school and junior high school ch to select the choral repertoire used in their classro Novice, Experienced, and Master Teachers? . What are the criteria to determine a criteria to de Assumptions This research was undertaken 9 3. Responses to the survey accurately reflect participant views and opinions. 4. The participants answered all survey questions honestly. Experienced teachers ? have taught middle school or junior high school choir 6 to Junior high school ? encompassed grades 6 through 9 and was determined by ho cluded grades 7 Master teachers ? have taught middle school or junior high school choir 11 years or Middle school ? encompassed grades 4 through 8 and was determined by how ea rades 6 through 8. vice teachers ? have taught middle school or junior high school choir 5 years or less. ch as a sixth-grade or ninth- gr ac Limitations The following limitations pertain to this study: 1. This cross-sectional study represents the period from November 28, 2008 through January 30, 2009. Definitions The following terms are defined for the purpose of this study: 10 years. w each state grouped grade levels. Junior high schools in this study in through 9. more. ch state grouped grade levels. Middle schools in this study included g No Single grade schools ?represented one grade level su ade ademy. 10 2. Participants in this study included middle and junior high school choral 07?2008 school year. 3 study included only the states of Alabama, Mississippi, and directors who taught a choral class during the 20 . The Louisiana. 11 CHAPTER II. REVIEW OF LITERATURE The review of literature includes research regarding the repertoire selection of ental music nd high schools. sic, and repertoire sic research topics include criteria for literature selection, the effect of non-musical factors such as teacher usic. festival ratings. In s of quality problems of the male changing voice on repertoire selection, specific historical periods or genres appropriate for use with middle school voices, and the influence of student preference on cal skills such as sight singing or for use as warm-ups have also been addressed in the research. Researchers have also studied the training received by undergraduate students in selecting repertoire for music ensembles. Finally, annotated lists of suggested repertoire for use with specific musical ensembles and music appropriate for concerts and festivals secondary school choral and band directors. Research topics in instrum include criteria used for selecting wind band literature for both middle a The effect of chosen music on festival ratings, the quest for quality mu lists are additional topics covered in instrumental research. Choral mu experience or school size on music selection, and the sources used for selecting m Researchers have studied the effect of chosen choral literature on addition, choral directors have been interviewed to determine their view music. Research specific to middle school choral programs include the the music selection process. The use of repertoire to teach specific musi 12 have been found in the research. This chapter includes dissertations and research articles fro ases: ERIC, Music ns. Organizational MENC, Choral America, Choral Net, University of Miami School of Music Research Educators c Educators usic Educators , Visions of Research in Music Education, ACT (Action, Criticism, and Theory) for Music Educators, ation Research. um, middle school, high school, selection, choice, appropriate, quality, choral directors, band directors, perceptions, rural, chorus, appropriate literature, quality literature, criteria, choral repertoire, music repertoire, choral curriculum, choosing repertoire, and selecting High school band directors face the same challenges as choral directors when selecting literature for their instrumental ensembles. Roseboom (2006) collected data concerning the repertoire selection practices used by Florida middle school and high school band directors. A survey was mailed to 350 randomly selected middle and high m professional journals in music education. The literature search was conducted using the following datab Index Online, Academic Search Premier, and Pro-Quest Dissertatio and university websites included American Choral Directors Association (ACDA), Site, Texas Music Educators, Ohio Music Educators, Wisconsin Music Association, Illinois Music Educators Association, Alabama Musi Association, Mississippi Music Educators Association, and Louisiana M Association. Other journal indices used included The Music Quarterly International Journal of Music Education, and Texas Music Educ Productive search terms used included: choral, repertoire, curricul junior repertoire. Instrumental Repertoire Selection Research 13 school band directors. Of the 350 surveys, 18.2% were completed and returned (N = 64). were ranked in order eration, technical onal elements. In reasoning for their inclusion in the curriculum. Aesthetic value was ranked by Florida . A disparity was found directors (n = 39). lue as the most composer recognition (8.8%) and student considerations (8.8%) ranked among the ol band directors. as their first priority in cal criteria (12%) higher in consideration by middle school band directors (32.3%) than by high school band election. Any The repertoire selection practice of middle school band directors was studied by Howard (2001). In addition to surveying the directors to determine criteria used for selecting literature, Howard compared band literature that appeared on state and national lists with the repertoire used by the respondents to create a young band repertoire list. Of The following six criteria for the selection of instrumental repertoire of priority by the respondents: aesthetic elements, audience consid value, composer reputation, students? consideration, and educati addition, directors listed four performance pieces for performance and provided band directors as the top criterion (32.8%) for repertoire selection between high school band directors (n = 25) and middle school band Forty-four percent of high school band directors listed aesthetic va important criterion for selecting music. However, aesthetic value (8.8%) along with bottom three criteria for repertoire selection among middle scho Technical criteria (38.2%) were listed by middle school directors selecting literature. Conversely, high school directors ranked techni fourth in repertoire selection. Educational elements were also ranked directors (24%). The differing foci of study between middle school and high school curricula may account for the differences in the criteria used for music s generalization from the study was limited due to a small response rate. 14 the 184 middle school directors meeting the criteria for participant selection, 130 epertoire selection nd: the technical music. Interestingly, most band directors felt more emphasis should be placed on the tance of selecting works of quality literature for young wind band ensembles. Ho selecting band literature performed on spring concerts and ratings at state festivals. Band directors from rticipated in state demographic l information ature, overall festival scores, and caption ratings. Directors were also asked to list the literature performed on oning behind the music schools, 4 ents (n = 44) reported performing music from their state required music list on spring concert. Of the 50 bands earning a superior rating at state contest festival, 39 ensembles (78%) performed both their festival selection and additional music from the state required music list on the spring concert. Reasons for replicating festival literature included student responded to the survey. The three most frequently used sources for r included materials from music publishers, attendance at live concerts, and recordings. Three factors were considered when selecting literature for wind ba considerations of the music, abilities of the ensemble, and the level of quality of the impor ward recommended additional undergraduate teacher training in literature. Walker (2004) studied the relationship between the difficulty level of band Alabama (n = 32), Maryland (n = 4), and Michigan (n = 23) who had pa contests for two consecutive years were surveyed. The survey included information, state festival, and spring concert information. The festiva included ensemble classification, literature performed, grade of liter spring concert and to include the grade of literature and the reas selections. The sample schools included 19 middle schools, 2 junior high middle/high schools, and 34 high schools. A majority of the respond 15 enjoyment (18%) and appropriate programming (18%). Walker concluded that the dicated a quest n the literature performed. Walker noted state music lists are often indicators of usic educators face when selecting repertoire for their group. In a review of literature for wind band tions were neither ined, made for school use many of the authors described educational music as dull, predictable, and clich?, that is, incapable of oncluded there is n repertoire selection select appropriate sical appreciation and enjoyment. Budiansky and Foley noted that determining the quality of music positions ance to establish itself as part of the standard repertoire. Young?s (1998) survey of directors of large high school bands (N = 150) compared repertoire lists with lists of works deemed quality by a jury of experts. Only one third of the 1,500 pieces from school repertoires were determined to be exceptional, inclusion of additional music from state music lists on spring concerts in for quality i quality music. Providing quality and appropriate literature is a challenge all m ensembles by Budiansky and Foley (2005), most available music selec quality nor appropriate. Instead, band directors selected easily obta pieces for performance. This music was named educational music beca arrangers or composers had no significant relevance beyond music education. The providing students with a true musical education. Budiansky and Foley c a lack of preparation of undergraduate music education students i practices and suggested that future music educators must be trained to music literature that provides their students a foundation for lifetime mu literature is a subjective matter based on individual taste. Newly written com should not be rejected as quality literature before the music has had a ch 16 high, or of good quality. In addition, he found approximately one-half (48%) of the pi y tend to choose at is the literature they new band literature. Because of the lack of preparation at the undergraduate level, young band ire selection. The ed to determine included in a core ay be out of print. Phase one of the study identified 395 pieces that had appeared on the Texas the list for more than ctors with over 12 ) of the 50 band ed questions about the 18 compositions? appeal, familiarity, utility, and quality and ranked the works for inclusion in the Young Band Repertoire Project. Harris and Walls recognized that the longevity of some works appearing on the Texas Prescribed Music List does not qualify those works as quality works. However, music remaining on the list for an extended period may attest to the caliber of the work. eces lacked any notable musical quality. According to Harris and Walls (1996), young band directors ma literature taught in their college wind repertoire classes because th are most familiar. College professors, however, are not always aware of directors may turn to state lists as a source of suggestions for reperto Young Band Repertoire Project (Harris & Walls, 1996) was develop trends in performing band literature and identify band works to be repertoire for middle school bands that might include older works that m Prescribed Music List. Of these works, only 18 (< 5%) appeared on 20 years. In phase two, middle school and junior high school band dire years experience were invited to serve as a panel of experts. Thirty (71% directors invited to participate in the study responded. Directors answer 17 Choral Repertoire Selection Research e has examined the studied factors aire was sent to 400 high descriptive statistics to identify and analyze criteria to select music, external factors that is identified 25 s (n = 303) as sical taste of the ocal range of each part (67%), (d) consideration of unity, variety, and contrast (65%), (e) music for f all styles and factors included ), (b) text of the iety of moods in the music (47%), (e) graded level of difficulty (39%), (f) melodic considerations (38%), the composer (28%), (b) type of accompaniment (27%), (c) rhythmic considerations (26%), (d) difficulty of accompaniment (25%), (e) music for entertainment value (19%), (f) variety of keys or tonal centers (19%), (g) music for combined choral-solo-instrumental selections (19%), (h) name of arranger (16%), and (i) music easily memorized for performance (5%). Much of the research regarding the selection of choral literatur criteria used by high school choral directors. Research by Davis (1970) used in the selection of choral repertoire. A three-part questionn school choral directors in Connecticut, New York, and New Jersey. Davis used influence the selection process, and diversity of music selections. Dav musical factors for inclusion in the survey. Factors rated by respondent much important included (a) music that will raise the standards of mu performer (82%), (b) music worthy of required rehearsal time (74%), (c) v educational value (55%), (f) tessitura (55%), (g) music representative o periods (54%), and (h) variety of styles in the music (53%). Additional (a) music that will raise the standards of musical taste of the listener (53% composition (51%), (c) variety of composers and periods (49%), (d) var (g) music for a cappella performance (36%), and (h) harmonic considerations (35%). The concluding factors included (a) name of 18 Twenty non-musical factors identified by Davis as important in the selection of of respondents (n = ire included (a) e (45%), (c) ce of the students (37%), (e) number of students enrolled in choral group (32%), (f) age of students in usic (28%), and (h) ncluded (a) budget ups (18%), (c) ent of students (14%), (e) music respondents performed in high school (9%), (f) publisher of (h) preferences audience (4%), (i) court rulings co to perform certain ooks (.3%), and (l) recommended lists of professional music organizations (.3%). ms. Furthermore, verse order of historical periods: Romantic, Classical, Baroque, and Renaissance. In addition, high school choirs performed sacred music more frequently than secular music. Davis concluded choral directors were not affected by court orders concerning religion in public schools. A majority of the 303 respondents stated that their undergraduate education had not choral repertoire were included in the questionnaire. The percentage 303) rating these factors as much important in the selection of reperto ability of students to learn and perform (74%), (b) amount of rehearsal tim number of programs presented (40%), (d) previous choral experien choral group (32%), (g) recordings or live performances of choral m respondent?s ability as choral conductor (26%). Additional factors i allotted for choral program (19%), (b) music performed with other gro music respondents performed in college (14%), (d) socio-economic environm composition (7%), (g) preferences and/or suggestions of students (7%), and/or suggestions of community members and/or ncerning religion in public schools (3%), (j) administrative pressure types of music and/or programs (3%), (k) recommended lists in textb Davis found that music from the twentieth century, including popular, folk, and show music, was used most frequently in high school choral progra frequencies of programming period compositions continued the re 19 adequately prepared them for selecting choral literature. The respondents indicated that condensed ermined musical factors non-musical factors to choral directors in selecting the repertoire for high school choirs. Dahlman (1991) studied the effects of non-musical factors, such as teacher high school choral Missouri. One ere asked to list selecting those particular works with their choirs. Respondents were classified as either r?s experience (77%). chelor?s degree (55%) or n the number of one or two ensembles (64%) and large programs contained three or more ensembles (36%). gramming, text h criterion, using a five-point Likert scale (5 = very important to 1 = not important). Dahlman found music from the twentieth century was performed most often, representing 70% of the reported repertoire. There was no significant difference in the number of sacred or secular pieces reported. English was the preferred language performed by 73% of high school choirs. attendance at choral concerts and choral workshops, along with perusing scores were beneficial in the selection process. Overall, Davis det were more important than education and experience, and choral program size, on the selection of repertoire. Dahlman sent a survey to 576 high school choral directors in hundred forty-eight usable surveys were retuned (26%). Respondents w three representative works from the previous school year and to provide the reasoning for having one to three years of experience (23%) or four or more yea Furthermore, participants were grouped as possessing either a Ba graduate degrees (45%). The size of the choral program was based o ensembles taught for credit. Small programs were identified as having Twelve criteria for repertoire selection were listed on the questionnaire: teacher appeal, teaching goals, musical quality, preparation, student appeal, pro factors, audience appeal, score design, and cost. Participants rated eac 20 Accompanied works accounted for 65% of the total of repertoire selected. Additionally experience had no sig rtoire selection. gram size, and limited to choral repertoire selection, but rather the administrative characteristics of l (n = 77) and ral programs o the two categories as recommended from state leaders of the American Choral Director?s Association (ACDA), Mu C), and music supervisors. aduate degrees, taught ore money on new of styles and gram new repertoire. Similar to Dahlman?s results, directors from average choral programs grammed jazz oral budget of successful choirs enabled directors to select more music each year, and to program new music on concerts. Dunaway identified six statements to determine directors? attitudes about the selection of repertoire. These statements included (a) the selection of repertoire is the sole responsibility of the director, (b) jazz and pop styles should be included on all he found choral program size, teacher education level, and teaching nificant relationship with the ranking of the criteria used for repe Dunaway (1986), however, found that teacher education, pro budgets were indicators of choral music selection. The purpose of this study was not successful and average choral programs. Choral directors from successfu average (n = 70) programs in 11 Western states were surveyed. The cho were grouped int sic Educators National Conference (MEN Dunaway found directors of successful programs held gr more choral classes, had significantly higher budgets, and spent m music. In addition, directors from successful groups included a variety historical periods in their music selection, and were more likely to pro programmed more popular music. Directors in the average group reported that students responded better to popular music. Participants in the average group pro and popular music more often than their successful counterparts. The ch 21 concerts, (c) the best program is when the majority of the repertoire is from classical yles of music, (e) and modern styles, and (f) properly trained, students sh education level and experience may influence the selection of choral music. Successful nce selecting music ensure their choirs receive a we torical periods. directors in San Diego to determine if these participants used any set criteria for selecting ornia offered choir s or consistent ed that a lack of a sical growth for students. A 17-item survey sent to 97 choral teachers in San Diego had a return rate of range of criteria by the directors as being used. These included (a) the skill level of students, (b) the age of students, (c) student interest in type of music, (d) gender make up of ensemble, (e) gender of individual students, (f) student musical growth, (g) the class as an elective, (h) the ethnic composition of ensemble, (i) festival and contest participation, (j) students should choral literature, (d) good programming includes a balance of all st students respond better to pop ould perform all styles equally well. Studies by Davis, Dahlman, and Dunaway suggest the variables of teacher directors or directors with more experie ll-rounded choral education with music of different genres and his Popular music is also used by all choral directors. Ogdin (1981) surveyed public, private, and parochial secondary school choral choral repertoire. Although 90.6% of the high school programs in Calif as a course during the 1978?1979 school year, there were no objective criteria used for selecting repertoire for the course content. Ogdin posit standardized guide for selecting literature would lead to inconsistent mu 49%. The survey was administered without a pilot study; therefore, the reliability of the instrument was not established. The results showed teachers used a wide to select choral music. All seventeen criteria listed were indicated 22 experience fundamental repertoire, (k) sacred or secular music, (l) level of difficulty, (m) for inclusions of special (q) teacher e the selection of usical skills of students. Slightly less than half of the participants (46%) indicated festival nd secular icated teacher ers surveyed ccording to Ogdin, teacher fulfillment and student interest would be subjective factors, which could ents, and their ors from Virginia (N = choral ensembles. A 46-item questionnaire was designed to obtain demographic information about the director oth chool choir repertoire hen choosing choral literature including (a) recommendations of choral directors, (b) music store files, (c) live performances of choral music, (d) choral reading sessions, (e) perusal of scores from music publishers, (f) materials from ACDA and MENC, (g) college music education classes, (h) professional journal reviews, (i) music previously performed in budget, (n) district and/or state objectives, (o) legal requirements education students, (p) variety of musical styles and experiences, and fulfillment and personal satisfaction. The most important criteria wer music from a variety of styles, difficulty level, and selecting music to suit the m participation guidelines as criteria for music selection. Both sacred a compositions were selected. A high percentage of directors (89%) ind fulfillment should play a part in the selection process, and 77% of teach indicated student interest was an important part of the selection process. A vary according to where the choir is located, age of the director and stud period in history. Reames (1995, 2001) studied high school choral direct 263) who were current members of MENC and directed one or more and school, high school repertoire criteria, choral literature success, and b recommended and specific choral literature for beginning high s lists. The survey also addressed the sources used by choral directors w 23 high school, (j) publisher catalogs, (k) textbook repertoire lists, (l) choral recordings, and ted choral selection; often than other l (music that htens interest) criteria. Concert performances were the most important consideration in choosing choral recordings. The n undergraduate any genres and historical periods, a finding of selection of music from the twentieth century over music from other historical periods. ator of success in the by Devore (1989) 5) involved with questionnaire addressed the reasons certain choral literature was selected for contest and what sources rcher al period, uting to the selection process included overall quality, educational value, and number of voice parts. The least important factors included the cost of music, the editor or arranger, and length of the music. In analyzing the music lists, Devore found 66% of the music on the Ohio Music Educators Association list represented music from the twentieth century. (m) personal choral library. Reames found teacher experience affec experienced teachers selected music from the Baroque period more teachers. When choosing choral literature, directors used both technica enhances vocal and musical development) and aesthetic (music that heig literature, followed by choral reading sessions, personal libraries, and least effective tool for selecting repertoire was the training received i education. Although MENC advocates a repertoire representative of m this study that is consistent with other studies, was the Performing groups often participate in festivals. An indic festival setting is the repertoire selected for that performance. Research examined the choral music selection process of choral directors (n = 25 the Ohio Music Association large group high school contests. The were most helpful in selecting choral literature for contest performance. The resea catalogued music used in contests and categorized it according to historic composer, and arranger. Factors contrib 24 Forbes (1998, 2001) studied criteria choral music educators felt were important in he population Carolina, North ocess by in two categories. Group 1 choral directors (N = 89) were designated as outstanding turned the survey ted from the was collected s that represented the participants? chosen repertoire. Forbes used a five-point Likert-type scale at influenced their literature se ey. In addition, nnaire. A The written questionnaire designed by Forbes was divided into two parts. Part one . Part two he sources for obtaining ed repertoire. In section B, directors were asked to indicate how often they used the 21 sources for repertoire selection. Sources of repertoire listed in rank order include (a) workshops and clinics, (b) live performances, (c) choral reading sessions, (d) music recommended by other directors, (e) recordings, (f) music publishers and sample scores, and (g) music selecting repertoire and addressed the issue of quality in choral literature. T included high school choir directors from Florida, Georgia, South Carolina, and Virginia. Directors were chosen based on a nomination pr university choral directors and choral music education faculty. Participants were divided through the nomination process. Forty-five directors from Group 1 re (50%). Group 2 consisted of choral directors (N = 208) randomly selec remaining population. Of these, 59 returned the survey (29%). The data through a written survey, telephone interview, and submission of concert program for directors to complete questions regarding factors th lection. The dissertation committee chair evaluated the completed surv after revisions, two high school directors reviewed the completed questio Cronbach Alpha test for reliability was not run on the survey items. contained demographic questions about the director, school, and choral program included questions about the actual choral literature performed, t repertoire, and factors that influenced the selection of the select 25 performed with other groups (church, community, professional, etc.). Additional music performed in rmed in high , and (g) materials undergraduate music education courses, (b) repertoire lists in textbooks, (c) materials from National ls from Choristers Guild, (e) materials fro of Organists, and These items listed in rank order included (a) this is quality music, (b) the vocal difficulty level of , (e) the musical f the singers, (g) ctor appeal of the work (j) the historical and social elements that could be taught through the work, (11) the ) the sectional the student appeal bilities, (r) the technical abilities of the accompanist, (s) the winning potential of the work, (t) the work was on an approved list of compositions for a musical festival or contest, (u) the public appeal of the work, (v) peer approval, (w) library needs, (x) the work was an audition piece on the program of a festival such as All-State Chorus or All-County Chorus, and (y) repertoire sources included (a) perusal of scores in music stores, (b) college, (c) music publisher catalog and repertoire lists, (d) music perfo school, (e) materials from ACDA, (f) materials from the state MENC from the MENC. The completed list included (a) materials from Association of Teachers of Singing, (d) materia m American Choral Foundation, (f) materials from American Guild (g) materials from National Association of Jazz Educators. Twenty-six factors were determined influential criteria for repertoire selection. performance skills that can be taught though the work, (c) the technical the work, (d) the potential of the work to provide for esthetic experience elements that could be taught through this work, (f) the vocal maturity o the artistic demands of the composition, (h) planned variety, (i) the dire text, (k) the emotional maturity of the singers, (l) the size of the chorus, (m characteristics of the chorus, (n) the programmability of the work, (o) of the work, (p) the amount of rehearsal time available, (q) your personal a 26 cost of the composition. In addition to the written questionnaire, a telephone survey was ertoire selection, th epertoire. tion criterion found music was placed in four categories: (a) independent musical elements, (b) musical mble, (c) director little differences , however, a usic. The percentage of non-nominated directors who performed popular music over five times ic was performed more %). Forbes also ip (? = .002) between the socioeconomic level of usic pieces selected for performance. Directors of schools with affluent students performed less music in a wide istorical periods. The criteria differed based upon the type of music being considered. Directors placed more emphasis on student musicianship when selecting traditional literature. However, when looking at popular music, entertainment value was most important. Music from the twentieth century represented the majority of works selected by both groups. administered which focused on the directors? beliefs regarding the rep e balance of repertoire selected, and the quality of the selected choral r Results from the interview process regarding quality as a selec little differences between Group 1 and Group 2. Criteria to determine the quality of the elements related to the characteristics, abilities, and needs of the ense appeal of the composition, and (d) nonmusical elements. Forbes found between the groups regarding the repertoire selection process. There was significant difference between Group 1 and Group 2 in the selection of popular m was 13% compared to successful directors (7%). Show choir mus often by non-nominated directors (15%) than nominated directors (9 found a statistically significant relationsh the student body and the number of popular music including rock m popular music than those from less affluent schools. Directors from both groups agreed students should experience variety of styles and from different h 27 During the interview portion of the study, Forbes found a primary criterion in the appeal equaled high f music had lar music. Most of usic. Less than half of the non-nominated directors had the same belief. When asked to identify non- m the reputation of the d high school choral convention held between 1999 and 2005. Eleven choral directors consented to be interviewed about uired this used, and concert sthetic qualities n the vocal and musical skills students will acquire while learning the piece. The choral directors , listening to reading sessions. was very time consuming. Yet, successful choral directors made the time to listen, peruse, and search for quality music. Directors collected and catalogued potential choral works for later years. Through interviews, Hunsaker found that successful choral directors look for well- written music they determined to be quality music. According to successful choral selection process was director appeal. Responses indicated that high quality. Most all directors agreed their ability to determine the quality o improved with experience. Directors differed in their opinion of popu the nominated directors indicated that popular music was not quality m usical indicators of quality music, the most frequent response was composer or arranger Hunsaker (2007) studied 19 successful and nationally recognize choral directors whose choirs had performed at the national ACDA their philosophy of choosing choral literature, how and where they acq knowledge, sources used to select new literature, specific criteria programming practices. The findings of the qualitative study indicated ae are the most important criteria of the music. Music was selected based o suggested their ability to choose appropriate music was a result of experience other choirs and recordings, and attending professional conferences and Directors further reported that the search for new choral literature 28 directors, quality music may be identified through its voice leading, sound part writing, ginal source. rical periods, ge hs of the choir. selecting repertoire. For some directors, the music should speak to them personally and challenges the sically. Audience of the music to the programs. This allows the directors to choose contest music from the current repertoire tate festival lists. nguages for ical periods, styles, genres, and languages are featured when th he suggestions and experiences of these successful choral directors could be beneficial to the education quality music is tors is a lack of confidence in their ability to select appropriate choral literature and music of quality. Bolt (1983) studied high school choral directors? perceptions of their competency to select effective choral literature based on their undergraduate training. Participants in the study included a group of high school choral directors (N = 102) from Arizona, California, marriage of text and music, and arrangements that are true to the ori Respondents indicated they looked for music that is from various histo nres, and languages and chose choral works that highlight the strengt Hunsaker found choral directors do not agree on the importance of all criteria for be worthy of the time and effort to study. Others want to find music that abilities of their choir, yet allows students to grow vocally and mu appeal is important to some directors, while others consider the appeal students. Festival literature is performed throughout the year in successful choral being studied. Some directors choose contest music largely based on s Successful directors choose music with contrasting styles, genres, or la contest. A variety of histor ese choral directors program their concerts. Hunsaker concluded that t and success of all choral directors. The selection of a varied repertoire consisting of appropriate and dependent on teacher training. A problem found among music educa 29 Colorado, Nevada, New Mexico, and Utah, who were deemed successful by their peers luded college and tutions accredited by nts for data responses were received from the high school directors for a return rate of 89%. Thirty- a 76% response rate. te degree in music ic education ce (13%). High school directors had taught choral music for over 11 years (59%), and 78% of the college instructors had directed a placed on issance (M = 2.42), Twentieth Century (M = 2.58). Means were calculated on a scale from 1 to 5, where 1 indicated music sung es, and 4 rogrammed music ch as patriotic songs, music for holidays, or commencement music (M = 2.56) were also included. Sources high school directors used to select choral literature included clinics and workshops (68%), reading sessions (66%) and live performances (66%). Directors reported they occasionally selected music based on materials from their college music and who were members of ACDA. A second group of participants inc university music education instructors (N = 42) employed by insti the National Association of Schools of Music (NASM). Two instrume collection were designed for use with both groups. At the closing date of the study, 91 two responses from the college and university instructors produced Bolt found that the majority of high school participants? undergradua education (71%). The college instructors held graduate degrees in mus (47%), conducting (31%), and applied voi college level choir for more than 10 years. College instructors in Bolt?s study indicated more emphasis was singing and discussing music from the five major style periods: Rena Baroque (M = 2.42), Classical (M = 2.42), Romantic (M = 2.71), and or discussed 0?2 times annually, 2 indicated 3?7 times, 3 indicated 8?14 tim indicated more than 14 times per year. High school directors also p from the major style periods, however, music for special occasions, su 30 education classes (64%). An additional 21% indicated sources from their undergraduate ated that s (76%), choral ege music education selecting a wide variety of literature to use with high school choirs, including literature of irectors reported om Broadway music for show or jazz choirs. College instructors reported that their ethnic music and selecting music for show and jazz choirs. ducators was the oral directors from with one to five ded, providing a response rate of 53%. From this total, only novice teachers (n = 181) were selected to be , ic information, a 5- to measure the participants? perceptions of their competency to select repertoire and undergraduate preparation in choral repertoire selection. Survey items used were adapted from previous studies by Forbes (1998, 2001) and Reames (1995). Areas addressed in the study included (a) number of vocal parts, (b) range and tessitura, (c) overall musical quality, (d) training were never used. On the other hand, college instructors indic considerable to great emphasis is placed on repertoire lists in textbook music performed in college (77%), and materials presented in coll courses (87%). Bolt suggested pre-service music teachers receive more training in different genres, historical periods, and voicings. High school choral d they were poorly prepared to minimally prepared in the use of music fr musicals, avant garde music, ethnic music, and graduates were poorly to minimally prepared in the use of The repertoire selection practice of beginning choral music e focus of a study by Diddle (2005). Participants included high school ch Iowa, Minnesota, Nebraska, North Dakota, South Dakota, and Wisconsin years teaching experience. Of the 1,352 directors polled, 723 respon included in the study. Demographic information about the size of school, choral program and teaching assignments was obtained. In addition to demograph point Likert scale (1 = strongly disagree to 5 = strongly agree) was used 31 educational value, (e) appeal to director, (f) appeal to students, (g) text, (h) rehearsal time l repertoire, (l) tyle period, (m) composer, (n) cost of music, (o) length of piece, and (p) ed less than 500. Choral methods classes provided training in the skills needed for selecting usic courses were dent teaching lasses (M = 2.94, ed most important in literature selection were the number of voice parts (M = 4.45, SD = 0.73), = 4.41, SD = 0.62), t important for ire selection were live performance (M = 3.66, SD = 0.83), recommendations from ot , SD = 1.16), workshops or clinics (M = 3.54, SD = 1.04), and publisher catalogues or lists (M = 3.52, dies examining es, 1998; Ogdin, 1981). In addition, the effects of non-musical factors such as teacher education and experience, choral program size and budgets on the repertoire selection process were studied by Dahlman (1991) and Dunaway (1986). Results from several studies (Dahlman, 1991; Davis, 1970; Devore, 1989; Reames, 1995) indicate that music from the twentieth needed, (i) language of text, (j) accompaniment, (k) standard chora historical s itor/arranger. Most novice teachers (76%) taught at high schools with a student population of repertoire for 45% of the respondents. However, when undergraduate m ranked, both choral conducting classes (M = 3.25, SD = 1.06) and stu experience (M = 3.18, SD = 1.27) ranked higher than choral methods c SD = 1.02) in providing instruction for repertoire selection. The criteria deem range and tessitura (M = 4.43, SD = 0.66), overall musical quality (M and educational value (M = 4.19, SD = 0.66). The sources deemed mos reperto her choral directors (M = 3.61, SD = 0.81), reading sessions (M = 3.54 SD = 1.08). Research involving high school choral directors have included stu the criteria used for the selection of choral literature (Davis, 1970; Forb 32 century was programmed more often than other periods. Directors were surveyed to er, 2007). Diddle hers reported a lack of training in selecting choral literature during their undergraduate years. Repertoire for Middle and Junior High School Choirs festival is ors because of the oices undergo influence e male and female adolescent changing voices have been studied by several music kle, 1987; Killain & ixth-grade boys. nvention were surveyed concerning the changing male voices in their choirs. Nearly half (48%) of the de male students hing sixth graders with changing voices. Respondents indicated that they felt unprepared to teach students with changing voices. Accommodations reported in the free response section included re-writing parts (40%), singing 3-part mixed music (14%), and using 2-part music (9%). Following the survey, fifth- (n = 11) and sixth-grade (n = 15) boys from area determine their perceptions of quality music (Forbes, 1989, Hunsak (2005) and Bolt (1983) found teac Choosing appropriate and quality choral literature for contest or particularly challenging for middle and junior high school choral direct vocal maturity of adolescents. The physical changes adolescent v the voicings of literature selected by choral directors. Problems associated with both th education researchers (Beery, 1994; Funderburk-Galvan, 1987; Gac Moore, 1997). Killian and Moore (1997) studied vocal ranges of fifth- and s Volunteer music specialists (N = 42) at a southwestern state music co specialists indicated they taught fourth grade male students with changing voices but greater numbers of respondents (83%) indicated they taught fifth gra with changing voices. One hundred percent of respondents reported teac 33 elementary schools were tested following a vocal placement procedure established by ed to the conclusion fth grade and sixth grade boys? voices were changing earlier than previously re directors in selecting appropriate choral literature for their choirs and to assist composers iddle school choral iversity faculty ucation. Of t teaching middle school chorus. A 5-point Likert scale was used to record the response for iculation for this le and junior high d part writing were also included. A number of miscellaneous issues were addressed in the survey including ed by this age group, length of composition, and the inclusion of tex the end of the rning characteristics of appropriate choral literature for middle school students, not addressed in the survey. Choral directors indicated that they believed middle school students can respond to a wide range of dynamics (M = 4.42), however gradual changes in dynamics may be Moore (1995) to categorize voices. Results from preliminary data l that fi ported. A study by Beery (1994) was implemented to assist middle school choral and arrangers who write for this middle school choirs. Thirty-eight m directors were selected for participation in the study by college and un who were members of the New York State Council of Music Teacher Ed these, 32 responded to the survey, however, eight were removed because they were no each questionnaire item. Items included statements concerning dynamics used with younger voices, the tessitura of adolescent voices, appropriate vocal art age group, and musical accompaniments used in music written for midd school choirs. Statements regarding melodic line, musical texture, an the style of music enjoy ts with foreign languages. A free-response question was included at survey asking choral directors to make any additional comments conce 34 difficult to obtain (M = 3.71). Teachers noted the range used in published music was ry suggested directors rts. Another gers are more that adolescent singers can perform any rhythm they are taught (M = 4.75). A problem matic passages (M leaps (M = 4.04). age (M = 4.46) at each section of the choir should have the opportunity to sing the melody (M = 4.75), students of this age el should sing both homophonic and polyphonic music (M = 4.96), and simple and lo .58). Teachers ic pieces (M = Beery concluded that it is important to have composers and arrangers understand pings also provide a nerally classified as grades five through eighth, and junior high schools may include grades seven though nine. Compositions once thought appropriate for these grades may not be so today. Beery suggests choral directors not select choral repertoire based on personal, subjective criteria, but rather select choral repertoire based on the vocal and technical needs of their either too high or too low for seventh- and eighth-grade boys. Bee either rewrite parts, or allow male voices to double soprano or alto pa problem noted was the use of melismatic passages in music. Female sin capable of singing melismatic passages (M = 3.83) at this age. Teachers strongly agreed not unique to middle school singers involves difficulty in singing chro = 3.83), however, students can successfully sing vocal lines with wide Choral directors indicated that a cappella music was appropriate at this but should not be performed extensively. Teachers strongly agreed th lev gical voice leading should be used in arrangements for this age (M = 4 also agreed that students enjoy singing pop music (M = 4.42) and rhythm 4.63). the physical changes that occur in the adolescent voice in order to compose and arrange a wide variety of appropriate and quality literature. Grade level grou challenge when selecting music for this age level. Middle schools are ge 35 students. Directors should consider music that is voiced appropriately for their ensemble, yable to sing and hear, and music that aids in the development of ad choral directors to identify factors involved in the successful performances of junior high horal directors ticipated in state s. Performance- eived at least three superior ratings within the five year period. Among the variables studied were the vocal ixed choirs. directors pertoire selection. e of pitches and music written for SAB was selected the majority of the time. Funderburk-Galvan presented an annotated list of choral w plied from d by Joyce Eilers , and Ed Lojeski were most often suggested for inclusion in the choral repertoire. Choosing festival literature with correct voicings for middle and junior high choirs was the impetus for another study by Killian (1998). The researcher studied whether voicings of music, choir configuration, choir size, school population, age, and music that is enjo olescent vocal skills. Choral directors must be aware of their groups? vocal ranges and tessitura in order to select music for a successful curriculum. Funderburk-Galvan (1987) studied Indiana school mixed choirs. The population included 44 junior high school c placed in two groups. Performance-successful directors (n = 26) had par choral festivals and received a superior rating three of the last five year active directors (n = 18) had attended state choral festivals, but not rec ranges and tessitura of the male changing voice and vocal groupings of m Funderburk-Galvan found that the majority of performance-successful considered the range and tessitura of the music as a guideline for re Music selected for junior high school choirs contained a small rang orks suitable for junior high school choirs com suggestions of surveyed choral directors. Music written or arrange (Bacak), Roger Emerson, Linda Spevacek, Natalie Sleeth, Jill Gallina 36 ratio of boys to total singers affected overall contest ratings. Predominately middle school ts. Among mixed ure were ranked ixth grade choirs (?2 (5, N = 36) = 17.7, p < .003). Repertoire performed was selected from the Prescribed . The study eventh- and eighth- ed choirs; SATB pieces were more successful than SAB voiced material. Sixth grade choirs perform (SAB = 33%). t males occur xed music is voices. Music part written with a limited range to accommodate the changing male voice. If male voices are changing ic written for s. A third study by Killian (1999) included choirs (N = 237) participating in two Texas choral contests. The data indicated that seventh- and eighth-grade groups received a lower percentage of superior ratings overall (three-part mixed = 22%, SAB = 15%, and SATB = 10%). The sixth-grade groups did not sing 3-part music, only SA or unison. The choirs (N = 147) participating in a Texas choral festival were participan choirs, more seventh- and eighth-grade groups performing SATB literat superior than those in other voicings (?2 (5, N = 154) = 16.4, p < .01). S performing 3-part mixed voiced music received more superior ratings than other voicings Music List (PML) of the Texas University Interscholastic League (22%) revealed that 3-part mixed voicings were not appropriate choices for s grade mix ing 3-part mixed (63%) were more successful than other voicings Results of Killian?s study indicated that voice changes in adolescen earlier than previously thought. Killian concluded that three-part mi recommended for less experienced choirs and choirs with changing arranged for 3-part mixed voicings include soprano, alto, and a bass earlier, it stands to reason sixth grade choirs, which normally performed 2-part, and unison pieces, would be more successful performing 3-part mixed. Mus SATB choirs may be more successful for seventh and eighth grade choir 37 results from this study contradicted Killian?s 1998 studies regarding the selection of th (n = 541), treble oral contest in Texas. voicing of the compositions sung by those ensembles, and the composers most frequently rmed musical ented for specific three times (n = 262) ture more frequently than that of other composers, and she was the second most performed ertain compositions rded as appropriate literature for various age groups because they are considered sta roven to be and vocal needs of their choirs. ust take into the Survey of culum Choices (SICC), which consisted of demographic items about the schools and directors, selected answers from a list of options, and free response questions. The survey was mailed to 200 randomly selected choral directors in Minnesota who were members of MENC. Thirty- two teachers completed and returned the survey for a response rate of 16%. ree-part mixed, SAB, or SATB music. Rentz (1996) also examined the performance repertoire of mixed (n = 693), and male ensembles (n = 207) that participated in state ch Rentz?s study examined the number of voices in each type of performing group, the represented in those selections. Rentz found the most frequently perfo selections were also listed on the PML. Certain composers were repres voicings. The music of Emily Crocker was performed more than more frequently than other composers. Treble choirs selected Crocker?s litera composer in the male and mixed voiced ensembles. Rentz noted that c are rega ndard pieces of choral literature. Further, these standard pieces have p successful choices by choir directors and accommodate the musical Hamann (2007) investigated factors middle school choral directors m consideration when planning their curriculum. The researcher devised Influences on Middle School Choral Music Educators? Curri 38 Developmental appropriateness (99%) and personal preference (91%) were cited by a ers also noted s. written for the influenced by personal taste and availability of the selections. The surveyed directors s well as new releases. onal organizations at both the national and state level such as ACDA an re lists and Some educators think the repertoire selection process should include the opinions literature on musical preference an f the music ic used in the Pence (1997) surveyed camp participants (N = 67) who rehearsed the 1997 Texas to perform the obtained, Pence generalized (a) Changes in musical activity during the rehearsal may increase student preference of that music, (b) the final piece studied during a rehearsal is preferred at a higher ranking, and (c) preference rankings of studied music increased after the actual performance in concert. This study suggested that other factors may have been majority of teachers as influencing their curriculum choices. Most teach budgetary concerns (88%); however, they did not list that concern in the top three item Teachers also expressed the need for better literature, especially music changing male voice. Hamann found repertoire selection by middle school teachers was suggested that publishers should market established choral pieces a In addition, professi d MENC should educate choral directors by providing music repertoi evaluations of new music. and preferences of students. Droe (2006) reviewed the d concluded that music educators must be aware of the implications o selected on the students? musical knowledge and musical tastes. Mus classroom should be both educational and enjoyable to the students. All-State music. Data from the survey instrument indicated students had unfavorable opinions of the selections performed, but were confident in their abilities selections. The opinion of their performance increased over time. From the results 39 involved in students determining their like or dislike of the music. The following year, singing ability resented by un- ho participated Following each of the ten rehearsals, students ranked the music studied and described ive-point Likert scale from most preferred to least pr affected the usical and technical abilities of students. Choral directors use selected choral literature from ied the methods cipants included dicated textbooks were textbook repertoire to teach sight singing. In addition to choral textbooks, concert literature was used by 75% nify the usical concepts The use of choral warm-ups to teach selected choral literature was researched by Coker (1984). Guidelines were designed for writing warm-ups based on selected musical examples representing five historical styles. The experimental study included four high school choral ensembles as a control group and four ensembles as an experimental group. Pence (1998) studied changes in music preference and perceptions of during a set rehearsal period. Wide ranges of musical abilities were rep auditioned students (N = 51) attending a summer music camp in Texas w in the study. The summer repertoire included music selected from the All-State program. their ability to sing the music using a f eferred. Pence found that students? feelings about the music they sang perceptions of their ability to perform the music. The repertoire used in the choral classroom should also enhance the m textbooks, and octavos to teach sight singing. Kuehne (2003, 2007) stud and materials used in Florida middle schools to teach sight singing. Parti members of the Florida Vocal Association (N = 379). Directors in used in their choral classes (38.16%). Of that group, 63.79% used the of the directors to teach rhythms and melodies. Results from this study sig importance of selecting appropriate choral literature to teach various m such as sight singing. 40 The high school ensembles in the control group were taught the selected repertoire al warm-ups he selected musical oral directors. The precision, dynamics, tone control, tempo, balance and blend, and interpretation. Based on th -ups from the nd historical because the vocal range and tessitura of this style is suited for changing voices. Cosenza iddle school choral r the vocal ranges of age student. A chool students toward medieval music as compared to music from other periods. Cosenza found antic, learning and edieval music more than eighth graders and males preferred music from the period to females. In fact, eighth grade males preferred medieval music almost twice as much as eighth grade female students did. Cosenza developed a repertoire list of medieval music appropriate for this age level, including sheet music, recordings, performance selections, instrumental without written warm-up exercises. The experimental group used chor devised from the selected literature. Each group performed two of t examples and the performance was adjudicated by ten college ch Cooksey Choral Performance Rating Scale (CCPRS) was used to assess diction, e judge?s ratings, the author determined that the use of choral warm concert literature facilitated choral learning. Repertoire selection should include music from various genres a periods. Medieval music has been found to be an appropriate choral literature selection (1997) studied using medieval vocal music as a component of the m curriculum. Medieval music contains voice parts that are suited fo adolescent voices, and the rhythms and modal harmonies appeal to this music preference test was used to determine the attitudes of middle s medieval music was performed less than music from the Baroque, Classical, Rom or Twentieth Century periods. Although all students might benefit from singing music from this period, results indicated sixth graders preferred m 41 parts, original texts and translations, and information about mode, meter, and text. An tion of each work was presented to provide students an educated musical ex r multicultural music middle school curriculum was studied by Figgers (2003). Figgers surveyed Florida cal Association (N = d for a response usic (89%) and articles, and audio-visual aids were used by 79% of the directors to gain information ncluded world rs of mostly rs who had enre of music because it was an important aspect of choral education and it increased student awareness vocal quality of ed this music, even with limited funding. Directors who did not program world music indicated the reason not to do so was budget constraints. The decision not to use this type music was also based on lack of teacher training (45%). Overall, 57% of the middle school choral directors felt confident teaching and preparing authentic performances of world music. explana perience. In addition to music from a particular period, world music o is recommended for middle school choirs. The inclusion of this type of music in the middle school choral directors who were members of the Florida Vo 381). One hundred and thirty-four surveys were completed and returne rate of 36%. Respondents indicated they enjoyed listening to world m 70% of respondents attended concerts where world music was featured. Books, journal about world music. Only 13% of the respondents indicated that they i music on their concert programs. Interestingly, Figgers noted that teache white choral groups programmed world music more often than teache predominately minority students in their choirs. Teachers selected this g and tolerance of unfamiliar cultures (82%). Further, 95% of the respondents indicated programming world is not detrimental to vocal techniques or the overall the students. Many directors (63%) purchas 42 Research directed to middle and junior high school choral directors include 94) and the Killian, 1998, 1999; nces of the 1998). Researchers investigated middle and junior high school directors? uses of arm-ups (Coker, 7) found medieval music was well suited for adolescent voices. Multicultural music was also recommended for middle and junior high school students in a study by Figgers (2004). to consult when oncerning sors considered experts in teaching choral methods classes were surveyed regarding their opinions and repertoire. Wyatt eed that the choral repertoire selected and studied in the choral class was an integral part of the choral experience. The groups were closely unified in the definition of a body of literature as literature that should be studied. Participants agreed choral literature should include both sacred and secular music from various countries and from all historical periods. studies on vocal maturity problems (Killian & Moore, 1997; Beery, 19 selection of appropriate voicings in choral literature (Beery, 1994; Funderburk-Galvan, 1988; Rentz, 1996). The musical tastes and prefere director and students was researched by Hamann (2007), Droe (2006), and Pence (1997, repertoire to teach sight-singing (Kuehne, 2004) and to provide choral w 1985). Cosenza (199 Repertoire Lists Choral repertoire lists are important tools for music educators making music selections. Wyatt (1990) conducted a series of studies c repertoire selection and the creation of repertoire lists. University profes suggestions for high school choral repertoire. State Repertoire and Standards chairs of ACDA were also surveyed regarding their opinions and suggestions for compared the two groups and found 100% of the participants agr 43 Annotated repertoire lists for specific choral voicings are part of the choral with a graded Oklahoma and ent, vocal range, text, musical elements represented in the music was also included. Three-part treble music fort to assist choral luded the title, on about the text, usical elements featured in the music were included. Breden (1983) explored treble literature ctions for r provided an hearsal activities to use when presenting the choral piece. Lee (1992) devised a choral rehearsal plan to ing Theory. The a superior rating ntests in Texas between 1987 and 1990. A detailed analysis of tonal and rhythm patterns was provided for each piece. Detailing music for choir with orchestral accompaniment was undertaken by Berglund (1995). The project provided information for conductors to make informed decisions when programming choral works accompanied by orchestra. repertoire research. Fuller?s (1994) list includes music for treble choirs difficulty level of I or II. The list was based on state repertoire lists from Texas. Information about the composer, title, voicing, accompanim language, music publisher, and catalog number were provided. A summary of key listed as Grade V on the PML was annotated by Brown (1993) in an ef directors in choosing quality choral literature. Each annotation inc composer, voicing, ranges, and accompaniment. In addition, informati language, length, publisher, catalog number, and a brief description of the m appropriate for high school and college women?s ensembles. Choral sele inclusion on the repertoire list were based on recommendations from the ACDA Women?s Choirs committee. In addition to the repertoire list, the autho analysis of the musical elements used in the work, and suggestions for re teach tonal and rhythm patterns as described by Gordon?s Music Learn repertoire included music most frequently performed by choirs receiving at the UIL choral co 44 Choral directors select music performed at regional and national ACDA eir choirs. An ons between 1960 er, arranger, e, group class, convention year, group name, and conductor. The music was analyzed to determine nd historical periods, d conductors. Music was ed at the these conventions, the author suggested that directors might gain information and suggestions for choral repertoire to select for their ensembles. Rucker (1992) replicated this study us 90. The review of literature found previous studies (Dahlman, 1991; Diddle, 2005; l repertoire. The ect teacher education, experience, and school size had on the criteria for repertoire selected for use in their high school choral programs. Diddle (2005) surveyed Novice teachers (less than five years teaching experience) in regards to their undergraduate training in choosing high school choral repertoire. High school choral directors identified as outstanding were conventions when determining appropriate and quality literature for th annotated list of choral music performed at national ACDA conventi and 1987 was compiled by Jones (1988). This list included title, compos publisher, catalog number, text, language, accompaniment, style, group typ frequency of performance of music representing various styles a specific composers and arrangers, and appearance of choirs an compared to study the similarities and differences in the music perform conventions. In addition to providing a historical account of music from ing music performed at the ACDA Southern Division from 1970?19 Summary Forbes, 1998, 2000; Hunsaker, 2007; Ogdin, 1981; Reames, 1995, 2001) addressed criteria used by high school choral directors in the selection of chora survey developed by Dahlman (1991) was designed to determine the eff 45 surveyed and compared to the remaining population in a study by Forbes (1998, 2001). e criteria used to select terviewed to unsaker (2007) repertoire selection process. A questionnaire developed by Ogdin (1981), was designed to choral teachers when selecting choral lit to study the criteria high school choral directors (Beery, 1994, 1996; Funderburk-Galvan, 1987). Beery c for the changing ing male voice hool choral directors was investigated by Funderburk-Galvan (1987). Although previous research has addressed the criteria selection process for high school choral directors, middle and junior high school directors have not been surveyed regarding their selection criteria. Similarities and differences between the two groups concerning th choral music were identified. A select number of participants were in establish their definition of quality literature. In a qualitative study, H interviewed eleven nationally recognized high school choral directors to analyze their investigate and rank the criteria used by secondary erature. Reames (1995, 2001) surveyed high school choral directors used to select choral literature for beginning high school choirs. Fewer studies have addressed the repertoire selection of middle school or junior (1984, 1996) studied criteria for selecting and writing choral musi voices of middle and junior high school students. The effect of the chang on the choral repertoire selection of middle sc 46 CHAPTER III. METHODS The purpose of this study was to determine criteria used by middle and junior high school choral directors when . The followin 1 s, historical periods, languages, and voicings do middle school al repertoire used in their classrooms? 2. unior high school choral directors use om? 3 oral repertoire among 4. What are the criteria to determine appropriate choral literature as perceived by middle school and junior high school choral directors? ature as perceived by Population Selection The population selected for this study included all choral directors of public, private, and parochial middle and junior high schools in the tri-state region of Alabama, selecting choral repertoire used in the classroom g research questions were addressed through a written survey. . What genre and junior high school choral directors select for the chor What criteria do middle school and j to select the choral repertoire used in their classro . Are there differences in the criteria used to select ch Novice, Experienced, and Master Teachers? 5. What are the criteria to determine quality choral liter middle school and junior high school choral directors? 47 Mississippi, and Louisiana. Seven hundred and fourteen schools were identified as either American Education ama State tion (2006), and the Southern Association of Independent Schools (2005) website. Middle or junior high ade identified by these sources varied, including fourth through ninth grades. Information regarding the availability of choral music classes was not available through these sources. Instrument for Data Collection urvey questions 70; Diddle, 2005; 001). Questions were Two filter questions were created to screen respondents. These questions asked participants whether their school offered choir and if they taught m participants to their participation (Rhea & Parker, 2005). Section 1 of the survey was designed to collect data pertaining to research questions 1 and 2. Closed-response questions requested information about the genres, historical periods, languages, and voicings of choral repertoire purchased and middle or junior high schools in the tri-state region in Patterson?s (Moody, 2008). Schools were also identified using websites of the Alab Department of Education (2008), Mississippi State Department of Educa Louisiana State Department of Education (2008). Private schools were identified through school gr A 72-item questionnaire (Appendix A) was developed based on s from previous studies (Beery, 1994, 1996; Dahlman, 1991; Davis, 19 Forbes, 1998, 2001; Hunsaker, 2007: Ogdin, 1981; Reames, 1995, 2 re-worded to address middle and junior high school choral directors. iddle or junior high school choir during the 2007?2008 school year. A negative answer to either question directed answer the last three questions on the survey, thus completing 48 programmed during the 2007?2008 school year. Items referring to sources used to locate e needs of the ors to list three choral octavos performed in literature. Responses to 20 criteria were recorded using a four-point Likert-type scale (not criteria used in this se e selection process. questions in previous qualitative studies (Beery, 1994, 1996; Forbes, 1998, 2001; Hu ture and quality choral r categories: ct demographic information about the respondents? choral programs, schools, education, and teaching respondents to provide any additional comments about the topic or the survey. The questionnaire was composed of independent items. There was no assumption that the individual items should correlate with one another. Because of the lack of homogeneity among the items, there was no need for reliability testing (Streiner, 2003). repertoire, accompaniments used, and editing music to accommodate th group were also included. Item 17 asked direct concert or at festival during the 2007?2008 school year. Section 2 addressed the importance of specific criteria in the selection of choral important, somewhat important, important, and very important). The ction were taken from a previous survey of high school choral directors by Forbes (1998), and identified in the research as important in the repertoir Section 3 included 23 criteria based on trends reported in responses from nsaker, 2007). The criteria described appropriate choral litera literature. Participants were asked to place each criterion in one of fou appropriate choral literature, quality choral literature, both, or neither. In Section 4, 12 multiple-choice items were used to colle experiences at the middle school or junior high school level. Lastly, question 73 asked 49 Procedure s for content tions addressed November 20, 2008 an Subjects (Appendix B). A packet including the letter of introduction and invitation to sed stamped by Patterson?s he state department of usical motif was included in each letter as an incentive for participants. Participants who ir consent. survey. Schools were g a reminder. The oral director. Packets were mailed November 28, 2008. The first post card reminder was sent to schools that had not responded on January 5, 2009. A second reminder was sent on Ja e was provided on uary 2009. Survey Returns Of the initial 714 surveys mailed, three were undeliverable and returned because the middle schools no longer existed. Following the second reminder, verification of The survey was reviewed by four Auburn University professor validity. Modifications were made to the original survey to ensure ques the purpose of the study. The study design was approved exempt on by the Auburn University Institutional Review Board for Research Involving Hum participate in the survey (Appendix C), questionnaire, and a self-addres envelope was sent to the 714 middle or junior high schools identified American Education (Moody, 2008) and school lists provided by t education websites for Alabama, Mississippi and Louisiana. A pencil with a m completed and returned the survey were deemed to have provided the An eight-week timeline was allotted for completion of the coded to track the returned surveys and to identify schools requirin coding key was confidential and no attempt was made to identify any ch nuary 15, 2009. Information on obtaining a replacement questionnair each reminder postcard (Appendix D). Data collection ended in Febr 50 whether schools offered a choral program was obtained by reading the school website, or rom the k of a choral program the population. The final population for the study was 301 middle and junior high schools. es (SPSS 14.0) alyzed using Section 2 were analyzed using Chi-square to compare responses of Novice, Experienced, and Master Teachers. Tables illustrating the survey results were produced. by telephone. Schools that did not offer chorus or music were removed f population. Schools that returned questionnaires confirming the lac were also removed from Data Analysis The computer software Statistical Package for the Social Scienc was used to analyze the survey results. Items from all sections were an descriptive statistics. Criteria from 51 CHAPTER IV. RESULTS The selected population for this study included all public, private and parochial = 297), Mississippi ls identified though were identified 008), Mississippi State Department of Education (2006), and Louisiana State Department of Education pendent Schools 2005 membership roster pr music in these s to provide each school Of the 714 questionnaires mailed, three were returned due to the non-existence of those schools, leaving a population of 711 schools. The low number of returned the remaining epartment of education and calling those schools without a web site. Schools found not to offer either music or choral music of any kind were eliminated from the original population, leaving 301 schools in the tri-state region (Alabama = 111, Mississippi = 96, Louisiana = 94). Seventy-eight questionnaires (26%) were returned providing the number needed to middle and junior high schools in the tri-state region of Alabama (N (N = 178), and Louisiana (N = 239). Surveys were sent to 714 schoo Patterson?s American Education (Moody, 2008). In addition, schools through websites of the Alabama State Department of Education (2 (2008). The Southern Association of Inde ovided additional information on private schools. The status of choral schools was not known so questionnaires were sent to all school the opportunity to participate in this study. questionnaires prompted the verification of choral music programs in schools by using the school web sites obtained through each state d 52 achieve a 95% confidence level with ? 10% sampling error (Dillman, 2000; Rhea & sippi, and 20 requency distribution, data included provided the data regarding the selection of music literature and criteria of appropriate and quality choral literature were female (77%) and of Caucasian/White ethnicity (86%). Additional ethnicities anic-American (1%), while 35% had a irectors had a PhD. Adolescent/Young Adult Choral Music; however, 6% were currently working towards ed from 1 to 37 junior high school choral directors were found at schools representing kindergarten through twelfth grade, with the majority of these choral directors teaching at middle or junior high schools representing sixth (73%), seventh (82%), and eighth (85%) grades. Approximately half (51%) of the middle and junior high school choral directors taught at a Title I school. Parker, 2005). Thirty-four questionnaires from Alabama, 24 from Missis from Louisiana were returned for the study. Descriptive statistics, f and Chi-square analysis were used to analyze the data. Demographic information about the choral program, choral director, and schools. Likert-scale items . Demographics The majority of middle school and junior high school choir director respondents represented in the study included African-American (12%), Hisp and Other (1%). Fifty percent of participants held a Bachelors degree, Masters degree. Ten participants had a Masters plus 30 and 2 choral d Ninety percent of respondents did not hold National Board certification in Early certification. The years of teaching experience of the participants rang years (M = 11.10, SD = 9.34). Middle school and 53 Choral festivals were attended by 72% of the schools represented. Choral festivals chools. Middle or and ensemble d by fewer schools. MENC (31%). Choral classes were offered as a class during the day at 92% of the s at 86%, with an ic classes were offered as a cla ay in 47% of the In response to questions asking whether the choral directors composed original tors (87%) -nine percent of ir choirs. When indicated sometimes, 26% never arranged published music, and 3% always arranged music for their choirs. Sixty-two percent of the choral directors ated quality ), choral reading sessions (73%), personal experience (68%), peer recommendations (66%), and internet sources (60%) to locate choral repertoire. Other sources used to locate choral repertoire included live performances (59%), suggested repertoire lists (48%), CDs (45%), and materials received from ACDA or MENC (42%). Publisher perusal scores were used by sponsored by either ACDA or MENC were attended by 41% of the s junior high school all-state choirs (30%), honor choirs (19%) and solo festivals sponsored by either ACDA or MENC (13%) were attende Choral directors also reported attending festivals not sponsored by either ACDA or schools represented. Mixed choirs represented the bulk of those classe average of two classes offered during the day. Gender specif ss less frequently, with all-female classes averaging one class per d programs studied, and all-male classes offered at only 26% of the schools. music or arranged public music for their choirs, a majority of the direc indicated they did not compose original music for their choirs. Fifty directors indicated they arranged or modified published music for the asked how often, 72% agreed that appropriate music was difficult to find. In addition, 60% indic music was difficult to find. Directors involved in this study used workshops or clinics (77% 54 22% of the participants and 3% indicated the use of other sources. Music was ordered y percent of the red three times, 12% rcent of the by telephone (40%), or fax (15%). Discount music warehouses were used by 9% of the by mail. Twenty-one percent of the choral directors used the Choral Public Domain Library (CPDL), an internet source with free dow .cpdl.org). Genres, Historical Periods, Languages, and Voices riods, languages, onnaire asked for choral concerts and was found to be the genre programmed most frequently (95%) on concerts. Spirituals or gospel music were music from s included jazz and show choir music (40%), choral masterworks (10%), and other (8%). Genres purchased for study during the school year had holiday music receiving the highest percent (76%). Popular music (63%), multicultural (60%), sacred choral music (59%), spirituals or gospel (56%), and Broadway show tunes (51%) were purchased for study more often five or more times during the year by 24% of the choral directors. Thirt respondents indicated they ordered music twice per year, 19% orde ordered four times, and 10% ordered music only once per year. Five pe participants indicated they did not order music. Music orders were placed online (60%), directors, and 6% placed their music order in person or nloadable public domain music (http://www The first research question addressed the genres, historical pe and voicings selected by choral directors in their repertoire. The questi directors to indicate the genres and historical periods selected those purchased for study during the school year. Holiday music represented on concerts 80% of the time, followed by patriotic music (72%), multicultural (69%), sacred music (69%), popular music (68%), and Broadway (67%). Genres not as highly represented on choral concert 55 than patriotic music (46%), jazz or show choir music (37%), or other (8%). Music co ants. or inclusion on choral as included on Choral directors also reported including music from the Renaissance period (32%), Music from the ollowed by ges (5%) and All participants included music sung in English on their choral concerts. Compositions in o a lesser extent anish (27%), French (19%), German (18%), and Italian (10%). Other lan d for 15% of the oncert by any choral directors. was chosen by for SATB (24%) or SAT (13%) mixed voices and male voices (TB = 14%, TTB = 12%, TTBB = 3%) were performed less often. Arrangements for cambiata voices (SAC = 4%) were used infrequently. Voicings purchased throughout the year included two-part (M = 4.67, SD = 8.44), SAB (M = 4.00, SD = 7.70), three-part (M = 3.42, SD = 6.54), and SA (M =3.41, nsidered choral masterworks was purchased by only 6% of the particip Modern music was selected by 89% of the choral directors f concerts and purchased for study 80% of the time. Classical music w choral concerts 46% of the time and purchased by 41% of choral directors for study. Baroque period (31%), and Romantic period (24%) on their concerts. Romantic period was purchased for study by 31% of the respondents, f Renaissance (26%), and Baroque music (23%). Music from the Middle A Impressionistic music (1%) was programmed and purchased infrequently (see Table 1). Latin were performed by 72% of the choirs. Languages performed t included Sp guages including various African languages and Hebrew accounte languages programmed on concert. Russian was not programmed on c Choral octavo voicings represented on concert included two-part (77%), SAB (65%), SA (62%), and three-part (62%) music. Music for unison voices 53% of choral directors, and SSA was included by 52%. Music written 56 SD = 6.70). In addition, SATB (M = 1.96, SD = 4.70) and SSA (M = 2.00, SD = 4.07) 1.23, SD = 3.70) TB, TB), SSAA, SAT and overwhelmingly used piano accompaniment (94%) for their concerts. Accompaniment cappella music was nted on concert by 62% of the directors. Accompaniments with a solo instrument (10%), band accompaniments (5%), or other accompaniments (4%) were used less Table 1 Frequency and Percentage of Genre and Historical Periods Programmed and Purchased (N = 78) Programmed music was found to be purchased some of the time. Unison music (M = was also purchased on average once during the year. Other choral voicings purchased on average once per year included all male voicings (TTBB, T SAC (see Table 2). Middle school and junior high school choral directors CD?s (68%) was used by over half of the respondents in concert. A represe frequently. Purchased f P P f Genre Holiday 74 94.9 59 75.6 Spiritual/Gospel 62 79.5 44 56.4 Patriotic 56 71.8 36 46.2 Multicultural 54 69.2 47 60.3 57 Table 1 (continued) Programmed Purchased f P P f Sacred 54 69.2 59.0 46 Popular 53 67.9 49 62.8 ay 5 66.7 51.3 zz/Show 31 39.7 37.2 Masterwork 8 10.3 6.4 7.7 7.7 Period ern 6 88.5 79.5 ical 3 46.2 41.0 enaissance 25 32.1 25.6 24 30.8 23.1 Romantic 19 24.4 24 30.8 Other 6 7.7 5 6.4 Middle Ages 4 5.1 4 5.1 Impressionist 1 1.3 1 1.3 Broadw 2 40 Ja 29 5 Other 6 6 Mod 9 62 Class 6 32 R 20 Baroque 18 58 Table 2 ed on Concerts and Mean, Standard Deviation of Voicings Purchased (N = 78) Programmed Frequency of Voicings Represent Purchased f P SD M SATB 19 24.4 1.96 4.70 SAB 51 65.4 4.00 7.70 T 10 12.8 .28 .95 AC 3 3.8 .04 .25 SSAA 6 7.7 .13 .76 40 51.3 1.90 4.08 SA 48 61.5 3.41 6.94 B 2 2.6 .21 1.26 9 11.5 1.17 TB 11 14.1 .64 2.65 Unison 41 52.6 1.23 3.70 Two-part 60 76.9 4.67 8.44 Three-part 48 61.5 3.42 6.54 Other 1 1.3 .01 .11 SA S SSA TTB TTB .28 59 Criteria for Choral Repertoire Selection by the middle and re used in their a previous were asked to determine how important each criterion was when choosing music for their rtant, important, other category for ical difficulty of can be taught with this work (50%), the programmability of the work (47%), and the sectional characteristics of the chorus (40%). rtant by the eal of the work 0%), it is standard repertoire (47%), the text (47%), and the historical and social elements that could be lanned variety (40%), and your personal abilities (39%). Study participants placed the public appeal of the work (49%), the work was an audition or programmed piece for a concert or festival (37%), and the work was on an approved list of compositions (36%) in the somewhat important category. One criterion, The second research question asked what criteria were used junior high school choral directors when selecting the choral repertoi classrooms. Items 18?37 on part two of the questionnaire were taken from survey by Forbes (1998) involving high school choral directors. In this study, respondents choir. A four-point Likert scale was used (not important, somewhat impo and very important). More respondents chose very important than any five criteria: the vocal ability and maturity of the singers (67%), the techn the work (53%), vocal performance skills that (See Table 3 for frequencies, means, and chi-squares.) Criteria for choosing choral literature that were rated as impo participants more often than any other category included: the student app (50%), the musical elements that could be taught through this work (5 taught through this work (46%). Also included were the potential for this work to provide an aesthetic experience (44%), the director appeal of the work (41%), p 60 the technical ability of the accompanist, was placed almost evenly across three categories ). on (47%) and library needs (46%), were deemed not important by the choral directors (see Table 3). Table 3 Criteria for Selecting Choral Repertoire (N = 78) Rating of not important (23%), somewhat important (28%), and important (30% Two criteria, marketing of the compositi 1 2 3 4 SD P f P f P ?? p M f f P 18. Publi 3. 3 5 .1 35.9 .00 c 2.58 .79 3 8 8 48.7 2 32 12 15.4 19. Stude 2 1 9 .0 35.3 .00 d 3 1 7 .4 29.8 .00 21. Skills 3.35 .79 3 3.8 6 7.7 29 37.2 39 50.0 48.0 .00 22. Program .66 0 3 7 19.0 .00 o 6 2 6 .2 32.3 .00 22 8 2 9 .4 9.7 .02 fi 2 6 .3 2.6 47.2 .00 26. Director 2.82 .89 6 7.7 21 26.9 32 41.0 19 24.4 17.5 .00 27. Elements 3.12 .77 3 3.8 10 12.8 39 50.0 26 33.3 40.3 .00 28. Aesthetic 2.93 .82 3 3.8 20 25.6 34 43.6 21 26.9 24.9 .00 29. Festival 2.32 .91 16 20.5 29 37.2 25 32.1 8 10.3 13.6 .00 30. Chorus 3.15 .85 3 3.8 14 17.9 29 37.2 32 41.0 28.2 .00 nt 2.96 .76 2 .6 8 23.1 3 50 19 24.4 20. Stan ard 2.94 .80 3 .8 8 23.1 3 47 20 25.6 3.37 0 .0 8 10.3 3 42.3 3 47.4 23. Hist rical 2.65 .78 5 .4 7 34.6 3 46 10 12.8 24. List 2.19 .98 2 .2 8 35.9 1 24 9 11.5 25. Dif culty 3.35 .78 2 .6 9 11.5 2 33 41 5 61 Table 3 (continued) Rating 2 1 3 4 M S P f f P ?? p D f P f P 31. Ability 3.57 .69 2 2.6 3 3.8 21 26.9 52 66.7 84.0 .00 32.. Accom 1.05 18 3. 3 .5 2.1 .55 rso 1 3 2 0 .5 12.6 .00 xt 6 7 .4 39.1 .00 rketi 1.76 27 9 5 6.4 35.0 .00 6 7.7 28.6 .00 1 1.3 19 24.4 31 39.7 27 34.6 27.2 .00 panist 2.44 2 1 22 28.2 2 29 15 19.2 33. Pe nal 2.50 .93 3 1 .7 4 30.8 3 38 11 14.1 34. Te 3.15 .83 5 .4 7 9.0 3 47 29 37.2 35.. Ma ng .89 37 47.4 34.6 11.5 36. Library 1.83 .94 36 46.2 25 14.1 11 14.1 37. Variety 3.07 .80 Respon what Important, 3 = Im The third research question inquired if there was a difference in the criteria used hers. Participants experience was collapsed into three groups. Novice teachers were identified as teaching five or fewer years, experienced teachers had 6?10 years in the choral classroom, and experienced teachers were those participants with 11 or more year?s experience. To determine if there were differences in the criteria used for repertoire selection between novice, experienced, se Scale for Items 18-37: 1 = Not Important, 2 = Some portant, 4 = Very Important Differences among Novice, Experienced, and Master Teachers to select choral repertoire among Novice, Experienced, and Master Teac indicated their years of experience on the questionnaire. The variable of 62 and master teachers, Chi-square Tests of Independence were conducted. Results from the nt differences criteria used for choral noted, one ewhat important, important, or very important by all three groups (see Table 4). Initially three criteria hat can be taught of the work, and the historical and social elements that can be taught through the work. However, the assumptions were violated due to the ple size resulting in a Type I error. Table 4 Chi-Square, p, and Frequency of Criteria Used to Select Choral Literature among Novice, Experienced, and Master Teachers (N = 78) ? 1 2 3 4 Chi-square Tests of Independence did not yield any statistically significa among Novice, Experienced, and Master Teachers when selecting music repertoire. Although no statistically significant differences were criterion, the programmability of the work, was considered either som appeared to reach statistical significance: the vocal performance skills t with the work, the programmability small sam ? p #18 2.90 New 15 8 5 .821 1 Experienced 1 5 7 3 Master 1 18 10 4 #19 7.44 .282 New 0 5 13 11 Experienced 1 3 8 4 Master 1 10 18 4 (table continues) 63 Table 4 (continued) ?? p 1 2 3 4 #20 2 3 8 14 7 .3 .887 New 0 Experienced 3 8 4 Master 7 15 9 #21 15.15 .019 New 0 5 8 16 1 2 Experienced 2 0 4 10 ter 1 18 13 #22 11.47 New 3 8 18 Mas 1 .022 0 Experienced 3 4 9 Master 0 2 21 10 23 1 New 5 7 16 0 # 5.91 .014 0 erienc 0 4 10 Master 1 18 13 #24 1.72 .944 New 7 11 7 4 Exp ed 2 1 Experienced 5 7 3 1 Master 10 10 9 4 #25 1.77 .940 New 1 3 10 15 Experienced 0 1 5 10 Master 1 5 11 16 64 Table 4 (continued) ?? p 1 2 3 4 #26 2 0 8 13 7 .4 .879 New 1 Experienced 3 6 5 Master 13 7 #27 10.01 .124 New 0 6 11 12 2 3 10 Experienced 2 2 7 5 ter 2 21 9 #28 9.06 New 8 13 8 Mas 1 .170 0 Experienced 2 5 7 Master 1 10 16 6 29 1 New 2 7 4 2 # 1.43 .076 6 1 erienc 4 3 2 Master 15 2 #30 5.04 .539 New 1 5 10 13 Exp ed 7 3 13 Experienced 0 1 6 9 Master 8 13 10 #31 6.44 .376 New 2 0 6 21 2 Experienced 0 1 4 11 Master 0 2 11 20 65 Table 4 (continued) ?? p 1 2 3 4 #32 3 5 6 8 8 .7 .711 New 7 Experienced 6 5 1 Master 10 6 #33 6 0 New 11 5 4 7 10 .5 .370 3 10 Experienced 6 8 1 ter 8 11 5 #34 2.94 New 2 15 9 1 Mas 9 .816 3 Experienced 2 8 6 Master 2 3 14 14 35 2 New 11 5 2 0 # .63 .854 11 erienc 6 1 1 Master 10 3 2 #36 7.44 New 11 10 6 2 Exp ed 8 18 .282 Experienced 8 5 0 3 Master 17 10 5 1 #37 8.26 .220 New 0 9 8 12 Experienced 0 2 6 8 Master 1 8 17 7 Note. 1 = Not Important, 2 = Somewhat Important, 3 = Important, 4 = Very Important 66 Criteria for Determining Appropriate and Quality Choral Literature ppropriate choral d junior high if the criterion to both appropriate and quality choral literature, or not applicable for either appropriate or onse for every criterion listed except one was both appropriate and quality choral literature (see Table 5). Appropriate was the most uent response for music that is popular in nature (44%). Table 5 Criteria for Se cting Ch ral R pertoire Descriptive Statistics, Frequencies, Percentages Rating Research Questions 4 and 5 reference criteria to determine a literature and quality choral literature as perceived by middle school an school choral directors. Questions 38?60 asked participants to determine listed was applicable for appropriate choral literature, quality choral literature, applicable quality choral literature. The most frequent resp freq le o e 1 4 2 3 Criteria f P f P f P M SD f P 38. Historical 2.71 .64 6 7.7 58 2 2.612 15.4 74.4 39. Genres 2.67 .72 9 11.5 10 1 .8 3 3.8 40. Cultures 2.64 .83 12 15.4 10 12.8 50 64.1 6 7.7 41. Language 2.83 .61 5 6.4 7 9.0 62 79.5 4 5.1 42. Popular 2.25 1.17 34 43.6 2 2.6 30 38.5 12 15.4 (table continues) 2.8 56 71 67 Table 5 (continued) Rating 2 4 1 3 Criteria M SD f P f P f P f P 43. Broadway 2.41 1.07 26 33.3 3 3.8 40 51.3 9 11.5 44. Writing 2.66 1.02 16 20.5 10 12.8 36 46.2 16 20.5 rity 1 14 17 .8 10 12.8 exts 9 19 24 6 .8 2 2.6 9 11.5 56 6 7.7 48. Lists 2.85 .71 7 9.0 5 6.4 58 74.4 8 10.3 dard 6 4 5 .8 3 3.8 3 4 5 6 .6 2 2.6 al 1 15 19 .1 1 1.3 cal 0 14 17 .9 2 2.6 53. Sight-singing 5.65 .93 16 20.5 4 5.1 49 62.8 9 11.5 17 21.8 53 4 5.1 55. Standards 2.62 .91 16 20.5 4 .4 7 9.0 56. Students 2.50 1.10 25 32.1 1 1.3 40 51.3 12 15.4 57. Audience 2.52 1.10 24 30.8 2 2.6 39 50.0 13 16.7 58. Director 2.84 .88 12 15.4 1 1.3 52 66.7 13 16.7 (table continues) 45. Mino 2.70 .9 .9 5 6.4 49 62 46. T 2.52 .8 .4 1 1.3 5 71 47. Difficulty 2.75 .75 7 9.0 71.8 49. Stan 2.83 .5 .1 8 10.3 63 80 50. Test of Time 2.84 .5 .1 6 7.7 6 84 51. Voc 2.56 .8 .2 5 6.4 57 73 52. Musi 2.64 .8 .9 2 2.6 60 76 54. Concept 2.56 .89 4 5.1 67.9 5.1 51 65 68 Table 5 (continued) Rating 2 4 1 3 Criteria M SD f P f P f P f P 59. Voicings 2.71 .78 12 15.4 2 2.6 60 76.9 4 5.1 60. CD 2.53 1.18 26 33.3 2 2.6 32 41.0 18 23.1 N = 78 Response Scale for Items 38-60: 1 = Appropriate Choral Repertoire, 2 = Quality Choral Repertoire, 3 = Both, 4 = Neither 69 CHAPTER V. DISCUSSION The importance of repertoire selection has previously been studied at the high iddle, 2005; Forbes, l directors? hoice of choral literature (Dahlman, 1991; Diddle, 2005). Additionally, secondary school directors have d middle and junior ience, and changing male voice and its effect on the selection and composing of choral music was addressed in studies by Beery (1994) and Funderburk-Galvan (1987). In light of the physical changes used to select choral ectors and high school choral directors was examined. This study examined criteria used by middle and junior high school choral directors to determine selection appropriateness, and quality of choral literature. In addition, the criteria used by Novice, Experienced, and Master Teachers were compared school level. Previous studies have looked at the criteria used by secondary choral directors when choosing music for their choirs (Dahlman, 1991; D 1998; Hunsaker, 2007; Ogdin, 1981; Reames, 1995). High school chora teaching experience and education were found to influence their c been interviewed to determine their perceptions of appropriate and quality choral literature (Forbes, 1998; Hunsaker, 2007). Studies have not addresse high school choral directors? choral repertoire selection, teaching exper perceptions of appropriate and quality music. Research concerning the that take place during adolescence, the question of whether criteria music differed between middle school and junior high school choral dir 70 to determine any significant differences among the groups. The population of middle and iana were targeted (N = 310). Seventy-eight surveys (26%) were returned for an school choirs. The data indicates the majority of teachers use information obtained from ndings concur (1998), who found al reading sessions (2005), Forbes (1998), and Reames (1995) and found that live performances were also re. This finding was ral directors for (65%), and internet than live choral performances (59%). Middle and junior high school choir concerts may not be attended high school concerts. In addition, state and na and junior high choral directors and middle or junior high school choral directors using live performances to locate literature. The use of published repertoire lists and information from MENC and ACDA were used less frequently by both high school and middle school directors. This, despite junior high school choir directors with choral programs in Alabama, Mississippi, and Louis alysis. Several sources were used to select choral literature for middle or junior high workshops or clinics (77%) and choral reading sessions (73%). These fi with those of past research by Bolt (1983), Davis (1970), and Forbes high school choral directors also used workshops and clinics and chor to locate music for choirs the majority of the time. Bolt (1983), Davis (1970), Diddle useful by high school choral directors when choosing choral literatu not indicated as highly among middle school or junior high school cho choosing music. Personal experience (68%), peer recommendations sources (60%) were used by a higher percentage of the respondents as frequently by other choral directors as tional choral conferences may not feature performances of middle school choirs. This may account for the difference between high school 71 Bolt?s findings, which indicated that college music professors felt considerable to great hool choral directors ic was selected, a (40%). Fewer usic. Directors of middle school choirs may be unaware of the advantages of using the choral rom this site may se with choirs. Many standard choral works are av t of the directors did not When asked about the genres, historical periods, voicings, and languages rcentage of ) and patriotic ound high school atriotic music along with music from the five major style periods. Middle school choirs generally perform junior high 3) in a study with high school choral directors. In this study, 68% of respondents indicated they programmed popular music and jazz and show choir music was programmed by 40% of the directors. Research by Dunaway (1986) found average directors reported that students responded to popular music and the directors programmed more jazz and popular music emphasis, is placed on repertoire lists in textbooks (76%). Middle sc did not use perusal scores frequently to select music. Once the mus majority of the directors ordered either online (60%) or by telephone directors (21%) used the public domain website, www.cpdl.org, to find choral m public domain library or may have difficulty navigating the site. Music f be downloaded and copied freely for u ailable and arranged for various voicings. Twenty-eight percen participate in any choral festival or competition. programmed and purchased, results from this study found the highest pe directors chose holiday music (95%). Spirituals or gospel music (80% music (72%) were also often chosen by the directors. Bolt (1983) f directors included music for special occasions, such as holiday and p holiday concerts, and the choice of music for this type concert would be expected. Multicultural music was programmed on concerts by 69% of middle and school choral directors, a higher percentage than noted by Figgers (200 72 than directors identified as successful in the study. In addition, Davis (1970) found r, folk, and show music was performed most frequently in high school choral pr as represented on studies (Dahlman, 1991; Davis, 1970; Reames, 1995) indicating high school choral often than other ree on middle or aissance (32%), Davis (1970) who found high school directors performed music of the Romantic, ure available for r the difference the Middle Ages, er, only 5% of the participants indicated they programmed music from the Middle Ages. Middle and junior the istorical period may Two-part, SAB, and three-part voicings of choral arrangements were used by a high percentage of participants. Fifty-nine percent of the middle and junior high school choral directors indicated they arranged purchased octavos for their groups. Killian?s (1997) study of middle school directors in Texas also found choral directors rewrite parts popula ograms. Eighty-nine percent of participants indicated modern music w middle or junior high school choral programs. These results correspond with previous groups perform modern or music from the twentieth century more historical periods. Other historical periods represented to a lesser deg junior high school choral programs included Classical (46%), Ren Baroque (31%), Romantic (24%), and Middle Ages (5%). These findings differ from Classical, Baroque, and Renaissance periods. The choice of music literat middle school voices from each of the historical periods may account fo between the two studies. A study by Cosenza (1997) found music from though not performed often, works well with adolescent voices. Howev high school choral directors may not be aware of the appropriateness of music from Middle Ages for the adolescent voice. In addition, music from this h not be readily available for purchase, although it is on the CPDL. 73 and use three-part mixed and two-part music in their ensembles. The vocal changes that ors the majority of n by directors setting. Three-part mixed arrangements were more successful with younger choirs, while SATB hanges occurring in the group is ust listen to nts. was programmed by 72% of the directors. In addition to singing in Spanish, French, alects were also y any choral nguage programmed by programmed 20% of the time, followed by German (4%), French (2%), and Italian (2%). Dahlmann?s study ral music may When participants were asked to rate the importance of various criteria for selecting music, the vocal ability and maturity of the singers was considered very important by 67% of the directors. Vocal ability and maturity of the singers was further defined as the voicings to fit the group. The response indicates directors are aware of the take place in adolescent voices, facilitate the voicings used in arrangements. Funderburk- Galvan (1987) found SAB music was selected by middle school direct the time. Other studies by Killian (1998, 1999) found that voicings chose had bearing on the success of middle school choral groups in a festival arrangements were used with older groups. The physical c of primary importance in choosing the correct voicings. The director m individual voices often to determine the voicings used in arrangeme Participants in the study overwhelmingly program English on their concerts. Latin German, and Italian, middle school choral directors indicated African di performed by their choirs. Russian was not programmed on concerts b directors. Dahlmann (1991) found English was the preferred la 70% of high school choirs and that choral music with Latin text was also found choral music with Spanish texts and African tribal languages were programmed less than 1%. The increase in the popularity of multicultu explain the increased use of African dialects on choral programs. 74 physical changes in adolescent voices. The vocal maturity of the group was not a primary ectors. High school oices; as the most obvious voice ch (including range, tessitura, harmony, and texture) and the vocal performance skills that th support). These ccessful middle usic selected for 1987). Range and tessitura was important to high school directors, and listed in the top y (1977) and Gackle the adolescent singer ars middle school oral directors are aware of the vocal changes among their students and understand the methods used to pass through this vocal phase. Vocal e programmability of the work (47%) and the sectional characteristics of each vocal section (41%). Again, when surveying high school choral directors, Forbes (1998) found neither of those criteria very important in the choral literature selection process. Generally, middle and junior high school choral directors program fewer concerts per year than high consideration found in Forbes? (1998) study of high school choral dir choral directors are not as concerned with changing v anges have occurred by the time students reach high school age. Two criteria deemed very important included the technical difficulty of the work could be taught with the work (including legato line, intervals and brea two criteria were also selected by the largest number of performance-su school directors in previous research by Funderburk-Galvan (1987). M junior high choirs contained small ranges of pitches (Beery, 1996; Fundertburk-Galvan, five criteria in a study by Diddle (2005). According to both Cookse (1991), teaching vocal skills such as proper breath support allows the ability to navigate the challenges of their changing voices. It appe and junior high school ch performance skills were also identified as a high consideration for high school choral directors in Forbes? (1998) study. Other criteria deemed very important in the questionnaire was th 75 school directors and must be aware of limited budgets for purchasing music. Music is the vocal needs of each section of the choir an select choral he vocal ability and maturity of the singers, the technical difficulty of the work, including t with the work ress the vocal and junior high and choose choral literature to address those challenges. High school choral directors also ir but are not as he singers, sectional characteristics of the chorus, no igh school and lect choral literature are dependent on the maturity of the choral groups. ong significant ween the groups on two criteria. Novice and Experienced teachers rated vocal performance skills that can be taught with this work very important, while Master Teachers determined it important. The programmability of the work was determined very important by Novice teachers, important by Experienced teachers, and somewhat important by Master Teachers. None chosen for concerts carefully, recognizing d the vocal skills that can be taught with the piece. Middle and junior high school choral directors? criteria used to repertoire differ slightly from Forbes? (1998) study of high school choral directors. T range and tessitura and the vocal performance skills that could be taugh such as legato line, intervals, and breath support are all criteria that add changes in the adolescent voice. Findings from the study indicate middle school choral directors are aware of the challenges associated with the adolescent voice emphasize the vocal performance skills and technical abilities of the cho concerned with the vocal maturity of t r the programmability of the work. The subtle differences between h middle or junior high school directors indicate criteria used to se Research Question 3 addressed the differences in choral music selection am Novice, Experienced, and Master Teachers. Although no statistically differences were found in any criteria, there were slight differences bet 76 of the groups felt the programmability of the work was not important. Even though these three groups ally significant es (1995) that suggest the variables of teacher education level and experience influence the ns 4 and 5 and asked uality choral music. ture was difficult to find. A majority of the respondents indicated they were challenged to find ap p. In an earlier study by better choral er criteria designated appropriate choral literature, quality choral literature, both, or neither. Some horal literature e director. No definitive list of what constitutes either appropriate or quality choral literature exists; it is a matter of personal opinion. All criteria were labeled both appropriate and quality choral literature by the majority of respondents with the exception of one criterion. The greatest number of respondents (44%) indicated that popular music should be considered differences were not statistically significant, they should be noted. The agreed on all other criteria. A larger population might find more statistic differences among the three groups. These results seem to differ from previous studies of high school directors by Davis (1970), Dahlman (1991), Dunaway (1986), and Ream selection of choral music. Section 3 of the questionnaire addressed Research Questio participants their impressions regarding criteria for appropriate and q Two earlier questions asked whether appropriate and quality choral litera propriate and quality choral literature written for this age grou Hamman (2007), middle school choral directors expressed the need for literature written for the changing male voice. Middle and junior high school choral directors indicated wheth participants expressed confusion in selecting a category for each criterion. This confusion was warranted and expected because the terms appropriate and quality c are subjective and based on the experiences and knowledge of th 77 appropriate choral literature only. Many popular choral selections include ompaniment CDs was useful when eimer (1970), the directors through listening to other choirs, attending professional conferences and reading ining. Results from this study se e the same opinions usic. this study, through the realization the criteria used to select choral repertoire differs from high sten to students? repertoire. Vocal or the middle chool and junior high school choral directors should be encouraged to explore and use the choral public re music must be mixed, SAB, and periods must be available from music publishers and distributors. Music publishers benefit from these results by marketing music for adolescent voices. Middle and junior high school choral directors should realize choosing appropriate and quality music is a matter of personal opinion, based on the vocal and educational needs of individual choirs. accompaniment CDs, however 41% of directors felt music with acc both appropriate and quality choral literature. Accompaniment CDs are working with larger mixed choirs. According to Hunsaker (2007) and R ability to choose appropriate choral literature and music of quality is ingrained in choral sessions, personal aesthetic experiences, education, and tra em to indicate middle and junior high school choral directors hav and perceptions of what constitutes appropriate and quality choral m Middle and junior high school choral directors may benefit from school directors. It is important for directors of adolescent choirs to li voices often in order to make educationally sound decisions about the maturity and ability is a more important criterion when selecting music f school level than high school. In times of budget constraints, middle s domain library site (www.cpdl.org) to locate free music. In addition, mo arranged and composed specifically for changing voices. Three-part SAC music from all historical 78 Additional suggested research includes replicating the current study using a larger ng choral director alysis. A larger l year before were found to have statistically significant differences by choral directors between the p = .029), the work lity of the e regional arch has concentrated on the high school level. More research focusing on middle and junior high school choral al directors In this economic usic would be ered in less than half of the public, private, or parochial middle or junior high schools in Alabama, Mississippi, and Louisiana. usic is iana middle and junior high school choral directors use when selecting their choral repertoire. Results from this population found differences exist in the criteria used to select music between middle and high school choral directors. These differences are a result of the special needs associated with the adolescent changing voice. Choral directors expressed concern population. Using a five- or seven-point Likert-type scale and groupi experience into two groups may provide additional information for an return rate may be possible if the survey is conducted earlier in the schoo major holidays. Although not a research question addressed in this study, three criteria three states. These criteria included the public appeal of the work ( was on an approved list of compositions (p = .001), and the technical abi accompanist (p = .017). Questions arise concerning whether there may b differences in choosing choral repertoire. Much of the previous rese programs should be developed. In the free response section, several chor indicated budget concerns as a factor in selecting choral repertoire. climate, studies to determine whether budget is a factor in selecting m useful to school districts. Choral music was off Studies could be conducted to determine why instrumental music or general m offered at the middle school level instead of choral music. This study revealed the criteria Alabama, Mississippi, and Louis 79 over locating appropriate and quality music. However, when asked to determine the tors see no gospel music were and three-part vocal needs of their choral groups. Music from earlier historical periods was not programmed as often as itten and make a nd Master Teachers the responses from middle and junior high school choral directors from Alabama, Mississippi, and tasks is the d good literature d why certain pieces are chosen, and realize the music selected for our students should be done with care. Choral directors should take care with the changing voice, care for the individual abilities of the group as a whole, and care for the technical and vocal skills taught through the music. When choral literature is chosen with care, music educators can provide the strong foundation and building blocks needed to create lifelong musicians. criteria for appropriate and quality choral music, results disclosed direc difference between the two. Popular music, holiday, and spiritual or the genres programmed most often for this age group. Two-part, SAB, mixed voicings were selected by the majority of directors to suit the modern works and directors expressed the need for more music to be wr arranged for the adolescent voice. Teaching experience did not appear to difference when choosing choral literature as Novice, Experienced, a seem to agree on most criteria. Results from this study are representative of Louisiana and are not generalized beyond the population. As music educators, one of the most challenging and daunting selection of repertoire. It is important to take the time and effort to fin that works well with your choir. Directors need to stop and think how an 80 REFERENCES Abril, C. (2006). Music that represents culture: Selecting music with integrity. Music etrieved April 9, 08, from http://www.alsde.edu/html/EdDirToExcelSchool.asp tors Journal, 78(9), 52?55. Apfelstadt, H. (2000). First things first selecting repertoire. Music Educators Journal, Ba ir conductor. New Beery, L. S. (1994). Establishing and utilizing criteria for selecting and composing appropriate choral literature for middle school mixed ensembles. Dissertation No. 9505154) Beery, L. S. (1996). Appropriate voicings for middle school choruses. The Choral Journal, 36(8), 15?20. Berglund, L. C. (1995). A database of selected choral/orchestral repertoire. Dissertation Abstracts International, 57(4), 1374A. (UMI No. 9625241) Educators Journal, 93(1), 38?45. Alabama State Department of Education. (2008). Directory of schools. R 20 Anderson, W. M. (1992). Rethinking teacher education. Music Educa 87(1), 19-23. ttle, J. A. (2003). Sound advice: Becoming a better children?s cho York: Oxford University Press. Abstracts International, 52(10), 3129A. (UMI 81 Bolt, G. R. (1983). Choral repertoire selection competency development in undergraduate tion curricula. Dissertation Abstracts International, 44(3), 697A. Br e repertoire: Avant-garde for school choirs. Music Breden, M. C. (1983). Analyses and rehearsal guides for selected treble choral literature (11), 3197A. (UMI ping successful . Belmont, CA: Thomson Learning, Inc. Broeker, A. (2000). Developing a children?s choir concert. Music Educators Journal, n Grade ity Interscholastic League of Texas Prescribed Music List. Masters Brunner, D. L. (1992). Choral repertoire, a director?s checklist. Music Educators Journal, Budiansky, S., & Foley, T. W. (2005). The quality of repertoire in school music programs: literature review, analysis, and discussion. Journal of the World Association for Symphonic Bands and Ensembles, 12, 17?39. Chapman, S. (1991). Selected choral literature for junior high choirs. The Choral Journal, 31(7), 23?29. music educa (UMI No.8315795) aun, W. (1988). Expanding th Educators Journal, 74(8), 46-51. (Volumes I and II). Dissertation Abstracts International, 44 No. 8405145) Brinson, B. A. (1996). Choral music methods and materials: Develo choral programs (grades 5 to 12) 87(1), 26-30. Brown, T. J. (1993). An annotated bibliography of treble chorus music o Univers Abstracts International, 32(3), 782. (UMI No. 1355070) 79(1), 29?32. 82 Coker, T. C. (1984). Choral warm-up exercises as a key to teaching music literature and l, conducting). Dissertation Abstracts International, Collins, D. L. (1993). Teaching choral music (2nd ed.). Upper Saddle River, NJ: Prentice Cooksey, J. M. (1977a). The development of a contemporary, eclectic theory for the ing voice ? Part I. Cooksey, J. M. (1977b). The development of a contemporary, eclectic theory for the art II. The Choral Journal 18(3), 5?16. tic theory for the voice ? Part III. ic theory for the training and cultivation of the junior high school male changing voice ? Part IV. O: Concordia Cosenza, G. L. (1997). Medieval music for middle school chorus. Dissertation Abstracts International, 58(3), 789A. (UMI No. 9724224) Costes, T. (2005). New music: How music educators can save an endangered species. Music Educators Journal, 92(2), 50?54. vocal technique (rehearsa 46(6), 1549A. (UMI No. 8518316) Hall, Inc. training and cultivation of the junior high school male chang The Choral Journal 18(2), 5?14. training and cultivation of the junior high school male changing voice ? P Cooksey, J. M. (1977c). The development of a contemporary, eclec training and cultivation of the junior high school male changing The Choral Journal 18(4), 5?15. Cooksey, J. M. (1978). The development of a contemporary, eclect The Choral Journal 18(5), 5?18. Cooksey, J. M. (1992). Working with adolescent voices. St. Louis, M Publishing House. 83 Crocker, E. (2000). Choosing music for middle school choirs. Music Educators Journal, Da perience, and oral music literature. Davis, J. L. (1970). A study of choral repertoire in selected high schools and factors , 1830A. (UMI 9683) Educators Journal, Demorest, S. M. (2000). The challenge of the middle school chorus. Music Educators 2, 2008 from Academic Search Premier De g sight-singing in the choral sity Press. Devore, D. M. (1989). Choral music repertoire selection in the Ohio Music Education 820A. (UMI No. 9006125) Diddle, L. D. (2005). The repertoire selection practices and skills of beginning choral music educators. Dissertation Abstracts International, 67(1). (UMI No. 3201329) Dillman, D. A. (2000). Mail and internet surveys: The tailored design method (2 nd ed.). NY: John Wiley and Sons, Inc. 86(4), 33?37. hlman, H. N. (1991). The effect of choral program size, teacher ex teacher education level on the selection of high school ch Dissertation Abstracts International, 52(1), 3551A. (UMI No. 9207596) affecting its selection. Dissertation Abstracts International, 31(4) No. 701 DeLorenzo, L. C. (1992). Sing the songs of women composers. Music 78(7), 48?51 Journal, 86(4), 21. Retrieved April 1 database. morest, S. M. (2001). Building choral excellence: Teachin rehearsal. New York: Oxford Univer Association large group high school contests. Dissertation Abstracts International, 50(9), 2 84 Droe, K. (2006). Music preference and music education: A review of literature. Update: Du tics of successful rn United States. Dissertation Ehlmann, W. (1968). Choral directing. Minneapolis, MN: Augsburg Publishing House. Fi hool funding, and er training influence the inclusion of world music in middle school choral A. (UMI No. Forbes, G. W. (1998). The repertoire selection practices of public high school choral , North Carolina, and Virginia. 9905945) Fo Fuller, J. C. (1994). An annotated bibliography of suggested repertoire for high school treble chorus. Masters Abstracts International, 33(4), 1054. (UMI No. 1360970) Funderburk-Galvan, J. (1987). Junior high school choral music teachers? philosophies of vocal mutation, choices of music, and teaching situations. Dissertation Abstracts International, 48(12), 3066A. (UMI No. 8803784) Applications of Research in Music Education, 24(2), 23?32. naway, J. S. (1986). Administrative and organizational characteris high school choral music programs in the weste Abstracts International, 47(12), 4315A. (UMI No. 8706381) ggers, M. S. (2003). A description of how teacher behaviors, sc teach curricula. Dissertation Abstracts International, 64(10), 3526 3109283) directors in Florida, Georgia, South Carolina Dissertation Abstracts International, 59(9), 3386A. (UMI No. rbes, G. W. (2001). The repertoire selection practices of high school choral directors. Journal of Research in Music Education, (49)2, 102?122. 85 Gackle, L. (1987). The effect of selected vocal techniques for breath management, junior high school le voice. Dissertation Abstracts International, 48(4), 862A. (UMI No. Gackle, L. (1991). The adolescent fem Characteristics of change and stages of development. Choral Journal, 31(8), 17?25. ddle River, NJ: . Music Educators Gordon, L. (1977). Choral director?s complete handbook. West Nyack. NY: Parker Gr ways. Music Ha es school choir teachers. Update: Applications of Research in Music Education, 26(1), 64?74. er presented at the meeting of the Texas Music Educators Association Conference, San Antonio, TX. Texas Music Education Research. Hawkins, P., & Beegle, A. (2003). The National Standards and medieval music in middle school choral and general music. Music Educators Journal, 89(3), 41?46. resonation, and vowel unification on tone production in the fema 8716155) ale voice: Garretson, R. L. (1998). Conducting Choral Music (8th ed.). Upper Sa Prentice Hall. Goetze, M. (2000). Challenges of performing diverse cultural music Journal, 87(1), 23-26. Publishing Company. iswold, H. E. (1994). Multiculturalism, music and information high Educators Journal, 81(3), 41?47. mann, K. L. (2007). Influence on the curriculum choices of middl Harris, B. P., & Walls, K. C. (1996). The Young Band Repertoire Project: A descriptive study of the subjective quality of potential core works. Pap 86 Herman, S. (1988). Unlocking the potential of junior high choirs. Music Educators Ho development of a core ert band. Dissertation Abstracts Hunsaker, T. C. (2007). Processes and criteria of nationally recognized high school ertation Abstracts al, 69(2). (UMI No. 3300746) ddle River, NJ: Jorgenson, N. S., & Pfeiler, C. (1995). Things they never taught you in choral methods. al Conventions irectors Association (1960?1987). Dissertation Killian, J. N. (1998). Characteristics of successful choirs in a contest setting. Texas Music Killian, J. N. (1999). Music selection of successful choirs at UIL and non-UIL contests. Texas Music Education Research 1999, 51?56. Killian, J. N., & Moore, M. (1997). The vocal ranges of fifth and sixth grade boys: A preliminary report. Texas Music Education Research 1997, 31-34. Journal, 75(4), 33?36, 41. ward, R. L. (2001). Repertoire selection practices and the repertoire for the middle school conc International, 63(1), 126A. (UMI No. 3039773) choral directors in the selection of performance literature. Diss Internation Hylton, J. B. (1995). Comprehensive choral music education. Upper Sa Prentice Hall, Inc. Milwaukee, WI: Hal Leonard Corporation. Jones, W. D. (1988). An index of choral music performed during Nation of the American Choral D Abstracts International, 49(8), 2014A. (UMI No. 8822452) Education Research 1998, 39?43. 87 Kuehne, J. M. (2003). A survey of sight-singing instructional practices in Florida middle programs. Dissertation Abstracts International, 64(10), 3624A. Ku Florida middle (2), 115?128. Lamb, G. H. (1971). Selection of music for the high school choir. The Choral Journal, , 12?14. n Company ington, IN: Indiana University Press. gical applications ed choirs. Dissertation Abstracts International, 53(11), Leonhard, C., & House, R. (1972). Foundations and principles of music education, 2 nd ed. New York: McGraw-Hill, Inc. rnal, 46, 36?41. Louisiana State Department of Education. (2008). Directory of schools. Retrieved April 9, 2008 from http://www.doe.state.la.us/lde/index.html Merriam-Webster?s Collegiate Dictionary (11th ed.). (2004). Springfield, MA: Merriam- Webster, Incorporated. school choral (UMI No. 3109293) ehne, J. M. (2007). A survey of sight-singing instructional practices in school choral programs. Journal of Research in Music Education, 55 12(3) Lamb, G. H. (1974). Choral Techniques. Dubuque, IA: Wm. C. Brow Publishers. Lamble, W. H. (2004). A handbook for beginning choral educators. Bloom Lee, P. S. (1992). An analysis of selected choral repertory with pedago for secondary school mix 3837A. (UMI No. 9236683) Lind, V. R., & Butler, A. (July 2005). Renaissance repertoire for middle school choirs. The Choral Jou 88 Mississippi State Department of Education. (2006). Directory of schools. Retrieved April M tterson?s American education (104th ed.). Schaumburg, IL: Moore, M. C. (1995). The adoles dinal comparisons. Masters Abstracts International, 34(01), 18. (UMI No. 1375882) Murphy, J., & Sullivan, G. (1968). Music in American society: An interpretive report of ors National Ogdin, P. K. (1981). An analysis of criteria by which secondary choral teachers select course content. Dissertation Abstracts International, 41(10), 4323A. (UMI No. 8106955) o teaching o: GIA Publications, Pagel, R., & Spevacek, L. (2004). The choral director?s guide to sanity and success! How ol/junior high school choral program. Pa . Report of the Yale Seminar on music education (OE-33033). Washington, DC: U.S. Department of Health, Education and Welfare. Parr, C. (2006). Eight simple rules for singing multicultural music. Music Educators Journal, 93(1), 34?37. 9, 2008 from http://www.mde.k12.ms.us/ oody, W. (Ed.). (2008). Pa Educational Directories, Inc. cent male changing voice: A study of age and attitu the Tanglewood Symposium. Washington, DC: Music Educat Conference. O?Toole, P. (2003). Shaping sound musicians: An innovative approach t comprehensive musicianship through performance. Chicag Inc. to develop a flourishing middle scho Dayton, OH: Heritage Music Press. lisca, C. V. (1964). Music in our schools: A search for improvement 89 Pence, S. M. (1997). Effect of rehearsal on high school singers? repertoire preferences d perceptions of performance ability. Texas Music Education Research 1997, Pe rceived ability ning All-State repertoire. Texas Music Education Research 1998, 57?59. ork: Oxford urvey research: A Reames, R. R. (1995). Literature, music education, and characteristics of selected ternational, ), 3046A. (UMI No. 9541718) ppropriate literature eginning high school choirs. Journal of Research in Music Education, 49(2), 122?135. Rentz, E. (1996). Choral literature selected for performance in the 1995 UIL concert/sight reading contests. Texas Music Education Research 1996, 1?8. Roach, D. W. (1989). Complete secondary choral music guide. West Nyack, NY: Parker Publishing Company. an 71?78. nce, S. M. (1998). The relationship between piece preference and pe among high school singers lear Phillips, K. H. (2004). Directing the choral music program. New Y University Press. Rhea, L. M., & Parker, R. A. (2005). Designing and conducting s comprehensive guide (3 rd ed.). San Francisco, CA: Jossey-Bass. Virginia beginning high school choirs. Dissertation Abstracts In 56(8 Reames, R. R. (2001). High school choral directors? description of a for b Reimer, B. (1970). A philosophy of music education. Englewood Cliffs, NJ: Prentice- Hall, Inc. 90 Roseboom, J. D. (2006). Criteria for curricular literature selection among Florida band ity, Tallahassee. Ru Southern Division ion (1970?1990). Southern Association of Independent Schools (2005) Membership roster. Retrieved coefficient alpha does 17-222. Thom iting the madrigal ensemble. Teaching Music, 3(2), 34?35. Torkelson, K. L. (1994). Accessible choral works for the developing high school choir. W burn University, 2004). /pqdweb?index= 5&did=765363961&SrchM de=2&sid=18&Fmt=6&VInst=PROD&VType= duate music curricula. Reston, VA: MENC. Wyatt, L. D. (1990). Toward a literature based curriculum for high school choral music: A series of studies. Columbia, SC: The University of South Carolina. Yarrington, J. (1980). Sound recipes for teenage voices. Dallas, TX: Choristers Guild. directors. Unpublished master?s thesis, Florida State Univers cker, A. T. (1992). An index of choral music performed during Conventions of the American Choral Directors Associat Dissertation Abstracts International, 53(3), 660A. (UMI No. 9222417) September 19, 2008, from http://www.sais.org/ Streiner, D. L. (2003). Being inconsistent about consistency: When and doesn?t matter. Journal of Personality Assessment, 80(3), 2 as, J. (1995). Revis Melisma, 13(1), 12?13. alker, C. J. (2004). Relationship of literature performed at spring concerts to concert band state festival ratings. (Doctoral dissertation, Au Retrieved from http://proquest.umi.com.spot.lib.auburn.edu PQD&RQT=309&VName=PQD&TS=209396141&clientId=1997 Willoughby, D. P. (1971). Comprehensive musicianship and undergra 91 Young, C. S. (1998). The quality of repertoire chosen by high school wind band this literature. Dissertation Abstracts International, 59(10), 3769. (UMI No. 9911293) conductors and the resources and criteria used to choose 92 APPENDICES 93 NDIX A QUESTIONNAIRE APPE 94 95 96 97 98 99 100 101 OFFICE OF HUMAN SUBJECTS APPROVAL FORM APPENDIX B 102 103 104 105 106 107 108 109 110 111 112 IX C INFORMATION LETTER APPEND 113 114 PENDIX D POST-CARD AP 115 Auburn University Dept. of Curriculum and Teaching D ne the criteria ting their choral u for taking the time to complete that survey and return it to me. In case you have not completed the survey, you may still do so. Your input is very rtant. If you have misplaced the survey, and would like another, please contact me burn.edu and I will be happy to provide another survey for you. Thank you ect. Sincerely, Jennifer K. Canfield Music Education ear Middle School or Junior High School Choral Director, Recently you were asked to participate in a survey to determi middle or junior high school choral directors feel are important in selec repertoire. Thank yo impo at canfijk@au for your help in this proj 116 RESPONSE FROM CHORAL DIRECTORS APPENDIX E S 117 Responses from Choral Directors t? so to speak? I llowed to have complete scheduling, no adult control over student behavior). Most of my students have never been out of our small town and have no interest in cultural awareness of any kind. This causes usic from different genres and music that appeals to middle school students. Since the choir ta, You?re Too Fat,? and ?Light a Candle.? Changing male voices are dealt with on an individual basis. My we have vocal e in the spring. The concept of borrowing ? surely I am not the only choral director who does this for ght different y answers to ms/jr levels only. I have a very definite opinion about choruses being separated by gender at this grade (6- 8). They need to be separated! At one time, I had that, and now I don?t. The only problem Alabama: Some of the answers provided do not reflect the true ?nature of the beas am expected to produce high quality performances but am not a control over the members of my chorus (no cooperation from administration in a major conflict in choice of literature. As a new teacher, my college supervisor has been invaluable to me in selecting m program is new, it is best to start with unison and two-part like ?San school is a Title I school. The high school director is very helpful and teacher meetings every two months. We plan on singing a Latin piec budget reasons or knowledge of another library?s repertoire. Having tau grade levels, it was hard to ?filter? some of my experiences and apply m 118 with having a men?s chorus and women?s chorus from a literature standpoint is that e?s massive amounts of treble music but not enough TB music that is specific to their voices. numbers and ability to sing TTB, but I find the Bass too low and the tenor to high for most of them. I also find that in my sixth grade boys have sometimes already changed can all do well. ce, I do not consider it appropriate or quality to ever use an accompaniment CD or to sing ?pop? music with concert choir at festival, etc., but perfectly appropriate for my after school t there) and give d. I?m not sure I interpreted the 3 section appropriately. Clarification of my responses: I believe that appropriate and quality songs can be found in all items, #38-60. These days s of choirs, including ong is adaptable at all for choir) and show tunes. We offer middle school music enrichment, but not Chorus, per se. Those students interested in choral music meet after school hours, about one hour weekly, for choral ther I have difficulty finding quality music for middle school boys. We usually have the and it is difficult to find easy 2-part mixed or 3-part mixed that they On some questions I wish there was a choice for ?sometimes.? For instan only show choir. Good directors will hunt down quality music (it?s ou their kids a true variety of many styles, all appropriate to the task at han rd there are many fine composers and arrangers for all types and age musically valid adaptations of standard literature, pop music (if the s 119 groups that are more like ?clubs.? We still go to choir festival and adjudications. I still try iece or two and a few ngs, My choices are more limited since our rehearsal circumstances and time is also limited. I appreciate greatly you doing this study! I want to know the results. I have taught . This is a new mixed school years so I was chosen to start a ground-zero program from nothing. It?s actually going very well. Only 16 students this year, but it is building. I have NO budget other than choir fees. Thank you. et ?stuck? in choir, finding music that they will enjoy is essential. It is very challenging! I did the best I could. My degree is in instrumental music, but I teach general music and Section 38-60 was hard to answer. It would be very refreshing for the results of your study to be used to promote higher quality and more vocal friendly music to be written for middle school voices! to include music of a couple of classical composers, a Broadway p folk songs, especially American folk so elementary middle and high school age students for many years in music venture teaching only middle school age choir. Before this, I taught 6-12 age choirs. The school I am in had NO choral program for many It can be difficult to motivate this age group, especially students who g so I feel that show choirs now! 120 Mississippi: uch enjoyed rming more difficult musical pieces, and producing a great number of well-trained young musicians. I felt the questions 38-60 were difficult to answer without making comments. For ods, but not every r my choir because abilities change from year to year. I start each school year with music of varying levels and then hone music to fit abilities or ?quality? is a c. both quality and nd as well as pieces which are inappropriate or poor in quality. Additionally, the level at which your choir is performing may be totally different from the level at which another choir is performing. Ability level can influence a voicing for boys. This is the hardest group in middle school to find appropriate music for I have many changing boys voices, so it would be nice for more ?cambiata? voicing to be made available. I need all the music I can get. I wish you great success in the wonderful world of music. I have very m every year (37 years). I think that choirs over all, are perfo example, I can find appropriate and quality literature from all the peri piece in every period is right fo always pushing for challenging pieces. For questions 38-60, lumping all works into a category of ?appropriate? poor descriptor. In each genre, historical period, style, voicing, et appropriate pieces can be fou director?s opinion of appropriateness. I would like to see music written for different 121 The 6 grade music class is split male and female. So I teach them as all male or all female, but we work on the same materials. is is my basis for ariety of styles and languages. I find my kids like what makes them feel successful. per for director review in big spiral books (awesome)! This saves a lot of time in finding quality literature. Also, this area. Students usually discover soon after their participation in public school music (choral) that they do have singing abilities. o on and project their talent to a level of high standards. Exposing students to Louisiana: Many factors go ope my answers to these questions are not misleading. My ?choir? has approximately 12-18 students. It?s a one semester elective. It is not a performance group (though I force them to perform a short program at the end of the th Students do not know what they like ? they like what they know. Th teaching a v Songs from UIL (Texas) state lists are published through JW Pep Heritage Press publishes excellent choral music for 3-part mixed (SAC) voices. Choral music has played a role of importance in They g different genres helps them to associate the different styles. Numbers 38-60 were a little difficult to answer, given the selections. into how music is chosen and it sometimes can be quite complex. I h 122 semester). This is a low-income public school population. Most have had NO musical barrassed? to sing. ly challenge. Students are placed in chorus because it ?works? with their academic schedule. Questions 38-60 were difficult to answer because there is ?appropriate? and ?quality? music in just about all categories, as well as ?not appropriate? and ?not quality? music in I enjoyed taking this survey. It made me re-evaluate my reasons for choosing music. Thank you! rchase copyrights, y octavos and collections. More SAB/SAT/SAC music in varying ranges. I have a difficult time finding good quality music for very limited boys in a non-select choir. More music with optional guys parts to suite the limited and changing voices would be I would like to see more foreign language choral pieces available in 2-part. I teach both junior high and high school music. Since this survey?s emphasis was on junior high repertoire that is what I focused on. I find that selecting music for my mixed experience or training. I have NO budget. Many students are too ?em Matching pitch is a dai all categories. I have no budget or funding source. I would like to see the ability to pu cop good. 123 choirs is most challenging. Most works that work vocally and musically are to ?babyish.? I thank you for researching this topic further. I try to let students have a hand in the selection of pieces. It gives them ownership. The school where I teach does not have any money for purchasing music. We have one choir class of 6 th grade students. I use selections from the ?Spotlight on Music? series. 124 CHORAL LITERATURE PERFORMED BY RESPONDENTS IN 2007?2008 APPENDIX F 125 Choral Literature Performed by Respondents in 2007?2008 poser/Ar Publisher g-a-long Billingsle Hal Leonard Alleluia Bach/Spe Lorenz da Da Garranchinha arr. Green Hal Leonard mus Te McPheete B Shawnee Lewis Alfred i oorman Brilee Moore Lorenz a D'Varim Naplan Boosey & Hawkes Mozart/M t Alfred ngs Spevacek Lorenz ce rr. Nune Boosey & Hawkes n American Celebration Strommen Alfred Angel's Lullaby Gallina Hal Leonard nie - Choral Highlights arr. Emer Hal Leonard orpus Mozart/E B Bourne Publishing Dewald Boosey & Hawkes Shelton Hinshaw Berg ison/SA Pavane Publishing thlehem Althouse Alfred p Albrecht Alfred kbusters arr. Brym Hal Leonard min' arr. Emer Hal Leonard Johnson Lorenz e Domino Gilpin Shawnee Wilhousk B Carl Fischer esemba rker Alfred n Crocker pt Hal Leonard rld Rentz Alfred out 3 Minutes on Lorenz Cirandeiro arr. Green 2-pt Hal Leonard Come to Me, O My Love Petker SAB Hinshaw Come to the Music Martin SATB Shawnee Come Ye Sons of Art Purcell/Crocker 2-part Hal Leonard Confitemini Domino Gilpin 3-pt Brilee Dashing Through the Snow Leavitt 2-pt Alfred De Animals Acoming Bartholomew TTBB G.S.Schirmer Title Com ranger Voicing A Disney Silly Sin y SAB A Gentle vacek 3-pt A Mo 2-pt Adora rs SA Agnus Dei SAB Agnus De P 3-pt Agnus Dei Canon 3-pt Al Shlosh SA Alleluia Canon oore 2-p Always Something Si 3-pt Amazing Gra a z SSA A 2-pt 2-pt An son 2-pt Ave Verum C hret SA Barter 3-pt Bee SAB Bolero Un Born in Be 2-pt Born to Sho 2-pt Broadway Bloc er SSA California Drea son 3-pt Candle of Peace 2-pt Cantat 2-pt Carol of the Bells y SAT Chapua Kali D Pa SSA Charlotte Tow 2- Children of the Wo 2-pt Christmas in ab West 2-pt 126 Composer/Arranger g Publisher eliver Daniel arr. Emer Jensen Pub. DingDong Gilpin Shawnee ud Huff Hal Leonard r What I Hear? arr. Simeo Shawnee cem Caccini/Litz/Hay A Colla Voce Nobis Pacem Jennings Plank Road Pub m traditional CPDL arr. Brym Hal Leonard wn the Road Funk Alfred oshua arr. Albre Alfred th Singing Miller Hal Leonard iante arr. Grund Hal Leonard Gilpin 2- Alfred rra Pax Lightfoot Heritage/Lorenz Melody Dilworth t Hal Leonard t When the Sun Goes Berry Santa Barbara n is the Breeze Ginsberg 3-pt Heritage/Lorenz arr. Gilpin Alfred Albrecht Alfred Fa La La Lightfoot Lorenz stival Sanctus Leavitt t Alfred Sanctus itt B Alfred e Night with Singing Patterson t Heritage/Lorenz ty of the Earth utter TB Hinshaw Rentz Heritage/Lorenz utter TB Oxford F.J. Hayd ore Lorenz n Walton Lightfoot Lorenz rain Grier/Eve Lorenz Great and God of Small leeth ison Carl Fischer atch that Santa Beck & F Alfred Good Cheer (Festival Procession) Snyder 2-pt Hal Leonard Grumble too Much arr. Schram TTB Heritage/Lorenz He Watching Over Israel Mendelssohn/Collins SSCB Cambiata Press High School Musical 2 - Medley arr. Lojeski 2-pt Hal Leonard Hina Ma Tov Naplan 2-pt Boosey Hodie/Kyrie Busch/Schram Unison/SA Brilee Hot Chocolate arr. Emerson 2-pt Hal Leonard Title Voicin Didn't My Lord D son 3 pt Ding-a Ding-a SATB Do I Make You Pro arr. SAB Do You Hea ne SAB Dona Nobis Pa SS Dona 3-pt Dona Nobis Pace 3-pt Do-Re-Mi er 2-pt Ease on Do arr. 2-pt Elijah and J cht 2-part Enter Wi 2-pt Estrella Brill ahl SSA Et in Terra Pax pt Et in Te 3-pt Everlasting 2-p Every Nigh Down TB Exhilaratio Famous Folk 2-pt Festival Alleluia 2-pt Festival 3-pt Fe 2-p Festival Leav SA Fill th 3-p For the Beau R SA Get on Board 2-pt Gloria R SA Gloria Canon n/Mo SAB Gloria Deo Daviso TB Gloria Deo 2-pt Glory T rson 2-pt God of S Un Gonna C isher 2-pt 127 ompose Publisher Singing arr. Elling A Neil A. Kjos Singing arr. Little Brilee ke Handel Hope Publishing y N Denn B Shawnee Jacobson t Hal Leonard ing H Byrd/Whitehead Alfred ssing Santa Cl arr. Huff A Hal Leonard issing Santa Cl arr. Mille Hal Leonard Telleman B Alfred My Ticket re B Alfred a Yonder arr. Sirvat Boosey Raise a Chi ay Lorenz dirai Po d Lorenz le Moulin arr. Crock pt Hal Leonard an's Desiring Bach/Lieb Carl Fischer ell Rock l/Boot BB SPEBSQSA ls Dillworth Hal Leonard ua's Battle Gilpin Brilee the Morning h Hope Publishing ly Sing Gluck/Lie Brilee Your Lamps! arr. Thom B Hinshaw Billings TB Walton Hal Leonard Brumfield Henry Leck Mozart TB G. Schirmer bird Kodaly Boosey ong Unsung Spevacek Lorenz y Moon Patterson Brilee ke a Song for my Heart to Sin Knowles Hal Leonard irl Now arr. Emer A Hal Leonard ria ngh Alfred Wolfe Heritage/Lorenz Mouse Madrigal arr. Porter SSA Phantom Musica Dei Porterfield SATB Alfred My America Eilers 2-pt Hal Leonard My Girl arr. Emerson TB Hal Leonard My Lord, What a Morning arr. Gilpin 3-pt Brilee Non Nobis, Domine Byrd/Wagner 2-pt Alfred Not That Far From Bethlehem arr. Snyder SSA Hal Leonard Title C r/Arranger Voicing How Can I Keep From bee SS How Can I Keep From ton Unison How Long Wilt Thou Forsa SAT Hush! Somebody's Calling m ame arr. ard SA I Have a Dream Uni-2-p I Have Longed for Thy Sav ealth SATB I Saw Mommy Ki aus SS I Saw Mommy K aus r 2-pt Ich will den Herrn Loben SA If I Have Moo SA I'm Going Up ka SSAA It Takes a Village to ld Br 2-pt Je le vous Certon/ rterfiel 3-pt J'entends er 2- Jesu, Joy of M ergen 2-pt Jingle B Bea he/Szabo TT Jordan's Ange SSA Josh 3-pt Joy in Sleet SAB Joyful bergen Uni-2-pt Keep as SAT Kittery SA Kryie Dwyer/Ellis 2-pt La Violette /Leck SSAA Lacrymosa SA Lady SSA Leave no S SSA Lullab SSA Ma g 2-pt Mama, I'm a Big G son SS Medieval Glo Si SA Mistletoe SAB 128 Compose icing Publisher arr. Bridw Alfred Sit Down arr. Gilpin TB Lorenz cker arr. Perry Alfred arr. Beck Alfred iracle arr. Snyde Hal Leonard ow arr. Chinn Alfred Snyder Alfred Sea to Skye arr. Eilers Hal Leonard antom of the Opera Highlights yde Hal Leonard ure/Lea Hal Leonard arr. Sleeth Lorenz llite Praetorius/Robinson Alfred Brumfield/ Henry Leck g Your Song Butler Lorenz Emerson Hal Leonard Vacation Beck Alfred arr. Boshk Santa Barbara Love arr. Emerson Hal Leonard s of Love arr. Huff t Hal Leonard Love Song Emerson B Hal Leonard es Hal Leonard Holder/Es Shawnee arr. Higgins Hal Leonard arr. Brym TB Hal Leonard lling Schram t Alfred on tempo Vecchi/Robinson 3-pt Shawnee d the Wild Geese Porterfiel Lorenz Geese rterfiel Lorenz d the Trumpet Purcell/Er Alfred ntain arr. Schra Alfred arr.Poorm Alfred Lightfoot Heritage/Lorenz The Holly and the Ivy arr. Page 2-pt Boosey The North Pole Goes Rock N Roll Gardner/Knittel 2-pt Shawnee The Phantom of the Opera arr. Snyder 3-pt Hal Leonard The Piper arr. Gray 2-pt Heritage The Shepherds Nowell Page Uni-/2-pt Heritage/Lorenz This is That Time of Year Brymer SAB Hal Leonard Three Ways to Vacuum Your House Hatfield SSA Boosey Title r/Arranger Vo Nutcracker Jungles ell SSA Oh Won't You SA Ol' Dan Tu 3-pt One Candle 2-pt Ordinary M r 2-pt Over the Rainb 3-pt Over the Rainbow Unison Over the 2-pt Ph arr. Sn r 2-pt Pie Jesu Fa vitt Unison Promised Land 2-pt Psa 3-pt P'tit Galop Colinda Leck SSAA River, Sin SAB Sanctus SAB Santa Needs a 2-pt Sarasponda off 2-pt Seasons of 2-pt Season Uni-2-p Shoshone SA Since U Been Gone arr. Jam SSA Sing! Sing! tes 2-pt Singabahambayo 2-pt Sleigh Ride er SA Snow is Fa 2-p So ben mi ch'ha b Something Tol d 2-pt Something Told the Wild Po d SAB Soun b 2-pt Sourwood Mou m 2-pt Stars and Stripes an 2-pt The Arrow and the Song 2-pt 129 ompose Publisher he Sea arr. Billin Hal Leonard Thompso E.C.Schirmer mus Dominum es Alfred Gibbons/Snyder B Hal Leonard e Water arr. Benne Hal Leonard Albrecht t Alfred Emerson Hal Leonard erry Christma arr. Rutte Oxford ays! Gilpin t Alfred e Sun Goes In Gilpin B Alfred re You Christmas? arr. Huff Hal Leonard ll Be a Witness? arr. Moor Alfred Estes Lorenz ing Gilpin Shawnee Gilpin SAB Shawnee Gilpin SATB Shawnee e Deum Rutter Oxford Ebel-Sabo Boosey Winter Wonderland arr. Beck 2-part Alfred Yo le Canto Todo el Dia Brunner SA Boosey Yonder Come Day arr. Tucker SSA World Music Stop the Beat arr. Lojeski 2-pt Hal Leonard You're a Mean One, Mr. Grinch arr. Funk Uni-2-pt Alfred Title C r/Arranger Voicing Under t gsley 2-pt Velvet Shoes n 2-pt Venite Adore Est 2-pt Vive in Pace SA Wade in th tt 3-pt Wakati Wa Amani 3-p We Want to Sing 2-pt We Wish You A M s r SATB Welcome the Holid 3-p When th SA Where A SAB Who Wi e 2-pt Why We Sing 3-pt Why We S 2-pt Why We Sing Why We Sing Winchester T SATB Wind on the Hill Unison You Can't