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Zeitschriftenartikel zum Thema "Choir conductor"
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Deliana, Frida, and Suprayitno. "Training of Moria choir conductor members and conductors in efforts to improve quality in Medan city." ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 5, no. 1 (2020): 1–6. http://dx.doi.org/10.32734/abdimastalenta.v5i1.4017.
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In ecclesiastical worship activities in the Christian community, singing activities both in the format of 'choir', congregational singing and others are integrated in a series of worship services in the church. It is also found among members of the Runggun Benameriah Protestant Karo Batak Church (GBKP) congregation who also use the choir format in activities to praise and glorify God. For Christians singing is a spiritual need. In both churches there are several types of choirs, both the choir moria (mothers), mamre choirs (fathers) gem choirs or youth / youth and elderly choirs. Each choir has a trainer (amateur) who also acts as choir leader, referred to as Dirigen. The problem is that often the quality of the choir that is displayed is low. This means that there are always a lot of technical errors and un-melodious voices from the choir members during the choir presentation. If this condition continues and occurs continuously, the presence of the choir can eventually interfere with the implementation of worship. Another condition is that almost all Dirigens in the GBKP choir are people who have limited musical abilities, and have no background in formal music education. His managerial ability and technical ability to teach choir is very weak. Dirigen's lack of musical knowledge and technical ability will certainly have a profound impact on the quality of the choir he leads. Therefore this dedication team will improve the choir management ability in vocal material and the ability of conducting to all participants so as to minimize the technical difficulties found in the preparation and presentation of the choir. This community service activity is expected that members and conductors / choir leaders can utilize their knowledge and experience as professionals in the field of choir training among community members in general.
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Çoşkunsoy, Bilgen Özcan, and Bahar Güdek. "The Impact of Body Language Use of a Conductor on Musical Quality." Journal of Education and Training Studies 7, no. 9 (2019): 39. http://dx.doi.org/10.11114/jets.v7i9.4271.
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In this study, which points out the communication between the choir and conductor, the impact of body language movements of the conductor such as left hand, face, gestures and head on the quality of music in choir is aimed to be analyzed in terms of the fact that as a leader, the conductor, is the most important factor that affects the general music quality of the choir. The study carries an important role as it indicates what affective impacts there can be depending on how the conductor leads “Pulse”, “Measure Beat”, “Left Hand” and “Body Language” and whether this conductive variety has an impact on musical elements such as Note, Tone Quality / Timbre / Sound, Balance / Sound Stability, Intonation, Rhythm, Articulation / Diction, Vocals, Expression / Emotion, Dynamics, Breath, Synchronization/ Togetherness, Motivation in choir. During the experimental process of the study, a polyphonic piece named “Evening Rise” has been performed by a study group consisted of 29 members who were conducted with the methods of “Pulse”, “Measure Beat”, “Left Hand” and “Body Language” by the choir conductor. Audial and imagery data records obtained from each conduction method have been converted to Mpeg-4 format and evaluated by 9 expert conductors by using musical sub-dimensions such as Note, Tone Quality, Balance, Intonation, Rhythm, Articulation, Expression, Dynamics, Breath, Synchronization and Motivation that appear in Choir Musical Quality Assessment Form. As an outcome of the research, it is observed that “Left Hand” and “Body Language” conduction methods affect motivation, expression, articulation and dynamics steps placed in Choir Musical Quality Assessment Form a lot and that “Pulse” conduction does not affect musical elements sufficiently and that as a consequence of conduction methods of “Measure Beat”, “Left Hand” and “Body Language”, choir musical quality has been affected to a large extend.
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Linnis, Maryann Magdalena, Md Jais Ismail, Sharifah Faizah Syed Mohammed, and Juwairiyah Zakaria. "Musical and Non-Musical Responsibilities of Choir Conductors in Malaysia." Environment-Behaviour Proceedings Journal 7, SI9 (2022): 89–94. http://dx.doi.org/10.21834/ebpj.v7isi9.3944.
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The purpose of this study is to describe how choir conductors perceive their musical and non-musical roles and responsibilities, to list the necessary knowledge and skill required of the choir conductor, and to identify the challenges faced by the choir conductor in leading the choir group. The subject selected for this study is five qualified and experienced choir conductors from UiTM Chamber Choir, two conductors from Young Choral Academy, one from BAVE Chamber Choir, and Johor Chamber Choir. The five conductors were selected based on their qualifications in choral conducting certificates and experiences spent more than 5 years in choir conducting and the criteria were to ensure that the data collected from these subjects would be valid and reliable. Data collections were done via semi-structured interviewing sessions with the choir conductor alone by audio recording the interview session. All the data was organized transcribe, analyzed, and documented. The results of this study have shown that the choir conductor has very important roles and responsibilities for the outcome performance of the choir group. Keywords: Musical, Non-Musical, Choir Conductor, Leadership, Musicianship eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3944
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VILA-BOTSMAN, Oleksandr. "FORMATION OF THE CHORAL CONDUCTOR: SCHOOL TRADITIONS AND MODERN TRENDS." Bulletin of the Lviv University. Series of Arts Studies 243, no. 25 (2024): 109–19. https://doi.org/10.30970/vas.25.2024.109-119.
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The article explores three key aspects essential to the development of contemporary choir conductors within the context of the evolving national choral school in Ukraine, particularly focusing on the Odesa choral school. The study underscores the significance of integrating traditional and modern educational practices to foster the professional growth of choir conductors. The first aspect examined is the creative development of a conductor through educational integration and an interdisciplinary approach in professional training. This includes the application of a wide array of educational tools that enhance the creative abilities of young conductors by bridging various disciplines within music education. Emphasis is placed on the need for comprehensive training that encompasses theoretical knowledge, practical skills, and artistic creativity, ensuring a well-rounded professional education. The second aspect discussed is the vocal training of choir performers, which includes practical, stylistic, and physiological components. The practical aspect involves the incorporation of vocal techniques into the training program, focusing on the development of fundamental skills such as intonation accuracy, rhythmical precision, and clear articulation. Stylistically, the study notes the expansion of the choral sound palette, influenced by contemporary trends and the inclusion of diverse musical genres. Physiological training is highlighted as crucial, considering the varied vocal demands placed on choir singers by modern repertoires. The third aspect focuses on the challenges young choir conductors face in mastering modern musical language, particularly the melodic and rhythmic diversity found in contemporary choral works. The article emphasizes the necessity for methodological revisions in teaching approaches to better equip conductors with the skills required to navigate these complexities. This involves an analysis of contemporary music theory and practical application in choral settings, fostering a deeper understanding and mastery of modern compositions. The article concludes by asserting the importance of balancing innovative educational methods with the preservation of traditional choral school practices. This synergy is essential for developing a new generation of choir conductors capable of meeting contemporary artistic demands while upholding the rich heritage of choral traditions. The interaction of these aspects facilitates the formation of a versatile and adaptive choir conductor, prepared to contribute to the progress of modern choral art.
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Skadsem, Julie A. "Effect of Conductor Verbalization, Dynamic Markings, Conductor Gesture, and Choir Dynamic Level on Singers' Dynamic Responses." Journal of Research in Music Education 45, no. 4 (1997): 509–20. http://dx.doi.org/10.2307/3345419.
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The purpose of this study was to determine the effects of conductor verbalization, dynamic markings, conductor gesture, and choir dynamic level on individual singers' dynamic responses in music. Singers (N = 144) sang along with nine renditions of a tune while watching a videotape of a conductor, listening to a choir through headphones, and referring to the music. Instructions regarding the dynamic level (soft or loud) were given under four conditions: (a) verbal instructions, (b) written instructions, (c) changes in conducting gesture, and (d) volume changes in the choir. Results indicated that verbal instructions from the conductor elicited significantly stronger dynamic performance responses (alpha = .05) than did the other three instructional conditions. Singers responded significantly better on instructions pertaining to soft singing than they did on instructions relating to loud singing. Comparisons were made between conductors, college singers, and high school singers, and eye contact was also examined.
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Emerson, Kathryn, Victoria Williamson, and Ray Wilkinson. "Once more, with feeling: Conductors’ use of assessments and directives to provide feedback in choir rehearsals." Musicae Scientiae 23, no. 3 (2019): 362–82. http://dx.doi.org/10.1177/1029864919844810.
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In this article Conversation Analysis is used to explore the way that conductors give feedback in choir rehearsals through the use of assessments and directives. Assessments and directives have previously been investigated in some forms of music teaching and rehearsing, although not in choir rehearsals. There is also a paucity of research on the methods by which a conductor may give feedback following an episode of singing by the choir. This analysis is based on 19 hours of choir rehearsal data, involving eight choirs and nine conductors. We show that conductors’ feedback turns typically consist of two particular communicative behaviours: assessments and directives, either occurring singly or in various combinations. Assessments explicitly evaluate (positively or negatively) the just-produced singing of the choir, and directives explicitly tell the choir something about how members should sing in the future. However, the data reveal that assessments can also function implicitly to direct how the choir should sing, and directives can implicitly evaluate singing. Assessments and directives can be done in depicted forms (e.g., using sung vocalisations and gestures), as well as verbal descriptive forms. These findings highlight the distinctive ways that conductors produce feedback within rehearsals and some of the particular inferences that choir members must draw on to understand this feedback, as well as how change and improvement in the choir’s singing may be affected on a turn-by-turn basis.
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Zeman, А. "THE COMMUNICATION BETWEEN CONDUCTOR AND CHOIR IN THE PROCESS OF CREATING A MUSICAL WORK OF ART." Musical art in the educological discourse, no. 2 (2017): 62–67. http://dx.doi.org/10.28925/2518-766x.20172.6267.
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The work of a conductor requires the ability of effective communication in order for a unique musical work to come alive. This communication is not a matter of dictionary definitions but a complex process requiring the ability to encode and decode messages. Starting from reading musical score, which still has a lot of hidden information, through the art of carrying out the thoughtful interpretation of the piece, ending up with the communication between the conductor and the listener via the choir, the artist, including the conductor, can explore the space in which they act, identify it and thus verify and enrich it. Three links may be distinguished in the process of communication between the conductor and the choir: the sender — the conductor who sends a verbal and non-verbal message, the receiver — the ensemble and the code by the means of which the information transfer takes place. What determines effective communication between the conductor and the choir? Undoubtedly, an important if not a crucial role is played by the conductor’s attitude. The communication between the conductor and the choir in the process of creating a musical work depends on the conductor’s abilities, skills and personality, the choir singers’ vocal skills as well as on the regular, relentless work on the conductor’s own and the choir’s development.
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Lyerly, Eric. "Did court dismiss professor's retaliation claim?" Campus Legal Advisor 24, no. 10 (2024): 15. http://dx.doi.org/10.1002/cala.41361.
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An Augustana University faculty member served as a music professor, the vocal studies director, the music department chair, the choir conductor, the opera director, and the summer music camp director.
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Grushka, Kathryn, Miranda Lawry, Kim Sutherland, and Charissa Fergusson. "A Virtual Choir Ecology and the Zoom-machinic." Video Journal of Education and Pedagogy 5, no. 1 (2021): 1–16. http://dx.doi.org/10.1163/23644583-bja10013.
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Abstract covid-19 has changed the way we sing in choirs and has seen the extraordinary uptake of Zoom as a video chat platform across society. This is a reflective tale of four choirs members and their insights into how they improvised with traditional choir singing in a Zoom space. It consideres how zoom pedagogies allowed them to bridge social isolation during the pandemic. It includes the voices of the conductor; music teacher/technician; the voice of a media savvy artist choir member and finally the voice of a singing visual educator. The article embeds Deleuzoguattarian thinking. It draws on the concepts of the machinic assemblage and becoming as choir participants who embraced Zoom to facilitate song. Singing in a zoom virtual choir brings forth a burgeoning new relational way of being. To find ways to sing and imagine life and self without physical, temporal and spatial borders.
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Tobing, Octaviana. "Manajemen Paduan Suara Consolatio Universitas Sumatera Utara." Gondang: Jurnal Seni dan Budaya 2, no. 2 (2018): 57. http://dx.doi.org/10.24114/gondang.v2i2.11282.
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This study aims to determine the management of the University of North Sumatra Consolatio Choir, regarding planning, implementation, and monitoring of evaluations that have been carried out. This study uses a qualitative descriptive analysis approach. Data collection is obtained through: interviews, observation and documentation studies. The research informants were the Chair of the Daily Management Board, Conductor, and Members of the USU Consolation Choir. Data analysis was performed using qualitative data analysis and with technical inductive analysis. Qualitative research is basically building theory, so in this study there is a new theory that is built namely "Service Management". Service here means that organizational management does not expect profits, but the organization still exists. USU's Consolatio Choir, an informal organization, from the outset of planning, the organization has presented the organization's vision and mission to prospective members from USU students and alumni, which in its implementation, the organization's mission went well and everything that was done selflessly and feared God . After the evaluation monitoring, there were still a few weaknesses in non-technical management by BPH. Conclusion of research, choirs can be formed from USU students, or can even be formed from any group who wants to sing in a choir.
Dissertationen zum Thema "Choir conductor"
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Masuelele, Oreeditse Patrick. "Social cohesion in school Choir competitions: the experiences of conductors and adjudicators." Thesis, University of Pretoria, 2020. http://hdl.handle.net/2263/80469.
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In this qualitative study the researcher investigates how school choir competitions in South Africa contribute to creating platforms for social cohesion. The study examines the experiences of conductors and adjudicators in two main South African school choir competitions, namely the ATKV-Applous and ABC Motsepe (previously known as SASCE). This study was inspired by the contribution of the rising choral music platform in post-apartheid South Africa to national regeneration from tensions created by past disparities and how choral music contributes to social cohesion in society. Phenomenology is used to investigate the experiences of conductors and adjudicators and whether participation in choral competitions contributed to advancing social cohesion in a transforming South Africa. Data were collected through semi-structured face-to-face interviews, the review of documents and the analysis of journal notes taken during the study. The Transformative Learning Theory (TLT) was applied as framework to contextualise deliberate reflection involving increased social knowledge and openness among respondents. In this study, choir conductors and adjudicators reflected on their experiences in choir competitions and how cohesion could be achieved through choir competitions. From the study the researcher concluded that competitive platforms such as choir competitions provide an opportunity for role players to test their strength as individuals and as part of a team. The study found that, regardless of many challenges hindering social cohesion, choral music competitions offer an environment for bringing people closer and establishing harmonious collaboration. Learning from others, sharing and reciprocating experiences lead to new partnerships that promote social cohesion. However, the conditions set out in the rules and policy requirements of the competitions could inhibit social cohesion by exclusion and conditions that may hinder interest. Although many studies focus on the value of choral activities and its contribution to social cohesion, this study fills the gap of exploring the role of choir competitions in fostering social cohesion. Recommendations include the need to foster an awareness of the role of school choir activities, which includes the selection of music, in encouraging nation-building. Furthermore, school choir competition policy should include clearer guidelines on social cohesion. It is recommended that training opportunities for conductors and adjudicators should be expanded and implemented to include musical development, but also focus on fostering a sensitivity to the complexity of cultural diversity and the power of choral activities to enhance nation-building and social cohesion in South Africa.<br>Thesis (PhD)--University of Pretoria, 2020.<br>pt2021<br>Humanities Education<br>PhD<br>Unrestricted
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Clarke, Steven Douglas. "Eph Ehly, all-state choir conductor : a video presentation of his philosophy and rehearsal techniques." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063298.
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Dr. Eph Ehly is one of the most sought after choral conductors in the United States today. Ehly has conducted over seventy All-State choirs. However, no previous source outlines the fundamental principles of his philosophy and rehearsal techniques.This study was designed to capsulize Ehly's contributions. The writer produced a videotape entitled, "Eph Ehly: A Source of True Inspiration." This video captures Dr. Ehly's philosophy regarding the All-State choir experience and demonstrates his rehearsal techniques. The author attended three All-State festivals where Ehly was the guest conductor (Indiana, New York, and Oklahoma). The video contains rehearsals and performances and videotaped interviews with Dr. Ehly.The cornerstone of Ehly's approach is this: using music to express. There are three components to Ehly's philosophy: 1) the physical component, 2) the emotional component, and 3) the spiritual component. The writer identified four forms of the physical component: 1) handshake, 2) hug, 3) clapping, and 4) other spontaneous physical gestures. The writer identified eight aspects of the emotional component: 1) expressivity, 2) sensitivity to the world, themselves, and their own emotions, 3) sympathy, 4) reality of emotions, 5) creating mood, 6) building ensemble, 7) music as a reflection of life, and 8) awareness of a "sixth sense." In describing the spiritual component, two divisions were identified: 1) the development of character, and 2) reaching a level of spirit-awareness.The study also summarizes Ehly's rehearsal techniques by outlining his idiosyncratic approach to the treatment of traditional musical elements. The video presentation highlights nine technical concerns and demonstrates Ehly's approach to these common problems. The areas addressed are: 1) tone quality, 2) diction, 3) rhythm, 4) dynamics, 5) phrasing, 6) articulation, 7) breathing, 8) vowel modification, and 9) vibrato. The videotape is supported by a written document containing background information, a script of the video, a summary by the author, a representative list of programs from AllState choirs conducted by Dr. Ehly, and transcripts of the interviews with Dr. Ehly. Church musicians, professional conductors, educators, and students of conducting can all benefit from the opportunity to view and evaluate Ehly's approach.<br>School of Music
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Stewart, Robert D. "Reflections on the Choral Rehearsal Cycle: An Approach to Professional Practice." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/411530.
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This dissertation explores and reflects on the professional practice of the author and a group of five experts through case studies. Incorporating interviews, observations, reflective journals, video footage, and a choral project, this research aims to explore how five expert choral conductors work in the rehearsal setting. Rehearsal techniques are as diverse as the individuals who practise them. Yet, even though conductors have their differences, the varied outcomes can still be judged as satisfactory. These techniques are not necessarily skills that have been taught in an undergraduate conducting class. Conducting courses and textbooks focus on beat patterns and other skills that must be mastered by the novice and which, in turn, lend themselves more readily to assessment. However, the running of a rehearsal is a complex mixture of musicianship and teaching skills that are continually developed over a lifetime of practice. The following questions emerge: how, then, do highly successful conductors work in rehearsal? What do they consider to be important parts of their own practice? What skills and attributes are crucial for successful ensemble leadership? For this research, five expert choral conductors were observed on site in multiple rehearsals and in working with a variety of vocal ensembles. They also participated in a wide-ranging, semistructured interview that further explored their approaches to conducting, repertoire selection, planning, personal philosophy, and reflections on their craft. The author used the data generated from the case studies and through a survey of core literature to experiment with their own practice during a 12-week rehearsal period that culminated in a performance of Haydn’s Missa in angustiis. The research project revealed that, while each case study conductor had an individualistic approach to their rehearsal delivery, five main characteristics appeared to be common amongst them all: they recognised the conductor’s role as a teacher; they were interested in working towards a sound ideal; they believed in their responsibility to develop skills; they included performance opportunities in the rehearsal setting; and they emphasised the importance of building community. As a result, these concepts formed the foundation of the author’s work with their own ensemble. These findings have implications for the author’s own practice as well as broader implications for other conductors and the training of student conductors. The results appear to advocate a more holistic approach to conducting and conductor training as well as the importance of developing community within the avocational choir.<br>Thesis (Professional Doctorate)<br>Doctor of Musical Arts (DMA)<br>Queensland Conservatorium<br>Arts, Education and Law<br>Full Text
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Azevedo, Joana Christina Brito de. "Coro cênico: estudo de um processo criador." Universidade Federal de Goiás, 2003. http://repositorio.bc.ufg.br/tede/handle/tede/7375.
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Previous issue date: 2003-04-29<br>ABSTRACT
The experiment herein pertains to the kind research-action founded on Renè Barbier (1996), in which the phenomena of the process are observed and analyzed both phenomenologically and qualitatively. The theme presented, SCENIC CHOIR: STUDY OF A CREATING PROCESS, caters for the need to carry out research and validate the work of a scenic choir. A choir of this kind, the former “Coral da Cidade” (Portuguese for “City’s Choir”) was conducted some time ago, an experience in which the importance of the work on the musical education of the participating subjects was verified, as well as the benefits brought about by the choir. Today, what is intended through this research is to legitimate this former pilot project, assessing the subject’s exposition to this creating process, in which the introduction of the scenic element into choral perfommance is believed to provide a better vocal performance in the final result of the process. In order for this experiment to be carried out, the Scenic Choir of the UFG (Federal University of Goiás), supported by the Pro-Dean’s Office of Extension and Culture (PROEC) and the School of Music and Scenic Arts of the UFG (EMAC/UFG) was created. The methodology used consisted of both pre and post tests by means of data collection, which sought to assess the vocal and perceptive development of the participating subjects. All the rehearsing sessions were videotaped in an attempt to register the experiment, later analyzed by a jury constituted by two observers. The jury watched and analyzed these footages in the search for elements which would ground the argumentation of this research. The findings were also evaluated by means of statistic data, which allowed for the questioning of the validity and efficiency of the applied tests, thus proving a significant change in the performance of the subjects. A justification of the developed actions was sought by resorting to note-taking of the applied didactics during the experiment. Also told during this research was the story of the “Coral da Cidade”, a groundbreaker of the scenic choir movement in Goiânia, so that its important artistic and cultural participation in our city were rightly registered and documented. The documents proving the veracity of the facts which took place, as well as the scores used in this experiment are also available for appreciation. Finally, from this experiment, the Scenic Choir is put forth as a choir mode, which is defined as follows: an interdisciplinary activity between the scene and the voice, carried out in a ludic way, with psychological dimensions aimed at self-realization and better vocal performance.<br>RESUMO
Esse experimento trata-se de uma pesquisa-ação fundamentada em Renè Barbier (1996), em que os fenômenos do processo são observados e analisados fenomenológica e qualitativamente. O tema apresentado, CORO CÊNICO: ESTUDO DE UM PROCESSO CRIADOR, veio ao encontro da necessidade de pesquisar e validar o trabalho de coro cênico. Há alguns anos regeu-se um coro nesta modalidade, o “Coral da Cidade”, experiência em que se pôde constatar a importância desse trabalho na educação musical dos indivíduos, bem como os benefícios gerados por ele. Hoje, pretende-se por meio desta pesquisa, legitimar esse projeto piloto anterior, avaliando a exposição do sujeito durante esse processo criador, no qual se acredita que a introdução do elemento cênico à performance coral providencia um melhor rendimento vocal no resultado final do processo. Para a realização desse experimento, foi criado o Coro Cênico da UFG, com o apoio da Pró-Reitoria de Extensão e Cultura da UFG (PROEC/UFG) e da Escola de Música e Artes Cênicas da UFG (EMAC/UFG). A metodologia utilizada consistiu na realização de pré-testes e de pós-testes por intermédio de uma coleta de dados, em que se procurou avaliar o desenvolvimento vocal e perceptivo dos sujeitos participantes. Todas as sessões e apresentações foram filmadas com a finalidade de registrar o experimento, que mais tarde foi analisado por um júri constituído por dois observadores. Esse júri assistiu e avaliou essas sessões de vídeos à procura de elementos que fundamentassem a argumentação dessa pesquisa. Os resultados encontrados foram também avaliados mediante dados estatísticos, o que possibilitou o questionamento da validade e a eficiência dos testes realizados, vindo a comprovar que houve modificação significativa no rendimento dos sujeitos. Procurou-se ainda justificar as ações desenvolvidas, por meio de anotações da didática empregada durante o experimento. Nessa pesquisa também foi contada a história do Coral da Cidade, semente do movimento de coro cênico em Goiânia, a fim de que fosse registrada e documentada sua importante participação artística e cultural na nossa cidade. A documentação que comprova a veracidade dos fatos ocorridos, bem como as partituras utilizadas nesse experimento, também poderão ser apreciadas. Finalmente, a partir deste experimento propõe-se o Coro Cênico como uma modalidade de coro, definindo-o da seguinte forma: atividade interdisciplinar entre cena e voz, desenvolvida de forma lúdica, com dimensões psicológicas, que visam a auto-realização, e um melhor rendimento vocal.
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Zadig, Sverker. "Vi sjunger så bra tillsammans : Om medvetet eller omedvetet samarbete mellan körsångare samt om formella och informella ledare i körstämman." Licentiate thesis, Örebro universitet, Musikhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-20367.
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Aim of the research: This essay describes what can happen between the singers in a choral voice and how the individuals differ in taking initiative and acting in leading roles. Method: I have done qualitative interview studies with conductors and singers, and also recording studies. The recording sessions have been done in following choir rehearsals in a Swedish upper secondary school, and with a simultaneous video recording to be able to also take notice on eventual visual signs between the singers. With close up headworn microphones and by multi track recordings it have been possible through an analyzing program to watch graphically exactly how each individual sings and to compare the singers with each other. The recordings and analyses have been done using Cubase5 and Variaudio with printouts of the same sequence of the music the single voices in the same choral voice. Results: My informants all speak of formal and informal leaders in the choral voice. Many of them also talk about these leaders as leading the choral voice and also with their personal voice and timbre, give color to others. It is possible to graphically view differences in attacks and intonation, and also to notice when someone is ahead and “pulling” others to follow. This leading role can be both positive and negative, a confident but not so good singer can unfortunately bring along other singers to take wrong steps in the music.
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Oliveira, Carolina Andrade. "O regente-arranjador e a circulação do repertório de arranjos nos coros brasileiros." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-18042018-141755/.
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Este trabalho propõe-se a investigar, identificar e analisar as práticas do regente-arranjador desde a concepção do arranjo até sua performance, passando pela escolha do repertório, procedimentos e técnicas de escrita, ensaios. Objetiva ainda averiguar o quanto o regente-arranjador participa ou influencia na circulação do repertório coral brasileiro. Para isso, adotamos uma metodologia mista e pesquisa empírica. Divide-se em dois capítulos, no primeiro, pesquisando sobre a circulação do repertório, traçou-se um panorama cultural dos séculos XX e XXI, fez-se uma revisão bibliográfica de dez trabalhos que abordam em suas temáticas a produção de arranjos, entre eles Fernandes (2003), Souza (2003), Pereira (2006) e Moura (2012), discutiu-se o termo \"popular\" e o conceito de \"arranjo coral\" neste contexto e ainda analisou-se programas de concerto de encontros corais (1984-1994). No segundo capítulo, buscou-se definir o perfil do regente-arranjador, utilizando o método prosopográfico (STONE, 2011; e PAZ, 2014). Foram ainda realizadas entrevistas semiestruturadas e abertas com os regentes-arranjadores Eduardo Fernandes, Marcelo Recski e Roberto Rodrigues a fim de obter informações mais detalhadas e completas, tais entrevistas foram a única forma de chegar a esclarecimentos sobre as questões práticas sobre composição e interpretação de arranjos, além de questões específicas de determinados arranjos, que as outras metodologias não eram capazes de abarcar. Ao tratar diretamente das práticas do regente-arranjador, analisou-se: o repertório como fator de identidade de grupo; os processos de hibridação nos arranjos (CANCLINI, 2003; e BURKE, 2003); adaptações de arranjos; e regras e estratégias de escrita, leitura e interpretação de arranjos corais com base no conceito de comunidade interpretativa (OLIVEIRA, 2002). Como resultado, constatou-se que há um predomínio de arranjos em relação às composições nos programas analisados e que o regente-arranjador é o principal produtor destes arranjos. Baseado na noção de comunidade interpretativa, conclui-se que as partituras de arranjos corais são geralmente partituras abertas, sujeitas a alguns acréscimos, supressões ou transformações. A partir das entrevistas, foi possível identificar práticas de leitura e de uso compartilhadas pelos regentes corais brasileiros responsáveis pela circulação de arranjos, referentes a dinâmicas, andamentos, respirações, cifras, ritmos, entre outras.<br>This research is intended to investigate, identify and analyze the various practices of conductor-arranger - from the arrangement\'s conception up to its performance, throughout repertoire\'s choice, writing procedures and techniques, and rehearsals. It also aims to verify how much the conductor-arranger participates or even influences Brazilian choral repertoire\'s circulation. For that, we have adopted a mixed methodology and empirical research. The research is divided into two chapters. The first looks at repertoire circulation, where we have traced an overview of the 20th and 21st centuries: there is a literature review of ten works that approach arrangement\'s production, among them Fernandes (2003), Souza (2003), Pereira (2006) and Moura (2012). The term \'popular\' and the concept of \'choral arrangement\' are discussed and the concert programs of Choral encounters are analyzed (1984-1994). In the second chapter, the purpose was to define the conductor-arranger\'s profile, by using the prosopographical method (STONE, 2011; and PAZ, 2014). Three conductor-arrangers contributed in semi-structured and open interviews, among them are Eduardo Fernandes, Marcelo Recski and Roberto Rodrigues, in order to obtain more detailed and complete information. Such interviews were the only way of coming to understand practical issues on composition and interpretation of arrangements, besides specific issues of some of the arrangements, that other methodologies were not able to approach. Regarding the practices of the conductor-arranger, the following subjects were analyzed: the repertoire as a group identity factor, the hybridization processes in arrangements (CANCLINI, 2003; e BURKE, 2003); arrangement\'s adaptations, writing rules and strategies, reading and interpretation of choral arrangements based on the concept of interpretative community (OLIVEIRA, 2002). As a result, it was verified that the number of arrangements prevail compositions in the analyzed programs, and that the conductor-arranger is the main producer of those arrangements. Based on the concept of interpretative community, we can conclude that choral arrangement scores are generally open scores, prone to additions, cuts and other changes. The interviews made possible to identify reading practices and shared use by Brazilian choral conductors who are responsible for the arrangements circulation, referring to dynamics, tempo, breathings, chord symbols, rhythms, among others.
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Elliott, Rachelle Anne. "Ég tala ekki íslensku: Exploring the performance of Icelandic mixed-voice choral music for non-Icelandic speaking conductors and singers." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29552.
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Icelandic mixed-voice choral singing has a short history compared to other Western European countries as singing in more than two voice parts was not commonplace until the twentieth century. Traditional Icelandic vocal music is most closely aligned with the song traditions of Norway and the Faroe Islands, although each has evolved differently resulting in a specialised, and some say, unique Icelandic mixed-voice choral sound within the Nordic countries. The key factors that have shaped Iceland’s choral music include the integration of distinctly identifiable musical characteristics from Iceland’s ancient musical heritage; the characteristics of modern Icelandic with its inherent rhythms, syllabic emphasis, aspirations, and pitch variations, combined with a vocal quality that is transmitted between generations of singers.
Since the 1970s, mixed-voiced choirs such as Hamrahliðakórinn, Hljómeyki and Schola Cantorum Reykjavicensis have toured regularly to Europe and the USA, performing Icelandic compositions that have generated interest from international choral communities. Compositions range from technically undemanding settings through to complex works. However, it is the pronunciation of the language, a cornerstone of the Icelandic choral sound, that seems the main barrier to performances beyond Iceland’s shores. Through my own conducting practice, interviews, a review of the known literature, recordings, fieldwork (observation of rehearsals and performances), and analysis, the nuances of performance are explored. The resulting dissertation explores the background to the specific sound of Icelandic choral music with reference to Iceland’s music traditions and proposes solutions to overcome interpretative challenges faced by non-Icelandic conductors and singers when programming contemporary Icelandic mixed-voice art music.
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Tresler, Matthew Troy. "Ernst Pepping's Missa Dona Nobis Pacem: A Conductor's Analysis For Performance." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/128.
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The purpose of this study is to provide a conductor's resource for preparation of the Missa Dona Nobis Pacem of Ernst Pepping (1901-1981). While research on the organ works has been done, there is no English language resource on the sacred choral works of Pepping. This paper provides a collection of information on Pepping's life, musical characteristics, and the composition of the Missa Dona Nobis Pacem. Following an introductory first chapter, Chapter Two is a biographical sketch of the composer with emphasis on compositional periods and important historical figures, and it places Pepping's works into this context. The third chapter is a brief description of Pepping's musical language and places the Mass in historical compositional context through a discussion of the Vier letzte Lieder of Richard Strauss (1869-1949) and the Cinq rechants of Olivier Messiaen (1908-1992), two vocal works also written in 1948. Chapter Four is an overview of the Mass. The fifth chapter gives an analysis of the Missa Dona Nobis Pacem and provides musical examples. The sixth and final chapter provides further insight into the works for a cappella choir by Ernst Pepping with a discussion of two major examples from the same compositional period, Heut und ewig (1948) and the Passionsbericht des Matthaus (1949-1950). The Appendices are a chronological list of the choral compositions of Ernst Pepping, and a chronology.
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Sharlow, David Lee Robinson Charles R. "Building common ground an investigation of choral conductors' definition of community within a choral ensemble /." Diss., UMK access, 2006.
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Thesis (Ph. D.)--Conservatory of Music and School of Education. University of Missouri--Kansas City, 2006.<br>"A dissertation in music education and curriculum and instruction." Advisor: Charles R. Robinson. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 20, 2007. Includes bibliographical references (leaves 167-179). Online version of the print edition.
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Walters, Norene Ann. "The Unaccompanied Choral Works of Richard Rodney Bennett: A Conductor's Guide." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/195081.
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As one of Great Britain's leading composers, Sir Richard Rodney Bennett (b. 1936) is prolific in a wide range of media, idioms, and genres, including concert and stage music, jazz, and film scores and has to his credit an extensive discography. He excels in solo vocal, instrumental, and chamber music composition and has a significant but lesser known corpus of choral music. A classically trained pianist, Bennett enjoys a parallel performing career as a jazz musician and cabaret singer. He has lived in New York since 1979.Bennett is one of a group of twentieth-century British composers who have cultivated distinctly English styles of composition. Like his near contemporaries Kenneth Leighton (1929-88), William Mathias (1934-92), and Paul Patterson (b. 1947), Bennett borrows from ancient and modern English traditions and from twentieth-century techniques to create an individual style.This study provides an historical context for English choral tradition, traced from its medieval roots through a twentieth-century musical renaissance, then identifies and examines a wide array of eclectic traits in Bennett's unaccompanied choral compositions for mixed voices. A component of the study is a literature survey to aid the choral conductor's preparation of these works for performance.This investigation revealed Bennett's affinity for English poetry and his desire to communicate the emotional content of his chosen texts through musical expression. Salient features of his compositional method are fluent linear part-writing within a contrapuntal texture, skillful textural manipulation, refined rhythmic control, and structural symmetry and balance. Other style traits emerged, including modality, pitch cross-relations, canonic imitation, word-painting, cross-rhythms, metric shifts, harmonic shifts, tone clusters, driving repetitive rhythms, extended vocal techniques, and use of the octatonic scale. Collectively, these suggest the composer was influenced by Tudor polyphony (possibly subconsciously), Igor Stravinsky (1882-1971), Francis Poulenc (1899-1963), William Walton (1902-83), Olivier Messiaen (1908-92), and Benjamin Britten (1913-76).
Bücher zum Thema "Choir conductor"
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Järg, Tiia. Gustav Ernesaks: Choir conductor & composer = koorijuht & helilooja. Eesti Muusika Infokeskus, 2004.
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Choir, Toronto Mendelssohn, ed. The Mendelssohn Choir of Toronto, A.S. Vogt, conductor: Annual concerts, Massey Music Hall ... s.n., 1992.
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Carter, Julie Lane. Norman Luboff, his life, career, and professional choir. UMI, 1993.
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Canterbury, Chloe. Tobee and the amazing bird choir. Bridge Resources, 2000.
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Knutson, Brian Jeffrey. Interviews with selected choral conductors concerning rationale and practices regarding choral blend. s.n.], 1987.
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Grauzdin̦a, Ilma. Izredzētie: Latvijas Lielā kora virsdiriģenti [The Chief Conductors of the Gigantic United Choir of Latvia]. Edited by Dagmāra Lejiņa. Valsts aģentūra "Tautas mākslas centrs", 2008.
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Marek-Kamińska, Anna. Chóry Rzeszowa. Wydawnictwo Uniwersytetu Rzeszowskiego, 2021.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Choir conductor"
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Corbalán Abellán, Maravillas. "The Choir Conductor: Interpreter or Maestro?" In Learning and Teaching in the Music Studio. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0634-3_15.
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Corbalán Abellán, Maravillas. "The Choir Conductor: Interpreter or Maestro?" In Learning and Teaching in the Music Studio. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0634-3_15.
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Chandezon, Christophe, and Bruno D’Andrea. "Circulations animales et zoogéographie ancienne." In Circulations animales et zoogéographie en Méditerranée. Publications de l’École française de Rome, 2024. https://doi.org/10.4000/12wd0.
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Ce texte, issu des introductions présentées aux trois colloques de Rome, Athènes et Montpellier, a pour fonction de définir la question qui a servi de fil conducteur au programme de recherche. Il sert donc d’introduction à l’ensemble du volume. Nous y définissons les termes employés (circulation plutôt que mobilité) et nous y expliquons le choix de la période. Surtout, cette introduction est l’occasion de faire le point sur l’historiographie autour des circulations animales, sur les modèles pouvant servir d’outils d’analyse et sur les prolongements potentiels du programme.
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Beaulieu Orna, Marie-Claude. "L’esthétique pittoresque comme vecteur et pilier de l’invention partagée." In L’Invention partagée. Presses universitaires Blaise-Pascal, 2019. https://doi.org/10.4000/141m9.
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Les jardins d’Ermenonville constituent un support privilégié pour interroger le partage de l’invention entre artistes d’une réalisation plurielle. L’étude de leur conception permet de proposer un schème d’invention, qui cherche à mettre en lumière la part d’interprétation de chaque intervenant dans le processus créatif, plus particulièrement celle des praticiens. L’esthétique pittoresque sert de fil conducteur au partage d’invention et à son analyse, car, au cours du xviiie siècle, le paysage, qu’il soit naturel ou artificiel, se perçoit à travers le prisme de la peinture de paysage du siècle précédent. René-Louis de Girardin adopte cette nouvelle esthétique pour la transformation des jardins de sa propriété. D’autres acteurs participent à la réalisation de ces tableaux : un architecte-paysagiste, qui s’attache à mettre en valeur les éléments naturels ; un maître jardinier et ses nombreux collaborateurs, qui dessinent sur le terrain la composition picturale par leurs choix horticoles ; des peintres, dont Hubert Robert, qui fournissent les esquisses, inspirés de leurs propres répertoires iconographiques.
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Mikoš, Matjaž, Nejc Bezak, Timotej Jurček, et al. "Recent UL FGG Contributions to the 2020 Kyoto Commitment." In Progress in Landslide Research and Technology, Volume 3 Issue 1, 2024. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-55120-8_23.
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AbstractUniversity of Ljubljana, Faculty of Civil and Geodetic Engineering (UL FGG) is a Full Member of the International Consortium on Landslides, and an Official Promoter of the 2020 Kyoto Commitment for Landslide Risk Reduction. In this article, the activities in the period 2020–2023 that have contributed to the 2020 Kyoto Commitment are shortly reviewed. The main research and capacity-building activities were conducted within the framework of the World Centre of Excellence (2020–2023) on Landslides in Weathered Heterogenous Sedimentary Rock Masses such as Flysch, and a few International Programme on Landslides (IPL) projects: IPL-225, IPL-261, and IPL-262. UL FGG also supported the activities of the UNESCO Chair on Water-related Disaster Risk Reduction (WRDRR) at the University of Ljubljana which was active in research of rainfall-induced landslides, their triggering and mitigation. The reviewed activities also contributed to the UNESCO Intergovernmental Hydrological Program and its IXth phase (2022–2029), the Sendai Framework on Disaster Risk Reduction (2015–2030), and the United Nations Sustainable Development Goals.
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Pinya Fernández, Samuel, Sergi Guasch-Martínez, Joan Gil-Perelló, et al. "Empowering student engagement and environmental understanding: the Coastal Health Monitoring Scheme (CHMS) in the Balearic Islands, Spain." In Monitoring of Mediterranean Coastal Areas: Problems and Measurement Techniques. Firenze University Press, 2024. https://doi.org/10.36253/979-12-215-0556-6.25.
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A partnership between the Iberostar Foundation and the University of the Balearic Islands through the Chair of the Sea, Coastal Health Monitoring Scheme has a dual purpose: training students in marine biodiversity monitoring and collecting critical coastal ecosystem data. Launched in 2021 on Ibiza with 12 stations, it now boasts 50 stations: 20 in Mallorca, 15 in Menorca, 10 in Ibiza, and 5 in Formentera. Undergraduate Biology students from the University of the Balearic Islands conduct this project. Each station undergoes comprehensive surveys in spring and summer, including three 60 m2 transects to quantify species density, focusing on sea urchins, sponges, sea cucumbers, and anemones. Population structure analysis is performed by measuring diameters of sea urchins and anemones. Variable-length transects assess benthic species like sea snails and limpets, while others study crab species diversity and Blennoidea fish abundance. Data collected forms a comprehensive biodiversity inventory, enhanced by submerged sand samples to measure organic content and granulometric composition. The CHMS's success is supported by the Iberostar Fdn., Baleària Fdn., local councils, and Island Councils, aiding in transportation, accommodation, and mobility. This collaborative approach enriches marine biology education and contributes valuable insights into coastal ecosystems.
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Mohamed, Bahaaeldin, and Thomas Köhler. "The Fish Model: When Do Researchers Collaborate Online?" In Progress in IS. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-66262-2_3.
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AbstractThe questions of whether and how doctoral students are motivated for enhanced research collaboration deserve thorough consideration. Even though collaboration in general and its mediated forms, such as computer-supported cooperative work and collaborative learning (CSCW and CSCL), are prominent research topics, only a little is known about the methods necessary to design various activities to support research collaboration. With the upcoming generation of tools such as Mendeley, Conference Chair, ResearchGate, or Communote, scholars suspect that web 2.0 services play a decisive role in enabling and enhancing research collaboration. However, there is almost no data available on the extent to which researchers adopt these technologies, and how they do so. Therefore, the authors first present an overview of the current usage of web 2.0 among doctoral researchers in their daily academic routines, based on a survey (n = 140) conducted in the German Federal State of Saxony. It confirms a wide and often specified usage of web 2.0 services for research collaboration. For theoretical analysis, the authors propose a conceptual framework that reflects the requirements of scientific participation and scholarly collaboration within an average international doctoral programme adopting current digital technologies. The aim of this framework is to understand, support, and enhance research collaboration among doctoral researchers. Our fish model highlights the mutual relationship between the following dichotomous factors: (a) tasks/time factors; (b) beliefs/activities; (c) support/context; and (d) incentives/ethical issues. Our results indicate a significant relationship in terms of research collaboration. This relationship has particularly been identified between two dichotomous factors: beliefs/activities and incentives/ethics.
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"Making Use of the Conductor—Choir Bond." In Choral Conducting and the Construction of Meaning. Routledge, 2017. http://dx.doi.org/10.4324/9781315095714-17.
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Bartle, Jean Ashworth. "Checklist for Ideal Rehearsals and Preparation for Complete Artistic Performances." In Sound Advice. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195141788.003.0004.
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Abstract What makes a children’s choir performance inspirational rather than perfunctory? Why does one performance move us to tears while another may leave us only satisfied? How should a conductor sow the seeds for a complete artistic performance? It is in well-organized, thoroughly prepared, and dynamic rehearsals that the children become an artistic instrument and a vital rapport is established between choir and conductor. Only then can the music begin to touch the soul.
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Paszta, Andrzej, and Piotr Paszta. "Ludwik Wawrzynowicz’s wand – conductor of the “Lutnia” choir in Częstochowa." In Ziemia Częstochowska. T. 46. Wydawnictwo Naukowe Uniwersytetu Humanistyczno-Przyrodniczego im. Jana Długosza w Częstochowie, 2020. http://dx.doi.org/10.16926/zc.2020.46.03.
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The article presents a description of Ludwik Wawrzynowicz’s wand, including its role in managing the choir. In addition, the parameters of the object were determined and the wand’s maker was identified.
Konferenzberichte zum Thema "Choir conductor"
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Artale, Alessandro, Roman Kontchakov, Andrea Mazzullo, and Frank Wolter. "Non-Rigid Designators in Modal and Temporal Free Description Logics." In 21st International Conference on Principles of Knowledge Representation and Reasoning {KR-2023}. International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/kr.2024/8.
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Definite descriptions, such as ‘the General Chair of KR 2024’, are a semantically transparent device for object identification in knowledge representation. In first-order modal logic, definite descriptions have been widely investigated for their non-rigidity, which allows them to designate different objects (or none at all) at different states. We propose expressive modal description logics with non-rigid definite descriptions and names, and investigate decidability and complexity of the satisfiability problem. We first systematically link satisfiability for the one-variable fragment of first-order modal logic with counting to our modal description logics. Then, we prove a promising NEXPTIME-completeness result for concept satisfiability for the fundamental epistemic multi-agent logic S5n and its neighbours, and show that some expressive logics that are undecidable with constant domain become decidable (but Ackermann-hard) with expanding domains. Finally, we conduct a fine-grained analysis of decidability of temporal logics.
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Niemtsova, Liliya. "A Combination of Professional and Personal Qualities in the Choir Conductor." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/21.
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The article outlines the problem of combining professional and personal qualities in the choir conductor. Research gaps in the profession of choir conductor are outlined. We established that the art of conducting, and choral performance as its component, currently requires professionally trained personnel, who have an active life position and are able to provide a creative approach to choral singing. It was found that conducting should be interpreted as a creative process characterized by a step-by-step structure and a combination of analysis and comprehension of the choral score, its artistic interpretation, which allows embodying the formed musical image in the real choral sound. It was found that the conductor’s professional qualities are based on the conductor’s individual style or his “creative method”. It is established that the emotional sphere of the conductor is the result of a combination of qualities that will allow the conductor and the choir to demonstrate a bright and convincing revelation of the originality of texture, expressive timbre colors of numerous choral scores, and a rich palette of nuances.
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Blîndu, Natalia. "VERONICA GARSTEA: THE BEGINNING OF THE ARTISTIC CAREER IN THE DOINA CHOIR CHAPEL." In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.11.
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This article deals with the initial period of the life and artistic career of the famous Veronica Garstea, the artistic director and first conductor of the „Doina” Choral Chapel. This period covers the years of the artist’s youth until 1963. Her activity as the choirmaster of the chapel, her collaboration with Vladimir Minin, reviews in the allied press regarding the high appreciation of her professionalism and talent are analyzed. It is concluded that the first years of professional activity of conductor Veronica Garştea in the Doina Choral Chapel determined the continuation of her career as a conductor and were a key period in her development as a successful conductor and artistic director of the chapel in the second half of the 20th century.
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Jenko, Matija, and Barbara Kopačin. "Povezivanje životnog okruženja dece i njihovog uključivanja u horove." In Nauka, nastava, učenje u izmenjenom društvenom kontekstu. University of Kragujevac, Faculty of Education in Uzice, 2021. http://dx.doi.org/10.46793/nnu21.577j.
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Many studies have been conducted in the field of research on the stimulating domestic music environment, which show that the decision to engage children in music, in addition to internal factors in the family, can be influenced by external factors, such as the environment in which families live, too. Active inclusion of Slovenes in choirs is one of the most widespread free activities in the Republic of Slovenia, because according to the Public Fund of the Republic of Slovenia for Culture, more than 64.000 people sing in choirs. However, given that Slovenia is a very diverse country, especially in geographical terms, the mentality of people in different environments is very different, although in Slovenia creative people live in both rural and urban areas. Since in the article we discover, whether singing activity is higher in rural than in urban areas, we will define what both is and what are the characteristics of choirs in Slovenia, and then explore the differences between the above activities of parents and children in both areas. In this paper, we find that there are more active singing groups in urban areas, which include families, where both – children and parents – sing in a choir, than in rural areas, which we attribute to “rurbanization”, which blurs the boundaries between rural and urban settlements and their functions. The paper also confirms the assumption that the stimulating domestic music environment (singing at home, attending concerts with parents and parents' opinion that the stimulating musical environment offered to children at home strongly influences their participation in choirs) is related children's singing in choirs.
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Li, Yuan, and Rob Capra. "Want or Need: Why Would Users Expect to Conduct Cross-Session Searches?" In CHIIR '22: ACM SIGIR Conference on Human Information Interaction and Retrieval. ACM, 2022. http://dx.doi.org/10.1145/3498366.3505829.
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Imura, Saeko, Noriko Hashida, and Ryuichi Yamazaki. "Suggestions to Make Working in a Sitting Chair more Comfortable." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001756.
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Telecommuting is now being promoted as a way to prevent the spread of COVID-19. The amount of money distributed in the seat category on the Rakuten market in April 2020 was a significant 280% higher than the same month last year. This shows that more and more people are using a seating chair to work on their computers in order to improve the environment for working at home. However, the 2016 study found several issues with working in a seated chair, such as poor posture and problems due to the height between the chair and the table. Therefore, the purpose of this study is to identify the factors that cause problems when using a sitting chair and the factors that make work comfortable, and to make suggestions accordingly.First, we conducted a basic experiment to identify problems when working in a sitting chair. From this result, this study proposes a cushion that makes PC work in a sitting chair more comfortable and a device that assists in standing up. The flow of the research is to pursue the functionality of the cushion itself, and then to clarify the elements of the necessary functions as a stand-up aid, and to consider adding these functions to the cushion.Experiments were conducted on existing smartphone cushions to identify factors that make working with them comfortable. Based on the experimental results and discussions, the height was set to 150mm and the size was set according to the results of the experiment. The surface is made of leather to improve stability.When we conducted a market survey on standing aids, we found that most of the ready-made products were pricey because they were for nursing care, and their appearance did not fit in with the interior design. In addition, most of them were over 300mm in height and required the user to stand up by grabbing the device with their hands, which is not familiar in daily life.In the end, we produced a final proposal that incorporated a standing aid into the cushion. Inside, a mixture of beads and cotton was placed in the gaps between the auxiliary devices to further enhance stability.The following five elements of peripheral devices that make working in a sitting chair comfortable were identified in this study.1) the height of the cushion should be 150mm, 2) the base of the cushion should be large enough to hold both arms, 3) the surface on which the PC is placed should be made of frictional material, and the surface in contact with the legs should be soft enough to fit the legs, 4) The auxiliary aid should be 300 mm in height, 5) The upper part of the auxiliary aid should be made of a material that fits the hand and makes it easy to find a place to place the hand.
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Bellannagari, Pranav, Sohail H. Zaidi, and Vimal Viswanathan. "Development of a Bio-Chair Using Electromygraphic Actuation for Rehabilitation Excercises." In ASME 2023 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2023. http://dx.doi.org/10.1115/imece2023-114245.
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Abstract Traditional rehabilitation exercises are required for patients who have partially lost their mobility and intend to regain it to walk freely without any external assistance. Selective exoskeleton devices are commercially availble that rely on mechanical systems to conduct such rehabilitation exercises. Such devices are expensive and are not suitable for patients who are unable to stand. In the current work, a commercially available wheelchair is modified to incorporate new features of the proposed bio-chair. In order to operate the leg supporting plates, several components, including ball-screw mechanical actuators, motors, and L-shaped power transmitting shafts, were conceived and built. Ball screw mechanical actuators and motor holders were made via 3D printing. The angular motion of the leg supporting plates was used to calibrate the linear movement of the ball-screw nut. To determine the motors that are most suitable for operation by providing enough torque, basic calculations were performed. A unique feature of the bio-chair is that it enables the user to use his leg muscle’s power to trigger the bio-chair operation to conduct rehabilitation exercises to regain his/her mobility. The final design is fabricated and tested in this work. Initial operation results are included.
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Srivastava, Abhishek, and Sonal Atreya. "Comparing the pedagogical setup of contemporary chair-based sitting with traditional Indian (cross-legged) way of ground-based sitting: A Narrative review." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005407.
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Background: Chairs are a relatively newer concept as compared to the traditional Indian way of ground-based sitting. The traditional Indian gurukuls (residential schools), follows Vedic way of minimal living, and the learners primarily adopt ground-based sitting resembling specific asanas (body postures), which offer a wide range of physical and psychological benefits. Problem: Although there is ample study on the consequences of extended (chair-based) sitting and sedentary lifestyle, only a few studies have focused on the ground-based sitting practise adopted in eastern cultures. Furthermore, these limited studies exist in domain-specific silos, with insufficient comparative compilation. Methods: The paper aims to compare the impact of chair-based sitting with ground-based, on learner’s physical, mental, and additional dimensions through literature-based study. Results: The prolonged chair-based sitting impacts - Physical dimensions (like- musculoskeletal pain in body parts, swelling of ankles & legs, etc.), Mental dimensions (like- chronic stress, anxiety & depression, etc.), and additional dimensions (like- poor academic performance, social conduct issues, etc.). Meanwhile, the Indian way of ground (cross-legged) sitting appears to have positive effects on these dimensions. Under the physical dimension, cross-legged sitting betters- blood circulation, back stability, and body's flexibility. This sitting improves the mental dimension through enhanced concentration, inducing a calming effect, etc. Moreover, it aids in additional dimensions, such as balancing the bodily energy systems and imparting longevity benefits. Conclusion: This review highlights the numerous advantages of ground-based (cross-legged) sitting over chair-based, and highlights an excellent opportunity to investigate the ancient knowledge of asana using scientific approaches in educational context.
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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.
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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.
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Chumacero-Polanco, Erik A., and James Yang. "A Review on Human Motion Prediction in Sit to Stand and Lifting Tasks." In ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-59891.
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Human-like motion prediction and simulation is an important task with many applications in fields such as occupational-biomechanics, ergonomics in industrial engineering, study of biomechanical systems, prevention of musculoskeletal disorders, computer-graphics animation of articulated figures, prosthesis and exoskeletons design as well as design and control of humanoid robots, among others. In an effort to get biomechanical insight in many human movements, extensive work has been conducted over the last decades on human-motion prediction of tasks as: walking, running, jumping, standing from a chair, reaching and lifting. This literature review is focused on the STS motion and the LLM. STS is defined as the process of rising from a chair to standing up position without losing stability balance, it is the most ubiquitous and torque-demanding daily labor and it is closely related to other capabilities of the human body. LLM is defined as the activity of raising a load, generally a box, from a low to a higher position while stability is maintained, this task produces a high number of incidences of low-back pain and injuries in many industrial and domestic activities. In order to predict STS and LLM, two methods have been identified: these are the OBMG method and the CBMG method.
Berichte der Organisationen zum Thema "Choir conductor"
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Ringhand, Madlen, Maximilian Bäumler, Christian Siebke, Marcus Mai, and Felix Elrod. Report on validation of the stochastic traffic simulation (Part A). Technische Universität Dresden, 2021. http://dx.doi.org/10.26128/2021.242.
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This document is intended to give an overview of the human subject study in a driving simulator that was conducted by the Chair of Traffic and Transportation Psychology (Verkehrspsychologie – VPSY) of the Technische Universität Dresden (TUD) to provide the Chair of Automotive Engineering (Lehrstuhl Kraftfahrzeugtechnik – LKT) of TUD with the necessary input for the validation of a stochastic traffic simulation, especially for the parameterization, consolidation, and validation of driver behaviour models. VPSY planned, conducted, and analysed a driving simulator study. The main purpose of the study was to analyse driving behaviour and gaze data at intersections in urban areas. Based on relevant literature, a simulated driving environment was created, in which a sample of drivers passed a variety of intersections. Considering different driver states, driving tasks, and traffic situations, the collected data provide detailed information about human gaze and driving behaviour when approaching and crossing intersections. The collected data was transferred to LKT for the development of the stochastic traffic simulation.
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Studd, Sarah, Joseph Black, B. Fallon, Jeffrey Galvin, and J. Hubbard. Vegetation inventory, mapping, and characterization report, Chiricahua National Monument: Volume II, type descriptions. National Park Service, 2025. https://doi.org/10.36967/2308488.
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The Sonoran Desert Network (SODN) conducted a vegetation mapping and characterization effort at Chiricahua National Monument (CHIR) from 2008 to 2011. This project was completed under the National Park Service (NPS) Inventory and Monitoring Division Vegetation Mapping Inventory, which aims to complete baseline mapping and classification inventories at more than 270 NPS units. The vegetation map data collected provides park managers with a digital map product that meets national standards of spatial and thematic accuracy, while also placing the vegetation into a regional and national context. A total of 29 distinct vegetation communities were described. These communities ranged from lower-elevation grass and forb systems with scattered mesquite (Prosopis velutina) or juniper trees (Juniperus arizonica) to rugged, exposed wooded shrublands and to deeply shaded and mesic drainages with Madrean pines (Pinus engelmannii, P. leiophylla) and Douglas-fir (Pseudotsuga menziesii) forests. Each of the 29 communities was described at the association level, with detailed narratives that include lists of species found in each association, their abundance, landscape features, and overall community structural characteristics. Of the 29 vegetation types, only nine were pre-existing “accepted” types within the National Vegetation Classification (NVC). The remaining types are newly described, specific to CHIR, and will be proposed for formal status within the NVC. This document is Volume II of two volumes in the CHIR Vegetation Mapping Inventory. Volume I is the main project report and provides summaries of each type description, while Volume II provides the unabridged versions of the type descriptions. These detailed type descriptions include floristic and structural characteristics, species abundances and constancy values, environmental and landscape descriptions, and characterizations of the community variability across CHIR.
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Bäumler, Maximilian, Madlen Ringhand, Christian Siebke, Marcus Mai, Felix Elrod, and Günther Prokop. Report on validation of the stochastic traffic simulation (Part B). Technische Universität Dresden, 2021. http://dx.doi.org/10.26128/2021.243.
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This document is intended to give an overview of the validation of the human subject study, conducted in the driving simulator of the Chair of Traffic and Transportation Psychology (Verkehrspsychologie – VPSY) of the Technische Universität Dresden (TUD), as well of the validation of the stochastic traffic simulation developed in the AutoDrive project by the Chair of Automotive Engineering (Lehrstuhl Kraftfahrzeugtechnik – LKT) of TUD. Furthermore, the evaluation process of a C-AEB (Cooperative-Automatic Emergency Brake) system is demonstrated. The main purpose was to compare the driving behaviour of the study participants and the driving behaviour of the agents in the traffic simulation with real world data. Based on relevant literature, a validation concept was designed and real world data was collected using drones and stationary cameras. By means of qualitative and quantitative analysis it could be shown, that the driving simulator study shows realistic driving behaviour in terms of mean speed. Moreover, the stochastic traffic simulation already reflects reality in terms of mean and maximum speed of the agents. Finally, the performed evaluation proofed the suitability of the developed stochastic simulation for the assessment process. Furthermore, it could be shown, that a C-AEB system improves the traffic safety for the chosen test-scenarios.
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Papí-Gálvez, Natalia, and Daniel La Parra-Casado. Informe 2022. Càtedra de Bretxa Digital Generacional. Les persones majors en l’era de la digitalització a la Comunitat Valenciana (Dades 2021). Càtedra de Bretxa Digital Generacional, 2022. http://dx.doi.org/10.14198/bua.2022.papi.infv.
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The Research Chair in the Generational Digital Divide undertakes activities aimed at furthering knowledge about the causes, consequences and solutions to the digital divides caused by age gaps. This report shows the research project carried out in 2021 to learn more about how the digital divide affects over 54s living in the Valencia Region, by province, with a focus on intergenerational relationships. To this end, an exploratory survey targeted at over 54s years old and over 39s years old in the Valencia Region, based on primary sources and combining quantitative and qualitative techniques, has been conducted. The data reveals that, while a large percentage of over 54s declare that they have access to and are users of new technologies, much remains to be done for access and usage to become universal, especially at older ages. The report analyses how technology is used, considering its purpose and context, according to age and other significant variables. Differences in technology usage have been found across age groups and between women and men. The report contains information on, among other relevant aspects, online services, and especially on e-banking, the healthcare system and e-administration. Differences between age groups have been found for all indicators, shedding light on intergenerational relationships within the family that are crucial for older people. The Research Chair is an initiative by the Valencia Region Government’s Directorate General for the Fight Against the Digital Divide and stems from the collaboration between the Regional Department for Innovation, Science, Universities and Digital Society and the University of Alicante.
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Papí-Gálvez, Natalia, and Daniel La Parra-Casado. Informe 2022. Cátedra de Brecha Digital Generacional. Las personas mayores en la era de la digitalización en la Comunidad Valenciana (datos 2021). Cátedra de Brecha Digital Generacional, 2022. http://dx.doi.org/10.14198/bua.2022.papi.infc.
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The Research Chair in the Generational Digital Divide undertakes activities aimed at furthering knowledge about the causes, consequences and solutions to the digital divides caused by age gaps. This report shows the research project carried out in 2021 to learn more about how the digital divide affects over 54s living in the Valencia Region, by province, with a focus on intergenerational relationships. To this end, an exploratory survey targeted at over 54s years old and over 39s years old in the Valencia Region, based on primary sources and combining quantitative and qualitative techniques, has been conducted. The data reveals that, while a large percentage of over 54s declare that they have access to and are users of new technologies, much remains to be done for access and usage to become universal, especially at older ages. The report analyses how technology is used, considering its purpose and context, according to age and other significant variables. Differences in technology usage have been found across age groups and between women and men. The report contains information on, among other relevant aspects, online services, and especially on e-banking, the healthcare system and e-administration. Differences between age groups have been found for all indicators, shedding light on intergenerational relationships within the family that are crucial for older people. The Research Chair is an initiative by the Valencia Region Government’s Directorate General for the Fight Against the Digital Divide and stems from the collaboration between the Regional Department for Innovation, Science, Universities and Digital Society and the University of Alicante.
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Studd, Sarah, Joseph Black, B. Fallon, Jeffrey Galvin, and J. Hubbard. Vegetation inventory, mapping, and characterization, Chiricahua National Monument: Volume I, main report. National Park Service, 2025. https://doi.org/10.36967/2308673.
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The Sonoran Desert Network (SODN) conducted an inventory, classification, and mapping of vegetation communities at Chiricahua National Monument (CHIR) from 2007 to 2011. This report is Volume I of two volumes, summarizing 29 vegetation communities (associations) identified at the monument and providing them within the context of the United States National Vegetation Classification (USNVC), the hierarchical system guiding all National Park Service (NPS) vegetation inventories. Volume II contains the full association descriptions. The project combined existing plot data with new plot-scale and larger-scale ground observations of the dominant species combinations, their abundance, structural characteristics, and landscape traits to develop the dataset from which the classification was derived. Teams also mapped vegetation communities using printed satellite imagery and real-time GPS locations to pinpoint locations and draw boundaries between changing communities. These boundaries were later digitized and became the map. In June 2011, after data collection had been completed, a severe wildfire, Horseshoe Two, impacted nearly all of the monument, resulting in a matrix of lightly to severely burned areas. This event–the only extensive wildfire in the monument since the late 19th century–substantially altered major swaths of the park’s dominant upland plant communities and made it impossible to conduct a meaningful or appropriate post-mapping accuracy assessment. As a result, this map and the vegetation types provide a detailed perspective of pre-fire conditions and serve as a template against which to compare vegetation recovery and restoration following this seminal fire event.
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Gyamfi, Baffour. The risk of metabolic syndrome in psychiatric patients. University of Missouri - Columbia, 2024. https://doi.org/10.32469/10355/106441.
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Background Metabolic syndrome (MetS) is highly prevalent among patients with severe mental illness (SMI), primarily due to antipsychotic medication use. This Quality Improvement (QI) project aimed to enhance MetS screening and referral practices among mental health staff through an educational intervention. The objectives were to achieve a 10% increase in MetS documentation, engage at least 50% of staff in the educational sessions, and increase referrals by 10% for at-risk patients. Methods The project was guided by evidence from literature demonstrating the impact of educational interventions on MetS screening. Implementation involved a longitudinal pre-post design, using the M-BACK questionnaire to assess staff knowledge, attitudes, and practices. The primary investigator conducted two 20-minute presentations and provided e-learning modules for reference. Chart reviews assessed MetS documentation pre- and post-intervention, with McNemar’s test and Wilcoxon Signed Ranks Test used to evaluate changes in documentation and staff attitudes, respectively. Results MetS documentation increased from 59.4% to 93.75% post-intervention, exceeding the 10% target. Staff participation in educational sessions was 68.2%, surpassing the 50% goal. Referral rates rose from 88.9% to 100%, an 11.1% increase; the objective met was clinically meaningful, though not statistically significant. Conclusions The findings support incorporating regular MetS education in clinical practice, with quarterly refresher sessions and biannual chart audits recommended for sustained improvement. IRB Approval IRB approval through full/expedited/exempt review. Co-Authors Nancy M. Birtley, DNP, APRN, PMHCNS-BC, PMHNP-BC, DNP Committee Chair Miriam D. Butler, DNP, NP-C, DNP Committee Member Jennifer Parnell, PA-BC, DNP Committee Member Jan Sherman RN, NNP-BC, PhD (Statistician) Learning Objective Explain the impact of educational interventions on improving metabolic syndrome screening and referral practices among mental health staff. Outcome Statement This QI project aimed to improve MetS screening and referral rates among mental health staff through an educational intervention.
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Manual for the classification of intervention best-practices with rural NEETs. OST Action CA 18213: Rural NEET Youth Network: Modeling the risks underlying rural NEETs social exclusion, 2020. http://dx.doi.org/10.15847/cisrnyn.mn1.2020.12.
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targeting rural NEETs. In my opinion, this is the most outstanding contribution of this manual, and also an original one, considering that to date no other efforts have been made with the intention of developing a grid of how to describe interventions dealing with rural NEETs. This manual offers, therefore, valuable contributions for upcoming research efforts within and beyond RNYN, including: (a) a complete methodological framework for future case stu-dies; (b) practical tools to conduct field research than can be combined with many different methodological approaches (qualitative, mixed-methods, etc.); and, (c) strategic criteria for conducting research in complex settings such as community-based programs. In addition, this manual sets the necessary conditions to present evidence-based conclusions about programs targeting rural NEETs, further aiding policy-makers to opt for solutions that clearly produce better results. This manual would not have been possible without the efforts and best knowledge from its editorial team. Therefore, as the Chair of RNYN, but also in a more personal note, I would like to thank Claudia Petrescu, Emre Erdogan and Paul Flynn for the impeccable and rigorous way in which they conducted all the process. I would also like to thank the Working Group 2 mem-bers traversing many countries who contributed to this document.