My love for the choral music (and making music in general)
all began in Young Naperville Singers.
Centered in the town where I was raised, (a large suburb west of
Chicago) YNS was a staple of the musical community for years, and rightfully
so. It was perhaps the most musically meaningful experience of my life. While that may seem an exaggerated statement,
it’s absolutely true!
I auditioned in 5th grade, at the encouragement of
my elementary school music teacher, and continued until 9th grade. I
remember one particular experience in YNS was singing “O, lovely peace” from
the oratorio Judas Maccabeus by
Handel.
Take a listen here: http://youtu.be/cPwWJbIEr-I?t=57s
This choir was quite demanding, and therefore we learned a lot of music in my time with the
choir. This particular piece sticks in
my memory more prominently than any other, and I know why:
Our
director incorporated movement and dance into our learning of the piece.
I never have forgotten this dance, in which she had us
pretend was picking up a pile of feathers, and throwing it over our
shoulder. I was entranced by this music
because of how the dance made me feel: light, buoyant, and simply happy! This was the first time that I danced to
classical music as a child, but it definitely wasn’t the last. Dancing and movement is the way I approach
music today (when I’m at my musical best.) I credit dancing to Handel as the
beginning of my deep love of classical music today.
Some might assume that classical music, especially baroque
literature, would be boring to children.
I am living proof that is not always the case. Because my director incorporated our entire
bodies in moving to the music, it wasn’t at all boring, but exciting! Movement is integral to music, that’s why
music is called “moving” when it is truly emotionally powerful. Baroque music is no exception.
I feel a lot of pressure from the choral education
professional world to incorporate popular genres into the choral classroom, and
rightfully so. Popular genres are
important to the backgrounds of my students.
However, I will not incorporate rock, pop, and jazz at the expense of
classical music because “it’s boring.” If you teach movement with classical music,
classical music feels just as good and is as exciting as radio music! Singing is nothing without movement, no
matter the genre.
Now, when I refer to movement, I do not mean “choralography.” Choralography is a recent movement in the
choral world where choreographed arm motions (and sometimes more) are added to
a choir performance.
Look here for some idea of what I’m
talking about: http://youtu.be/hw8Ofda0T6I
There is something about choralography that leaves a bad
taste in my mouth, and always has.
However, that seems at odds with my belief in movement’s place in music. If choralography is movement, doesn’t that
mean it should theoretically create better singing? Theoretically, the answer is yes. In practice, I believe the answer is no. I believe that movement should be used as a tool, not an end product. Therefore, movement should be incorporated in
the rehearsal process! But when movement
is incorporated into the performance, I have found it usually results in a
distracting and awkward experience for all (as I found in the video above.)
The ultimate goal of movement in choral education is to eventually
have movement within the body and mind.
That is something not visible
to the outside eye, but can enhance the musical sound greatly! This idea, which has earned the title micromovement in some circles, really
works! I know this, because I’ve
experienced it in my own personal practice.
I’m excited to incorporate movement and dance into the
rehearsal process for my own choir someday!
