Inhaltsverzeichnis
Auswahl der wissenschaftlichen Literatur zum Thema „Choir conductor“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Choir conductor" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Zeitschriftenartikel zum Thema "Choir conductor"
1
Deliana, Frida, und Suprayitno. „Training of Moria choir conductor members and conductors in efforts to improve quality in Medan city“. ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 5, Nr. 1 (30.05.2020): 1–6. http://dx.doi.org/10.32734/abdimastalenta.v5i1.4017.
Der volle Inhalt der QuelleAnnotation:
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.
2
Çoşkunsoy, Bilgen Özcan, und Bahar Güdek. „The Impact of Body Language Use of a Conductor on Musical Quality“. Journal of Education and Training Studies 7, Nr. 9 (30.06.2019): 39. http://dx.doi.org/10.11114/jets.v7i9.4271.
Der volle Inhalt der QuelleAnnotation:
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.
3
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, Nr. 4 (Dezember 1997): 509–20. http://dx.doi.org/10.2307/3345419.
Der volle Inhalt der QuelleAnnotation:
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.
4
Zeman, А. „THE COMMUNICATION BETWEEN CONDUCTOR AND CHOIR IN THE PROCESS OF CREATING A MUSICAL WORK OF ART“. Musical art in the educological discourse, Nr. 2 (2017): 62–67. http://dx.doi.org/10.28925/2518-766x.20172.6267.
Der volle Inhalt der QuelleAnnotation:
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.
5
Emerson, Kathryn, Victoria Williamson und Ray Wilkinson. „Once more, with feeling: Conductors’ use of assessments and directives to provide feedback in choir rehearsals“. Musicae Scientiae 23, Nr. 3 (20.07.2019): 362–82. http://dx.doi.org/10.1177/1029864919844810.
Der volle Inhalt der QuelleAnnotation:
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.
6
Grushka, Kathryn, Miranda Lawry, Kim Sutherland und Charissa Fergusson. „A Virtual Choir Ecology and the Zoom-machinic“. Video Journal of Education and Pedagogy 5, Nr. 1 (11.01.2021): 1–16. http://dx.doi.org/10.1163/23644583-bja10013.
Der volle Inhalt der QuelleAnnotation:
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.
7
Tobing, Octaviana. „Manajemen Paduan Suara Consolatio Universitas Sumatera Utara“. Gondang: Jurnal Seni dan Budaya 2, Nr. 2 (19.12.2018): 57. http://dx.doi.org/10.24114/gondang.v2i2.11282.
Der volle Inhalt der QuelleAnnotation:
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.
8
Volkmann, Roberta. „Sound Advice: Becoming a Better Children's Choir Conductor“. Music Educators Journal 90, Nr. 2 (November 2003): 60. http://dx.doi.org/10.2307/3399936.
Der volle Inhalt der Quelle
9
RUCSANDA, Mădălina. „The role of the Conductor of children choir in the improvement of Interpersonal Communication through Music“. BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (20.01.2021): 257–66. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.28.
Der volle Inhalt der QuelleAnnotation:
Choral singing is a complex and multifactorial activity, it is a group activity in which participants are actively involved through music and are able to transmit varied touches of human psychoemotional states. The conductor of a children’s choir must have a complex personality, he must be a passion-filled musician, a teacher, a psychologist, he must have psychosocial competences and leadership abilities. In the conductor-choir relationship, the interaction of the conductor’s self with the members of the choir is of distinct importance. In order to increase the quality of said relationship, which is the basis of a remarkable artistic performance, a new method has been approached: the Johary Window model, which can be applied by the conductor in order to obtain a viable communication between the members of the choral ensemble
10
Küçük, Duygu Piji, und Bülent Halvaşi. „Team Perceptions of Choir Members“. Journal of Education and Training Studies 7, Nr. 3 (26.02.2019): 241. http://dx.doi.org/10.11114/jets.v7i3.4043.
Der volle Inhalt der QuelleAnnotation:
The success of a choir depends on the integrity, concentration and team logic to be formed within the group under the leadership of the choir conductor. Some dimensions of team perception are considered to be important for choral success such as knowing the aims of the choir, being aware of each other's talent levels, sharing the feeling of success and failure, having trust and responsibility for the group members and the conductor, being willing to work, feeling happy and proud for being a member of the choir. In this study, it is aimed to determine the level of team perception of choir members. In addition, it has been tried to determine whether the team perceptions of choir members have made a difference according to the variables of gender, age, type of graduated school and choir experience. The research group consisted of 246 choir members who are members of Marmara University Polyphonic Choir, MEF University Choir, TRT Istanbul Youth Choir, Kocaeli University Fine Arts Faculty Music Department Choir, Croatia Mato Bucar Choir and Bosnia and Herzegovina Bugojno Choir. The data of the study were collected with Chorus Team Perception Scale and personal information form, consisting of 34 items and 5 sub-dimensions. As a result of the research, it was found that the choir members generally had a high level of team perception. The average score of the choir members in sub-dimensions of the team spirit, chorus and conductor relationship, negative emotions, responsibility and effort, emotional support and collaboration, revealed a high level of team perception. According to the gender variable, a high level of difference was found in favour of female choir members among the total scores of the team members of the choir. It was found that choir members aged 22 years and older had higher choir team perception than choir members in the 14-17 and 18-21 age groups. There was no significant difference between the total score of the team perception and the sub-dimension scores of the choir members according to the type of school they graduated and the choir experience variables.
Dissertationen zum Thema "Choir conductor"
1
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.
Der volle Inhalt der QuelleAnnotation:
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.Thesis (PhD)--University of Pretoria, 2020.
pt2021
Humanities Education
PhD
Unrestricted
2
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.
Der volle Inhalt der QuelleAnnotation:
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.School of Music
3
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.
Der volle Inhalt der QuelleAnnotation:
Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-29T10:56:38Z
No. of bitstreams: 2
Dissertação - Joana Christina Brito de Azevedo - 2003.pdf: 2540874 bytes, checksum: 13c6058faad58b5319a3db6c3ce47c96 (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-29T10:57:00Z (GMT) No. of bitstreams: 2 Dissertação - Joana Christina Brito de Azevedo - 2003.pdf: 2540874 bytes, checksum: 13c6058faad58b5319a3db6c3ce47c96 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Made available in DSpace on 2017-05-29T10:57:00Z (GMT). No. of bitstreams: 2 Dissertação - Joana Christina Brito de Azevedo - 2003.pdf: 2540874 bytes, checksum: 13c6058faad58b5319a3db6c3ce47c96 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2003-04-29
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.
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.
4
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.
Der volle Inhalt der QuelleAnnotation:
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.
5
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/.
Der volle Inhalt der QuelleAnnotation:
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.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.
6
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.
Der volle Inhalt der QuelleAnnotation:
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.
7
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.
Der volle Inhalt der QuelleAnnotation:
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).
8
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.
Den vollen Inhalt der Quelle findenAnnotation:
Thesis (Ph. D.)--Conservatory of Music and School of Education. University of Missouri--Kansas City, 2006."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.
9
Schroeder, Angela. „Susan Botti's Cosmosis: A Conductor's Analysis with Performance Considerations“. Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3617/.
Der volle Inhalt der QuelleAnnotation:
In 2005, composer Susan Botti won the coveted Prix de Rome in musical composition and spent eleven months in residency at the American Academy in Rome. That same year, the University of Michigan Wind Symphony, under the direction of Michael Haithcock, premiered her exciting new work Cosmosis at the College Band Directors National Association Conference in New York City. The bi-annual conference is a venue for the premiere of new works for wind ensembles and bands, and the 2005 conference saw the world premiere of nine works for winds and percussion, many of which were performed in the legendary Carnegie Hall. What made the debut performance of Cosmosis exciting and notable was the composer's own appearance as soprano soloist, and the inclusion of a chorus of women augmenting the ensemble of winds and percussion. Such a combination of elements is unique, and created a fresh and powerful sonority. Botti's inventive approach to composition has expanded the repertoire for both women's chorus and wind ensemble with this distinctive work. This study is intended to serve as a guide to the study and performance of Cosmosis. The information provides a detailed examination of the work from its conception to its premiere performance. The work is based on the poetry of American poetess May Swenson, and Botti's interpretation of the poetry in music unveils interesting parallels between these artistic disciplines. The research provides a contextual framework from which the conductor may begin study of the work, and which may lead to an informed performance of the work.
10
Steenblik, Peter C. „Hâfez and Betinis: a Conductor’s Approach to Ancient Persian Poetry As Voiced by a Twenty-first Century, Western Composer“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822732/.
Der volle Inhalt der QuelleAnnotation:
The choral music of Abbie Betinis is being widely performed and commissioned by prominent high school, university, and civic choruses. This study examines From Behind the Caravan: Songs of Hâfez, a five-movement work by Betinis for women’s chorus, vielle, oud, and Persian percussion. Four ghazals by Hâfez of Shiraz, a fourteenth century Sufi poet, are used as the text for Betinis’s Caravan. When considering a performance of this work, a conductor must understand proper treatment of the text, available translation options, Hâfez’s vast world of imagery, vocal demands inherent to the work, alternate instrumentations available and the benefits of each, how to approach improvisatory passages, how to engage heterophonic elements, and how to prepare a Western choir and audience with very little to no understanding of the philosophies of Sufism that heavily influence the work. This study addresses the body of practical knowledge gained after a year of examining, researching, teaching, and performing this work.
Bücher zum Thema "Choir conductor"
1
Järg, Tiia. Gustav Ernesaks: Choir conductor & composer = koorijuht & helilooja. Tallinn: Eesti Muusika Infokeskus, 2004.
Den vollen Inhalt der Quelle finden
2
Dear Mr. Funfgeld: A celebration of the Bach Choir of Bethlehem and its artistic director and conductor, Greg Funfgeld. [Bethlehem, Pa.]: Bach Choir of Bethlehem, 2013.
Den vollen Inhalt der Quelle finden
3
Meg, Mundell, Hrsg. Choir man. Pymble, N.S.W: HarperCollins, 2009.
Den vollen Inhalt der Quelle finden
4
Welch, Jonathon. Choir man. Pymble, N.S.W: HarperCollins, 2009.
Den vollen Inhalt der Quelle finden
5
Welch, Jonathon. Choir man. Pymble, N.S.W: HarperCollins, 2009.
Den vollen Inhalt der Quelle finden
6
The choir director. Waterville, Me: Thorndike Press, 2011.
Den vollen Inhalt der Quelle finden
7
The choir director. New York: Kensingron Pub. Corp., 2011.
Den vollen Inhalt der Quelle finden
8
Knutson, Brian Jeffrey. Interviews with selected choral conductors concerning rationale and practices regarding choral blend. [Florida: s.n.], 1987.
Den vollen Inhalt der Quelle finden
9
Carter, Julie Lane. Norman Luboff, his life, career, and professional choir. Ann Arbor, MI: UMI, 1993.
Den vollen Inhalt der Quelle finden
10
Canterbury, Chloe. Tobee and the amazing bird choir. Louisville, KY: Bridge Resources, 2000.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Choir conductor"
1
Corbalán Abellán, Maravillas. „The Choir Conductor: Interpreter or Maestro?“ In Learning and Teaching in the Music Studio, 309–23. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0634-3_15.
Der volle Inhalt der Quelle
2
Corbalán Abellán, Maravillas. „The Choir Conductor: Interpreter or Maestro?“ In Learning and Teaching in the Music Studio, 309–23. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0634-3_15.
Der volle Inhalt der Quelle
3
Mohamed, Bahaaeldin, und Thomas Köhler. „The Fish Model: When Do Researchers Collaborate Online?“ In Progress in IS, 29–48. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-66262-2_3.
Der volle Inhalt der QuelleAnnotation:
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.
4
„Making Use of the Conductor—Choir Bond“. In Choral Conducting and the Construction of Meaning, 183–94. Routledge, 2017. http://dx.doi.org/10.4324/9781315095714-17.
Der volle Inhalt der Quelle
5
Daling, Grete, und Arve Almvik. „Korsang og musikalsk ledelse for mestring og velvære“. In Samsang gjennom livsløpet, 279–99. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.162.ch9.
Der volle Inhalt der QuelleAnnotation:
Singing in a choir is shown to have a good impact and effect on both physical, mental, emotional, cognitive and social areas and in relation to meaning and context in life. On the other hand, we have little knowledge of what the participants in the choir experience of learning, skills training and joy, as well as why and how. The purpose of this chapter is to contribute to knowledge about musical leadership in a choir where mastery and well-being for the participants is the goal. The chapter is based on empirical data from the research and development project Sing yourself well1. Data is collected through focus group interviews of participants in a project-based choir for people with mental health challenges. The main theme of the interviews was the facilitation and implementation of musical practice with emphasis on the musical aspects of singing in the choir Sing yourself well. The data are analyzed on the basis of Malterud’s phenomenological analysis and systematic text condensation. Central findings are that breathing, vocal exercises and musical imitation are perceived as important for the participants’ feeling of proficiency. The way the communication between conductor and choir participants takes place is crucial for creating trust and security. What contributes to the participants’ experience of mastery is discussed with emphasis on methodology, communication and learning processes.
6
Bull, Anna. „‘Sometimes I Feel Like I’m His Dog’“. In Class, Control, and Classical Music, 112–31. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190844356.003.0006.
Der volle Inhalt der QuelleAnnotation:
In a close analysis of rehearsal processes in the youth choir and two youth orchestras in this study, this chapter describes in detail the gendered interaction between conductor and musicians. The charismatic authoritative leadership of their male conductors was appreciated and enjoyed by the young musicians. The chapter focuses particularly on the interactions that facilitated this charismatic authority. To this end, the construction of conductors’ charisma is analysed in its workings through consensual as well as more coercive practices such as humiliation and fear, and the ways in which these reinforced gendered norms are drawn out. The deference and conformity that are normal within classical music practice can be read politically as trust in the authority and expertise of adult leaders that is continuous with a wider middle-class trust in institutional authority. These social relations are, in part, inscribed in the musical text.
7
Hammel, Alice M., und Ryan M. Hourigan. „Teaching Strategies for Performers with Special Needs“. In Teaching Music to Students with Special Needs. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195395402.003.0014.
Der volle Inhalt der QuelleAnnotation:
Because of previously discussed changes in philosophy and policy, the demographics of our performing ensembles are constantly changing. Many school districts have moved toward a policy of full inclusion of students with special needs. This has led to an increased number of students with special needs in performing ensembles and has challenged many conductors to find ways to include many students with disabilities who were not previously a part of performing ensembles. In addition, this has forced many conductors to reexamine their underlying philosophy of what it means to be a successful ensemble conductor. The purpose of this chapter is to offer techniques for choral and instrumental conductors who teach performers with special needs and to suggest ideas for consideration for those who are preparing to conduct performing ensembles. These strategies come from extensive work researching, consulting with ensemble conductors, and working with parents of performers with special needs. This chapter is designed to alleviate any anxieties conductors and conducting students may have and to provide confidence when teaching students with disabilities. Typically the percentage of students with disabilities in performing ensembles is far less than the overall percentage of students with disabilities in a school. This is anecdotal data, however; the open challenge exists to those who teach performing ensembles to truly examine this phenomenon throughout their school system (Pre-K through 12). Band, choir, and orchestra directors can inadvertently discourage participation of students with special needs in their ensembles in many ways. For example, many band and orchestra programs have an entry point in or around fifth grade. However, after that point, students are not allowed to join. Unfortunately, many students with special needs are not developmentally ready to join an instrumental or choral ensemble in fifth grade. Many of these same students would be extremely successful if given another point of entry later in their school career. Small curricular nuances such as a floating entry point to beginning band, choir or orchestra can make a meaningful difference in developing an inclusive performing ensemble program in a public school.
8
Hamer, Kenneth. „Legally Qualified Chair“. In Professional Conduct Casebook. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198817246.003.0052.
Der volle Inhalt der Quelle
9
Jansson, Dag. „The choir as the conductor’s mirror“. In Leading Musically, 176–94. Routledge, 2018. http://dx.doi.org/10.4324/9781315163994-10.
Der volle Inhalt der Quelle
10
Hamer, Kenneth. „Reasons“. In Professional Conduct Casebook. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198817246.003.0065.
Der volle Inhalt der QuelleAnnotation:
General Osteopathic Council (Professional Conduct Committee) (Procedure) Rules 2000, rules 31 (the chair shall announce the committee’s findings and its reasons for those findings, with regard both to the facts of the case and to whether the osteopath has been found guilty of unacceptable professional conduct or of serious incompetence) and 36–38 (the chair shall announce the committee’s decision with regard to sanctions and the committee shall notify the osteopath of its decision, its reasons for reaching that decision, and the osteopath’s rights of appeal)
Konferenzberichte zum Thema "Choir conductor"
1
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.
Der volle Inhalt der QuelleAnnotation:
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.
2
Jenko, Matija, und 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.
Der volle Inhalt der QuelleAnnotation:
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.
3
Li, Yuan, und 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. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3498366.3505829.
Der volle Inhalt der Quelle
4
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.
Der volle Inhalt der QuelleAnnotation:
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.
5
Chumacero-Polanco, Erik A., und 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.
Der volle Inhalt der QuelleAnnotation:
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.
6
Zhao, Xiang, Trent Montgomery und Sijun Zhang. „Numerical Modeling of Stationary, Dynamic Pebbles and Gas Flows in a Pebble Bed Reactor“. In 2013 21st International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/icone21-15451.
Der volle Inhalt der QuelleAnnotation:
This paper presents a review on the research activities conducted at AAMU (Alabama A&M University) in the last five years. The researchers in College of Engineering, Technology and Physical Sciences of AAMU have been receiving financial support from the U.S. Department of Energy under Massie Chair Excellence Program in Nuclear Engineering from 2008. The main objectives of this project were to improve the capability of understanding the static, dynamic behavior of pebbles and gas flows/heat transfer in a pebble bed reactor (PBR), which is the key to the design, optimization and safe operation of the reactors.
7
Pan, Min-Chun, und Jeng-Yi Huang. „Operating Investigation of Transmission Systems Using Advanced Time-Frequency Representations“. In ASME 2003 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/detc2003/vib-48482.
Der volle Inhalt der QuelleAnnotation:
This study aims at developing and implementing advanced time -frequency representation algorithms, i.e., Choi-William distribution, and cone-shape distribution, based on the spectrogram and the smoothed Wigner- Ville distribution to both improve time and frequency resolutions as compared with the spectrogram, and soothe interferences resulting from the Wigner-Ville distribution. Synthetic signals were designed to assess the effectiveness of these algorithms, and compare computing features of these schemes as well. A transmission-component test rig was built up to investigate dynamic characteristics of the gearbox, belt set and electro-magnetic brake during operation. Conducted experimentation highlights the justification of applying these advanced schemes in condition monitoring tasks of mechanical systems.
8
Mohler, Richard. „Bottom-Up, Top-Down, and the Messy Reality of the In-Between“. In AIA/ACSA Intersections Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.aia.inter.19.9.
Der volle Inhalt der QuelleAnnotation:
"This paper reflects my recent five-year experience as a practicing architect, educator and advocate embedded in the contentious fray of public discourse regarding housing and land use policy in Seattle. During this period I testified before city council regarding proposed housing-focused land use legislation, presented my analysis of that policy in professional and community forums, published opinion pieces in the Seattle Times, coordinated the housing advocacy efforts of AIA Seattle, conducted graduate-level design studios focused on the topic at the University of Washington, and presented the student work (often with students) in venues throughout the city. I ended this period of local advocacy in 2018, when I was appointed to the Seattle Planning Commission, although I continue to help coordinate AIA Seattle’s advocacy efforts as co-chair of its Public Policy Board."
9
Heinrich, Alexander, Christine Tiedemann und Dieter Peitsch. „Experimental Investigations of the Aerodynamics of Highly Loaded Tandem Vanes in a High-Speed Stator Cascade“. In ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-63235.
Der volle Inhalt der QuelleAnnotation:
Tandem blade configurations are said to being able to outperform conventional single blades in terms of loss behaviour and flow turning. The work presented here is supported by experimental investigations which were conducted at a 2D linear stator cascade at the Chair for Aero Engines at the Technische Universität Berlin. Two different tandem blade configurations with a different load split are examined and compared against a conventional single reference blade. Multi-coloured oil flow visualisation complemented by wake flow measurements show the development of the secondary flow structures and enable a thorough understanding of the impact of varying tangential displacement for tandem blades. The results show that tandem blades can reduce the total pressure losses, especially in the midspan region, which also results in smaller overall values. In addition, the incidence angle variation has shown that the working range of the tandem vanes exceeds the originally designed working range of the single reference blade. The tandem configurations still allow flow guidance at stall condition and prove the capability of the concept.
10
Rodriguez, Jorge, James Ridge und Amy Dickinson. „CAD Training Using Interactive Computer Sessions Emphasizing Design Intent“. In ASME 1998 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/detc98/cie-5504.
Der volle Inhalt der QuelleAnnotation:
Abstract This project addresses the need to train CAD users on proper modeling methodology. New CAD software empowers designers with the flexibility of parametric or variational design. These feature-based parametric modeling packages allow modification of a solid model by changing its dimensional parameters; however, incorrect modeling methodology may cause failure in the design stage. Failures occur when modified dimensions cause a conflict within the geometry of the model. An option being used is to train designers on capturing the Design Intent of a system through proven techniques in the modeling process. This training is based on interactive computer sessions that guide the designer and allow him/her to explore what-if scenarios. This project sought to identify proven techniques in the modeling process for capturing the Design Intent of mechanical systems. The familiar components of a bicycle provided a basis for exploration. Pro/Enginner™ software was used in this study. Nine lessons were created and tested by professionals. Beta testing was conducted at Steelcase-Chair Division with positive feedback from novice and advanced CAD users.
Berichte der Organisationen zum Thema "Choir conductor"
1
Ringhand, Madlen, Maximilian Bäumler, Christian Siebke, Marcus Mai und Felix Elrod. Report on validation of the stochastic traffic simulation (Part A). Technische Universität Dresden, 2021. http://dx.doi.org/10.26128/2021.242.
Der volle Inhalt der QuelleAnnotation:
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.
2
Bäumler, Maximilian, Madlen Ringhand, Christian Siebke, Marcus Mai, Felix Elrod und Günther Prokop. Report on validation of the stochastic traffic simulation (Part B). Technische Universität Dresden, 2021. http://dx.doi.org/10.26128/2021.243.
Der volle Inhalt der QuelleAnnotation:
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.
3
Papí-Gálvez, Natalia, und 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.
Der volle Inhalt der QuelleAnnotation:
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.
4
Papí-Gálvez, Natalia, und 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.
Der volle Inhalt der QuelleAnnotation:
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.
5
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, Dezember 2020. http://dx.doi.org/10.15847/cisrnyn.mn1.2020.12.
Der volle Inhalt der QuelleAnnotation:
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.