Árpád Toth
Dead ends in general education – Frustrating questions and liberating answers

Parallel with the fact that general education has been getting more and more important since the 20th century and has reached every part of the society, teachers all over the world are facing with new, unknown challenges.
Art education for everyone has been questioned nearly since its existence, but in the past decades every subject’s importance has raised doubts in the society. Since the internet is able to provide almost all of the intellectual knowledge that school can give, and in the past years online materials has been developed faster than ever before.
We as teachers have to re-think again what our job is in the classroom and have to explore new ways to proof our importance. Educators all over the world deal with new, frustrating questions about their roles and often cannot give fast and reasonable answers. Luckily, music teachers have their own old ways which actually could meet these new challenges: Our lessons have to focus more on the incomparable joyous experience of music making together and skill development, rather than musical knowledge like never before. And how else to create musical experiences deeper and more precious than through SINGING! We have arrived at a point in time when the famous anecdote in which Kodály answers the tricky question of what the substance of music education is: “Singing, singing, singing” has become relevant again.

Workshop 1: Improvisation and singing. The importance of supporting creativity in art education is kind of a common place in pedagogy. However, in music education, where the teachers are responsible for the quality of musical activity in the classroom, the execution of improvisation is one of the most disputable questions for singing classroom advocators. Let us explore singing techniques for different age groups, where there is a place for individual musical thoughts, yet we can hold the artistic level as high as possible.

Workshop 2: Singing and movement. Through the development of the music pedagogy in the 20th century numerous systems developed their own relation with the subject. Beside the above mentioned achievements of the past century, we also deal with a rich tradition of children’s songs essentially connected with movements from all over the world.

Workshop 3: Sing through the history! Western Europe has a great tradition to teach theory from an entirely theoretical point of view. Singing classroom has the opportunity to introduce this approach and teach basic music history and music theory phenomena in a deeper, practical way. The participants of the workshop will experience a practical music lesson about medieval times, where the old singing traditions and chants get alive!

Sanna Salminen
Children, Choir and Covid-19 restrictions

The presentation discusses the effects of Covid-19 pandemic on the experiences of singing children. In the beginning of the year 2021 a survey was carried out in Finland, Austria and Italy on how the lockdown times impacted the singing habits and emotions of 10-20 years old children and youth. Here the focus is on comparing the experiences of children who have choir singing as a hobby to those of children who normally sing alone, at school, in other contexts or don’t sing at all. The results are reflected in the theoretical framework of social inclusion that is mainly adapted from Raivio & Karjalainen (2013). The results show that the singing restrictions during the pandemic caused agitation, sadness and anger especially among children who have choral singing as a hobby. In open question they depicted suffering from the lack of different factors that form the framework of social inclusion. On the other hand children without choral hobbies noticed much less negative impacts from the singing restrictions.

Motje Wolf & Jenna Brown
Whole Class Singing Strategies in England – a review

In this talk, we will review the development of whole class singing activities in England over the last 10 years. The foundation of the National Singing Programme, Sing Up, led to whole class singing activities happening in schools throughout England. Many projects followed swiftly and today, we have a rich culture of musical outreach projects organised by professional and semi-professional choirs, Music Hubs, Cathedrals and Concert Halls. Children benefit through regular singing experiences often leading to mass choir concerts, for example Young Voices in Birmingham. In previous publications, the danger of missing concepts, the use of tandem projects and issues around who holds the knowledge when working with external experts have been discussed (Wolf 2020). However, concepts focusing on the knowledge transfer aiming to upskill teachers slowly arise. Nevertheless, working with musical partners outside of the school is a way in which we allow children to experience the benefits of singing (Hallam 2010, Clift 2012). We know that singing can enhance wellbeing (Clift 2012), academic performance (Arnaud Cabanac et al 2013, Schellenberg 2004, Catteral and Rauscher 2008), and that choral singing in particular can lead to positive emotional, social, physical and creative outcomes (Bailey and Davidson 2002, 2003; Beck et al. 2000; Irish 1993). The outreach projects, however, can also offer aesthetic experiences of musical performance that would be difficult to reach in a school.
This talk will look especially at how primary school students can benefit from outreach projects, and, thereby, will investigate some of the concepts and provide recommendations for the practice

Helmut Schaumberger
Rolle und Bedeutung des Singens im Musikunterricht aus der Sicht von Schüler*innen

Dass das Singen ein zentrales Element musikalisch-ästhetischer Bildung ist bzw. als solches gesehen wird, lässt sich an einer Vielzahl musikpädagogischer Publikationen und Forschungsarbeiten sowie an einer stetig steigenden Zahl von Initiativen zur Förderung des schulischen und außerschulischen Singens ablesen. Musikerzieher*innen aller Schultypen, Leiter*innen von Kinder- und Jugendchören, Entwickler*innen diverser Singinitiativen sowie Stakeholder in Politik und Kultur stützen sich auf diese auch in der Gesellschaft stark verankerte Überzeugung und entwickeln darauf aufbauend ihre Sing-Angebote. Sie repräsentieren dabei jedoch nur „eine Seite der Medaille”. Auf der anderen Seite stehen als mindestens ebenso bedeutende Gruppe die singenden jungen Menschen, die Adressat*innen unterrichtlicher Anstrengungen und methodisch-didaktischer Interventionen. Ihre Stimme und ihre Perspektive auf Unterricht bzw. das Singen kann im Sinne eines schüler*innenorientierten Musikunterrichts, der sich an den Bedürfnissen und der Eigenart von Kindern und Jugendlichen ausrichtet (Kraemer 2017, S. 211), als zumindest gleich wichtig angesehen werden. Doch welche Perspektive haben Schüler*innen auf das Singen und im Speziellen auf das Singen im Musikunterricht? Welche Erwartungen haben sie an das Singen und welche Rolle spielt es in ihrem Alltag?
Diese und eine Reihe verwandter Fragen stehen im Zentrum des Vortrags, an dessen Ende Bedingungen und Möglichkeiten für die Weiterentwicklung des (schulischen) Singens formuliert werden. Grundlage dafür bilden Daten ausgewählter Studien, in denen die Perspektive von Schüler*innen auf den Musikunterricht untersucht wurde. In diesen findet sich eine Reihe bisher weniger stark rezipierter Erkenntnisse, insbesondere solche zu genderspezifischen Perspektiven auf das Singen, die von großer Relevanz sind für eine fundierte Auseinandersetzung mit der „anderen Seite der Medaille“.

Aleksander Zielinski
La mi esperienza in Coro Mus-e durante il Covid

  • Argomento principale: L’espressività nel canto corale ai tempi del covid
  • Il linguaggio non verbale (corpo, sguardo, gesti, disposizione)
  • La comunicazione con il corpo ( respiro , corpo e movimento)
  • La comunicazione con gli occhi (cantare con la mascherina, valorizzando lo sguardo e lo scambio di sguardi )
  • Essere una sola voce (distanti ma uniti in unico suono)
  • Interiorizzare un’idea di movimento (la propriocezione di sé nel canto con ripercussioni positive sulla tecnica vocale e sulla resa)
  • L’espressività del corpo (recitare quello che si canta)
  • La body percussion (un complemento importante che arricchisce il cantato)