Developmental Phases in Selected British Choirs

Abstract

I. INTRODUCTION In an earlier article ' I outlined a conceptual framework for five developmental phases in amateur ensembles, or phases that typify the life cycle of ensembles; namely, formation, expansion, maturation, regression and cessation. Each phase was sytematically described with reference to temporal, spatial, numerical, causal, ethical and aesthetic dimensions. Aspects of each of these dimensions were theorized to vary among the phases and constitute distinct profiles of each phase. In the present study, two propositions derived from this framework were tested: first, in general terms, whether the notion of distinct phases of development more-or-less holds in the real world; and second, whether more specifically, the distinct characteristics that were predicted to constitute each of the developmental phases are also moreor-less evident in the real world. This article, therefore, directly follows the above-mentioned theoretical piece and can usefully be read in conjunction with it. Eight historical cases of British amateur choirs, each covering periods of between two and ten decades were studied: Huddersfield Choral Society (1836-1936), Windsor and Eton Choral Society (1841-1941), Glasgow Choral Union (1843-1943), Bradford Festival Choral Society (1856-1906), Edinburgh Royal Choral Union (1858-1958), South London Choral Association (1869-1890), Glasgow Orpheus Choir (1906-1951), and Croydon Philharmonic Society (1914-1954). Each account represents the choir's view of itself as seen through the eyes of an individual intimately associated with it at a given point in time. The choirs were selected because they were diverse with regard to their eminence (e.g. regional, national, or international reputation), their history and their geographical location.2 In order to identify phases of development and specific characteristics in each phase, I examined local historical accounts of each choir and the important elements emerged following intuitive inspection of the evidence. This approach is justified for two reasons: first, developmental phases can best be distinguished over the long term by comparative and descriptive means; and second, they are formulated at a high level of generality and most appropriately studied from a phenomenological perspective. A case study approach using historical accounts reflecting the choir's view of itself is consistent with this point of view. The evidence is not without its limitations: for instance, the possible suppression of information deleterious to the choir's reputation, and the differing objectives of the choir histories or accounts. Some were written, for example, to celebrate jubilees and centenaries, making it difficult to study regression and cessation. Nevertheless, it is possible to point to documentary evidence supporting the concept of distinctive phases. II. CASE STUDIES I will now describe the evident temporal, spatial, numerical, causal, ethical and aesthetic aspects of the developmental phases for each of the eight choirs. The objective is not to provide a chronological account of each choir's development but rather to briefly sketch an historical overview and then focus on aspects of time, space, number, causation, ethics, and aesthetics in turn, showing how they varied in each developmental phase. Huddersfield Choral Society (1836-1936)3 The Huddersfield Choral Society was constituted in 1836 as a musical club for the benefit of members; its formation marked the culmination of a six-year period during which a loosely organized group of musicians met for vocal and instrumental practise (Wilmhurst [1936]: 6). Following a somewhat limited and slow expansion, the Society grew more rapidly during the Joshua Marshal regnum (1876) with an even more rapid growth and consolidation to attain a national reputation during the Henry Coward era (1901-31). By the Malcolm Sargeant period, commencing in 1932, the Society had attained maturation. …