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Visual and Performing Arts

Co-Curricular Activity (VPA CCA):

Reference Guide
Choir (Secondary Level)

© 2019 Student Development Curriculum Division.

This publication is not for sale.

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NOTICE

1. This Reference Guide has been prepared by the Ministry of Education, Singapore (“MOE”) for the purpose of facilitating the instruction
of students participating in Visual and Performing Arts Co-Curricular Activities (“VPA CCA”) in mainstream schools1 (“Purposes”).

2. All intellectual property rights in this Reference Guide belong to, or have been licensed by, MOE for use in relation to this Reference
Guide only. Only the following individuals are authorised by MOE to use and reproduce materials in this Reference Guide, and only for
the Purposes:

a) school leaders, heads of department of schools, subject heads in schools, and teachers-in-charge of VPA CCAs;

b) instructors engaged by mainstream schools to instruct their students who are participating in VPA CCAs;

c) officers from MOE’s Arts Education Branch (“AEB”), or other officers from MOE who have obtained permission in writing from AEB
to do so; and

d) any other individuals authorised by AEB officers to use and reproduce materials in this Reference Guide for the purposes of conducting
workshops for teachers and developing teaching and learning resources in relation to VPA CCAs conducted in mainstream schools.

3. An instructor referred to in paragraph 2(b) shall be entitled to reproduce and circulate a part or the whole of this Reference Guide to the
students in the mainstream school that he or she is instructing. Save for the foregoing, no part of this Reference Guide may be distributed
or circulated in any form or by any means without the prior consent in writing from AEB.

4. MOE reserves the right to take any legal action in respect of any infringement of its intellectual property rights, or any unauthorised use
of the materials in this Reference Guide.

1
Mainstream schools refer to Government, Government-aided, independent, specialised independent and specialised schools. A list of these schools may be found on MOE’s
School Information Service website.

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Example of permissible use of this Reference Guide

An instructor engaged by a school refers to this Reference Guide to develop materials for use during VPA CCAs.

Example of impermissible use of this Reference Guide

A music instructor engaged by a school using this Reference Guide to develop materials for teaching at an external music school.

5. MOE shall not be liable for any damage or loss of any kind resulting from the use or, or reliance placed on, any part of this Reference
Guide.

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You are the key…

“I never teach my pupils, I only attempt to provide the conditions in which they can learn.” – Albert Einstein

Dear teachers,

When we at the Arts Education Branch were sharing our own experiences as students, we were pleasantly surprised. Many of us recalled our
joyful and memorable Arts Education experiences in the CCAs – from rehearsals with our fellow CCA-mates, to pre-show jitters when getting
ready to go on stage to perform, to planning for camps, orientations, showcases; and going to concerts and visiting museums together.

We also remembered how our teachers-in-charge provided us with a supportive presence during those formative years. They were instrumental
in our development by encouraging us, lending a listening ear, planning for opportunities for us to learn and working closely with the instructors
or conductors for us. Indeed, the same stories abound from our schools even now.

Many generations of students continue to love, engage with and participate in the Arts. The Arts is a means of getting to know more about
themselves, explore and understand our Singapore story and the world around them.

Some of these students have continued to pursue their passions and eventually contribute back to the Arts – as educators, artists, practitioners,
patrons or designers, and so on. This was made possible because you, the teachers, ran the VPA CCAs with dedication for our students.

To support you in this journey of inspiring our young, we have prepared a series of reference guides, resources and online e-learning materials
to assist you.

You are the key to a Quality Arts Education experience for your students in the VPA CCAs.

We wish you a fruitful journey ahead and await stories of joy and learning from you and your students.

Regards,

Your fellow colleagues at AEB

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THE VALUE OF ARTS EDUCATION

The Arts is integral to the holistic development of our children. It contributes to their development of an understanding of the physical, emotional,
intellectual, aesthetic, social, moral and spiritual dimensions of human experience.

The role of arts education is central in developing in our children a lively curiosity and an inquisitive mind. This is essential as it promotes inventive
thinking and an innovative orientation in what they do.

Arts education is also the gateway to our children’s sense of aesthetics, which is the basis of how they perceive the world at large and all that is
around them. Such a perspective helps them make meaning of their lives, culture and identity.

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Co-Curricular Activities (CCAs)

Co-Curricular Activities (CCAs) are one of the four key areas2 of learning in the Co-Curriculum, which complements the academic curriculum.
They play an important role in the holistic development of our pupils. CCAs prepare students for an increasingly globalised and complex future
through the inculcation of values, social and emotional competencies and the emerging 21 st Century Competencies (21CC). CCAs provide a
means through which students are able to discover their passions, strengths and weaknesses over and beyond what they might learn about
themselves in the academic classroom. Students grow as they learn together, strive together, work with and lead one another in the CCAs they
participate in.

The friendships forged and the team spirit nurtured amongst students of different backgrounds are vital for social integration. These strengthen
students’ sense of belonging, commitment and responsibility to school, community and nation.

Above all, students develop character and resilience, as the continuum of authentic experiences allow them to develop, reflect on, and apply
the values, competencies and skills that will help them thrive in the future.

Visual and Performing Arts (VPA) CCAs

Visual & Performing Arts (VPA) CCAs provide opportunities for students to develop a lifelong passion for the arts and build character. VPA CCAs
are also integral to the nurturing of students’ creative expression, lifelong appreciation and participation in the Arts and their 21 st Century
Competencies.

2 The four key areas are: CCAs, Student Leadership Development (SLD) Programmes, Values in Action (VIA) Programmes and Enrichment and Lifeskills (ENL) Programmes

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Reference Guide for Choir Co-Curricular Activities (CCAs)

1. Philosophy of Music Education

This reference guide is developed on the premise that all students are musical and have the innate ability to listen, sing, dance, play and express
themselves musically. When learning experiences are tailored to develop students’ musical abilities, the complete musicians inside them begin
to emerge. In addition, music has the potential to help students develop extra-musical skills, including critical thinking skills, psychomotor skills,
social awareness, and moral and cultural values, all of which contribute to the holistic development of the child.

2. Aims of Music CCAs

The aims of Music CCAs are:

• To provide students with opportunities to:
o Discover their interests and talents;
o Appreciate the rich culture and heritage of a multi-racial society;
o Foster friendships and social integration amongst students of diverse backgrounds; and
o Cultivate a sense of identity and belonging to the schools.

• To complement the aims of the Primary and Lower Secondary Music Syllabus (Music Syllabus) which are to provide students with
additional opportunities to engage in music activities and:
o Develop awareness and appreciation of music in local and global cultures;
o Develop ability for creative expression and communication through music; and
o Provide the basis to develop an informed and life-long involvement in music.

Students’ Prior knowledge from Music Syllabus

Experiences in Music CCAs should draw on students’ learning and understanding of musical elements and concepts and reinforce them through
active musical experiences, which include Presenting, Responding, Appreciating and Creating (See Section 5). This is based on the spiral
curriculum (Bruner, 1977; Swanwick & Tillman, 1986) where the student revisits previous learning (i.e. concepts learnt through Music Syllabus)
as he/she engages in different musical experiences through Music CCAs.

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How Music CCAs complement Music Syllabus

Music Syllabus Learning How Music CCAs complement Music Syllabus

outcomes (LOs)
LO1: Perform Music in both a) Music CCAs support this LO by providing further opportunities for students to use instruments and/or
Instrumental and Vocal their voices to express themselves musically.
Settings, Individually and in b) To do this, they will learn about what constitutes good tone and expression and develop a range of
Groups instrumental/vocal techniques which will enable them to perform different types of music effectively
and expressively.
c) Students will be able to apply what they have learnt to engage in musical experiences individually, in
their sections and in an ensemble setting.
LO2: Create Music in both a) Where appropriate, Music CCAs should expose students to simple improvisation and music creation so
Instrumental and Vocal as to encourage students to explore music materials and extend their learning. This could be done during
Settings, Individually and in exercises on instrumental/vocal technique and during sectional practices.
Groups
LO3: Listen and Respond to a) Experiences in Music CCAs should also deepen students’ ability to evaluate and comment on music that
Music they have heard and performed and provide opportunities for them to use appropriate musical terms to
respond to music.
b) More importantly, Music CCAs should provide opportunities to develop students’ sensitivity to others
and the environment so that through their musical experiences, they will listen attentively and
thoughtfully and respond appropriately to their peers and other musicians. For example, students will
adjust the volume that they are playing at to achieve greater balance within the ensemble.
LO4: Appreciate Music in Local a) Through Music CCAs, students will be exposed to an extensive repertoire to gain insights into other
and Global Cultures cultures and be receptive to different types of music.
b) This would enable them to develop a deeper understanding of the different roles musicians play in
society as well as the role of music in different cultures.
c) Through this, students will deepen musical understanding and will be able to apply knowledge of style
and interpretation to perform a wide range of music.

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LO5: Understand Musical a) Music CCAs provide additional opportunities for students to extend and apply knowledge of musical
Elements and Concepts elements and concepts learnt through Music Syllabus. Certain Music CCAs offer opportunities to learn
alternative representations of musical elements and concepts (for e.g. CO – cipher notation)

3. Opportunities to Develop 21CC through Music CCAs

As part of the holistic development of the child, the learning of Music in the CCAs presents opportunities to develop the emerging 21st Century
Competencies (21CC) of Civic Literacy, Global Awareness and Cross Cultural Skills (CGC); Critical and Inventive Thinking (CIT); and Communication,
Collaboration and Information Skills (CCI).

Table 1: Learning Opportunities in Music CCAs based on Standards and Benchmarks for Emerging 21CC

Standards Benchmarks by end of S4/S5 Learning Opportunities in Music CCAs

Civic Literacy, Global Awareness and Cross Cultural Skills (CGC)
CGC 1 • The student is able to discuss issues that • Perform instrumental/choral works by local composers, with an
affect the culture, socio-economic awareness and understanding of cultural and contextual
Aware of development, governance, future and references/influences and/or themes expressed in the music and/or
community and identity of Singapore, and use evidence text, with respect to Singapore.
national issues to support their viewpoints. • Explore and discuss the role of music in society, specifically the links
and plays a part between music and culture. Students develop open-mindedness and a
to improve the spirit of inclusiveness as they explore, learn and compare various types
community and of music from other cultures and contexts.
nation • The student is able, with support, to plan • Plan and put up a performance as part of community outreach efforts.
and organise school and community With support from the CCA teachers and conductor, students may
activities/ programmes to address social suggest a suitable repertoire for the performance.
issues. • Write and perform instrumental/choral works that highlight societal
issues.

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Standards Benchmarks by end of S4/S5 Learning Opportunities in Music CCAs

CGC 2 • The student is able to demonstrate • Perform instrumental/choral works with cross-cultural influences. This
awareness of how global issues impact is complemented by student-led research in the area of
Aware of global relations between various countries. multiculturalism in the arts which provides them with insights on
issues and trends musical diversity and how socio-cultural factors may have influenced
performance practice and the evolution of musical styles.

CGC 3 • The student is able to demonstrate • Collaborate with various bands / chinese orchestras / choirs in
appropriate skills and behaviour to work Singapore to engage in community work with welfare organisations
Displays socio- together with people from a diverse through performance and workshop sessions. In the planning of
cultural and range of socio-cultural and religious performance repertoire, students should consider the background and
religious backgrounds within and beyond interests of the audience.
sensitivity and Singapore. • Contribute to promoting social cohesion by motivating their peers
awareness • The student is able to contribute to from their CCA to collaborate with members of other Music CCAs to
promoting Singapore’s social cohesion. perform local folk tunes for the school’s celebrations of special
occasions, such as festivities or Racial Harmony Day celebrations.
Critical and Inventive Thinking (CIT)
CIT 1 • The student is able to generate ideas and • Identify key challenges in learning an instrumental/choral work and
explore different pathways that lead to provide different ideas on how to overcome some of these challenges
Explores solutions. in order to perform the piece more fluently and expressively.
possibilities and • Generate and experiment with ideas for musical performance and
generates ideas interpretation that most aptly expresses the composer’s intent and/or
emotion of the music.
• Attempt original music creation, in the form of coming up with warm-
up exercises, re-imagining a familiar instrumental/choral work (i.e.
experimenting with changes in tempo, dynamics, articulation, musical
style, etc.), instrumental/choral improvisation, or composing an
original musical work individually or collaboratively.
CIT 2 • The student is able to use evidence and • Collaboratively create music in generating musical ideas, explaining
adopt different viewpoints to explain these ideas to their peers, and considering the musical ideas of others.

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Standards Benchmarks by end of S4/S5 Learning Opportunities in Music CCAs

Exercises sound his/ her reasoning and decisions, having Students will need to negotiate the variety of viewpoints and ideas
reasoning, considered the implications of the presented with an open attitude, to make musical decisions and
decision-making relationship among different viewpoints. choices as a group.
and • Listen to a variety of recordings of an instrumental/choral work and
metacognition • The student is able to suspend discuss the differences in musical interpretations presented. Students
judgement, reassess conclusions and may be guided to use these recordings as starting points for
consider alternatives to refine his/ her exploration of their personal interpretations of the same work.
thoughts, attitudes, behaviour and • Plan and organise CCA activities (for e.g. year-end camp) with the input
actions. of their peers, teachers-in-charge or conductors, while taking into
account past feedback and new ideas.
• Reflect on and provide constructive feedback for the improvement of
self and others by affirming the efforts of their juniors and peers and
providing them with constructive feedback for improvement. They
critique works by others graciously, and comment on performances
constructively or politely without putting others down.
CIT 3 • The student is able to identify essential • Lead sectional practices with focus regardless of their role in the CCA.
elements of complex tasks, stay focused They should be able to look at part scores, identify complex passages
Manages on them, take on diverse roles and which are to be practiced and teach their peers how to apply suitable
complexities and persevere when he/she encounters practice strategies to rehearse complex passages.
ambiguities difficulties and unexpected challenges. • Adapt and react to unforeseen circumstances in performances or
• The student is able to manage rehearsals, e.g. helping to perform a solo passage in the event of an
uncertainty and adapt to diverse instrument malfunction or if a peer is feeling unwell.
demands and challenges in new and • Challenge students to experiment with unfamiliar musical ideas in
unfamiliar contexts. performance or creation. The open-ended creative process will involve
students in experimenting with a variety of musical ideas which may or
may not succeed, hence requiring students to adapt, extend, and/or
revise their ideas.

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Standards Benchmarks by end of S4/S5 Learning Opportunities in Music CCAs

Communication, Collaboration and Information Skills (CCI)
CCI 1 • The student is able to convey complex • Advise junior members to adopt appropriate practice strategies (for
information and ideas coherently and e.g. use vocal syllables to practice complex rhythms) so that they are
Communicates clearly to create impact for specific able to perform certain passages more coherently and clearly.
and collaborates purposes and contexts. • Present musical ideas/creations (e.g. original song, improvisation, or
effectively interpretation of an instrumental/choral work), and explain the
musical decisions supporting their work to their CCA peers /
instructors.
• The student is able to interact with • Collaborate with CCA / Section peers to deepen their learning e.g. in
others to construct knowledge, and new discussing the work of a composer; taking turns to lead sectional
understandings and ideas. practice; sharing their thoughts and ideas on different recordings of a
particular musical work and adapting some of the approaches in their
• The student is able to reflect on and own performance; contributing and building on each other’s musical
modify his/her working relationships and ideas in music creation.
role in contributing to the group’s goals, • Rehearsing their instrumental/vocal parts in their respective sections.
as determined collectively by its The section leader may facilitate the group in co-establishing a set of
members. musical goals for each sectional rehearsal. Each student takes
responsibility for refining his/her musical part.
• Identify musical passages where they need to play/sing more softly so
that the overall ensemble sound is balanced and other
instruments/voices may be more clearly heard.

CCI 2 • The student is able to refine search • Prepare programme notes for a performance and concert by assessing
results, organise information and analysing information about various pieces and composers from
Manages, creates systematically and manage information multiple sources such as books or websites, and citing them
and shares digital sensitively, while abiding by copyright appropriately.
information regulations and minimising security risks • Students demonstrate the importance of respecting intellectual
thoughtfully, in the handling of information. property by seeking permission from relevant composers to rearrange

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Standards Benchmarks by end of S4/S5 Learning Opportunities in Music CCAs

ethically and a piece of music should they want to put the piece up for a public
responsibly performance.
• The student is able to verify the • Conduct research on a specific instrumental/choral work and share
accuracy, credibility and currency of their learning with their peers during rehearsals to acquire a deeper
information across multiple sources. understanding of the music that they are performing. Areas of research
could include musical influences of the composer, compositional
styles, cultural references, historical context, etc. The research process
requires students to search for and compare information from
different sources (e.g. online articles, publications and historical
archives) and evaluate its credibility.
• The student is able to contribute actively • Contribute actively to social media accounts of their CCA (e.g. by
and value-add to the information pool in sharing photos of their CCA mates on Instagram) and participate in the
an online community, while observing CCA’s online community with respect and decorum (e.g. reading and
proper etiquette. responding to peers’ comments on the shared photos, while observing
• The student is able to project a positive the group’s rule of communicating using non-offensive language).
online presence and manage his/her • Post constructive and responsible online comments when giving a
online reputation. critique of videos of choral or musical performances that have been
posted on social media.

4. Learning Outcomes of Choir CCA

At the end of 4/5 years in the Choir CCA, students are expected to attain the following Learning Outcomes:

a) Demonstrate an understanding of singing practices and healthy vocal production;

b) Appreciate vocal music from diverse cultures and contexts and make connections between vocal music with daily living;
c) Create musical ideas through exploration and experimentation;
d) Demonstrate critical thinking skills in interpreting and evaluating choral repertoire;
e) Demonstrate collaborative skills while working to achieve common artistic goals; and
f) Communicate musical ideas and expression confidently through singing.

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5. Organising Learning Experiences with PRAC

The quality of the learning process is key to achieving the Learning Outcomes. The PRAC learning strands are outlined to help teachers plan,
organise and facilitate suitable learning experiences for students to acquire the Knowledge, Skills and Values (KSVs) to attain the Learning
Outcomes.

In practice, the learning strands are inter-related and always existing within the learning experiences of performing arts CCAs. Some learning
activities lend themselves more to one or more of the learning strands.

The learning strands are:

Presenting Responding Appreciating Creating
In presenting, students In responding, students think In appreciating, students relate In creating, students explore and
demonstrate and showcase their critically about the art works and aesthetically, affectively and experiment with the art form and
skills in the art form to a variety use various modes 3 to express cognitively to the art form and express themselves using the art
of audiences. their views, individually and in the contexts4 of the art works. form and its conventions.
groups.

To guide the intentional design of a range of learning experiences for students to acquire the KSVs and attain the Learning Outcomes, the
following are some non-exhaustive examples of learning activities that fall within each of the strands.

It is important to note that a balanced approach to using PRAC to plan the learning experiences will ensure a stronger foundation in the
performing arts CCA and raise the quality of the programmeos.

3 Students may express themselves verbally, in writing and use their expressive skills in the art forms to respond to other art works.
4 There are two main aspects: the cultural, geographical, historical, political and social contexts (i) within which the art work was created and performed (THEN and THERE), and (ii) the current
local and global contexts of the art form (HERE and NOW).

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Table 2: Learning Activity Examples for PRAC Learning Strands

Learning Definition Examples of Learning Activities

Strand

Presenting In presenting, students demonstrate a) A performance in the school hall or community centre to a formal audience.
and showcase their skills in the art b) A sectional rehearsal where sectional leaders or senior students demonstrate
form to a variety of audience. their skills to coach the junior students.
c) A CCA session where students experiment and explore some basic composition
/ improvisation / choreography to perform their own works for each other.

Responding In responding, students think critically a) After performing at a showcase, students discuss where they did well and how
about the art works and use various they can improve for the next performance.
modes to express their views, b) After attending a performance outside of school, the students verbally discuss
individually and in groups.
or reflect on the elements of the performance observed and apply their learning
to their own rehearsals or performances.
c) In response to an art work, students apply their acquired skills and knowledge
of the art form to improvise a short piece to express their thoughts, feelings and
ideas.

Appreciating In appreciating, students relate a) During and after watching a performance by their peers, or by others within or
aesthetically, affectively and outside of school, students are able to discuss and share their ideas, thoughts
cognitively to the art form and the and feelings about art works with suitable vocabulary.
contexts of the art works.
b) In preparing for performances or before and after watching a performance,
students can discuss and share their understanding of the contexts, themes,

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Learning Definition Examples of Learning Activities

Strand

topics and stories behind the performances that they are performing or
observing. This informs their performance and understanding of the art works.
c) As they learn more about the current local and global contexts of the art form
that they are performing and watching, students apply what they have learnt in
the CCAs to these contexts and articulate how their practice is connected with
the broader cultural context of the art form.

Creating In creating, students explore and a) Students experiment with the KSVs acquired to improvise / devise a short
experiment with the art form and performance piece themselves.
express themselves using the art form b) Students improvise/devise a short performance in response to a given topic /
and its conventions.
stimuli / theme / art work.

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6. Guiding Principles

The following principles guide schools in the planning and implementation of the Choir Co-Curricular Activity:

a. Provide breadth of experiences

There should be a range and variety of programmes and activities to cater for holistic development and to broaden students’ learning. The range
of programmes and activities should support students’ interests and promote self-directedness in learning.

b. Ensure development and progression

The activities and learning experiences should be designed to deepen students’ development of knowledge and skills and be purposefully
planned to support development of character, citizenship and achievement of the 21st Century student outcomes.

c. Provide challenge and enjoyment

While the pursuit of excellence is important, the programmes and activities should provide a healthy balance of collaboration and allow for
participation at different levels to promote students’ overall enjoyment.

d. Promote social bonding and integration

The programmes and activities should present opportunities for building friendships and allow students to work as a team towards a common
goal. They should promote social integration and cohesion.

e. Consider available resources and safety

In the planning and implementation of the programmes and activities, schools should also consider availability of resources such as manpower
and physical facilities, and the ability to ensure safety in their delivery.

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7. Content Structure

The content structure of the reference guide outlines the Knowledge, Skills and Values (KSVs), Values, Socio-Emotional (SE) competencies and
emerging 21st Century Competencies (21CC) related to the art form CCA that will contribute to these specific Learning Outcomes of the art form.
The other learning outcomes for CCAs such as passion, leadership and teamwork, friendship and belonging, and spirit of service to the community
are not covered by the Reference Guide and needs to be taken into account in the overall Student Development Plan.

The table below details the desired KSVs and Values, SE Competencies and emerging 21CC that students can acquire through the four learning
strands of PRAC learning activities in order to attain the learning outcomes of Choir CCA. It is intended to be used by teachers-in-charge and
instructors as a reference for designing a quality Choir CCA programme.

When planning the CCA programme, teachers are encouraged to consider students’ prior musical knowledge either from Music Syllabus or
personal musical experiences. To support differentiated learning, teachers can consider providing students with a variety of musical experiences
to explore and develop their musical abilities in the CCA. Level 1 skills describe basic proficiency in the art form. Through sustained participation
in the CCA, students work towards attaining the skills described in Level 2.

Table 3: Choir CCA Learning Outcomes

Learning Knowledge Skills Values Core Values, SE

Strands Level 1 Level 2 (Attitudes to be Competencies , Emerging
Cultivated) 21 CC
Presenting 1. Understand that healthy • Sing with appropriate • Role-model healthy vocal • Understand the Values: Responsibility,
vocal production involves: posture, efficient breath production in terms of importance of vocal care Resilience, Care
motion and breath posture, breath motion and • Commitment to take
1.1 Appropriate singing management, and flow breath management, and care of one’s voice SE Competencies: Self-
posture that is free of phonation phonation Awareness, Self-
constrictive tension • Practise a variety of • Practice a variety of vocal Management, Responsible
1.2 Efficient breath motion physical and vocal exercises, with an Decision Making
and breath management exercises for vocal understanding of how each
development and training exercise supports specific
aspects of vocal training and
tone production

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Learning Knowledge Skills Values Core Values, SE

Strands Level 1 Level 2 (Attitudes to be Competencies , Emerging
Cultivated) 21 CC
1.3 Flow phonation5 (as
opposed to breathy or
pressed phonation)
2. Understand that quality Values: Integrity,
choral singing involves: Responsibility, Respect,
Resilience, Harmony
2.1 Accuracy of score-reading • Sight-sing a simple vocal • Sight-sing a vocal line with • Commitment to accurate
(including clef, time line with step-wise diatonic (i.e. reading and SE Competencies: Self-
signature, key signature, movement and diatonic major/minor/perfect) performance of music as Awareness, Self-
notes, etc.) (i.e. major/minor/perfect) and/or chromatic (i.e. written by the composer Management, Responsible
intervals augmented/diminished) • Demonstrate ability to Decision Making, Social
intervals reflect and recover when Awareness
2.2 Accuracy and consistency • Recognise by ear if a sung pitch (in relation to another) is sharp, mistakes are made
of intonation flat, or in tune • Openness to accept 21CC: Communication,
Collaboration and
• Adjust one’s singing to ensure that one is singing in tune with feedback positively
Information Skills, Critical
the ensemble
and Inventive Thinking
2.3 Accuracy in pulse, rhythm • Sing with a steady sense of pulse
and tempo • Perform rhythms as written in the score
• Adhere to tempo markings as reflected in the score
2.4 Clarity in execution of • Apply appropriate • Apply appropriate dynamic,
articulation, dynamics and dynamic, articulation and articulation and expressions
other expression markings expressions as indicated on as indicated on the score,
(See Annex D) the score with an understanding of
how these markings befit
the character and style of
the music
2.5 Appropriate tone • Recognise by ear if a section/ensemble has achieved balance • Develop an awareness of
production and blend as and appropriate blend others while singing
an ensemble • Adjust one’s singing to achieve balance and blend within the one’s vocal part.
section and across the ensemble
• Sing with sensitivity and awareness of other vocal parts, with an
understanding of the role each part performs (e.g. melody,
bass, supporting harmonies, etc.)

5 Phonation refers to the production of speech sounds, arising from the vibrations in the vocal folds of the larynx

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Learning Knowledge Skills Values Core Values, SE

Strands Level 1 Level 2 (Attitudes to be Competencies , Emerging
Cultivated) 21 CC
2.6 Effective communication Communicate with the audience through: • Demonstrate ability to
of text • Singing with clear diction and appropriate vowel shapes take ownership of one’s
• Singing with accurate pronunciation music by learning the
• Singing with appropriate syllabic stress music well before
• Singing expressively with an understanding of the meaning of the rehearsals, finding out
text and mood/style of the piece about the background of
• Singing with conviction to communicate the meaning of the text the music and listening
to other performances
to have a better
understanding of the
music

• Empathy for the

audience
3. Understand that • Maintain focus during various performance contexts • Demonstrate Values : Responsibility,
performance etiquette • Communicate effectively with audience commitment to present Respect, Resilience,
involves: • Respond to conductor’s gestures with sensitivity oneself appropriately Integrity
Demonstrate the above skills Role-model the above skills during performance
3.1 Appropriate performance related to performance related to performance etiquette SE Competencies: Self-
attire etiquette • Having respect for Awareness, Self-
3.2 Mental preparation before others, including the Management, Social
beginning a performance conductor, the audience, Awareness
3.3 Awareness of stage and the music that is
positioning (in relation to being performed 21CC : Communication,
venue acoustics) Collaboration and
3.4 Showmanship and stage Information Skills
presence
3.5 Rapport and
communication with
conductor and fellow
performers

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Learning Knowledge Skills Values Core Values, SE

Strands Level 1 Level 2 (Attitudes to be Competencies , Emerging
Cultivated) 21 CC
Responding & 1. Understand basic • Respond accurately and • Role-model accurate and • Demonstrate willingness Values: Responsibility,
Appreciating conducting beat patterns sensitively to various sensitive responses to to work with and Integrity, Respect
and gestures including conducting cues and various conducting cues and respond to conductor SE Competencies: Self-
preparatory beats, attacks, gestures gestures and fellow choristers in Awareness, Self-
releases, tempo changes, • Conduct and respond to • Conduct and respond to rehearsal and Management, Social-
entry cues, dynamic and peers effectively using peers effectively with performance Awareness
other expressive gestures basic conducting beats and sensitivity to musical 21CC: Communication,
gestures expression Collaboration and
Information Skills
2. Understand basic musical • Recognise the 12 pitch names/solfege terms within an octave • Show initiative to engage Values: Responsibility,
terminology to describe • Differentiate between a whole tone and a semitone in constructive Respect, Care
the various aspects of • Use appropriate musical terminology with an understanding of discussion to critique
music (See Annex D) musical concepts to evaluate music (including written music, and improve choir’s and SE Competencies:
audio recordings, and live performances by others or self) personal performance Relationship Management,
• Demonstrate open- Social Awareness,
mindedness to new Responsible Decision
ideas and feedback from Making
others
• Display empathy when 21CC: Critical and Inventive
giving responsible and Thinking, Communication,
constructive feedback to Collaborative and
others Information Skills
3. Understand the musical • Identify and describe musical characteristics of choral works Values: Respect,
characteristics of choral using appropriate musical terminology, with an understanding of • Shows willingness to Responsibility, Integrity
works from various cultural context learn about
genres, styles and • Discuss and provide personal response to music (including performance practices SE Competencies: Self-
historical periods audio recordings, and live performances by others or self) of musical genres and Awareness, Self-
traditions and apply this Management, Responsible
knowledge when making Decision Making
musical decisions.
• Demonstrate respect for 21CC: Civic Literacy, Global
music from different Awareness & Cross Cultural
cultures by observing Skills, Communication,
performance Collaboration and
conventions of the Information Skills
culture

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Learning Knowledge Skills Values Core Values, SE

Strands Level 1 Level 2 (Attitudes to be Competencies , Emerging
Cultivated) 21 CC
4. Understand audience Demonstrate appropriate audience etiquette before, during and at Demonstrate respect to Values: Respect,
etiquette the end of a live performance (See Annex B) musicians by observing Responsibility
appropriate audience
etiquette SE Competencies: Self-
Awareness, Self-
Management, Responsible
Decision Making

Creating 1. Understand that musical • Seek, consider, and offer multiple perspectives, opinions, • Keep an open mind to Values: Respect,
creation involves open- sources of information, and solutions ideas and suggestions Responsibility, Resilience,
mindedness and the • Explore within and beyond familiar parameters (i.e. step out of from others by putting Integrity, Harmony
willingness to experiment comfort zone) aside prejudices, biases,
and judgement SE Competencies: Self-
• Demonstrate courage to Awareness, Self-
explore and experiment Management, Social
• Demonstrate courage to Awareness, Relationship
offer opinions and ideas Management, Responsible
Decision Making
2. Understand that ideas for • Generate musical • Develop and
musical creation could be ideas/responses to tasks synthesise/extend musical 21CC: Critical and Inventive
derived from: such as: ideas/responses to tasks Thinking, Communication,
o Improvising on a given such as: Collaboration and
2.1 Stimuli found anywhere melodic phrase by o Improvising on and Information Skills
and in anything creating a short melodic extending a given
2.2 Experimentation with motif melodic phrase
musical elements (See o Interpreting a musical o Creating a melodic
Annex D) phrase phrase to given text
• Describe the musical o Re-imagining a melodic
ideas/responses and phrase in a different
creative process (i.e. style/mood
musical choices and • Describe the musical
decisions) above using ideas/responses and
appropriate musical creative process (i.e.
terminology musical choices and
decisions) above using
appropriate musical
terminology

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8. Resources

The annexes appended to this Reference Guide contain useful information to help schools in the design and conduct of Choir CCA activities.

Annex A: Assessment
Annex B: Notes on Audience Etiquette
Annex C: Reflection Journals/Strategies
Annex D: Glossary of Musical Terms
Annex E: Notes on Repertoire
Annex F: Further Reading Material for Choir CCA Teachers-in-Charge

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Annex A
Assessment

Types of Assessment

There are two types of assessments:

• Assessment for Learning (AfL) / Formative Assessment
• Assessment of Learning (AoL) / Summative Assessment

The table below summarises the features of both types of assessment:

Assessment for Learning (AfL) / Formative Assessment Assessment of Learning (AoL) / Summative Assessment
Why? Formative assessment focuses on supporting student achievement Summative assessment focuses on measuring student learning or skill
throughout the course of study. competency at a particular point in time.

Teacher uses the information gathered to adapt instructions and help Information is used for grading, ranking or placing students.
students bridge learning gaps. Students use feedback given to
improve learning.

When? It takes place continuously, throughout the process of teaching and It takes place at a pre-determined time. It can be at specific points in
learning. It can be carried out informally (e.g. when students are the course
practising) or in formal settings (e.g. class performance). (e.g. mid-point or towards the end of the module.)

During a formal session, such as a class performance, the Assessment is carried out formally, in the context of a (performance
assessment is not graded. Instead, feedback is provided and student or written) test or examination.
has opportunity to fine-tune and improve the task.
Who? Teacher Teacher
Students are informed of the criteria for success prior to the Students are informed of the criteria for success prior to the
assessment. assessment.

The teacher provides specific feedback, for both strengths and areas Teacher conducts the assessment and grades the task.

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Assessment for Learning (AfL) / Formative Assessment Assessment of Learning (AoL) / Summative Assessment
that need improvement.
Teacher collects information for grading and ranking. Data may be
The teacher explains, demonstrates, suggests and guides student used for analysis of the cohort’s competency.
towards alternative strategies to achieve the desired outcomes.

The teacher also uses his/her understanding of where students are

at, to modify his/her own teaching delivery and planning.

Student (Peers) Student (Peers)

Peers assess task using criteria for success. Summative grades often do not include comments by peers.

Peers offer feedback and suggestions for improvement.

Student (Self) Student (Self)

Student is clear of the assessment criteria and measures his/her own Student is clear of the assessment criteria and is able to make some
performance against the criteria. sense of his/her own performance during the test.

Student takes feedback from teacher and peers, and makes

deductions from self-assessment, to improve his/her performance of
the task.

What? Feedback is descriptive and developmental; reinforces strengths and Student achievement is usually expressed through a summative
helps to close gaps in students’ understanding and performance to grade or mark, and could be accompanied by summative
achieve better learning outcomes. comments.

Promotes reflective and self-directed learners.

How? Strategies such as questioning and thinking routines are usually used
for AfL

Assessment strategies such as pen-and-paper quizzes/assignments, journal entries, music portfolios, performing and creating tasks could be used
for both AfL and AoL.

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Assessment Strategies

Students’ learning can be observed in different ways. Teachers should use a variety of assessment strategies to gather information on students’
learning. Depending on the intent, these strategies can be used formatively or summatively. The table below provides some examples of
assessment strategies in the context of music learning.

Assessment Description
Strategy
Questioning Questioning is a powerful strategy to gather evidence on student thinking as well as to challenge them to think in new ways. It is
important that teachers are mindful of the unique nature of the music learning experience and when looking for musical understanding
in their students, teachers must spend time to frame questions that afford insights into what students are thinking and doing.

Most questions can be categorised as follows: open or closed, and high order or low order. A closed question (or a convergent question)
prescribes a select range of responses whereas an open question (or divergent question) is one where the teacher can elicit more than
one possible response.

Teachers can use closed or low order questions to lead to open and high order questions that help our students think about their learning
as illustrated below:

Type of Questions:
• Closed – e.g. what is the fingering for the C chord?
• Open – e.g. in what other ways could we vary the timbre?
• Low Order – e.g. what is the solo instrument in the intro?
• High Order – e.g. how does the music create a mysterious mood?
Pen-and-paper Pen-and-paper quizzes/assignments are useful for checking aspects of music learning such as understanding of music concepts and
quizzes/ notation. When music listening is incorporated into such quizzes/assignments, they could be used to check for students’ level of aural
assignments awareness and understanding of music genres and contexts in relation to sound and music.

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Assessment Description
Strategy
Journal Entries Journal entries when supported with guiding questions are useful records of students’ learning (e.g. strategies that worked), musical
preferences or observations (e.g. “The chorus section was effective because of the repeated ascending melody in steps. I can apply this
when composing my own song”)

Music Portfolio A portfolio can be a powerful means of documenting student learning and growth. The sample of products or artefacts, such as
compositions, annotation on scores, recordings, reflection notes, self-assessment and teacher feedback, provides an array of
information about the student’s music learning.

Artefacts in the portfolios can either be a collection of a student’s best examples of work done, or feature various key drafts of works
to show growth of learning.

Performing/ Performances (e.g. singing, playing on an instrument), improvisations, presentations of compositions are useful indicators of students’
Creating Tasks musical skills and responses.

Through careful observation and listening, the teacher will be able to assess the student’s grasp of skills, knowledge, understanding and
application.

Rubrics

Rubrics are assessment tools that can be used for both formative and summative assessment.

The key components of a rubric are:

• The description of the task
• A set of criteria
• Levels of performance (for each criteria)
• Descriptors (for each level of performance)

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General Rubric: The table below is an example of a general rubric for singing individually. Note that the criteria could be applied across different
types of voices and different repertoire.

Rubric: Singing individually

Advanced Proficient Nearing Proficient Novice

Rhythm The beat is secure and the The beat is secure and the The beat is somewhat erratic. The beat is usually erratic and
rhythms are accurate for the rhythms are mostly accurate. Some rhythms are accurate. rhythms are seldom accurate,
style of music being sung. There are a few duration errors, Frequent or repeated duration detracting significantly from the
but these do not detract from errors. Rhythm problems overall performance.
the overall performance. occasionally detract from the
overall performance.
Note Accuracy Notes are consistently accurate. A few minor note inaccuracies, Some note inaccuracies, A significant number of note
but does not detract from overall detracting somewhat from the inaccuracies, consistently
performance. overall performance. detracting from the
performance.

Dynamics Dynamic levels are entirely Dynamic levels are mostly Dynamic levels are moderately Dynamic levels are severely
consistent and accurately consistent and accurately inconsistent with some inconsistent with significant
interpreted for the style of music interpreted for the style of music inaccuracies in interpreting the inaccuracies in interpreting the
being sung. being sung. dynamics for the style of music dynamics for the style of music
being sung. being sung.
Phrasing Phrasing is always consistent and Phrasing is usually consistent and Phrasing is fairly consistent and Phrasing is rarely consistent
sensitive to the style of music sensitive to the style of music occasionally sensitive to the style and/or rarely sensitive to musical
being sung. being sung. of music being sung. style.

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Feedback

Feedback refers to information students receive in response to their performance or demonstration of understanding, and is intended to help
students revise and improve their learning. Feedback closes the loop on the learning cycle, enabling assessment to function as an iterative and
continuous process.

a. Modes of providing feedback

There are multiple platforms through which teachers can provide feedback to students. Teachers should plan the amount of feedback to give,
within practical and realistic parameters, and select a combination of feedback channels that provide students with balanced, targeted, and
constructive information to improve their learning. Some of the common modes of providing feedback to students are summarised below.

• Assessment tools
Assessment tools such as checklists and rubrics, described above, are formal means of providing feedback. A well-designed rubric,
for example, communicates to students the intended learning goals of the assessment task or activity, provides them with a clear
indication of their specific areas of strength and weakness in the task, and also depicts what higher levels of attainment might look
like for them to strive towards. Similarly, a checklist is an efficient means of acknowledging students’ success in demonstrating certain
learning outcomes, while highlighting the key areas that require further revision or improvement.

• Verbal or written feedback

Teachers may also provide feedback to students verbally or through written comments, and this can be issued to students both
individually or as a group. These comments may build upon the feedback given to students through rubrics or other assessment tools
by offering new ideas or perspectives for students to consider. For example, the teacher could offer corrective notes to clarify
misconceptions, introduce alternate strategies that might help students better perform a task, or provide relevant information to
extend students’ thinking.

• Peer feedback

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Teachers may leverage on the collective wisdom of the class community by engaging students in giving feedback to one another. In
this process, the role of the teacher is then to construct a safe learning space that facilitates peer feedback, one where students are
familiar with ground rules that foster courteous and constructive discourse. Students may be tasked to offer their peers suggestions
for improvements in the given activity, or taught to use assessment tools such as rubrics or checklists.

b. Providing effective feedback

For feedback to add value to student learning, it needs to go beyond generic comments such as ‘excellent!’ or ‘can be improve d!’.
Teachers should also recognise that feedback is neither advice, nor praise. Some features of effective feedback that support learning are
summarised below.

• Goal-referenced
Feedback should purposefully make reference to the intended learning outcomes in order to guide students towards attaining
these goals. This could take the form of specific descriptions, or demonstrations, of what the highest level of attainment lo oks
like, and how students can arrive at that desired outcome.

• Actionable and user-friendly

Feedback should, as far as possible, be targeted to individual learners, acknowledging each student’s specific strengths whil e
providing tangible suggestions for immediate action and improvement. This information should be communicated to students
in a manner and form that students can readily understand and access, with opportunities for them to have further dialogue
with the teacher to clarify any areas of doubt.

In crafting feedback, teachers may choose to focus on one or more of the following area(s):

a) Feedback about the task or product

(e.g. “Your group was rushing the tempo of the performance, and the drummer was out of sync with the vocalist.”)
This type of feedback directly responds to students’ performance in the given task, and serves to highlight specific
strengths and areas for growth in meeting the prescribed levels of achievement.

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b) Feedback about the process

(e.g. “Your group needs to rehearse the opening section of the performance, so that eve ry member clearly understands
and is confident of their individual entries.”)
This type of feedback serves to provide students with alternate ideas or strategies for better performance in the given
task.

c) Feedback about self-regulation

(e.g. “You already know the ostinato pattern and can perform it well. Check that this is played in tempo each time it
recurs.”)
This type of feedback serves to develop self-evaluation skills as well as self-efficacy among students, building their
confidence to continue pursuing higher levels of achievement in the task.

Feedback about the student at a personal level, however, (e.g. “you are a creative individual with many ideas”), is not direc tly
related to the task, and has little impact on the learning process.

• Timely and ongoing

Feedback is best given promptly after the performance task, so that students are able to act on it, so as to improve and revi se
their work while the process, product, and related ideas are still fresh in their minds.

Opportunities for Assessment

The Choir CCA provides many platforms for assessment, be it AfL or AoL. Some of these platforms include:

• Rehearsals
• ‘Formal’ and ‘Informal’ performance opportunities e.g. concerts (in school or at public venues)
• Singapore Youth Festival Arts Presentation
• Music Festivals/Competitions (local/ overseas)

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Assessment Resources on OPAL

Teachers can also refer to the following assessment-related resources on OPAL:

• Towards Learner-Centred and Balanced Assessment

http://subjects.opal.moe.edu.sg/subjects/slot/u1032119/Slides/Communication%20Slides%20to%20Schools%20for%20AL%202013_17Oct.pdf

• Introducing the PETALS Framework

http://subjects.opal.moe.edu.sg/subjects/slot/u1032119/PETALS_Assessment.pdf

• Glossary of Assessment Concepts

http://subjects.opal.moe.edu.sg/subjects/slot/u1025/Resources_concepts.pdf

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Annex B
Notes on Audience Etiquette

Choristers are encouraged to attend concerts to enrich their arts experience. Good audience etiquette promotes respect between the
audience and the performers.

Some key teaching points include the following:

Pre-concert preparation
• Be informed about the repertoire.
• Dress appropriately.
• Arrive early.

During the concert

• Be open-minded and present, and engage one’s eyes, ears, emotions, and mind.
• Be quiet and remain in seat when in a formal performance setting. Listen to the performance without making noises/ action which may
distract the performers and other audience members.
• Clap at the end of the piece, not at the end of a section or movement (for classical music). For quiet music endings, be sensitive to the
reverberations that may continue after the last note has sounded.
• Exit the performance venue only during the intermission, at the end of the concert, or in times of urgency e.g. uncontrollable
coughing/sneezing.
• Refrain from taking photographs, video and audio recordings of the performance.

After the concert

• Exit the performance venue in an orderly manner. Leave hall politely and patiently; refrain from rushing out or exiting boisterously.
• Critique performances graciously. Comment on performances constructively or politely (at all times) without putting others down.
• Reflect on concert experience.
• Journal key learning from what was seen, heard, felt, and thought of during the performance.
• Discuss and apply learning amongst choristers from each other’s experiences.

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Annex C

Reflection Journals/Strategies

Reflection Strategy (1)

I Used to Think… Now I Think…

A routine for reflecting on how and why our thinking has changed.

Purpose: What kind of thinking does this routine encourage?

This routine helps students to reflect on their thinking about a topic or issue and explore how and why that thinking has changed. It can be
useful in consolidating new learning as students identify their new understandings, opinions, and beliefs. By examining and explaining how and
why their thinking has changed, students are developing their reasoning abilities and recognizing cause and effect relationships.

Application: When and Where can it be used?

This routine can be used whenever students’ initial thoughts, opinions, or beliefs are likely to have changed as a result of instruction or
experience. This reflection strategy can be used after a workshop, e.g. on conducting. Teachers-in-charge can encourage students to share
what they used to think about conducting and why they felt that way before attending the workshop and what they know about conducting
after attending the workshop.

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I used to … Now I …

I used to think…

Now I think…

Tell us why you think this way:

Tell us why you think this way:

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Reflection Strategy (2)

Colour Symbol Image (CSI)

A routine for distilling the essence of ideas non-verbally.

Purpose: What kind of thinking does this routine encourage?

This routine asks students to identify and distil the essence of ideas from reading, watching or listening in non-verbal ways by using a colour,
symbol, or image to represent the ideas.

Application: When and where can it be used?

This routine can be used to enhance comprehension of reading, watching or listening. It can also be used as a reflection on previous events or
learning. It is helpful if students have had some previous experience with highlighting texts for important ideas, connections, or events. The
synthesis happens as students select a colour, symbol, and image to represent three important ideas. Teachers-in-charge could use this
reflection strategy after the students complete an activity, e.g. on improvisation. The students could use a colour, symbol and image to
represent their favourite activity, for instance, a student may choose the colour orange, to represent excitement during the performance of
the improvisation, his favourite part of the activity. Another student may draw a light bulb as a symbol, to represent her strength as she
contributed many ideas during the activity, etc.

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Routine (Colour, Symbol, Image)

Choose a COLOUR to represent the most favourite part of the activity that you really LIKED today.
Which part of the activity did you like the best? Why did you choose this colour to represent that activity?

Choose a SYMBOL and draw it in the space below to represent one of your STRENGTHS as a participant of that activity.
Tell us more about your strength.

Choose an IMAGE to represent an AREA that you can IMPROVE on as a participant of that activity.
Tell us about the area that you would like to improve on. How would you like to do it?

Reflection Strategy (3)

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3-2-1 Bridge

Purpose: What kind of thinking does this routine encourage?

This routine asks students to uncover their initial thoughts, ideas, questions and understanding about a topic and then to connect these to new
thinking about the topic after they have received some instruction.

Application: When and Where can this be used?

This routine can be used with students to capture their understanding of the concepts that is/are introduced after a/an
activity/programme/workshop. Whenever new information is gained, bridges can be built between new ideas and prior understanding. The
focus is on understanding and connecting one’s thinking, rather than pushing it toward a specific outcome. The questions are progressive in
nature and develops students’ critical thinking skills by inviting them to develop strategies to reach their goal(s).

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Write 3 new things you learnt

3-2-1 Bridge from this activity which you
never knew before

1. ________________________

2. ________________________

3. ________________________

Out of the 3 things above, 1. ____________________

choose 2 which you would
like to try, and tell us why.
______________________
1. _________________________

2. ____________________
___________________________

______________________
___________________________
Develop a strategy to apply
one of them. ___________________________

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Annex D
Glossary of Musical Terms
(Please note that this list is not meant to be exhaustive, and only covers some common musical elements and key concepts.)
Melody Rhythm / Meter / Tempo Articulation/Expression markings Genres of Music
▪ Melodic Decoration/ ▪ Ostinato ▪ Sforzando ▪ Western Classical Tradition
Ornamentation ▪ Augmentation ▪ Marcato ▪ Renaissance;
▪ Contour ▪ Diminution ▪ Accent ▪ Baroque;
o Conjunct movement ▪ Syncopation ▪ Staccato/legato ▪ Classical;
o Disjunct movement ▪ Swing Rhythm ▪ Romantic;
▪ Phrase ▪ Simple/ Compound Texture ▪ 20th century
o Symmetry ▪ Irregular Meter ▪ Monophonic ▪ Musicals
o Asymmetry ▪ Rubato ▪ Homophonic ▪ Folk Music
▪ Variation ▪ Polyphonic ▪ Jazz
▪ Motif Dynamics ▪ Unison ▪ Popular Music
▪ Motivic Development ▪ Piano/forte/mezzo piano/mezzo ▪ Layered ▪ A Cappella
▪ Solfège forte/pianissimo/fortissimo ▪ Chordal
Harmony ▪ Crescendo/Decrescendo ▪ Canonic Vocal Terms
▪ Consonance and dissonance ▪ Diminuendo ▪ 2-part/3-part counterpoint ▪ Phonation
▪ Scales ▪ Imitation ▪ Resonance
o Major Form and Structure ▪ Register/Tessitura
o Minor ▪ Binary Form Musical Devices ▪ Vocal timbre
o Pentatonic ▪ Ternary Form ▪ Repetition ▪ Vibrato
o Blues ▪ Theme and Variations ▪ Imitation ▪ Bel Canto
▪ Cadences ▪ Through-composed ▪ Sequence ▪ Falsetto
o Perfect ▪ Strophic ▪ Ostinato ▪ Melisma
o Imperfect ▪ Song Structure (e.g. 32-bar song ▪ Improvisation
o Plagal form/AABA) ▪ Word painting
o Interrupted ▪ 12-bar blues
▪ Modulation - subdominant, ▪ Call and response
dominant, relative minor keys, ▪ Verse and chorus
Circle of 5ths ▪ Introduction and Outro

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▪ Drone
▪ Pedal

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Annex E
Notes on Repertoire

Students should be exposed to a variety of repertoire, including some of the following:

• Early Music/ Renaissance/Baroque Western Art Music e.g. Monteverdi madrigals
• Classical/Romantic Western Art Music
• Jazz
• Musicals
• Contemporary works from various parts of the world including familiar Singaporean music: Asia, Eastern Europe, Scandinavia, New Zealand, America

Conductors / Teachers should consider the following when choosing the choir’s repertoire:
• Age of the choristers
• Maturity of choristers’ voices
• Capabilities of the singers and the level of difficulty of the music in terms of the depth of maturity and technique required of the piece
• Appropriateness for the occasion and suitability of the performance venue
• Suitability of the text for the choristers in terms of the language, word meaning and tone painting
• Musical value of the work e.g. if it provides the opportunity to teach expressions, textures, timbres, forms, harmony, and other musical skills
• Balance of the overall repertoire which exposes choristers to various cultures and historical styles of music
• Relationship between the voices and the instrumental accompaniment

Examples of online resources:

• Alliance Music Publications (http://www.alliancemusic.com/) • J.W. Pepper Sheet Music (http://www.jwpepper.com/sheet-
• ChoralNet (http://www.choralnet.org/) music/welcome.jsp)
• Boosey and Hawkes (https://www.boosey.com/) • Oxford University Press (http://ukcatalogue.oup.com/)
• Gehrmans Musikforlag (http://www.gehrmans.se/en) • Peermusic Classical (http://www.peermusicclassical.com/)
• Hal Leonard (http://www.halleonard.com/index.jsp?subsiteid=5) • Primarily A Cappella (http://www.singers.com/)
• Hinshaw Music (http://www.hinshawmusic.com/) • Walton Music (https://www.giamusic.com/waltonmusic/)

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Annex F

Further Reading Material for Choir CCA Teachers-in-Charge

Bartle, J. A. (1993). Lifeline for Children’s Choir Directors. Toronto, Canada: Gordon V. Thompson Music.

Gardner, H., Perkins, D., & Perrone, V. ( ). Teaching for Understanding

Marzano, R. J. & Pickering, D. J. (2006). Dimensions of Learning Teacher’s Manual. 2nd Ed. Hawker Brownlow Education.

Rao, D. (1995). We Will Sing! Choral Music Experience for Classroom Choirs, Performance Programs: One, Two and Three. New York: Boosey
and Hawkes.

Siedel, S., Tishman, S., Winner, E., Hetland, L., & Palmer, P. (2009). The Qualities of Quality: Understanding Excellence in Arts Education.
Harvard Graduate School of Education.

Student Development Curriculum Division. (2014). General Music Programme 2015 Syllabus Primary/Secondary. MOE, Singapore

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