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• W2088541330 abstract "HIGH SCHOOLS, COLLEGES, AND UNIVERSITIES have their all-school choral organizations, why not the elementary school? Certainly a select group from an entire school, given intense special training, could do more stimulating and artistic work than a heterogeneous group comprising one entire grade-not that the regular work in the grades should be stopped, but perhaps special work with a select group could be started. For that matter, why not a city-wide choir, instead of a choir limited to one school? That should be even better . . . Such thoughts were uppermost in my mind and heart when, in September 1939, I began work as vocal supervisor in the public schools of Walla Walla, Washington. The Walla Walla All-City Elementary-School A Cappella Choir held its first rehearsal two months later, its membership drawn from all seven of the city's public grade schools. Because the choir is still functioning and has been graduated out of the experimental stage, I think a brief account of its original selection, its manner of functioning and of holding the interest of the children, its reception by the community, and its services to the community might be of interest to other music supervisors. During my regular visits to the classes at the beginning of the semester, I made note, insofar as possible, of the voice, interest, and personality of each child. When the time seemed ripe, announcements were sent out, instructing all children who were interested in having an elementary-school a cappella choir, and who felt they would care to try out, to meet at a designated time and place. I had set up in my own mind definite minimum criteria which all pupils would have to meet in order to become members of the group. Although the qualifications of many of those who came were already fairly well known to me through my school visits, each child was auditioned individually. The standards that I had set, and abide by yet today, no doubt do not read like the usual entrance requirements of select choral organizations, because these were children with whom I was dealing. A summary of how our first group was selected follows. First, each child had to display a genuine interest in singing. I was very careful to distinguish between this and mere curiosity about a novelty. Where doubt existed in my mind, I asked the child to return for a second trial some weeks later. A few did; many did not. Second, I took account of the child's intelligence. Some pupils could not grasp the ideas presented and appeared to be mentally sluggish. In an organization such as the one contemplated, such children would not possibly have been able to carry on. (Lest some reader misconstrue this, let me state that those children who could not meet the entrance requirements of this group were taken care of in the regular classes.) Third, the child's natural voice was considered. In the work of selection on this score, as much emphasis was placed upon potentialities as upon immediately apparent voice quality or singing ability. Mistakes were made, but on the whole most of the singers chosen turned out as expected. Fourth, I carefully noted the child's response to tonal and rhythmic passages played for him. Here, too, the potentialities rather than only the immediate responses were considered. After selecting a group of about sixty voices out of some two hundred, I notified each child through the mail of his selection, the voice he should sing (at least temporarily), and the time and place of the first rehearsal. have met each Saturday of the school year since that time and frequently have held special rehearsals. A somewhat different selection plan is now in operation. No individual tryouts are held; but a second choir has been organized for the purpose of feeding the first choir. Much of the work in basic choral training is taken care of here, and, in addition, I am able to get much better acquainted with the ability and potentialities of each child than is possible through individual tryouts. Attendance at all rehearsals and performances is required and meticulously noted. Every member must notify me, if at all possible, of an unavoidable absence before the rehearsal or performance in question. The children think this is great stuff; in fact, I should say it is an important factor in our success. No one, whether adult or child, takes interest in or does his best work for a project that is run in a slipshod, half-hearted manner. I recall one of my teachers remarking after the choir had met several times that one of the members came to her and enthusiastically said, We really have to be on the job. He doesn't even let us be late without a good reason !" @default.
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• W2088541330 date "1943-02-01" @default.
• W2088541330 modified "2023-10-18" @default.
• W2088541330 title "Grade-School A Cappella Choir" @default.
• W2088541330 doi "https://doi.org/10.2307/3386220" @default.
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