The Art of Successful Programming

It seems that many concert programs are presented without enough concern for the overall flow, purpose, and direction of the choral performance itself. Often, many wonderful selections are included, but rarely do they truly work together in tandem or with enough significant diversity and color changes to warrant the audiences complete attention. Several unique models for programming at all levels are discussed. Questions are raised concerning choral programming tendencies (from Psalm choral settings to mixed meter music to Carmina Burana) and how the building of varied repertoires and unorthodox pairings can assist true success. In this age of diminishing crowds, fiscal resources, and rehearsal time, our ability to creatively weave the material to capture our singers and our audiences at the same time is extremely critical. Finally, we touch upon engaging the audience from the moment the ensemble takes the stage until the final ovation.

Choral Repertoire as Pedagogy

The study includes 1) a discussion of historical choral repertoire that was conceived with a main or substantial pedagogical intent and 2) a discussion of repertoire and programming that can be of beneficial value to choruses. The first part of the study represents and explores choral genres such as Gregorian chant, the Lutheran chorale, and the Baroque oratorio (both sacred and secular). It then moves on to modern-era compositions with didactic purposes, including works to promote nationalism but also an antiwar message. The second part of the study addresses choral programming for a) choral development that relies on transfer of learning, b) recruitment and retention of singers and audiences, c) environmental customs and expectations, d) psychological management of time in regards to ontology and flow, and e) performance practices. In summary, repertoire that serves a pedagogical purpose has the opportunity to elevate the aesthetic value of the choral experience.