Jump to Navigation | Search | Content area | Page footer


Train choral conductors or singing-based music teachers for schools? Or both of them together?

• New forms and opportunities of singing-based music teacher training and choral conductor training within educational institutions and beyond.

• International examples on the postgraduate training of choral conducting students arriving with diff erent knowledge and experience levels from abroad.

• How can a conductor get prepared to the diff erences in leadership methods between amateur and professional choirs?

• The role of repertoire in the development of a choir.

• How can you teach leaders of choirs and other music ensembles to both form a
community and to build a personal contact with each and every member?


back to Symopsium on Music Education - Hungary

4. Keynote speech Kollár Éva (HU): Professional conductors for amateur choirs

Why is it so important that all kinds of choirs have highly educated,well trained, professional conductors? Why do people like tosing with really good choir conductors? What do young conductorshave to learn, to know about music itself, about teaching and leading methods? How do teachers’training schools and music faculties at the universities pass the aptitude of accumulating large,up to date repertoire, how to compose successful concert programmes? How to prepare concerttours or representative CD or video recordings? How to present our ensemble to music lovers andto the media? Why is it important that the conductor participate in the public cultural life? How totrain and form ‘magicians’ who pass the joy of making music together to the singing children andadults and who convey this pleasure also to the audience? How should choral conductors realizeKodály’s idea that ‘music belongs to everyone’? Let’s see, let’s do together!

4.1 Lecture Szirányi Borbála (HU): Experiences of adapting the Kodály concept

During the past 40 years the scope of countries is continuouslygrowing, striving and trying to adapt the Kodály method, andtransplant it into their everyday practice. From 2000 on I myself have been personally involvedin such adaptation processes in Chinese contexts, in the freshly founded Department of Music in Beijing, in Singapore and Ireland. During the many years of cooperation and joint work I have hadthe opportunity to experience and identify the most fundamental points and areas essential for asuccessful adaptation process, as well as experience and identify what might be the pitfalls of anauthentic and productive adaptation. In my lecture I am trying to share my view in the context ofrelated experiences.


Download the presentation

4.2 Lecture André de Quadros (USA) + Anna Larsdotter Persson (SE): CONDUCTING 21C – A new pathway for conducting pedagogy

Conducting courses generally aim to make conductorsmore skillful, more technically profi cient, andexpressive.Frequently, such courses also focus on vocal and rehearsalpedagogy. Few courses, if any, focus on creativity andsocial justice as central and equal constructs with musicalexcellence. In 2013, the Eric Ericson International Choral Centrepresented a conducting course that incorporated the threeelements of musical excellence, creativity, and social justice.This presentation will discuss the process of the course and examine its achievements asperceived by the organizers and participants. Further, the presentation will present the widerimplications of this course for the pedagogy of conducting in the traditional Western conservatory.


Download the presentation

4.3 Lecture Eva Laustein Pitlik (PL/ISR): Should music teachers be conductors? The “Choral class” as the best tool to develop everybodys musical and social skills. A pedagogical report.

“Experiment and recognize” (Violeta H. de Gainza) , inspired me to explore ways to developconscious musicianship with singers at school, directly from the choral repertoire (Rythm , Melody,Harmony, Structure and Style). In this presentation I would like to share with you my own experiencein teaching Choral Methodology to conductors on their way to becoming eff ective teachers, and with students at the Levinsky Musical Education College in Tel Aviv. Together with a sociologistcolleague I have begun a research on the methods I used to train the music students in a “choirclass” (a regular school class that sings as a choir). We developed a model, in which each studentof Music Education participates in practicums. We videotaped each rehearsal, allowing the studentto watch the video with a critical view, followed by a discussion with the other students, the musicteacher as mentor, and the choral conducting specialist as coach. Some videotaped examples willbe presented. As Kabalewsky suggested “every class should be a choir”.

4.4 Lecture Anne Laskey (USA) + Hartyányi Judit (HU): The Kodály Center at Holy Names University: Music teacher and choral conductor training

Holy Names University’s Kodály Center in Oakland, California is oneof the most revered teacher education programs in the United States.Founded in 1969 by Sr. Mary Alice Hein, it was the fi rst institution ofhigher learning in North American to off er an advanced degree inmusic education with Kodály emphasis.This session will introduce the educational model that has beensuccessfully implemented in the HNU Kodály program throughoutits 45-year history. More of a music conservatory model than mostmusic teacher training programs in the U.S., this program has produced graduates who teach andconduct throughout the world, in North and South America, Australia, Europe, Japan, Taiwan andthe Philippines. The model is performance-oriented and includes training in both teacher educationand choral conducting.



4.5 Lecture Sonja Greiner (DE): Lullabies of the World - an education project promoting singing with children ... and others

In many European countries families are not singing at all or enoughwith heir children anymore, a tradition – and with it, one important element of early childhood music education - is in danger of being lost. Promoting singing at all levels is important to us,singing in families, kindergartens and schools as well as singing as part of life-long learning andin music therapy. Lullabies seem to be an ideal tool since they can be sung by (or to) people of allages and can also be considered a tool for audience development, of forming future music pupilsand (choir) singers. But, how to make the lullabies sung if this is no longer a wide spread tradition?The collection “Lullabies of the World” tries to provide part of the answer for this challenge: itcombines a high-quality “hands-on” products with a Website which off ers free access to all songsand accompanying material. 50 lullabies from over 40 countries and autonomous regions and in 40languages were selected for the collection.


Download the presentation


Website: http://www.lullabiesoftheworld.org/



4.6 Lecture Anu Sepp (EST): “When the Music Teacher Sings, the Whole Nation Sings”. The role of music teacher in comprehensive school music education: Estonian experience.

The foundations of Estonian music education were laid in the 1920s and 1930s, still form a solidbasis of our general music education. The ideas and work of one particular person deserve specialattention: Riho Päts developed the concept of Estonian school music, established its system, andhis ideas are still uptodate. He managed to integrate and synthesize the holistic approach basedon all the traditional and new ideas of his time: the Kodály or relative solmisation method, theelements of the Orff system, ideas of listening to music and the concept of music appreciation.An important step in the development of music education was the idea of consistency in musiceducation at all three levels: pre-school (kindergartens), basic and upper-secondary school.The functioning of this whole system was warranted by the solid place of music (singing) in thenational curricula of diff erent periods with the specifi ed number of lessons in each class and alsowith the music teacher training.Today the fact that in 2011 Song and Dance festival 23,9 % (the number of participants, includingsingers, instrumentalists, folk-dancers, taking part in Youth Song festival in 2011 was 32 500 ) ofall the comprehensive schools students in Estonia participated in this events, illustrates theimportance of music education and especially choir singing in the socio-cultural context of Estonia.


Download the presentation

4.7 Workshop Igó Lenke (HU): Arrangements of a 13th century sequence: Lauda Sion

The 13th century sequence ‘Lauda Sion’ by St. Thomas Aquinas servesas the basis of many choir pieces during the diff erent eras of musichistory. This presentation is attempting to show a few arrangements from the 13th century hymnup to a contemporary Hungarian piece written by Aurél Tillai, composed for the 21st InternationalChamber Choir Competition of Pécs, in 2009.

4.8 Workshop Ewan Gibson (GB): The role of singing in the theory lesson for trainee music teachers at the Royal Conservatoire of The Hague

Trainee music teachers at The Royal Conservatoire of The Haguemust take a two to three year course in music theory as part of their Bachelor degree. In theselessons they cover the basics of music theory, harmony and sight-reading. Singing is used as themain tool for teaching all of the subjects in the lessons. Using movable ‘do’ solfège in the context ofa Kodály based curriculum, the students learn in a practical manner. These students have a rangeof knowledge or skills when they enter the class but all are able to achieve a much higher level bythe end.This workshop will give an introduction to the background of the students and the structure of thelessons at the conservatoire; demonstrate a range of activities and repertoire that is used in thelessons; an overview of the skills, which are developed and the methodology behind the approach.

4.8 Workshop Wolfgang Saus (DE): New Choral Phonetics for Intonation Improvement (with demonstration on works in various languages)

Choral Phonetics is a tool for choral conductors to improve thehomogeneity and intonation of their choir through an understanding of the subconciousconnection of vowel formants to the chordal context.Participants in this workshop will learn how tiny changes in their vocal timbre signifi cantly eff ectsthe intonation in a choir and the sound of a voice group. They will learn how to controll and tunetheir own second formant and also how to teach their singers this skill. We will practically trainthe eff ects in vocal quartets compiled from the participants with words from diff erent languagesand later – if possible – by analysing in depth the fi rst two bars of Olivier Messiaen’s „O sacrumconvivium“. Sound visualisation soft ware will help to understand the instrumental concept of vocalformants and their connection to vowels and the chordal context.

4.9 Panel discussion Peter Broadbent (GB) +Raul Talmar (EST) + Párkai István (HU) + Kocsárné Herboly Ildikó (HU) + Volker Hempfl ing (DE): The situation of choral conducting training in Europe (for choral conductors and for music teachers)



Where and how can you study choral conducting?

Can you earn your living as choral conductor?

Challenges and problems

Latests NEWS !

Click here to read the Latest news!

A project coordinated by the

EU flag

With the support of the Culture programme of the European Union.

This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein