Comprehensive Choral Music - Chapter 9: A Response

     For today's discussion, we had to read chapter 9 of the Comprehensive Choral Method and find two questions we had and two comments we had about the article.

     Comments:
1. In A Capella Tradition, it says that one of the debates that still exists today is about the narrow list of repertoire for a capella ensembles. However, I don't think this is quite the case anymore.  Most a capella groups these days do their own arrangements of songs and therefore don't have to worry about any repertoire restrictions. Also, movies like Pitch Perfect are helping get the a capella style back into popular demand.  I would argue that currently, a capella may be making a popularity comeback similar to its popularity in the 20's and 30's. Simply look at groups like Rajaton, Pentatonix, and Kokopelli, and you will see that a capella groups are covering many different genres of music and expanding the repertoire greatly.

2. It also mentions the "Contemporary Music Project" as a way of getting teachers to expand the musical pathways they open for their students. I think this is a great thing. How many times has a curriculum changed in a math or science program? The reason for the change is to make it a more extensive or in depth curriculum that is more beneficial for the students. While this might make the teacher a little uncomfortable, it is for the benefit of the student. If all other academic subjects have they curriculum outcomes under constant review, music should as well. The argument is music to be treated as an equal subject, and therefore we need to partake in the uncomfortable or stressful changes. It's not a mark on our intelligence to make changes, it is just a development in music.

     Questions:
1. There is an extensive amount of discussion on looking at "the impact" of choral music on a student as a means expressing its effectiveness. Is this how they test the effectiveness of every academic subject? I have to think that no it's probably not. How many times have students been told that they study math because "it's good for you", but is it really? How many experiences in a math class can make lifelong memories, probably not as many a single choir performance.  My question is - why is "the impact" of something a justifiable means of evaluating the subject? And if it is justifiable, why are all subjects upheld to the same standards?

2. Near the end, there is discussion of the repertoire expanding into folk music and many choirs are getting into the style of folk music as a means of connecting with the members of that society and broadening the spectrum of choral music. However, is it really possible to learn folk music from someone not from a place? Aren't there certain inflections in Newfoundland Music, for example, that only Newfoundlanders understand? If that's the case, how do other choirs sing our music if the director cannot teach them the proper inflections? Is it possible/necessary to have consultants for these purposes? Otherwise, are we really capable of doing the music justice? I think the singers are all capable of learning the nuances, but if no one is there to teach them, are they learning them correctly??