Articles about a chorus's education programs, not conductor training
Chorus America’s member choruses all across North America are leading the way in working with school music programs to support, revive, or expand choral
music education. Here are some examples of how our members are creatively partnering with schools.
In the 21st century, America’s manufacturing-driven economy is being replaced by a creative economy. President Obama is calling for a “complete and competitive education” to ensure our place in the global economy. How do the arts—and choral music specifically—help prepare our students to meet these challenges?
This annotated and linked bibliography for Making the Case for Your School Choir provides data from more than 40 different studies, advocacy guides, and publications at your fingertips.
Winner of Chorus America’s 2010 Education Outreach Award, Chanticleer demonstrates how to grow an education program that touches the lives of the next generation of singers
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There is plenty of evidence that singing in a choir helps students succeed in school, work, and life. And yet, today choral programs are under siege—competition for school dollars, time in the school day, and a narrow focus on just a few subjects covered on standardized tests all pose significant challenges to the future of school choirs.
An influx of new programs are beginning to recognize the value of keeping boys singing—through changing voices and for a lifetime.
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Through interviews with random, "ordinary" audience members, we discover how they found their way to choral concerts and what keeps them coming back for more—article includes practical recommendations for choral leaders.
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Participation in a children's chorus yields a return on investment that might seem hard to quantify at first. Parents talk about the many rewards—growing confidence, enhanced musical knowledge and skill, an ability to work together in an accepting, nurturing community, opportunities to travel and learn about other cultures, close friendships—and the challenges of such an investment.
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There is perhaps no more fitting metaphor for bridging discord than voices joined in harmony.
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Handel’s practice of borrowing from other composers allows us the opportunity to probe into the great composer’s style and creative thought processes. A number of scholars have shown without question that the majority of Handel’s borrowings transform his source materials into new creations entirely his own. But what does “entirely his own” really mean?
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