Page 125 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana: Jakob Jež (1928-) Tokovi sodobne zborovske glasbe, leto 14, zvezek 29 / Year 14, Issue 29, 2018
P. 125
Helmut Schaumberger, HOW TO SING PROFESSIONALLY WITH CHILDREN ...
Table 1: Competences in Practical Handbooks for Children´s and Youth Choirs
1. The directors singing voice
2. Children´s voice pedagogy
3. Role model and personal skills
4. Pedagogical and psychological skills
5. Methodological and didactical skills
6. (Choral) Conducting
7. Literature and repertoire
8. Instrumental skills
9. Ear training and music theory
10. Movement and dance
11. Scenic work
12. Management and organization
13. Science
14. Improvisation and elemental composition
15. Technology and media
Each of these competence fields contains a set of competences that together cover the
knowledge and skill sets required of a children´s and youth choir director. Competences in
this context are understood as professional competences that Ewald Terhart (2007, p. 45)
describes as a bundle of physical and mental abilities that someone needs to be able to
solve professional tasks or problems. These professional skills are in further consequence
important to evaluate solutions and develop their own repertoire of behavior patterns.
(Ibid.) Similar to Terhart, Franz Emanuel Weinert also differentiates between the
“cognitive abilities and skills [...] that are available or can be learned […] as well as the
associated motivational, volitional and social readiness and abilities […].” (Weinert
quoted from Blömeke 2007, p. 193) For Robert Göstl (1996, p. 59) the development of
one´s singing under the guidance of an expert is the most important element in regard to
the training of the director of a children´s choir. The second most important skill he
describes is the aural skill. In addition, he mentions other areas that must be solidly
grounded if a children´s or youth choir director wants to work with children: This includes
composition, sight-reading, singing methodology and conducting. Manfred Ernst (2008,
p. 5) attaches great importance to the ability to accompany songs with the piano and guitar.
In addition to basic skills on a chordal instrument, he considers music theory and the basic
vocal training to be essential. Christiane Wieblitz (2007) counts the personal qualities,
such as fantasy, spontaneity, enthusiasm, humour, patience and tolerance, as important to
the basic set of tools of children´s and youth choir directors. She goes on saying: “The
ability to perceive each child lovingly and without prejudice is essential to the prosperity
of a children´s choir.” (Ibid., p. 19) Thomas Holland-Moritz (2010) also emphasizes that
success in working with children´s choirs can only be achieved if the conductors have
qualities such as empathy, spontaneity, responsiveness, repartee, patience and
imagination as well as mastery of different levels of the language.
125
Table 1: Competences in Practical Handbooks for Children´s and Youth Choirs
1. The directors singing voice
2. Children´s voice pedagogy
3. Role model and personal skills
4. Pedagogical and psychological skills
5. Methodological and didactical skills
6. (Choral) Conducting
7. Literature and repertoire
8. Instrumental skills
9. Ear training and music theory
10. Movement and dance
11. Scenic work
12. Management and organization
13. Science
14. Improvisation and elemental composition
15. Technology and media
Each of these competence fields contains a set of competences that together cover the
knowledge and skill sets required of a children´s and youth choir director. Competences in
this context are understood as professional competences that Ewald Terhart (2007, p. 45)
describes as a bundle of physical and mental abilities that someone needs to be able to
solve professional tasks or problems. These professional skills are in further consequence
important to evaluate solutions and develop their own repertoire of behavior patterns.
(Ibid.) Similar to Terhart, Franz Emanuel Weinert also differentiates between the
“cognitive abilities and skills [...] that are available or can be learned […] as well as the
associated motivational, volitional and social readiness and abilities […].” (Weinert
quoted from Blömeke 2007, p. 193) For Robert Göstl (1996, p. 59) the development of
one´s singing under the guidance of an expert is the most important element in regard to
the training of the director of a children´s choir. The second most important skill he
describes is the aural skill. In addition, he mentions other areas that must be solidly
grounded if a children´s or youth choir director wants to work with children: This includes
composition, sight-reading, singing methodology and conducting. Manfred Ernst (2008,
p. 5) attaches great importance to the ability to accompany songs with the piano and guitar.
In addition to basic skills on a chordal instrument, he considers music theory and the basic
vocal training to be essential. Christiane Wieblitz (2007) counts the personal qualities,
such as fantasy, spontaneity, enthusiasm, humour, patience and tolerance, as important to
the basic set of tools of children´s and youth choir directors. She goes on saying: “The
ability to perceive each child lovingly and without prejudice is essential to the prosperity
of a children´s choir.” (Ibid., p. 19) Thomas Holland-Moritz (2010) also emphasizes that
success in working with children´s choirs can only be achieved if the conductors have
qualities such as empathy, spontaneity, responsiveness, repartee, patience and
imagination as well as mastery of different levels of the language.
125
