Male and/or Female
Small (617) Large (618)
Please refer to the Drama/Persuasive General Guidelines before preparing for Choral Recitation.
CHORAL RECITATION: Sometimes called "unison reading," or "choral reading". Unlike Readers Theatre (which is meant to be read), Choral Speaking requires a group of students to orally interpret and recite from memory. A successful voice choir must not be "a lot of people speaking at once," but a group of speakers who are as controlled, unified and harmonized as a choir of singers.
TYPES OF CHORAL SPEAKING:
REFRAIN is one of the most common forms of choral speaking. One person reads the narrative portion of the text while the rest of the class joins in the refrain.
UNISON calls for the whole group to read the material together. Additional sound effects might be incorporated.
ANTIPHON calls for the choir to be divided into two or more groups, with each group being responsible for a certain part of the selection.
SOLO LINES is a type of choral reading where individuals read specific lines in appropriate places throughout the group activity.
LINE AROUND or CHILD-A-LINE is more solo work where each line is taken by a different person in the group.
The choral group chooses a poem, scripture passage, rhyme or story to recite by memory, using all the skills of a good dramatic presentation.
For judging criteria, see JF89.
Submission Requirement for Choral Recitation:
HINTS FROM THE CHORAL RECITATION JUDGES
Remember when presenting your program:
Unity of Articulation and Syllabification: The most important of all requirements for a competitive voice choir is unity. A unity of articulation and syllabification, appearance, as well as a unity of pitch and inflection are necessary. All speakers must attach, move through, and finish their syllables at precisely the same moment. If the body of a choral speech were cut short at any point during a performance, each individual voice should be at precisely the same place in the syllable as every other voice.
Unity of Pitch and Inflection: In spite of differing individual voice qualities, a voice choir must blend harmoniously to a common unified tone. This unified tone must move as a whole through changes in rhythm/tempo and changes in emotional intensity so that the inflection-line linking them is also single and unified.
The words of a verse give a poem form. A successful voice choir director must learn to work with, shape, and combine a number of choral speaking elements in order to give the poem life. These elements are defined below:
Voice Quality: The ability to combine successfully the light, medium, and dark voices in the choir (using these groups for their natural basic sounds and/or combining them for special effects). The ability to communicate through voice, reactions to thought, or emotions.
Number of Voices: The ability to add or subtract whole sections, banks, smaller groups, or solo speakers to increase or diminish the power or richness of the sound to better express the meaning.
Bodily Movement: Ability to use gesture, choreography, or other movement to enhance communication and better express meaning.
Pitch: Pitch refers to the variations of the voice on the musical scale and is generally referred to as inflection. Children generally have little problem with pitch because they use it naturally and freely.
Power: Ability to use volume, force, or loudness as emphasis in appropriate places to better express feeling and meaning. A power build should be related to the elements of a sentence and/or growing emotion.
Phrasing and Rhythm: Ability to use phrasing and rhythm as reinforcements for each other. Each must blend together to better express the meaning of the verse.
Tempo: Tempo refers to the rate of speed at which a reading progresses. The ability to balance the rhythm of a piece and tempo of performance. Tempo should relate to the central "beat" for the poem. (Too fast? Too slow?)
Entrance: The way your group enters the performance area and gets into position is very important to the quality of your performance. Entrances should be accomplished in a quiet, systematic way. Rehearsal is essential. Your entrance will set the tone for a listening audience!
Placing of Speakers on Risers: Special attention to placing of speakers on risers (should you request them) or on the platform is especially important for a visually interesting performance. Some suggestions: