E m p o r i a S t at e Uni ve rsi ty

Choral Methods
MU492A
Fall 2021
MWF 10:00 - 10:50 p.m.
BH 205

Professor: Dr. Joshua Donaldson

O ice: BH302
Email: jdonald1@emporia.edu
Phone: (620) 341-5436

Course Description
This is a teaching methods course for secondary vocal music instruction. Choral course work will
include demonstration of choral rehearsal techniques and singing skills; teaching strategies; and
study and selection of choral literature.

Course Objectives
This course is designed to develop students’ understanding of the components of a comprehensive
choral program in schools. Topics include rehearsal techniques, vocal development, repertoire,
administration, instructional approaches, assessment strategies, historical foundations, music
literacy, nonverbal communication, acoustics, ethics in teaching, and social responsibility by
attention to the concepts, research base, and professional practices associated with choral music
education.

Course Outcomes
• The ability to play simple accompaniments and warm-up patterns at the keyboard
• Improvement of the student’s choral singing techniques
• Development of a broad range of musical terminology essential to teaching music in the middle
school and high school.
• Recognition of the integral parts (form, accompaniment, etc.) of a choral composition and their
instruction at di erent levels.
• An awareness and knowledge of how to present a vocal ensemble on stage.
• Basic knowledge and techniques in working with young voices (middle/Junior high).
• Improvement of basic conducting techniques to gain proper response from choral ensembles
grades 7-12.
• The ability to prepare and evaluate lesson plans, including the statement of objectives and
strategies to accomplish them.
• To develop practical approaches to teaching music reading and the ability to adapt these
approaches to di erent grade levels.
• To o er di erent approaches to music learning and performance which will widen their
appreciation of music
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 Required Materials:
• Peterson, Christopher W. 2021. Resonance: The Art of the Choral Music Educator. Pavane
Publishing. ISBN 978-1-950736-01-0
• Students will be expected to purchase or obtain legal single copies of published choral literature,
as needed, to complete the requirements of compiling a choral literature notebook and
teaching ile.
• Lined Index Cards

Recommended Texts:
Davids, J. & LaTour, S. 2012. Vocal technique: A guide for conductors, teachers, and singers. Long
Grove, IL: Waveland Press. ISBN 13: 978-1-57766-782-7
Jordan, James. 2005. Evoking Sound: The Choral Warm-Up. Chicago: GIA Publications. ISBN
1-57999-389-3
Smith, Paul. 2013. The Voces8 Method. London: Peters Edition Limited.
Miles, Richard B, and Larry Blocher. 2005. Teaching Music through Performance in Choir. Chicago:
GIA Publications. ISBN 23: 978-1-57999-514-0
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 Description of Course Projects and Activities

1. Emporia Chorale Leadership: While not required, you will have the opportunity to get valuable
podium time and to experiment with your teaching strategies by participating in the
Emporia Chorale. Each student will be invited to conduct a selection and rehearse the
choir over the course of the semester. Emporia Chorale meets Mondays, 7:00-8:50pm.
2. Choir Handbook: You will create a choir handbook for your future choir.
a. Required minimum contents:
i. Specify on title page the school name, demographic (middle school, junior high school,
high school), and your name as the director.
ii. Brief philosophical statement (e.g. Why should students study/participate in choral
music? Why should they want to be in your class/program? What will they gain
from your class/program?)
iii. Description of all choirs available in your program and who may participate in each.
Questions you will want to ponder for this description: (a) Do you have an
ensemble open to anyone who wishes to sing? (b) Do you o er any separate
classes for speci ic voice parts (treble/bass)? (c) Will you have co-curricular
opportunities, such as barbershop quartet(s), small chamber groups, etc?
iv. Brief description of all co-curricular opportunities available to students (e.g., district/
regional choir, all state chorus, solo and ensemble festival, etc.)
v. Class Expectations and Procedures (keep them succinct/memorable). What may
students expect daily from this class/program? What does this class/program
expect of students?
vi. Class Management/Discipline Plan, including penalties for infractions. Be sure to include
some reference to group travel and other o campus events.
vii. Speci ic Assessment/Grading Procedures
viii.All required dress rehearsal and performance dates for the year. Make sure the
rehearsals and performances re lect the reality of the groups for whom this
handbook is intended.
ix. Basic information on vocal care/maintaining vocal health
x. Any fees (e.g., rental or purchase of choir out its) entailed with your program. How
much, when due, etc. Include a well-worded statement for students who may not
be able to a ord such fees.
xi. A statement concerning social responsibility topics including privilege, social inequity,
and diversity as it relates to classroom instruction.
xii. Student fundraising requirements, include a description of procedures, guidelines,
accounting, etc.
xiii.Any other interesting/succinct/informative bits of information (e.g., quote or saying,
pertinent images, artwork, strategies for sight-singing and practice, etc.) with
direct bearing on this class.
xiv. A letter to parents/guardians with provision for both parent/guardian and student
signatures.
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 3. Choral Literature Project: Choose and assemble a minimum of 40 legal octavos (with completed
analysis sheets) you can use during your irst year of choral teaching. In order to choose
wisely, you should carefully consult as many resources (state or recommended lists,
online resources, publisher’s resources, etc.) as possible. All the music in your notebook
should be music that you could (and would) actually use in the real world. The octavos
will be returned to you, and the analysis sheets will be shared among the class. This
project will be evaluated by completeness, neatness, and organization. Each notebook
must contain a minimum of:
a. 6 Middle Level Mixed (SA, SAB*, 3-part mixed)
b. 15 Beginning Mixed High School Choir (SATB)
c. 10 Intermediate Mixed High School Choir (SATB)
d. 5 Advanced Mixed High School Choir (SATB)
e. 2 Beginning or Intermediate Treble Choir (SA, SSA, SSAA)
vi. 2 Beginning or Intermediate Tenor/Bass Choir (TB, TTB, TTBB)

Please note that SAB arrangements, by and large, are not acceptable for changing voice ensembles

Work with your classmates so there are no duplicates! In Canvas under Collaborations, a Google
Sheet has been created for you to update as you select your music. This will help ensure that no one
is duplicating pieces. At the end of the semester, you should each have 280 works at your immediate
disposal to choose from.

4. Electronic Repertoire File: Repertoire will be catalogued electronically in Excel. You will be given
the template for this database in class, and it is posted in Canvas.

Attendance Policy
Miss no more than three class meetings for any reason. Missing more than three classes will result in
the lowering of your inal grade by one increment for each transgression. Be punctual and
prepared.

 Grading Procedures
Grades will be based on attendance, participation, and performance:

Class Attendance and Participation 15%

Choir Handbook 30%
Choral Literature Project 30%
Electronic Repertoire File 10%
Transfer and Homework Assignments 15%

A 90 - 100 B 80 - 89
C 70 - 79 D 60 - 69
F Below 60

*There will be no inal examination for this course.

Academic Dishonesty
Any student found using another person’s work as though that work were their own, or any
student who knowingly permits another student to use their work shall be given a grade of
F for the course. Dishonesty will not be tolerated (ESU Policy).

Diversity, Equity, and Inclusion

Emporia State University supports an inclusive learning environment where diversity and
individual di erences are understood, respected, appreciated, and recognized as a source of
strength. We expect that students and faculty at Emporia State will respect di erences and
demonstrate diligence in understanding how identities, perspectives, behaviors, and world-views
may be di erent from their own.

If there are aspects of this course that result in barriers to your inclusion or the inclusion of those
around you, contact the individual with whom you are most comfortable: your academic advisor,
the Department Chair, your School or College Dean, the Dean of Students, the Chief Diversity
O icer, or your course instructor.

Accommodations
Emporia State University will make reasonable accommodations for persons with documented
disabilities. Students need to contact the Director of Disability Services and the professor as
early in the semester as possible to ensure that classroom and academic accommodations are
implemented in a timely fashion. All communication between students, the O ice of Disability
Services, and the professor will be strictly con idential (ESU Policy).



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 Basic Needs
It can be challenging to perform your best in the classroom if you have trouble meeting your basic
needs. Any student who has di iculty a ording groceries or accessing su icient food to eat every
day or who lacks a safe and stable place to live is encouraged to connect with campus support
services. Examples of such services include the campus food pantry, Corky’s Cupboard; counseling
and other physical and mental health services at the Student Wellness Center; inancial aid and
emergency scholarships; free legal services for students; and more. For more information about
campus and community resources, visit “Find Support” at emporia.edu/basicneeds.

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 Course Activity Schedule—As of 8/12/21

*The course schedule is frequently updated and subject to change. For the most up-to-date
information, check our Canvas page.

Date Topic Reading Assignments

Due

Syllabus, NAfME, ACDA


The Learning Cycle (pg. 10)

Mon, Aug 23 Resonance pg. 2-28
Piano practice and Curwen/Solfege

Emporia Chorale

Teacher Characteristics

Resonance pg.
Midterm Project: Choir Handbooks
 28-34, 127-135

Final Project: Choral Repertoire File
 

Wed, Aug 25 Repertoire File—
Warm-up Process: Students will start PDF of 

leading Friday warm-ups for A Cappella
 Full Analysis Form
and Di culty Rubric

Structure and Sequence of Choral

Rehearsals
 Resonance pg.
Fri, Aug 27
Teaching Singers to be Literate
 120-126

Bach: Lead class on your part

Lesson Planning: Getting Started and Resonance pg. Due by 9 am:

91-117
 Recapitulation
Examples


Mon, Aug 30 responses on
PDF—Donaldson’s
lesson template
 discussion thread
in Canvas

Teaching Demos—everyone gets 5 minutes

Wed, Sep 1
with class discussion following

Finish Teaching Demos

*For Wednesday—Resonance pg. 116: Do

Fri, Sep 3
Recapitulation #2—record yourself teaching
a 5 minute lesson and submit to Canvas.
Due Wednesday

Mon, Sep 6 No Class - Labor Day

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 Date Topic Reading Assignments

Due

Be Still: playing in class


PDF—Resonance
Bach: Lead class on a part other than your Di culty Recapitulation
Wed, Sep 8
own
 Assessment, Jordan Video Due
color coding
Score Study

Choir Handbook Update—bring progress

Fri, Sep 10 so far

Repertoire Update—bring progress so far

Rehearsal Sequences
 Resonance pg.

Mon, Sep 13
Voces8 Method 136-166

Sequencing Musicianship

Teaching Units
 Resonance pg.
Wed, Sep 15
Order of Di culty for Choral Sequencing in 136-164

Choir

Fri, Sep 17 Prepping a Rehearsal Plan

Mon, Sep 20 Rehearsal Teaching Demos

Wed, Sep 22 Rehearsal Teaching Demos

Fri, Sep 24 Rehearsal Teaching Demos

Selecting Your “Textbook” - Quality literature Resonance pg.

200-215



Mon, Sep 27
PDF—Rep Analysis
Form, Di culty
Assessment Form

Developing the Concert Program Resonance pg.

Wed, Sep 29
218-239

Creating Your Personal Library
 Resonance pg.

Fri, Oct 1
Copyright 239-249

Sacred vs. Secular


Resonance pg.
Mon, Oct 4 Voice Testing and Placing High School
249-255, 267-270
Singers

Selecting Literature for High School Resonance pg.

Wed, Oct 6
Ensembles 271-279
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 Date Topic Reading Assignments
Due

Discuss Literature
 PDF—Resonance

Practice Assessing Di culty Levels Di culty
Fri, Oct 8
Assessment and
Repertoire Lists

Mon, Oct 11 Update on Handbooks

Repertoire Project—Work in class
 Midterm: Choir

Wed, Oct 13 Literature Full Analysis and Di culty
Assessment Work Handbooks Due

Fri, Oct 15 No Class - Fall Break

Mon, Oct 18 Create a “Set” and “Themed” Program

Wed, Oct 20 Create a Multi-Choir Program

Fri, Oct 22 Create a “Menu” Program

Mon, Oct 25 Discuss Programs

Classroom Management Resonance pg.

Wed, Oct 27
61-84

Assessment Strategies Resonance pg.

Fri, Oct 29
311-330

Musicianship Scenarios Resonance pg.

Mon, Nov 1
166-170

Addressing musicianship in the classroom
 Resonance pg.

Wed, Nov 3
Teaching Pitch Concepts 170-179

Systems for teaching Rhythm Concepts in Resonance pg.

Fri, Nov 5
the Choral Rehearsal 179-200

Gender Identity and Vocal Considerations Resonance pg.

Mon, Nov 8
363-379

Creating access and belonging Resonance pg.

Wed, Nov 10
380-387

Addressing social injustices in the

Fri, Nov 12 PDFs provided
classroom

Adolescent Male Voice Change Resonance pg.

255-266

Mon, Nov 15
Davids and LaTour—
PDF Provided

Adolescent Female Voice Change Davids & LaTour—

Wed, Nov 17
PDF Provided
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 Date Topic Reading Assignments
Due

Fri, Nov 19 Selecting Rep and Creating Voice Parts

Philosophy of Music Education
 Submit

Resonance pg. Philosophy rst
Mon, Nov 22 Simon Sinek TED Talk on Leadership
348-353 draft into Canvas
by Mon, Nov. 29

Wed, Nov 24
No Class - Thanksgiving Break
Fri, Nov 26

Sharing Philosophy of Education—Begin Resonance pg. Philosophy nal

Mon, Nov 29
nal draft 354-361 draft due Friday

Recruitment and Retention Resonance pg.

Wed, Dec 1
289-311

Leading a Discussion Resonance pg.

Fri, Dec 3
330-348

Mon, Dec 6 Responding to Admin and Parents

Wed, Dec 8 Budget Planning

Fri, Dec 10 No Class - Stop Day

No Final

Submit Choral Literature Project and
Finals Week
Electronic Repertoire File by Noon on
Wednesday, December 15th
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