The Importance of Quality Works for the Developing Ensembles.

As a new school year begins we, as music educators and directors, need to consider one important question: will the chosen literature provide opportunities for artistic growth?

When we talk about choral music in the classroom (particularly at the secondary level), we often begin by listing the expected needs of our ensembles and paring them up to the literature that we are familiar with, or that others have adopted in their classrooms. This is all great! However, the problem becomes a big and evident one when we solely focus on the academic aspect of our ensembles (and by academic, I simply mean the elements pertaining to technique, theory and aural skills). Is this enough for the artist(s) in that room? 

While each song selection could potentially be used to elaborate on a specific topic or music goal (ex. terminology, technique, etc.), not all songs allow for a deeper connection with the music-making process or artistry itself. Recently, especially post-pandemic, I have noticed an increase in the implementation of easy, plain, “stock choral arrangements” within our classrooms. While a few of these songs could eventually be considered important additions to our choral library, the majority seem to be simple, pop-oriented, or watered-down musical materials for a last minute performance. While this could perhaps be a local and temporary thing (and I am hopeful that it is), it is important to consider different ways to approach literature for our singers.  

When I first began teaching, I always wished someone would have pointed me in the right direction in terms of repertoire for the developing choirs. After all, they can only teach you so much in college! Students that fall in this category (at least in my case) tend to have a very different concept of what singing in a choir should be like and, therefore, they also have a different approach to the music-making process. With that being said, these students do not want to fall behind and, perhaps, are hoping to someday be a part of “that one select ensemble” that we all looked up to when we were younger. So, how do we meet them in the middle? How do we begin to make music instead of simply reading notes? How do we choose “fun” repertoire while also preparing them to sing more advanced works in the future? How do we allow them to grow as artists?

While these few questions might seem simple and, to some, useless, I am hopeful that they will provide some insight into selection process for high quality works. Perhaps, if you are new to it, it could be a great place to start. 

1. Does the song have a purpose?

Beyond the typical dissonance, or changing meter, or perhaps unusual rhythmic progression: does the song you are considering have an important or unique reason to be a part of the choral canon? Most times, I would say, there is a reason behind the publication of certain songs, but what we would like to know is: does it bring something that your singers can relate to or should know about? Does it empower? Does it allow for cross-curriculum teaching? If it is just a fun song, great- we can cross that one from the list. But, can it be more than just fun? Does it bring something of substance to the table?

2. Does the text mean anything?

It is safe to say that the majority of kids will never stop asking for the most current trendy song, particularly at the middle or high school level. It is so easy for our brains to embrace simple texts and easy rhymes. The problem with this is that text is so fundamental to what we do. We are the only group of our kind that can intentionally play with words to create meaning out of nothing, to connect with others, to deliver a very personal and intimate message. Do not let your singers miss the opportunity to interpret quality texts set to music. 

3. Is there some sort of historical context?

There are so many stories to be told, so many places to see, so many ideas to be shared, and all of that can be done through music. Does the song you are currently considering have some sort of historical context? Can you utilize that to your advantage and engage your students through storytelling? I recently did some research on Jesus Garcia Corona, a seventeen-year-old that sacrificed himself to save the town of Nacozari, Sonora in Mexico and, as a Mexican-American, I could not stop thinking about how much impact a song about him would have in our classrooms. Historical context is important. 

4. Why is it available for purchase?

There are many publishers whose main audience is those that simply want academic materials in music. In other words, method courses (songs that focus on one music element or technique). While there is not necessarily a problem with this, it is important to realize that there is a pool of high quality works by less known composers whose goals could potentially be artistry itself. When you purchase music, try not to look only at the works written by the most prolific composers of our times (publishers have a tendency to push for the works written by the “famous few"). Instead, try checking out the works of upcoming composers or those whose works seem to resonate with you. 

5. What is the author’s intent?

Last, but not least, always consider the composer (and author of the text!) when selecting new repertoire. While most of Rossini’s works throughout his life were well-received, the composer was always upfront about his “work”: that was all it was. Recycling and writing for his audiences were two of his most important tools, which allowed him to make a career and retire by thirty-seven. With that being said, most composers nowadays continue this peculiar “Code Rossini” (as Richard Taruskin calls it in his book Music in the 19th Century), where they simply follow a pattern that seems to work with their audiences. Beware of the works that do not have a particular purpose besides selling.  

Students, from elementary school to college level, wait anxious for the time we all get to meet as an ensemble. As musicians and educators, we are responsible for exposing them to quality works that engage their artistic selves.

May this year be full of beautiful music, and may this be your best year yet!