High School Honors Choir

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.G Analyze the effect of rehearsal and practice sessions.
• 9.1.12.H Incorporate the effective and safe use of materials, equipment, and tools into the production of works in the arts at work and production spaces.

• Proper body alignment is conducive to good vocal tone production.
• Proper use of breath to support good vocal tone production.
• Vowel production and the acoustical considerations needed to achieve it.
• The International Phonetic Alphabet (IPA) approach to labeling and categorizing vowel sounds.
• Types of vocal registers that exist in the human voice.
• Techniques for singing in tune across one’s entire range.

• Good vocal tone production requires proper breathing, air support, and body alignment.
• A vowel, as it applies to singing, denotes a particular vocal tract shape as well as the resultant sound timbre that occurs due to selective amplification/attenuation of specific harmonic frequencies.
• Vowel unification is necessary for achieving a good ensemble blend and intonation.
• The International Phonetic Alphabet (IPA) is a way of labeling specific vowel sounds used in vocal music.
• Registration choices (i.e. modal or “chest” voice vs. falsetto or “head” voice) are influenced by the range and tessitura as well as the style of the piece of music.
• A healthy balance between laryngeal tension and air is needed to produce “flow” phonation.
• Too much air or too much laryngeal tension may result in “breathy” or “pressed” phonation that is undesired and fatiguing to produce, as well as tuning problems.
• Tuning is a compromise between just tuning of a particular chord and the overall equal temperament needed to keep the whole piece in tune with itself (particularly in a cappella works).
• Singing with awareness of just intonation (and its application to chord function) will result in a richer, fuller ensemble sound. 
   

• Phonate = produce tone
  • Sit/stand with proper posture or body alignment when singing.
  • Utilize appropriate air support to achieve a good tone when singing.
  • Demonstrate good tone with balanced “flow” phonation while performing.
  • Have a mental concept of good vocal tone and actively compare the sound produced against that exemplar.
• Blend/Balance
  • Sing with good balance relative to the ensemble.
  • Identify key vowel sounds as called for by the conductor.
  • Recall and reproduce specific vowel sounds.
  • Utilize unified vowels to achieve balance and ensemble tonal stability.
  • Perform with awareness of function within musical texture and style.
• Tuning
  • Make informed decisions regarding vocal register choice that result in the greatest tuning ease for a passage of music.
  • Properly regulate laryngeal engagement and breath support in a way that produces tone that is centered on pitch.
  • Utilize vowel shape/vocal tract resonance to achieve tuning that makes use of upper harmonics to achieve vocal “ring” and fullness of sound.

• What are good vocal tones, and how are they produced?
• How does musical style affect tone?
• How does vowel choice affect tone and tuning in the ensemble?
• How is knowledge of IPA helpful in standardizing vowel choice across an ensemble?
   

• How do you breathe effectively for singing?
• What muscles are involved in inhalation and exhalation?
• What does good singing posture look like?
• How does body alignment differ from posture?
• How should the lips, teeth, tongue, jaw, and other articulators be utilized to achieve specific vowel sounds?
• What overtones are characteristic of certain vowel sounds?
   

• Grade-appropriate Choral Repertoire
• Whiteboard
• Projector
• Sound System
• Tuning App/software

• Posture
• Vocal Registers
• Vocal Tract
• Body Alignment
• Registration
• Resonator
• Phonation
• Vowel/Vowel Shape
• Articulators
• Flow Phonation
• Pressed Phonation
• Breathy Phonation

• Listening
• Process: Self Assessment
• Ongoing listening skills that should take place anytime the student sings in an ensemble
• Director: Informal Assessment
• Performance: Other oral assessments
• The director listens and analyzes the ensemble's sound and provides continuous feedback to the ensemble
   

PA Arts and Humanities Standards:

• 9.3.12.A Explain and apply the critical examination processes of works in the arts and humanities.
  • Compare and contrast
  • Analyze
  • Interpret
  • Form and test hypotheses
  • Evaluate/form judgments
• 9.3.12.B Determine and apply criteria to a person’s work and works of others in the arts.

• The critical elements of a performance such as interpretation, execution, and quality.
• Critical examination processes such as comparing and contrasting, analysis, interpretation, forming and testing hypotheses, and evaluating and forming judgments.
• How to express in critical terms an evaluative critique of musical performance.
• How to express in critical terms, an evaluative critique of their own individual and ensemble performance.

• Effective music critique combines objective analysis and personal interpretation.
• Critical listening and thinking are essential tools for musical growth.
• Clear, accurate, and respectful communication elevates musical discourse.
   

• Critique and evaluate professional and amateur performances of choral music.
• Listen critically to a musical performance and critique based on listening.
• Utilize appropriate musical terminology in the process of performance critique.
   

• What is required for critical listening?
• How do you listen to music critically?
   

• How do you listen critically to a musical performance?
• What is the integrity of the rhythmic performance?
• What is the integrity of the harmonic and tonal performance?
• Is the musical interpretation appropriate and stylistically accurate?
   

• Computer
• Recording software
• Microphones
• Sound system
   

• Critique
• Critical Listening

• Concert Performance Evaluation
• Constructed Response: Narrative Writing Assignment (i.e. Listening Journals)
• Compare/Contrast Performances - Constructed Response: Critique
• Informal Discussion

PA Arts and Humanities Standards:

• 9.2.12.A. Explain the historical, cultural, and social context of an individual work in the arts.
• 9.2.12.B. Relate works in the arts chronologically to historical events (e.g., 10,000 B.C. to present).
• 9.2.12.D. Analyze a work of art from its historical and cultural perspective.
• 9.2.12.E. Analyze how historical events and culture impact forms, techniques and purposes of works in the arts (e.g., Gilbert and Sullivan operettas).

• Historical significance and biographical information on the composer and/or repertoire selection (varies, depending on the piece of music).
• Programmatic considerations for a given piece of music (varies).
• Important historical composers of choral music.
• Important contemporary composers of choral music.
• Historically significant pieces in the choral repertoire.
• Historically important genres/styles in choral music.

• Music is a reflection of its time and the composer's life.
• Choral repertoire carries historical and cultural significance.
• The evolution of ensemble vocal music and its inclusion into a choral canon is shaped by both historical and contemporary composers as well as societal norms and events.

• Identify a composer’s biographical information that impacted the composition.
• Identify significant historical events that are associated with or impacted the composition.
• Identify significant composers of choral music, both historical and contemporary.
• Make connections between specific pieces of choral repertoire and historical events or time periods, when they exist.

• Who are the historically significant composers of choral repertoire?
• Who are the significant contemporary composers of choral repertoire?
• What biographical information about a composer is relevant to the performance of his/her music?
• What historical events, eras, and developments have influenced a composer's writing? 

• Is there a historical significance to a specific piece of choral music (varies)?
• What biographical information on the composer might help interpret the piece of music?
• What historical or cultural events or developments have impacted this piece or have been impacted by this piece?

• Choral octavos/sheet music
• Computers/iPads
• Projector
• Sound System
• Internet resources (composer biographies, articles, etc.)
   

(*Terms addressed may vary depending on relevance to programmed works.)

• Composer
• Arranger
• Medieval
• Renaissance
• Baroque
• Classical
• Romantic
• Modern/20th century.
• Postmodern
• Motet
• Madrigal
• Part song
• Chanson
• Spiritual
• Anthem
• Folk song
• Mass
• Requiem
• Oratorio
• Cantata

• Constructed Response: Written Test
• Constructed Response: Journal Entry
• Discussions

PA Arts and Humanities Standards:    

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts.
• 9.1.12.D Demonstrate specific styles in combination through the production or performance of a unique work of art.

• How to blend and balance within an ensemble.
• How to subdivide in the context of an ensemble.
• How to follow a conductor in an ensemble.
• Proper stage etiquette for a choir performance.
• Music vocabulary (tempi, stylistic, dynamic, expressive).
• Metrical conducting patterns.
• Audience etiquette for a choir performance.
• Principles of blend and balance in an ensemble.
• Best practices for individual practice.
• Rehearsal etiquette.
• Conventions of music notation.

• Successful ensemble performance requires awareness, communication, and cooperation.
• Musicians must apply musical vocabulary, etiquette, and performance conventions consistently as part of an ensemble.
• Thoughtful preparation leads to meaningful musical experiences.

• Perform with sensitivity to ensemble blend, balance, and timbral subtleties in ensemble settings.
• Interpret conductors’ gestures concerning tempo, meter, ensemble techniques, expression, notation conventions, and interpretive realization of printed musical scores.
• Define common musical terms for tempo, expression, dynamics, and style.
• Demonstrate appropriate rehearsal etiquette and procedures in ensemble settings.
• Perform ensemble literature in public performances, as a realization of the study of choral literature.

• What do students need to know about performing in a choir relative to ensemble performance? 
• How does an ensemble play as a cohesive unit?
• What conducting gestures does a musician need to understand in a choir?
   

• How do you determine your role with the context of the ensemble, relative to the repertoire?
• What are the standard metrical conducting patterns?
• What knowledge of musical terminology is needed for any given piece of repertoire?
• What are the conventions of stage etiquette for a choir performance?
• What is the audience’s role and etiquette in a live musical performance?
• What procedures make for efficient and productive ensemble rehearsal?
   

• Grade-appropriate choral literature
   

(*Exact terminology utilized may vary depending on the needs of a particular programmed work. The following list, however, represents a fairly comprehensive inventory of standard expressive terminology found in high school-level choral works.)

• Tempo
• Subdivision
• Pattern
• Blend
• Balance
• Intonation
• Dynamics
• Largo
• Lento
• Adagio
• Allegro
• Moderato
• Andante
• Vivace
• Presto
• Crescendo
• Decrescendo
• Diminuendo
• Ritardando
• Rallentando
• Allargando
• Accelerando
• Stingendo
• A Tempo
• Dolce
• Legato
• Staccato
• Slur
• Articulation
• tenuto
• Cantabile
• Maestoso
• ppp
• pp
• p
• mp
• mf
• f
• ff
• fff
• fp
• sfz
• bpm
• meter
• Time signature
• Con
• Poco
• Poco a poco
• Sans
• Espressivo
• Tacet
• D.C. (da capo)
• D.S. (dal segno)
• Al Fine
• Coda
• Marcato
• Colla parte
• Messa di voce
• Unison
• Homophonic
• Polyphonic 
• Contrapuntal

• Director informal assessment
• Performance: Performance Assessment

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts.
• 9.1.12.C Integrate and apply advanced vocabulary to the arts forms.
• 9.1.12.D Demonstrate specific styles in combination through the production or performance of a unique work of art.

• Phrasing, dynamic contour, and expressive conventions (vibrato, etc.) as part of the interpretation of written music.
• Dynamic interpretation.
• Understand musical phrasing.
• Phrasing, dynamic contour, and expressive conventions (vibrato, etc.) as part of the interpretation of written music.
• Dynamic interpretation.
• Form.
• Texture.

• Expressive performance brings music to life.
• Phrasing and dynamic shaping are essential to musical communication.
• Musical interpretation requires personal decision-making within a collaborative context.
• Musical interpretation is influenced by factors such as style and the structural fabric of a work.

• Interpret written music - phrasing, dynamic contour, expressive conventions (vibrato, etc.).
• Perform music with dynamic interpretation.
• Perform music with a sense of musical phrasing.
• Perform music expressively with appropriate expressive conventions - vibrato, shaping, note grouping
• Make phrasing decisions in melodic content within the ensemble repertoire.
• Make phrasing decisions in accompaniment parts relative to melodic phrase structure.
• Produce quality and characteristic tone throughout a wide dynamic range.
• Use vibrato appropriately both in solo and ensemble contexts.
• Make musical decisions and interpretations relative to the ensemble.
• Make musical decisions about textural elements in a work (i.e. imitative counterpoint).
• Make musical decisions concerning form in a work (i.e. initial statement of a theme or motive vs. return of a theme or motive).

• What are the elements of expression?
• How does one perform expressively?
   

• What are the conventions of phrasing within a specific style of music?
• What parts are accompaniment and what is melody in a specific piece of music?
• When is it appropriate to use vibrato in an ensemble setting?
• What are the conventions of musical expression in a choral ensemble?
   

• Grade-appropriate choral literature
   

(*Exact terminology utilized may vary depending on the needs of a particular programmed work. The following list, however, represents a fairly comprehensive inventory of terminology relevant to interpretive decision making found in high school-level choral works.)

• Expression
• Melody
• Texture
• Vibrato
• Dynamics
• Accompaniment
• Counterpoint
• Form
• Note Grouping
• Counter Melody
• Fugue
• Phrasing
• Ostinato
• Imitation

• Director informal assessment
• Performance: Performance Assessment
   

PA Arts and Humanities Standards:

• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts.
• 9.1.12.D Demonstrate specific styles in combination through the production or performance of a unique work of art.
• 9.1.12.G Analyze the effect of rehearsal and practice sessions.
• 9.1.12.K Analyze and evaluate the use of traditional and contemporary technologies in furthering knowledge and understanding in the humanities.

• Understand the individual’s role in ensemble rehearsal processes.
• Etiquette for ensemble rehearsal.
• Strategies for engaging in the rehearsal process.
• Importance of learning individual parts as a portion of the whole work.
• Strategies for efficient practice.
• Goal-setting strategies.
• Effective practice techniques and tools.
• Technology tools for practice and rehearsal.

• Individual responsibility drives ensemble success.
• Effective practice and goal setting lead to musical growth.
• Technology can serve as a tool to enhance practice and rehearsal efficiency.

• Demonstrate proper rehearsal etiquette.
• Engage in the rehearsal process.
• Practice with efficiency.
• Set personal practice achievement goals.
• Analyze singing for the purpose of planning productive individual practice.
• Discuss, demonstrate, and model proper and effective rehearsal techniques, focusing on individual responsibilities and contributions to the process.
• Use technology resources for practice (Apps, Choral Tracks, etc.).
• Use technology to assist in rehearsals (e.g., metronome, VoceVista, Choral Tracks, etc.).

• What are the elements and procedures for effective and efficient ensemble rehearsals?
• What are appropriate methods and strategies for individual practice?
   

• What are ways to engage in the ensemble rehearsal process?
• What is the individual’s role and responsibilities in an ensemble rehearsal?
• What is the difference between a long-term goal and a short-term goal for practicing?
• How can planning make practice more efficient and effective?
• What technology tools can be used to practice and analyze singing?

• Computer/iPad
• Choral practice tracks
• VoceVista
• Metronome/metronome app
• Sound system
• Recording equipment

• Practice
• Rehearsal
• Etiquette
• Goal
• Metronome
   

• Ongoing
• Process: Growth-Focused Assessment
• Director-monitored individual assessments for improvement, achievement, and advancement
   

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts.
• 9.1.12.C Integrate and apply advanced vocabulary to the arts forms.
• 9.1.12.D Demonstrate specific styles in combination through the production or performance of a unique work of art.

• Time signatures.
• Simple, compound, and complex meters.
• Duple and Triple subdivision.
• Count-writing conventions (e.g. 1-e-+-a).
• Macro and micro beats.
• Tempo and beats per minute.

• Understanding meter and subdivision is essential for accurate rhythm performances.
• Clear, consistent counting systems support precision in ensemble and solo singing.
• Tempo, beats per minute, and subdivision impact the feel and function of music.

• Perform rhythm patterns in simple, compound, and complex meters and in duple and triple subdivisions.
• Demonstrate a standardized method for writing in counts in music.
• Identify and demonstrate appropriate subdivision for a given piece of music and be able to count/write counts.
• Identify the difference between meter and time signature.
• Apply rhythmic understanding to a piece of music in rehearsal through the use of count singing (as well as other rhythmic practice techniques.)

• What are the different types of meter in music?
• What is the difference between time signature and meter?
• What is subdivision?
• How is tempo measured and indicated?
   

• What is simple meter/time signature?
• What is compound meter/time signature?
• What is complex meter/time signature?
• What are the two basic subdivisions?
• What meters do we use macro beats in?
• How do we indicate tempo?
   

• Grade-appropriate choral repertoire
• Metronome
• Rhythm worksheets
• Sight Reading Factory
   

• Meter
• Complex Meter
• Tempo
• Metronome
• Time Signature
• Asymmetrical Meter
• Beats per minute
• Simple Meter
• Duple subdivision
• Macrobeat
• Compound Meter
• Triple subdivision
• Microbeat

• Performance: Other Oral Assessments
• Performance: Formal Assessment
• Performance: Process-Focused Assessment

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts.

• Diatonic solfege (Do, Re, Mi, Sol, La, Ti, Do).
• Chromatic solfege (Di, Ri, Fi, Si, Li, Ra, Me, Se, Le, Te).
• Intervals (half step/semitone, whole step, unison, 2nd, 3rd, 4th, 5th, 6th, 7th, octave).
• Scales (major/minor).
• Interval Quality (major, minor, perfect, augmented, diminished) within major/minor scale function.
• Key signatures.

• Tonal music is based around intervallic relationships of notes and their function relative to a key center. 
• Knowledge of how notes relate to one another within a key signature allows us to conceptualize pitches and reproduce them more quickly when sight-reading a piece of music.

• Sing and match pitches with the teacher leading using hand symbols.
• Sing and match pitches utilizing written notation.
• Apply sung solfege in performance of notation when provided with solfa syllables.
• Apply written solfege to notation using knowledge of key signatures/tonal centers.
• Apply solfege in performance of notation utilizing knowledge of key signatures/tonal centers.
• Aurally identify intervals of a whole step & half step/semitone.
• Accurately sing whole step and half step intervals when given a reference pitch.
• Aurally identify diatonic intervals (M2, M3, P4, P5, etc.) within a major scale.
• Accurately sing diatonic intervals (M2, M3, P4, P5, etc.) within a major scale.
• Aurally identify diatonic intervals (m2, m3, P4, P5, etc.) within a minor scale.
• Accurately sing diatonic intervals (m2, m3, P4, P5, etc.) within a minor scale.
• Identify and apply chromatic alterations, as utilized in a piece of music, with the assistance of the director. 

• How does solfege assist in our ability to read a piece of music at sight?
• How does knowledge of scale function and tonal tendency influence how composers construct melodic and harmonic narratives within the Western musical tradition?
• How does our knowledge of scale function and tonal tendency influence how we hear, understand, and interpret melodic and harmonic elements within Western music?
   

• How do you identify key signature?
• How do you apply solfege to a written piece of music?
• How do you identify interval size?
• How do you identify interval quality?

• Computer/iPad
• Projector
• Sight Reading Factory
• Supplemental sight reading materials (chorales, canons, exercises, etc.)
• MusicTheory.Net
   

• Solfege
• Diatonic
• Chromatic
• Major (scale)
• Minor (scale)
• Do
• Re
• Mi
• Fa
• Sol
• La
• Ti
• Whole Step
• Half Step/Semitone
• Di
• Ri
• Fi
• Si
• Li
• Ra
• Me
• Se
• Le
• Te
• Interval Size
• Unison/1
• 2nd
• 3rd
• 4th
• 5th
• 6th
• 7th
• Octave/8th
• Interval Quality
• Major (interval)
• Minor (interval)
• Perfect (interval)
• Augmented (interval)
• Diminished (interval)
• Tonic
• Dominant
• Subdominant
• Leading Tone

• Informal Assessment
• Theory Assessment - Written
• Sight Reading Evaluations - Recorded
   

PA Arts and Humanities Standards:

• 9.1.12.H Incorporate the effective and safe use of materials, equipment and tools into the production of works in the arts at work and performance spaces.
  • Evaluate the use and applications of materials.
  • Evaluate issues of cleanliness related to the arts.
  • Evaluate the use and applications of mechanical/electrical equipment.
  • Evaluate differences among selected physical space/environment.
  • Evaluate the use and applications of safe props/stage equipment.
  • Evaluate the use and apply safe methods for storing materials in the arts.

• Basic anatomy of the human voice (muscles of inhalation/exhalation, lungs, larynx, pharynx, vocal tract, etc.).
• Basic concepts/aspects of the vocal process (respiration, phonation, resonation, articulation).
• Basic concepts of vocal classification (soprano, mezzo soprano, alto, tenor, baritone, bass, etc.) and how that relates to placement in a mixed voice choral ensemble.
• Habits of healthy singing.
• Habits and resources for basic vocal care.

• The voice is the only instrument that you are born with and must last a lifetime.
• The human voice is a highly complex system that is susceptible to illness and injury, just like any other part of the body. Proper use and healthy habits help it to function at its best.

• Identify major muscle groups involved in inhalation/exhalation.
• Demonstrate proper “singer’s breath” (appropriate usage of diaphragm, intercostal muscles, abdominal engagement, etc.) to control inhalation/exhalation and achieve “appoggio.”
• Identify key elements of laryngeal anatomy as appropriately related to phonation.
• Demonstrate phonation that is healthy and relaxed (not breathy or constricted).
• Identify key anatomical elements of the vocal tract as appropriately related to resonation and articulation.
• Demonstrate vocal tone that is resonant and exhibits forward placement (as achieved through proper usage of pharyngeal space, raised soft palate, tongue placement, etc.).
• Model elements of healthy vocal exercises in class.

• How does one utilize the voice in a way that minimizes fatigue and allows for long-term vocal health?
• How does one determine their voice classification?
• How does one implement healthy habits to support vocal function?

• How is the vocal mechanism structured within the body?
• How can knowledge of vocal anatomy help us conceptualize proper usage of the voice?
• How do you properly breathe as a singer?
• How do you properly phonate as a singer?
• How do you properly set up vocal placement for maximum “ring” as a singer?
• How does growth and bodily development affect the voice as you grow?
• How does tessitura differ from range, and which is most important in determining an appropriate, healthy voice classification?
• How does one actively care for their vocal instrument?
• How does one avoid vocal injury?
• What habits limit vocal fatigue/irritation/stress and promote vocal recovery? 
   

• Vocal warm-ups/exercises (various sources)
• Piano
• Anatomical illustrations
   

• Soprano
• Mezzo-Soprano
• Alto
• Tenor
• Baritone
• Bass
• Respiration
• Phonation
• Resonation
• Articulation
• Diaphragm
• Intercostal Muscles
• Appoggio
• Larynx
• Pharynx
• Vocal Tract
• Range 
• Tessitura

• Ongoing
• Process: Process-Focused Assessment
• The director will continually assess, identify, and address areas of need with individual students as allowed.

PA Arts and Humanities Standards:

• 9.1.12.A Know and use the elements and principles of each art form to create works in the arts and humanities.
• 9.1.12.B Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts.
• 9.2.12.A. Explain the historical, cultural and social context of an individual work in the arts.

• Historically significant composers of solo repertoire for voice.
• Historically significant works in the standard solo repertoire for voice.
• Proper performance conventions and interpretation for music of a particular style.
• Conventions of performance etiquette for solo recital performance

• All works are a reflection of their creator and the time in which they were written.
• Musicians have an obligation to apply appropriate performance practice to a piece of music. Doing so allows us to best understand a composer’s intentions for how a piece should sound and allows the music to communicate most authentically.
• Solo performance etiquette differs from that of an ensemble performance.

• Identify major works from their instrument’s standard repertoire.
• Identify important biographical information significance for composers of solo repertoire.
• Perform significant works from a specific instrument’s standard solo repertoire
• Demonstrate proper etiquette for solo recital performance

• What pieces are significant to a specific voice type’s solo repertoire?
• What composers are significant to a specific voice type’s solo repertoire?
• What is proper etiquette for solo recital performance?
   

• What biographical information of the composer was influential in the development of a specific work?
• What considerations are there for solo performance of a specific work?
   

• Musical Instruments
• Solo repertoire (sheet music)
   

• Repertoire
• Etiquette
• Recital
• Song Cycle
• Art Song
• Recitative
• Opera
• Folk Song
• Lieder
• Oratorio
• Aria
• Mélodie
• Chanson

• Director formal assessment
• Performance: Performance Assessment
• Students will present honors jury recital performance of significant solo repertoire.