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Ask a Conductor
A s k a C o n d u c t o r

Above all, it’s important to let the singer know that you You may want to record a rehearsal to see how you do at
care about them and are willing to work with them. This these things or have a trusted person observe you.
may take time but is well worth the effort. The problem is more difficult if it stems from systemic
factors or school culture. Dealing with this takes time and
support from others. You will need to consider the follow-
ing: How do counselors, administration, and parents view
Richard A. Williamson the role of the ensemble in the curriculum and the life of
Professor of Music, South Carolina School of the school and community? Is there pressure to perform? Is
the Arts at Anderson University there real support for high standards? What are your goals
Director of Choral Activities, for the group?
Coordinator of Music Theory In one school I served, counselors routinely placed
rwilliamson@andersonuniversity.edu students who needed an easy elective in beginning choir
whether or not they had any interest in singing. It was hard
to provide a good choral experience for those who wanted
How to address this problem depends on the specifics of it while managing those who did not. I suggested starting
the situation. First, make sure you diagnose the problem ac- a general music class for students who needed an elective
curately and are not contributing to it. How do the students but did not want to perform and promised to adapt the
see the situation? Are your expectations clear to everyone class to whomever signed up. Eventually (when it solved a
involved? Does your teaching encourage engagement? You problem of theirs) the counselors and curriculum coordina-
can address these matters directly with your students. You tor agreed to add the class. From that point, I could help
may also have to consider how the culture of the school as my administration, meet the needs of a wider range of stu-
a whole influences the problem. dents, and turn beginning choir into a productive training
Try to see through the students’ eyes. Ask them why they ground for freshmen who loved to sing.
joined choir and what they like about it. Then you can be-
gin to address the problem in a useful way. In high school,
I joined choir because the teacher noticed my interest in
music in eighth grade and nurtured it. In middle school, I
ended up in chorus because a friend dragged me with him.
In elementary school, the teacher drafted me into choir
along with most of my classmates with no real explanation.
Getting students engaged in these scenarios requires very
different approaches.
Make certain your expectations for participation align
with school policy and that you have the support of your
administration. Communicate your expectations to stu-
dents and parents from the beginning and follow them con-
sistently. In your day-to-day teaching, make eye contact,
wait for attention, and persist in requiring participation.
If necessary, rearrange seating to break up troublesome
groups or place students who need extra supervision close
to you.
Use teaching techniques that encourage participation.
Keep instruction fast paced but organized. Include a bal-
ance of challenging and easier tasks in each rehearsal. Use
a variety of student groupings and types of activity in each
class. Avoid speaking more than thirty seconds at a time.

ChorTeach Volume 15 • Issue 4 6 Summer 2023