AM19 - 13/15
daddyzlittleangel - 16/15
dreams - 14/15
Flossy - 14/15
Jillian - 16/15
maviecestmusique - 16/15
patato splat - 16/15
shoedeedoodoo - 15/15
Thedairyqueen - 13/15
Sarah, very good work! You clearly stayed with your vignette keeping us focused on exhalation. Nice use of speaking head voice. We enjoy your presence. We feel welcomed!
Things to consider:
1. Think about the way you walk to the place from where you will conduct. What is your body telling everyone?
2. Stay planted. The fidgets [liturgical or otherwise] make the choral singer uncertain.
3. Eye contact with your students is vital from the very beginning of the rehearsal. [a welcoming smile is wonderful].
4. Even though you are establish eye contact with your students, throw your speaking voice [head voice] beyond the students.
5. I liked your observation that you might have given the students more opportunity to inhale before asking them to exhale using the life exercise. Remember what we said about how time moves in front of a group of singers. 15 seconds seems like an eternity. Allow space [as the singers move around the room is space, the back massage is space]; however know what dead space is so that talking will not intrude into your rehearsal. This is a delicate dance to step between the two.
Probably the biggest idea from today that I need to consider is: "The conductor should continually create new vignnettes for each relaxation exercise." So the question is this: Are you developing an awareness of the rhythm of life around you? Are you observing movement through life activity that will help you teach "beautiful singing" to your students.
Good class today! There was a lot of energy and interaction happening. I'm praying for each of you by name as I record your grades on the blog.
Doc
Romans 3:21-26
Wednesday, January 31, 2007
Quiz Chapter Four
1-2. Choose from the following list below and put them in the blanks to complete the following sentence. The correct word must be placed in the correct blank. In other words, if one of the correct words is chosen and put in the wrong place, the answer will be wrong.
“The singer uses his body to _______ life and _________ his art.” [36]
1. express 2. enjoy 3. support 4. sustain 5. develop 6. create 7. cultivate 8. manage 9. influence 10. micromanage
3. For the purpose of awakening the imagination, which kind of fruit did your author suggest you pick from a branch high up in a tree. A. Pear B. Orange C. Apple D. Grapefruit [38]
4. [T or F] The ribcage must be low to permit the correct functioning of the lungs and breathing mechanisms. [39]
5. [T or F] The experiences and demands of the artistic life will influence the everyday life of the singers. [36]
6. [T or F]. The conductor can ask for good posture from the choir only if he organizes the rehearsal so that the singers are standing for the entire rehearsal. [41]
7. [T or F] For younger choirs, it is often advantageous to allow them to sit for the rehearsal, since young bodies have difficulty withstanding the stress of standing for long periods of time. [41]
8. Because of the body’s muscular structure, the feet must be properly:
A. passive and passionate B. peaceful and pastoral C. Planted and placed D. perfectly placed E. Pretty and petted F. None of these [40]
9. [T of F] To maintain the choir’s attention, the conductor should continually create new vignettes [life activity] for each relaxation exercise. [39]
10-11. Circle the two purposes mentioned for the life activity exercises listed. [37-38]
[sorry, poor question -- 3 and 5 worked; 4 and 5 worked; basically it all worked]
1. Connect with the inner child 2. placement 3. awaken the imagination 4. communication 5. looseness and flexibility 6. real life is right 7. movement is freedom.
12-15. Did you read chapter 4 completely for today’s class?
Bonus: Which Version did I read the 23rd Psalm from this morning? I referred to it as the version that the Puritans and Pilgrims used: A. King James Version B. The Geneva Bible C. The Cotton Patch Bible D. The Great Bible
“The singer uses his body to _______ life and _________ his art.” [36]
1. express 2. enjoy 3. support 4. sustain 5. develop 6. create 7. cultivate 8. manage 9. influence 10. micromanage
3. For the purpose of awakening the imagination, which kind of fruit did your author suggest you pick from a branch high up in a tree. A. Pear B. Orange C. Apple D. Grapefruit [38]
4. [T or F] The ribcage must be low to permit the correct functioning of the lungs and breathing mechanisms. [39]
5. [T or F] The experiences and demands of the artistic life will influence the everyday life of the singers. [36]
6. [T or F]. The conductor can ask for good posture from the choir only if he organizes the rehearsal so that the singers are standing for the entire rehearsal. [41]
7. [T or F] For younger choirs, it is often advantageous to allow them to sit for the rehearsal, since young bodies have difficulty withstanding the stress of standing for long periods of time. [41]
8. Because of the body’s muscular structure, the feet must be properly:
A. passive and passionate B. peaceful and pastoral C. Planted and placed D. perfectly placed E. Pretty and petted F. None of these [40]
9. [T of F] To maintain the choir’s attention, the conductor should continually create new vignettes [life activity] for each relaxation exercise. [39]
10-11. Circle the two purposes mentioned for the life activity exercises listed. [37-38]
[sorry, poor question -- 3 and 5 worked; 4 and 5 worked; basically it all worked]
1. Connect with the inner child 2. placement 3. awaken the imagination 4. communication 5. looseness and flexibility 6. real life is right 7. movement is freedom.
12-15. Did you read chapter 4 completely for today’s class?
Bonus: Which Version did I read the 23rd Psalm from this morning? I referred to it as the version that the Puritans and Pilgrims used: A. King James Version B. The Geneva Bible C. The Cotton Patch Bible D. The Great Bible
Monday, January 29, 2007
Quiz Three Scores
AM19 - 8/11
daddyzlittleangel - 10/10
dreams - Absent
Flossy - 10/10
Jillian - 8/10
maviecestmusique - 11/10
potato splat - 11/10
shoedeedoodoo - 11/10
Thedairyqueen - Absent
Alright, it's true! Now you know that I can play "When the Saints Go Marching In" on the trumpet. Thank you Tim for supplying me with the trumpet. See, with encouragement you also can teach your students to accomplish such "brassy" feats! Sarah Lake will be our technician on Wednesday. I'm looking forward to that.
The big question [I think] for today was: Can you sing all parts of a piece of choral music without the ultimate aid of the piano? Do you flat out know all of the parts? Or are you relying on your accompanist to do what you should be doing in score preparation before the rehearsal begins? Remember the words of Wilhelm Ehmann: "The choir must suffer the consequences of each sin of omission on the part of the director!"
I'm praying for you guys!
Doc
daddyzlittleangel - 10/10
dreams - Absent
Flossy - 10/10
Jillian - 8/10
maviecestmusique - 11/10
potato splat - 11/10
shoedeedoodoo - 11/10
Thedairyqueen - Absent
Alright, it's true! Now you know that I can play "When the Saints Go Marching In" on the trumpet. Thank you Tim for supplying me with the trumpet. See, with encouragement you also can teach your students to accomplish such "brassy" feats! Sarah Lake will be our technician on Wednesday. I'm looking forward to that.
The big question [I think] for today was: Can you sing all parts of a piece of choral music without the ultimate aid of the piano? Do you flat out know all of the parts? Or are you relying on your accompanist to do what you should be doing in score preparation before the rehearsal begins? Remember the words of Wilhelm Ehmann: "The choir must suffer the consequences of each sin of omission on the part of the director!"
I'm praying for you guys!
Doc
Quiz Chapter Three
1. Sometimes choral directors cloak their ignorance of technique by: A. Using big words that scare people B. dealing directly [only with the interpretive element] C. Triumphing in their chest voice D. Trivializing technique
2. [T or F] There are no mysteries regarding the technical aspects of singing.
3. [T or F] There are times when words used to discourage students can be a productive tool for the pedagogue.
4. Vocal Pieces A. Should B. Should not necessarily be designed to accommodate a particular piece of literature to be rehearsed that day.
5. A conductor’s success within the rehearsal is directly related to: A. confidence B. Score preparation C. Accompanist proficiency D. Classroom discipline
6. [T or F] Vocal exercises should be taught with the help of the piano, giving the singer another level of audibility.
7-10. [ T or F] I read my assignment completely for today’s class.
2. [T or F] There are no mysteries regarding the technical aspects of singing.
3. [T or F] There are times when words used to discourage students can be a productive tool for the pedagogue.
4. Vocal Pieces A. Should B. Should not necessarily be designed to accommodate a particular piece of literature to be rehearsed that day.
5. A conductor’s success within the rehearsal is directly related to: A. confidence B. Score preparation C. Accompanist proficiency D. Classroom discipline
6. [T or F] Vocal exercises should be taught with the help of the piano, giving the singer another level of audibility.
7-10. [ T or F] I read my assignment completely for today’s class.
Wednesday, January 24, 2007
Quiz Two Scores
AM19 - 10/10
daddyzlittleangel - 10/10
dreams - 9/10
Flossy - 10/10
Jillian - 10/10
maviecestmusique - 10/10
patato splat - 5/10
shoedeedoodoo - 10/10
Thedairyqueen - 8/10
1. Remember that choral directors often choose choral music that is too difficult for their choirs. Bad singing results. The literature should facilitate beautiful sound making.
2. Is the body [posture] first prepared so that the teaching of the the singer's breath can be taught? Early morning and late afternoon rehearsals make it difficult for the vocal instrument. Women, are the costals expanded? Are you willing to keep working with the fundamentals until the muscle memory is secured? And don't forget -- EXAGGERATE!
daddyzlittleangel - 10/10
dreams - 9/10
Flossy - 10/10
Jillian - 10/10
maviecestmusique - 10/10
patato splat - 5/10
shoedeedoodoo - 10/10
Thedairyqueen - 8/10
1. Remember that choral directors often choose choral music that is too difficult for their choirs. Bad singing results. The literature should facilitate beautiful sound making.
2. Is the body [posture] first prepared so that the teaching of the the singer's breath can be taught? Early morning and late afternoon rehearsals make it difficult for the vocal instrument. Women, are the costals expanded? Are you willing to keep working with the fundamentals until the muscle memory is secured? And don't forget -- EXAGGERATE!
Quiz Chapter Two
Group VocalTechnique
Quiz 2 - January 24, 2007
1. [T or F] Instructors who adhere to bendable methods are fair to aspiring singers. [10]
2. One can only be free if the essential _________ of one’s art has been completely mastered. A. Vowel Homogeneity B. Technique C. Placement D. Support [10]
3. What should be taught before breathing? A. Costal Expansion B. Tongue Relaxation C. Diaphragmatic pushes D. The vocal/technical development of teaching bel canto singing with rap music E. Posture [12]
4. [T or F] Group Vocal technique rarely requires constant reinforcement of previously taught concepts. [12]
5. [T or F] Since the amateur singer already loves singing,
exaggerating everything for the amateur singer is unnecessary. [14]
6. Using professional vocabulary for the amateur: A. Must be avoided B. Is a great tool in reinforcing your technical expertise for you choir C. Is very cool for learning new “lingo” D. Needn’t be avoided [14]
7. [T or F] The conductor who has studied voice privately must understand that the fundamentals of private and group vocal training are basically the same. [14]
8-10. Did you read GVT chapter two completely for today’s class?
Bonus: Anne was the first name of the writer of the hymn, “Dear Refuge of My Weary Soul.” What was her last name? A. Getyourgun B. Bradstreet C. Steele D. Davenport
Quiz 2 - January 24, 2007
1. [T or F] Instructors who adhere to bendable methods are fair to aspiring singers. [10]
2. One can only be free if the essential _________ of one’s art has been completely mastered. A. Vowel Homogeneity B. Technique C. Placement D. Support [10]
3. What should be taught before breathing? A. Costal Expansion B. Tongue Relaxation C. Diaphragmatic pushes D. The vocal/technical development of teaching bel canto singing with rap music E. Posture [12]
4. [T or F] Group Vocal technique rarely requires constant reinforcement of previously taught concepts. [12]
5. [T or F] Since the amateur singer already loves singing,
exaggerating everything for the amateur singer is unnecessary. [14]
6. Using professional vocabulary for the amateur: A. Must be avoided B. Is a great tool in reinforcing your technical expertise for you choir C. Is very cool for learning new “lingo” D. Needn’t be avoided [14]
7. [T or F] The conductor who has studied voice privately must understand that the fundamentals of private and group vocal training are basically the same. [14]
8-10. Did you read GVT chapter two completely for today’s class?
Bonus: Anne was the first name of the writer of the hymn, “Dear Refuge of My Weary Soul.” What was her last name? A. Getyourgun B. Bradstreet C. Steele D. Davenport
Monday, January 22, 2007
Quiz One Scores
AM19 - 16/15
daddyzlittleangel - 15/15
dreams - 14/15
Flossy - 11/15
Jillian - 12/15
maviecestmusique - 16/15
patato splat - 15/15
shoedeedoodoo - 15/15
Thedairyqueen - 13/15
Good times today! I think you're getting a sense of the rhythm of the class. Very creative code names -- quite evocative!
Keep making the connection between teaching vocal technique to amateur choirs through recreating life activities with the French Revolution's change to democratic choral singing. There is no longer a professional class of choral singer. Instead, the amateur will respond [rather than to the professional vocabulary of the vocal studio] to vocal pedagogy rooted in the activites of every day life.
Doc
Solus Christus
daddyzlittleangel - 15/15
dreams - 14/15
Flossy - 11/15
Jillian - 12/15
maviecestmusique - 16/15
patato splat - 15/15
shoedeedoodoo - 15/15
Thedairyqueen - 13/15
Good times today! I think you're getting a sense of the rhythm of the class. Very creative code names -- quite evocative!
Keep making the connection between teaching vocal technique to amateur choirs through recreating life activities with the French Revolution's change to democratic choral singing. There is no longer a professional class of choral singer. Instead, the amateur will respond [rather than to the professional vocabulary of the vocal studio] to vocal pedagogy rooted in the activites of every day life.
Doc
Solus Christus
Quiz Chapter One
Group Vocal Technique
Quiz One – Introduction
January 22, 2007
1. What occurred in choral singing as a result of the French Revolution? A. Choral singing became aristocratic B. Choral singing became democratic C. Choral singing became Socratic D. Choral singing, because of the guillotine, lost its head voice. [3]
2. [T or F] The same exercises learned in the private voice lesson should be used in the choir rehearsal. [3]
3. [T or F] At birth, we are provided with a healthy voice. [4]
4. Why do we lose the ability to sing in a free and open head voice? A. The Adamic curse B. Unhealthy vocal models on radio and television C. Rock music kills plants and head voice D. Not singing hymns in four parts during the corporate worship service disallows for the development of a beautiful head voice. [4]
5. Every choir rehearsal should begin with a short period of warm-ups. [6]
6. How long should these warm-ups last? A. 3 to 5 minutes B. 5 to 7 minutes C. 10 to 12 minutes with a 5 minute massage at the end D. Every warm-up will vary as to its length. [6]
7. [T or F] Teaching keyboard or other instruments is more difficult [in the opinion of your text] than teaching voice. [4]
8-10. The singing of a musical phrase is a creative and vital process that involves: A. support, pure vowels, and placement B. worship, Spirit, and truth C. body, mind, emotion D. desire, hard work, and talent. [8]
11. [T or F] The word amateur refers to the musical capabilities of choral singers. [8]
12-15. Did you read chapter one in its entirety for today?
Bonus: Who wrote the text for the hymn “How Sweet and Awesome is the Place”? A. Matt Redman B. Doc Harris C. Isaac Watts D. John Newton
Quiz One – Introduction
January 22, 2007
1. What occurred in choral singing as a result of the French Revolution? A. Choral singing became aristocratic B. Choral singing became democratic C. Choral singing became Socratic D. Choral singing, because of the guillotine, lost its head voice. [3]
2. [T or F] The same exercises learned in the private voice lesson should be used in the choir rehearsal. [3]
3. [T or F] At birth, we are provided with a healthy voice. [4]
4. Why do we lose the ability to sing in a free and open head voice? A. The Adamic curse B. Unhealthy vocal models on radio and television C. Rock music kills plants and head voice D. Not singing hymns in four parts during the corporate worship service disallows for the development of a beautiful head voice. [4]
5. Every choir rehearsal should begin with a short period of warm-ups. [6]
6. How long should these warm-ups last? A. 3 to 5 minutes B. 5 to 7 minutes C. 10 to 12 minutes with a 5 minute massage at the end D. Every warm-up will vary as to its length. [6]
7. [T or F] Teaching keyboard or other instruments is more difficult [in the opinion of your text] than teaching voice. [4]
8-10. The singing of a musical phrase is a creative and vital process that involves: A. support, pure vowels, and placement B. worship, Spirit, and truth C. body, mind, emotion D. desire, hard work, and talent. [8]
11. [T or F] The word amateur refers to the musical capabilities of choral singers. [8]
12-15. Did you read chapter one in its entirety for today?
Bonus: Who wrote the text for the hymn “How Sweet and Awesome is the Place”? A. Matt Redman B. Doc Harris C. Isaac Watts D. John Newton
Wednesday, January 17, 2007
Course Syllabus
MU306 Group Vocal Technique
Class Description
A survey of successful methods of teaching vocal technique in the choral rehearsal, students will learn how to develop a beautiful choral sound by knowing how to aply appropriate exercises to particular vocal problems: breathing, support, diaphragm activity, resonance, range extension, register consistency, vowel modification, etc. The class will function as a workshop in which students will develop their rehearsal/teaching skills in front of the rest of the class.
General Objectives
[General Objectives 1-7 are systematically progressive]
1. The student will know vital areas of vocal technique that should be addressed through the teaching of vocal technique exercises.
2. The student will demonstrate the ability to teach pre-existing vocal technique exercises to groups of vocalists.
3. The student will listen to groups of vocalists sing the pre-existing vocal technique exercises.
4. The student will recognize from listening to groups of vocalists areas of vocal technical concern.
5. The student will create solutions for groups of vocalists in areas of vocal technical concern.
6. The student will write their own vocal technique exercises for groups of vocalists based upon their areas of vocal technical concern.
7. The student will appreciate the vocal pedagogical progress made
by groups of vocalists.
8. The student will speak publicly, knowledgably, clearly, and affectionately.
9. The student will pray publicly, knowedgably, clearly, and affectionately.
Specific Objectives
[The General Objectives have been cross-referenced with the Specific Objectives]
1. The student will read read primary texts on the subject of Group Vocal Technique. [GO #1]
2. The student will remember what he has read from primary texts on the subject of Group Vocal Technique. [Testing] [GO #1]
3. The student will teach [by singing and public speaking] vocal technique exercises. [Weekly public demonstration] [GO #2]
4. The student will verbalize what they are hearing from the world around them. [Group discussion] [GO #3]
5. The student will tell groups of vocalists what they are hearing. [weekly public demonstration]. [GO #4]
6. The student will state solutions for the vocal pedagogical concerns they are hearing. [Weekly public demonstration/knowledge gained from the reading].
[GO #5]
7. The student will blog [five times] an original kinetic exercise based upon the observation of life-behaviors apart from the choral rehearsal. [GO #6]
8. The student will praise groups of singers for specific observable progress made by groups of vocalists. [GO #7]
9. The student will interact with the professor on public speaking skills combining knowledge, clarity, and affection. [GO #8]
10. The student will recite prayers from The Valley of Vision. [GO #9]
Course Textbooks
Bennett, Arthur, ed. The Valley of Vision: A Collection of Puritan Prayers. Carlisle, PA: The Banner of Truth Trust, 2002.
Haasemann, Frauke and James Jordan. Group Vocal Technique.
Chapel Hill, North Carolina: Hinshaw Music, Inc., 1991.
Haasemann, Frauke and James Jordan. Group Vocal Technique: The
Vocalise Cards. Chapel Hill, North Carolina: Hinshaw Music, Inc., 1991
Course Requirements
1. Daily Quizzes ½
2. Student Teaching 1/4 [5 written stretching warm-up descriptions rooted in every day life or activity.
3. Final ¼
Course Calendar
January 22
VC 12-22
GVT 1
January 24
VC 23-33 – GVT 2
January 29
VC 34-44 – GVT 3
January 31
VC 45-50 – GVT 4
February 5
VC 51-55 - GVT 5
February 12
VC 56-66 - GVT 6
February 14
VC 67-77 - GVT 7
February 19
VC 78-88 - GVT 8
February 21
VC 89-94 - GVT 9
February 26
VC 95-99 - GVT 10 MG
February 28
VC 100-104 - GVT 11 AV
March 5
VC 105-108 - GVT 12 SG
March 7
VC 124-132 - GVT 13 SL
March 12
VC 133-143 - GVT 14 DS
March 14
VC 144-155 JH
"Building Warm-Ups from the Choral Music"
March 26
VC 155-165 - GVT 15 AC
March 28
"Imagination and the Choral Warm-up"
[Life-activity stretching exercise 1]
April 2
VC 166-176 - GVT 16 TZ
April 4
VC 177-187 - GVT 17 JH
[Life-activity stretching exercise 2]
April 9
VC 188-192 - GVT 18 MG
April 11
"Assessing the Listening of Choral Music"
[Life-activity stretching exercise 3]
April 16
VC 193-198 - GVT 19 AV
April 18
VC 199-208 - GVT 20 SG
[Life-activity stretching exercise 4]
April 23
VC 209-213 - GVT 21 SL
April 25
VC 214-220 - GVT 22 DS
April 30
VC 221-231 - GVT 23 JH
May 2
VC 232-243 - GVT 24 AC
May 7
"Music Literacy and the Local Church"
[Life-activity streching exercise 5]
May 8-10
Finals
Class Description
A survey of successful methods of teaching vocal technique in the choral rehearsal, students will learn how to develop a beautiful choral sound by knowing how to aply appropriate exercises to particular vocal problems: breathing, support, diaphragm activity, resonance, range extension, register consistency, vowel modification, etc. The class will function as a workshop in which students will develop their rehearsal/teaching skills in front of the rest of the class.
General Objectives
[General Objectives 1-7 are systematically progressive]
1. The student will know vital areas of vocal technique that should be addressed through the teaching of vocal technique exercises.
2. The student will demonstrate the ability to teach pre-existing vocal technique exercises to groups of vocalists.
3. The student will listen to groups of vocalists sing the pre-existing vocal technique exercises.
4. The student will recognize from listening to groups of vocalists areas of vocal technical concern.
5. The student will create solutions for groups of vocalists in areas of vocal technical concern.
6. The student will write their own vocal technique exercises for groups of vocalists based upon their areas of vocal technical concern.
7. The student will appreciate the vocal pedagogical progress made
by groups of vocalists.
8. The student will speak publicly, knowledgably, clearly, and affectionately.
9. The student will pray publicly, knowedgably, clearly, and affectionately.
Specific Objectives
[The General Objectives have been cross-referenced with the Specific Objectives]
1. The student will read read primary texts on the subject of Group Vocal Technique. [GO #1]
2. The student will remember what he has read from primary texts on the subject of Group Vocal Technique. [Testing] [GO #1]
3. The student will teach [by singing and public speaking] vocal technique exercises. [Weekly public demonstration] [GO #2]
4. The student will verbalize what they are hearing from the world around them. [Group discussion] [GO #3]
5. The student will tell groups of vocalists what they are hearing. [weekly public demonstration]. [GO #4]
6. The student will state solutions for the vocal pedagogical concerns they are hearing. [Weekly public demonstration/knowledge gained from the reading].
[GO #5]
7. The student will blog [five times] an original kinetic exercise based upon the observation of life-behaviors apart from the choral rehearsal. [GO #6]
8. The student will praise groups of singers for specific observable progress made by groups of vocalists. [GO #7]
9. The student will interact with the professor on public speaking skills combining knowledge, clarity, and affection. [GO #8]
10. The student will recite prayers from The Valley of Vision. [GO #9]
Course Textbooks
Bennett, Arthur, ed. The Valley of Vision: A Collection of Puritan Prayers. Carlisle, PA: The Banner of Truth Trust, 2002.
Haasemann, Frauke and James Jordan. Group Vocal Technique.
Chapel Hill, North Carolina: Hinshaw Music, Inc., 1991.
Haasemann, Frauke and James Jordan. Group Vocal Technique: The
Vocalise Cards. Chapel Hill, North Carolina: Hinshaw Music, Inc., 1991
Course Requirements
1. Daily Quizzes ½
2. Student Teaching 1/4 [5 written stretching warm-up descriptions rooted in every day life or activity.
3. Final ¼
Course Calendar
January 22
VC 12-22
GVT 1
January 24
VC 23-33 – GVT 2
January 29
VC 34-44 – GVT 3
January 31
VC 45-50 – GVT 4
February 5
VC 51-55 - GVT 5
February 12
VC 56-66 - GVT 6
February 14
VC 67-77 - GVT 7
February 19
VC 78-88 - GVT 8
February 21
VC 89-94 - GVT 9
February 26
VC 95-99 - GVT 10 MG
February 28
VC 100-104 - GVT 11 AV
March 5
VC 105-108 - GVT 12 SG
March 7
VC 124-132 - GVT 13 SL
March 12
VC 133-143 - GVT 14 DS
March 14
VC 144-155 JH
"Building Warm-Ups from the Choral Music"
March 26
VC 155-165 - GVT 15 AC
March 28
"Imagination and the Choral Warm-up"
[Life-activity stretching exercise 1]
April 2
VC 166-176 - GVT 16 TZ
April 4
VC 177-187 - GVT 17 JH
[Life-activity stretching exercise 2]
April 9
VC 188-192 - GVT 18 MG
April 11
"Assessing the Listening of Choral Music"
[Life-activity stretching exercise 3]
April 16
VC 193-198 - GVT 19 AV
April 18
VC 199-208 - GVT 20 SG
[Life-activity stretching exercise 4]
April 23
VC 209-213 - GVT 21 SL
April 25
VC 214-220 - GVT 22 DS
April 30
VC 221-231 - GVT 23 JH
May 2
VC 232-243 - GVT 24 AC
May 7
"Music Literacy and the Local Church"
[Life-activity streching exercise 5]
May 8-10
Finals
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