Die aktiwiteite van geselekteerde skoolkore en hul invloed op die musiekopvoeding in die Oranje-Vrystaat

[摘要] English: In the field of music, the Orange Free State had already been associated with school choirs for some decades. Before his appointment as Inspector of Music in 1940, Petrus Johannes Lemmer had already lent impetus to the culture of the school choir. This he did by means of his dynamical personality. His successor, Mr Dirkie de Villiers, continued his predecessor's pioneering work. Under his leadership, the creation of the Free State Youth Choir indirectly had a productive effect on the school choir movement in the province.The first choir leader who lent prestige to the training of school choirs, was Michael Casaleggio. He had been taught by personalities such as Petrus Lemmer and David Roode, who consequently also influenced him. The work which he did with the choir of the Sentraal High School in Bloemfontein served as an example framework to many rising school choir leaders.Particulars regarding choir selection, voice training, the learning of new choir repertoria, as well as the compilation of a choir festival and competition programme are being discussed in the study with a view to the assistance to choir leaders. Statistical data concerning inter alia rehearsals and practices during rehearsals, the public appearances of choirs and other relevant information add further perspective concerning the current position of school choirs in the province. Guidelines for repertoire choices in the various phases of the development of a school choir, serve as a point of reference in this paper, since most school choir leaders have to gather this information after many years' experience. In some cases they never become familiar with this information. The repertoire rendered by school choirs, had changed in many ways. Whereas Afrikaans and other elements of a national character had taken precedence up to the beginning of the 1970's, various choir leaders thereafter turned to a new kind of repertoire. The influence of Philip McLachlan and certain other university choir leaders is noticeable in the repertoire choices since the 1970's. The repertoire choices of school choir leaders during the current era mainly consist of works with a view to entertainment, however.Arrangements of songs which had been made popular by virtuosos of light music, often dominate the current choir repertoire. The training of choir leaders has already been neglected for decades. This is a result of the fact that the training which is being received at universities and colleges in this regard, is of little relevance to the actual practice. Students who were members of university or college choirs, benefitted to such an extend, however, that it may actually be seen as a primary source of the training of school choir leaders in the province. Performances during choir festivals, eisteddfods and choir competitions have initially been responsible for the coming into being of school choirs (since the 1920's) and served as intrinsic motivation. A feeling of antipathy from the side of the authorities resulted in the fact that, since late in the 1930's, choir festivals have taken the place of choir competitions. In 1978, however the ATKB choir competition came into existence. This resulted in the revival of the competition mania. The phenomenal rise in the standard of some school choirs during the past decade, is directly related to their participation in this competition, both on provincial and national level. Numerous school choirs in the province became known as a result of their participation in as well as their achievement during the National ATKB competition. School choir activities or many have prestige value for their specific school. This resulted in a positive change of attitude of principals, other teachers, parents and pupils regarding these activities. The long term advantages of thecompetitions are under suspicion, however, since aesthetical education does not necessarily thrive in an atmosphere of competition. Choir festivals like the Grey College Choir Festival in Bloemfontein, the Voortrekker Choir Festival in Bethlehem, the Odensia Choir Festival in Welkom, the Kroonstad Choir Festival, the Willem Postma Choir Festival in Bloemfontein and the Ficksburg Choir Festival remain, however, the most important performance opportunities for school choirs.Participation in school choir singing afford pupils of an opportunity for musical education by means of the medium of choir singing. The purpose of musical education in choir context should, after all be, to help a child develop an aesthetical perception. This point of departure is an ideal which does not necessarily gain acceptance in practice and choir leaders should be made aware of its potential.The school choir culture in the Free State in the current era bears testimony of an energetic and still thriving musical performance practice. A further rise in standards may result direction adj ustment concerning the mission, goals and training of choir leaders as well as a renewal in repertoire and therealisation of the ideal of musical education as regards choirs is made. This is essential with the view of utilising the potential of this activity.

[发布机构] University of the Free State