Helmut Schaumberger
Univerza Mozarteum, Salzburg
HOW TO SING PROFESSIONALLY WITH CHILDREN AND ADOLESCENTS.
CORE COMPETENCES OF CHILDREN´S AND YOUTH CHOIR DIRECTORS
Izvirni znanstveni èlanek / Original Research Paper
Abstract
Since the beginning of the 21st century, a series of new singing initiatives was registered throughout
German speaking countries. This development caused an increase of special training programs as
well as master programs for children´s and youth choir directors. In relation to that, the question
arose which competences children´s and youth choir directors need for their work with children and
adolescents. This article outlines a competence model with the aim of dealing with this question.
The model is based on two foundations: first, the competences listed in recent handbooks for singing
with children and adolescents, and, second, the competences found in the literature on teacher
education and music pedagogy.
Keywords: children´s and youth choir director, professionalisation, competences
Izvleèek
Kljuène kompetence zborovodij za strokovno vodenje otroških in mladinskih pevskih zborov
Od zaèetka 21. stoletja po nemško govoreèih deelah opaamo vse veè zanimanja za petje.
Posledièno se pojavlja vse veè izobraevalnih programov, med njimi tudi magistrski program za
zborovodjo otroških in mladinskih pevskih zborov. V povezavi s tem se postavlja vprašanje, katere
kompetence so pomembne za vodenje otroških in mladinskih pevskih zborov. V èlanku bomo
predstavili kompetenèni model, ki ponuja odgovor. Osnovan je na dveh temeljih: obsega
kompetence, ki so navedene v aktualnih uèbenikih za otroško in mladinsko petje, ter kompetence iz
literature o izobraevanju uèiteljev in glasbeni pedagogiki.
Kljuène besede: vodenje otroških in mladinskih pevskih zborov, profesionalizacija, kompetence
Preliminary note
This article is based on the results obtained as part of the dissertation study on the
professionalisation of children´s and youth choir directors (Schaumberger 2018), which
primarily refers to German-language basic texts and models. Since the terms used in these
texts and models are mostly written in German, they have been translated into English by
the author. This should enable the possibility of a cross-national and language-wide
discussion on central competences of children´s and youth choir directors.
Introduction
The popularity of singing, especially singing with children and adolescents, is
characterized by constant ups and downs through the centuries both in terms of the amount
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of singing and of the quality of singing. Since the beginning of the 21st century, a
renaissance of singing (Göstl 2011) can be observed in the German-speaking countries. A
number of indicators identify this renaissance: more and more choir courses are being
offered in public and private schools throughout Austria and Germany and many
institutions as well as committed people have developed a series of attractive choir
initiatives; the number of competitions for children´s and youth choirs has increased as has
the establishment of children´s and youth choirs at theaters and opera houses. These
activities can be seen as a result of a new understanding of the value of singing in society
and are based on the work of a certain group of pepole: children´s and youth choir
directors at all levels, music teachers, educators and committed people who sing with
children and adolescents. The aim of this article is to explore the set of competences,
abilities and characteristics these persons need for their work. It is based on the
dissertation project by Helmut Schaumberger (2018), who studied the professionalisation
of children´s and youth choir directors. The first pillar of this research project, –the
literature analysis–is aimed at the competences of children´s and youth choir directors. For
this purpose, a series of German-language practical handbooks for singing with children
and adolescents was taken into consideration. In addition, a number of existing
competence models in the fields of music pedagogy and teacher training were examined
for their applicability to the field of children´s and youth choirs. On the basis of these, a
competence model for children´s and youth choir directors was developed. This
competence model subsequently served as the basis for the contrastive curricula analysis
of existing special training programs in Austria and Germany and, finally, for the
development of quality criteria.
Competences in Practical Handbooks for Children´s and Youth Choirs
Since the 1990s, a series of practical handbooks for working with children´s and youth
choirs as well as handbooks for children´s and youth voice pedagogy have been published
in Austria and Germany. Their authors summed up the basic knowledge of children`s and
youth choir directors based on their own practical experience and their own research.
These practical handbooks were written by are Manfred Ernst (2008), Christiane Wieblitz
(2007), Karl Peter Chilla (2003), Rainer Pachner and Volker Barth (2001), Robert Göstl
(1996) and Gerd-Peter Münden (1993). The fundamental works in the field of children´s
voice pedagogy were written by Paul Nitsche (2001) and Andreas Mohr (1997). In
addition to, selected essays were reviewed (Holland-Moritz 2010, Göstl 2008, Deutsche
Chorjugend 2007 and 2008) that contain recommendations for the training of children´s
and youth choir directors. In analyzing the handbooks and essays via comparative content
analysis, 15 competence fields could be identified (see ).
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Table 1: Competences in Practical Handbooks for Children´s and Youth Choirs
1. The directors singing voice
2. Children´s voice pedagogy
3. Role model and personal skills
4. Pedagogical and psychological skills
5. Methodological and didactical skills
6. (Choral) Conducting
7. Literature and repertoire
8. Instrumental skills
9. Ear training and music theory
10. Movement and dance
11. Scenic work
12. Management and organization
13. Science
14. Improvisation and elemental composition
15. Technology and media
Each of these competence fields contains a set of competences that together cover the
knowledge and skill sets required of a children´s and youth choir director. Competences in
this context are understood as professional competences that Ewald Terhart (2007, p. 45)
describes as a bundle of physical and mental abilities that someone needs to be able to
solve professional tasks or problems. These professional skills are in further consequence
important to evaluate solutions and develop their own repertoire of behavior patterns.
(Ibid.) Similar to Terhart, Franz Emanuel Weinert also differentiates between the
“cognitive abilities and skills [...] that are available or can be learned […] as well as the
associated motivational, volitional and social readiness and abilities […].” (Weinert
quoted from Blömeke 2007, p. 193) For Robert Göstl (1996, p. 59) the development of
one´s singing under the guidance of an expert is the most important element in regard to
the training of the director of a children´s choir. The second most important skill he
describes is the aural skill. In addition, he mentions other areas that must be solidly
grounded if a children´s or youth choir director wants to work with children: This includes
composition, sight-reading, singing methodology and conducting. Manfred Ernst (2008,
p. 5) attaches great importance to the ability to accompany songs with the piano and guitar.
In addition to basic skills on a chordal instrument, he considers music theory and the basic
vocal training to be essential. Christiane Wieblitz (2007) counts the personal qualities,
such as fantasy, spontaneity, enthusiasm, humour, patience and tolerance, as important to
the basic set of tools of children´s and youth choir directors. She goes on saying: “The
ability to perceive each child lovingly and without prejudice is essential to the prosperity
of a children´s choir.” (Ibid., p. 19) Thomas Holland-Moritz (2010) also emphasizes that
success in working with children´s choirs can only be achieved if the conductors have
qualities such as empathy, spontaneity, responsiveness, repartee, patience and
imagination as well as mastery of different levels of the language.
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Competence Models in Music Pedagogy
Competence models in this work are defined as bundles of competence fields tailored to a
specific profession. They include general and personal competences as well as
subject-specific competences. In the course of the research project on the
professionalisation of children´s and youth choir directors, a total of five competence
models from the field of music pedagogy were used. Three of them (Losert 2015, Henning
2014 and Kraemer 2004) are, in the broadest sense, competence models of music teachers,
the other two (Hammerschmidt 2009 and Bastian & Fischer 2006) are competence models
for choir directors and conductors. In 2015, Martin Losert presented a competence model
for instrumental and vocal pedagogues with four main competence areas. The model starts
with “pedagogical conviction”, followed by the “artistic competence”, the “teacher-pupil
communication” and the “teaching and practicing competence”. Heike Henning´s model
was developed in the context of a research project on the quality of vocal pedagogy with
children at primary school age. She defines a total of five competences: “professional
competence”, “didactical competence”, “educational-psychological competence”,
“personal competence” and “ethical competence”. Especially the fifth competence, the
“ethical competence”, stands out in comparison with the other competence models.
Henning sees ethical-humane principles as important because vocal pedagogical practice
with children also includes ethical dimensions. (Henning 2014, p. 140 and p. 206) The
third teacher-competence model comes from Rudolf-Dieter Kraemer and is a classical
music teacher competence model. He identifies six fields of competence: “professional
and music-practical competence”, “pedagogical-didactic competence”, “media didactic
competence”, “personal competence”, “diagnostic, psychological and social competence”
as well as “academic, administrative and organisational competence”. The salient element
of this model is the “media didactic competence”. Especially in the 21st century, when
digitization has affected almost all areas of our society, this competence has to be
recognized as essential for pedagogical work. Among the two competence models for
conductors and choir directors is the competence model presented by Wilke Peter
Hammerschmidt in 2009. It comprises four competence fields for orchestra conductors.
This model explicitly mentions the “artistic competence” and the “conducting
competence” in addition to the “pedagogical-psychological competence”. As in the model
of Rudolf-Dieter Kraemer, the model of Hammerschmidt contains the field
“administrative competence”. Closely related to this competence field is the “knowledge
in cultural management” presented by Hans Günther Bastian & Wilfried Fischer (2006).
The model of these authors as well as that of Henning (2014) contains the “musical-artistic
competence” and the “pedagogic abilities”. It is completed by the competences “ability to
motivate”, the “function as a role model” and the “ability to initiate identification
processes”.
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Table 2: Competence Models in Music Pedagogy
Losert (2015):
1) Pedagogical conviction
2) Artistic competence
3) Teacher-pupil communication
4) Teaching and practicing
competence
Henning (2014):
1) Professional competence (expertise and
artistic-practical competence)
2) Didactical competence
3) Educational-psychological competence
4) Personal competence
5) Ethical competence
Kraemer (2004):
1) Professional and music-practical competence
2) Pedagogical-didactic competence
3) Media didactic competence
4) Personal competence
5) Diagnostic, psychological and social competence
6) Academic, administrative and organisational competence
Hammerschmidt (2009):
1) Artistic competences
2) Conducting competences
3) Pedagogical-psychological
competences
4) Administrative competences
Bastian & Fischer (2006):
1) Musical and artistic competence
2) Pedagogic abilities
3) The ability to motivate
4) Role-model function
5) Ability to initiate identification processes
6) Knowledge in cultural management
When comparing these five competence models in music pedagogy, it is noticeable that
several fields of competence have slightly different names, but ultimately describe the
same competence. In each model, for example, a “pedagogical-psychological
competence” is included, as is an “artistic-practical competence”. Three models
emphasize “personal competence”, “didactic competence” and “administrative,
organisational management skills” as essential. The remainder of the existing
competences designate special (partial) competences. Against the background of the
competences of children´s and youth choir directors, the following one-time mentioned
competences particularly stand out: “teacher-pupil communication”, “ethical
competence”, “media didactic competence”, “ability to initiate identification processes”.
Teacher Competence Models
Successful and mutually satisfying singing in children´s and youth choirs requires, in
addition to professional and artistic competences, a number of skills that could be
summarized under the term “pedagogical competence”. Like teachers, children´s and
youth choir directors work intensively with children and youth groups. Despite some
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differences in their fields of activity, it makes sense looking at competence models for
teachers in order to discover new competences suitable for the training of children´s and
youth choir directors.
Among the first significant models in the field of teacher training (Hopmann 2013, p. 38)
are those by the German pedagogue Heinrich Roth (1950) and the American educational
psychologist Lee Shulman (1986). Stefan T. Hopmann (2013, p. 39) points out that both
models are almost identical, but adds that a difference in the understanding of at least two
competences is evident. Both competence models consist of seven fields of expertise, the
first of which is the “content knowledge” (Shulman) or “mastery of subject matters”
(Roth). This is followed by the competence of “pedagogical reflection” (Roth) or
“pedagogical content knowledge” and “psychological reflection”. Roth´s “teaching
situation” corresponds to Shulman´s “knowledge of learners and their characteristics”.
For both authors, the teaching goals are formulated as competence or knowledge. Roth´s
“methodological reflection competence” could be seen on a level with Shulman´s
“pedagogical knowledge”. Interestingly, in Roth´s model, the “method competence” (see
“methodological reflection and method”) occurs two times, while Shulman emphasizes
the word pedagogy (see “pedagogical content knowledge”, “pedagogical knowledge”,
“knowledge of pedagogical ends”, “context knowledge and pedagogy”). About 15 years
after Shulman´s competence model Fritz Oser and Jürgen Oelkers (2001 cit. after Abs et
al. 2005) presented their 12 competence fields in a comprehensive study on the
effectiveness of teacher education and the different teacher education systems in
German-speaking Switzerland. These 12 fields contain 88 so-called standards, which are
used to interview newly qualified teachers after completing their training. It is striking that
in those standards the fields knowledge and competence are not included, because these
fields, according to Fritz Oser cannot be professional standards (Schnücke 2013). The first
four competences focus on classroom management and the interaction between teachers
and students (“teacher-student relationship and feedback”, “diagnosis and student
supportive action”, “coping with discipline issues and student risks”, “building and
promoting social behaviour”). The three subsequent competences relate to the learning
process and the assessment (“teaching learning strategies” and “accompanying learning
processes”, “design and methods of teaching”, “assessment”). This is followed by the
competence field “media”, which from today´s perspective can be described as a
cross-sectional competence that is part of almost every area of teaching activity. Two
other competences relate to cooperation within the school and beyond (“collaboration at
school”, “school and public”). The penultimate competence in Oser´s and Oelker´s model
is a personality-related competence (“self-organisational competence”). The general
didactic and professional skills are included only in the last competence field. A shorter
competence model with only four competence fields was presented by German Ministries
of Education in 2004 (cit. after Schratz 2011). In addition to the competence fields of
teaching, educating and assessment, innovation is particularly noteworthy in these
“Standards for Teacher Education”. Five competence fields or domains, including the
so-called “sixth discipline” (this stands for the professional embedding in the content
context), were defined by the Austrian Federal Ministry of Education working group
EPIK (= development of professionalism in an international context) in 2008. This model
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also contains some interesting new additions in the competence discussion. In particular,
these include the competence fields of “professional awareness”, “personal mastery” and
the “ability to differentiate”. The sixth discipline surely deserves special attention: it has a
great unifying character and emphasizes that teachers must be able to embed the individual
areas of competence in the content context of the work.
Table 3: Teacher Competence Models
Roth (1950):
1) Mastery of subject matters
2) Pedagogical reflection
3) Psychological reflection
4) Teaching situation
5) Methodological reflection
6) Objective
7) Method
Shulman (1986):
1) Content knowledge
2) Pedagogical content knowledge
3) Knowledge of learners and their characteristics
4) Pedagogical knowledge (classroom)
5) Curriculum knowledge (tools of trade)
6) Knowledge of pedagogical ends, purposes etc.
7) Context knowledge and “pedagogy”
Oser (2001):
1) Teacher-student relationships and feedback
2) Diagnosis and student supportive action
3) Coping with discipline issues and student risks
4) Building and promoting social behaviour
5) Teaching learning strategies and accompanying learning processes
6) Design and methods of teaching
7) Assessment
8) Media
9) Collaboration at school
10) School and public
11) Self-organisational competence of the teacher
12) General didactic and professional skills
EPIK (2008):
1) Reflection and discourse skills
(sharing of knowledge and skills)
2) Professional awareness
(self-perception as an expert)
3) Personal pastery (the power of
individual competence)
4) Cooperation and collegiality (the
productivity of cooperation)
5) Differentiation ability (dealing with
big and small differences)
6) Sixth discipline’ (meaning the
professional embedding in the content
context of the teacher’s work)
Standards for Teacher Education (2004):
1) Teaching competence: Teachers are experts in
teaching and learning
2) Educational competence: Teachers carry out
their educational task
3) Assessment area: Teachers conduct their
assessment task fairly and responsibly
4) Competence area innovation: Teachers are
constantly developing their competences
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Core Competences of Children´s and Youth Choir Directors
Through a contrastive analysis of the above-described sources, a total of ten competence
fields could be identified. In the course of this contrastive analysis, equal or similarly
named competence fields were filtered out and summarized into a generic term. Following
this, the competences described in the practical handbooks were assigned to the new
competence fields. In the course of this process, it became necessary to set up a new
competence field. This is the “professional-theoretical competence” that does not appear
in any of the aforementioned competence models. Although general musical-artistic and
professional-theoretical competences are closely interwoven in training programs for
children´s and youth choir directors, the emphasis on this competence field has an
important significance: it makes the field visible in which important professional contents
such as music theory, ear training or literature can be classified. The contrastive analysis
has also shown that three competence fields from the teacher competence models barely
appear in the relevant literature on children´s and youth choir work. These are the fields
“innovation competence”, “professional awareness” and “willingness to reflect and
discourse”. They have been included in the competence model for children´s and youth
choir directors because they are of central importance for the sustainable anchoring of the
profession of children´s and youth choir directors and for their further development.
Table 4: Core Competences of Children´s and Youth Choir Directors
SCHAUMBERGER (2018):
1) Musical-artistic competence
2) Professional-theoretical competence
3) Methodological-didactical competence
4) Pedagogical-psychological competence
5) Personal competence
6) Organisational competence
7) Media literacy
8) Innovation competence
9) Professional awareness
10) Willingness to reflect and discourse
Summary and Conclusion
The aim of this article was to identify core competences of children´s and youth choir
directors necessary to facilitate singing with children and adolescents. In order to identify
these, numerous German-language practical handbooks for singing with children and
adolescents were examined. Furthermore, existing competence models from teacher
education and music pedagogy were used to compile the core competences presented in .
It is a contribution to the professionalisation of children´s and youth choir directors in
German-speaking countries, where since the beginning of the 21st century, the profession
of children´s and youth choir directors has established itself alongside that of the general
music teacher. In this article, no information was given on what the contents of a special
training program could look like in detail, which formats are suited to train the described
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competences of children´s and youth choir directors and not least how much time would
ideally be spent on such a project. Some best practice models on how to train children´s
and youth choir directors in German-speaking countries are included in the dissertation by
Helmut Schaumberger (2018). In order to obtain further data on the necessary
competences of children´s and youth choir directors, a survey of graduates of relevant
training programs could be conducted. Likewise, a survey of children and adolescents in
the choirs would make sense. These could provide data on the effect size of the different
training contents and possibly help define new categories. Last but not least, a look at best
practice models from other countries (such as the choir teacher model in the US) could
provide important information.
In order to obtain further data on the necessary competences of children´s and youth choir
directors, a survey of graduates of relevant training programs could be conducted.
Likewise, a survey of children and adolescents in the choirs would make sense. These
could provide data on the effect size of the different training contents and possibly help
define new categories. Last but not least, a look at best practice models from other
countries (such as the choir teacher model in the US) could provide important information.
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Povzetek in zakljuèek
Cilj prièujoèega èlanka je prepoznati kompetence, ki zborovodji otroških in mladinskih
pevskih zborov pomagajo pri delu. V pomoè so nam bili nemški uèbeniki za petje z otroki
in mladostniki. Obstojeèi kompetenèni modeli s podroèij izobraevanja uèiteljev in
glasbene pedagogike so bili temelj za oblikovanje kljuènih kompetenc, ki so navedene v
tabeli 4. Kljuène kompetence bodo pripomogle k profesionalizaciji zborovodij otroških in
mladinskih pevskih zborov v nemško govoreèih deelah, kjer se je od zaèetka 21. stoletja
uveljavil poklic zborovodje otroških in mladinskih pevskih zborov ob boku poklica
glasbenega uèitelja. Èlanek sicer ne poda informacij o vsebini izobraevalnih programov,
uènih metodah, ki so primerne za pridobitev kompetenc za vodenje otroških in mladinskih
pevskih zborov, in prav tako ne o èasovnem okviru. Primeri dobre prakse v izobraevanju
zborovodij otroških in mladinskih pevskih zborov v nemško govoreèih deelah so
navedeni v disertaciji Helmuta Schaumbergerja (2018). Kompetenèni model bi lahko
dopolnili s pomoèjo anketiranja diplomantov relevantnih programov. Poleg tega bi lahko
izvedli anketo na otrocih in mladostnikih, ki pojejo v zborih. Izsledki bi lahko zagotovili
podatke o uèinkovitosti razliènih izobraevalnih vsebin in po monosti pomagali
oblikovati nove kategorije. Pomembne podatke pa bi lahko prinesel tudi pregled primerov
dobrih praks iz tujine (npr. model izobraevanja uèiteljev v ZDA).
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Helmut Schaumberger, HOW TO SING PROFESSIONALLY WITH CHILDREN ...