FURTHER RESEARCH AND REFERENCES

1. It has been proven that learning music should include both aural and notational skills: Woody, Robert H. Playing by Ear: Foundation or Frill? Music Educators Journal 2012 99: 82

2. Demorest provides examples for creating sight-singing exercises for all levels of notationally literate groups to be used for teaching repertoire:   Demorest, Steven Building Choral Excellence: Teaching Sight-Singing in the Choral Rehearsal chapter 3 Oxford University Press: 2003 ISBN-10: 0195165500

3. Melodic (solfege-based) patterns can be found in John M Feierabend’s First Steps and Conversational Solfege Teacher’s Manuals

4. A hierarchy of harmonic difficulty can be found in: Gilbert, Ellen Teaching Children to Harmonize: The Right Steps to Part Singing

5. Bowers, Judy: chapter in Holt, Michele and Jordan, James The School Choral Program: Philosophy, Planning, Organizing, and Teaching. GIA Publications: 2008

6. Bond, V. (2014). Culturally responsive teaching in the choral classroom. Choral Journal, 55(2), 8-15.

 

Further Reading for Understanding the Developing Voice in the Choral Classroom

1. Gackle, Lynne. Finding Ophelia’s Voice, Opening Ophelia’s Heart: Nurturing the Adolescent Female Voice: An Exploration of the Physiological, Psychological, and Music. Heritage Music Press: 2001

2. Garrett, Matthew L. (2014) Teaching for Transfer: Developing Critical Skills with Adolescent Singers. Choral Journal, 54(10), 24-41

3. Palkki, Joshua (2014) Gender Troubles: Males, Adolescence, and Masculinity in the Choral Context. Choral Journal, 56(4), 24-35

4. The Boy’s Changing Expanding Voice: Take the High Road by Henry Leck

5. Bartle, Jean Ashworth: Developing Literacy: Chapter 4 of Holt and Jordan’s The School Choral Program. GIA Publications: 2008

6. Mortensen, Bryson. (2014) Finding the Head Voice: The Challenge of Developing the Male Head Voice in a Mixed Choir Environment. Choral Journal, 55(5), 51-58

7. Crist, Vocal Ranges.