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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.Thesis (PhD)--University of Pretoria, 2020.
pt2021
Humanities Education
PhD
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.School of Music
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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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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.
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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.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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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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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).
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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."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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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/.
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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.
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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/.
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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.
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Fuchs, Michael C. „A Conductor’s Guide to the Incorporation of Bel Canto Methodology in the Choral Rehearsal“. University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396530409.
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Sweet, Bridget Mary. „Everybody's somebody in my class a case study of an exemplary middle school choir teacher /“. Diss., Connect to online resource - MSU authorized users, 2008.
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Johnson, Dirk. „A Conductor’s Guide to the Masses of Charles Gounod“. University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1249973805.
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Pagan, Ellen M. „College choir directors' and voice instructors' techniques for classifying female voices“. Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237398533.
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Pinsonneault, Albert. „A conductor's guide to selected choral works of F. Melius Christiansen (1871-1955)“. Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1250619506.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.Advisor: Brett Scott. Title from electronic thesis title page (viewed Jan. 15, 2010). Includes abstract. Keywords: F. Melius Christiansen; St. Olaf; a cappella choir; beautiful savior; christiansen. Includes bibliographical references.
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Hafsi, Mahmoud. „Contribution à l'optimisation des choix de membranes denses ionisables à perméabilité sélective dans les procédés d'électrodialyse et autres techniques séparatives à membranes“. Paris 12, 1991. http://www.theses.fr/1991PA120014.
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Le developpement industriel des techniques separatives a membranes denses fonctionnalisees ionisables est tributaire du choix, parmi les membranes de ce type, de celles dont les proprietes sont optimales pour chaque application envisagee. Il importe donc de disposer de donnees d'origine experimentale sur les proprietes electrochimiques des membranes disponibles resultant d'un protocole d'etude commun, donc comparables les unes aux autres. A cette fin, pour etudier un nombre maximum de membranes ionisables, en particulier en ce qui concerne leurs capacites d'echange et leurs conductivites, il importe d'utiliser des techniques de mesure representant un compromis convenable entre rapidite et precision. Les resultats obtenus par nos soins, selon des techniques respectant cet imperatif, ont montre une grande diversite des proprietes caracteristiques des membranes disponibles en particulier pour ce qui concerne les conductivites equivalentes des ions h#+, oh#, k#+ et cl#, et en particulier la conductivite residuelle des ions h#+ dans les membranes anioniques. Ces resultats refletent egalement une grande variabilite de proprietes d'un lot de production a un autre ou meme d'un point a l'autre de certaines membranes, ce qui signifie que celles-ci ne peuvent etre considerees comme des produits chimiques definis. Nous avons egalement mene une etude comparative des permeabilites selectives de certaines membranes en presence d'ions de meme signe, de taille voisines tels que les ions cl# et no#3#, ou tres differentes tels que les ions h#+ et -ch#2ohch#2)#3nh#+, ou enfin de charges differentes tels que les ions na#+ et ca#+#+. Enfin, afin de conclure la demarche d'optimisation des choix de membranes engagees en serrant de plus pres les conditions pratiques d'emploi des membranes dans un procede donne, nous avons mis au point un materiel et un protocole d'essai d'electrodialyse en regime intentiostatique. L'utilisation de ce materiel a debouche sur la mise en evidence d'effets de dissociation de l'eau, au cours d'une electrodialyse, pour les courants superieurs aux courants limites de diffusion, aussi bien a l'interface compartiment de dilution-membrane echangeuse d'anions qu'a l'interface compartiment de dilution membrane echangeuse de cations
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Mensel, Robert. „A music of their own : the impact of affinity compositions on the singers, composers, and conductors of selected gay, lesbian, and feminist choruses /“. view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1331405811&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2007.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 309-313). Also available for download via the World Wide Web; free to University of Oregon users.
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Utsunomiya, Mirian Megumi. „O regente de coro infantil de projetos sociais e as demandas por novas competências e habilidades“. Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-12122011-224810/.
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Esta dissertação enfoca a demanda por novas habilidades e competências requeridas aos regentes de corais infantis de projetos sociais, a partir de pesquisa realizada junto a profissionais que atuam nesse segmento, com recorte na cidade de São Paulo. Tais competências diferenciam-se conforme demandado pelos atores sociais que estabelecem e financiam os corais. O perfil de um regente de coro infantil de um projeto social já se distancia das demais modalidades de coro devido às características particulares das crianças e às especificidades do contexto em que ele deve atuar. Esses fatores aumentam a gama de competências exigidas desse profissional. A partir da análise sócio-histórica da configuração da atividade de canto coral infantil no Brasil em três momentos determinados: o coro infantil do Período Colonial, regido pelo mestre-de-capela, o coro de crianças do Canto Orfeônico, regido pelo professor na época da República Velha e o coro infantil contemporâneo, no período da Nova República, surgido do esforço da Sociedade Civil, através de projetos sociais de Organizações Não-Governamentais, que demanda um novo tipo de regente, far-se-á a contextualização de conceitos como Palco Global, ator social, Sociedade Civil, Terceiro Setor e competências. Esta pesquisa se propõe a refletir sobre essas novas demandas que moldarão o perfil desse novo profissional regente de canto coral infantil.This works aims at focusing the new skills and competencies demanded for children\'s choir conductors in social projects. It was based on a research developed in São Paulo with professionals of this area. Such skills and competencies vary according to the social actors who support the choirs. The profile of a social project children\'s choir conductor has proved to be different from other chorus modalities due to the peculiarity of its children features and the specific context in which the conductor must act. These factors increase the range of skills required for this job. It was analysed the socio-historical arise of children\'s choir in Brazil in three specific periods: The children\'s choir of the Colonial Period, ran by mestre-de-capela; the children\'s choir of Canto Orfeônico, conducted by teachers at República Velha time and the contemporary children\'s choir, from Nova República, considered a civil society action implemented in social projects of Nongovernmental Organizations, which consequently order a different performance of this professional. Then, it will be contextualized the emerging concepts of \"Global Stage\", \"social actor\", \"Civil Society\", \"Third Sector\" and \"competencies\" in order to reflect on those current demands which are shaping the profile of this new professional childrens choir conductor.
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Wolfe, Ann C. „The impact of participation in a community youth choir on four at-risk adolescent females : a case study“. Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1191112.
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The intent of this study was to observe four at-risk adolescent females participating in a community youth choir. Their self-concept and behavior were monitored for sixteen weeks to see if this music experience had any impact on them.The four girls were institutionalized at a treatment facility for troubled juveniles and wards of the state of Indiana.The girls participated in the White River Youth Choir.Qualitative data were gathered via rehearsal observations, weekly cottage dinner visits, journal entries, formal and informal dialogues. telephone calls, written correspondence. and miscellaneous materials.Two standardized inventories were used as supplementary data.The Child Behavior Checklist/4-18 (CBCL/4-18) was filled out by a counselor. The Tennessee Self-Concept Scale: Second Edition (TSCS: 2) was completed by the girls.Data management and analysis were aided by QRS NUD*IST software (Non-Numerical Unstructured Data Indexing. Searching, and Theory-Building).The naturalistic inquiry technique of triangulation was emphasized when discovering patterns among various interrelationships.Emerging themes were:music plays a role in these girls lives, a three versus one division separates the girls, the girls segregate themselves from others, a community choir may not be the panacea, and indications that the girls have been or are at-risk sexually.Behavior and self-concept changes occurred but could not be attributed specifically to choir involvement.Findings of the study suggest that uncontrolled factors (i.e. staff turnover. communication problems, absenteeism, and anti-social behavior) must be addressed before at-risk teenage girls could successfully assimilate themselves into a community youth choir.An on-campus music experience is recommended for institutionalized female adolescents. Organizing a music ensemble having support of institutional staff, emphasizing short-term commitment, using a staff member as director, allowing ownership by using familiar music as well as letting the girls have a say in its choice. providing reasonable challenges. and giving girls individualized attention is suggested.School of Music
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Chaillou, Cedric. „« Nouveaux symptômes » et Choix inconscients : de l’impasse du trouble des conduites aux sorties possibles de la délinquance“. Thesis, Rennes 2, 2020. http://www.bu.univ-rennes2.fr/system/files/theses/2020theseChaillouCComplet.pdf.
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A partir d’une étude critique de la catégorie du Trouble des Conduites, nous présenterons successivement les différentes théories scientifiques qui se sont intéressés à la délinquance et au crime, afin de sélectionner celles qui nous semblent les plus pertinentes pour traiter les débats suscités par l’introduction de cette catégorie. Notre travail de recherche a permis de mettre en évidence les limites scientifiques de ce type de Trouble dans une première partie, en questionnant sa définition et son évolution dans les nosographies internationales. Nous avons ensuite interrogé les méthodes d’évaluation, les facteurs associés et les préventions proposés pour ces Troubles : ils ne donnent lieu à aucun consensus parmi les chercheurs. Dans une seconde partie nous avons donc repris les théories qui éclairent les points de vue sur ce trouble et qui font référence à la délinquance et au crime. Nous avons montré que certaines théories étaient articulées les unes aux autres suivant leur discipline et que d’autres contenaient en elles-mêmes des points de butée. Nous proposons dans une troisième partie une réévaluation de la Psychopathologie de la délinquance avec des apports de la Psychanalyse et de la Sociologie. Nous soutenons que le concept de désistance (la sortie de la délinquance) est plus pertinent pour saisir les processus en jeu, il fait valoir le lien social et éloigne les perspectives biologisantes. Ce concept peut s’éclairer à partir des choix inconscients du sujet, plusieurs cas cliniques nous permettent de l’illustrer et d’envisager une efficacité thérapeutique en considérant les effets du langageFrom a critical study of the Conduct Disorder, we will successively set out the different scientific theories focused onto crime and antisocial behavior in order to select the ones that seem to be the most relevant to address the question. Our research was able to reveal the scientific limits of these kind of behaviors. In a first part, questioning its meaning and its evolution into the international nosography. Then, we studied the evaluation methods, the different factors and the preventions given for this Disorder : no consensus theory emerge from the researchers. In a second part, we treated the different theories that enlighten the point of views about this Disorder which are linked to the behavioral problems and crimes. We demonstrated that some theories were in relationship with others depending on their topics and others theories had their limits in their core. In a third part, we put forward a revaluation of the Psychopathology of the behavioral problems with the contribution of the Psychoanalysis and Sociology. We sustain that the desistance (the cessation of offending or other antisocial behavior) is more relevant to seize the processes, it enables the social link and makes the biological perspectives go away. This concept can throw new light from the unconscious choices of the subject, several clinical cases allow us to illustrate and consider a therapeutic efficiency into the effects of the language
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„Evolution of Choral Sound: In Professional Choirs from the 1970s to the Twenty-First Century“. Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17967.
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abstract: Imitation is the genesis of change. One basic principle of human nature is that people imitate what they see and hear. In the professional choral arena, musicians extend the high art of imitation through fine-tuning, and creative reinterpretation. Stimulated by this cycle, the color of the twenty-first-century professional choir shifted compared to that of professional choirs from the 1950s through 1970s, causing an evolution in choral sound. In a series of interviews with iconic composers and conductors of professional choirs, the subjects involved in the study conveyed comprehensive and personal accounts outlining how professional choirs have refined the standard of choral sound. The paper is organized into three sections: (1) where have we been, (2) where are we now and (3) where are we going? It explores various conductors' perceptions of how and why choirs are unique when compared to earlier generations and what they believe caused the shift in choral tone. Paired with this perspective is the role of modern composers, whose progressive compositional techniques helped shape the modern choral sound. The subjects involved in the study further theorize how current inclinations may potentially shape the future of professional choral music. Although the subjects expressed differing opinions about the quality of the twenty-first-century choral tone, many agree that there have been specific transformations since the 1970s. The shift in choral tone occurred due to developments in vocal technique, exploration of contemporary compositional extended techniques, an adherence to historically informed performance practice, imitation of vocal colors from numerous cultures, incorporation of technology and emulation of sound perceived on recordings. Additionally, choral music subtly became prominent in film scores, and innovative conductors created progressive concert programming, and developed novel approaches to entertain audiences. Samplings of contributors involved in this study include: John Rutter, Harry Christophers, Charles Bruffy, Nigel Short, Craig Hella Johnson, Alice Parker, Michael McGlynn, Phillip Brunelle, Craig Jessop, Libby Larsen, Ola Gjeilo, Cecilia McDowall, Jaakko Mäntyjärvi and Stephen Paulus.Dissertation/Thesis
D.M.A. Music 2013
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Van, der Sandt Johannes Theodorus. „Towards a curriculum for training undergraduate choral conducting students in South Africa“. Thesis, 2013. http://hdl.handle.net/2263/31574.
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It is a feature of present-day schooling, in South Africa and abroad, that music teachers are expected to organise and direct vocal ensemble activities, for example, yet adequate preparation provided in higher education courses for this role that the school music teacher has to fulfil, seems lacking. The purpose of this study is to compile a knowledge base that will enable the planning and development of a choral conducting curriculum, for use in South African tertiary institutions. The curriculum should be aimed at aspirant teachers in primary and secondary schools and community leaders who are culturally aware and who have a responsibility and interest in the choral field. Choral conducting as a recognised subject of an undergraduate study package is a relatively new academic field in South Africa. The envisaged curriculum needs to enhance the proficiency of choral conducting students within an educational context. The thesis is presented in five chapters of which Chapter 1 represents the background to the study, Chapter 5 summarises the study with recommendations and a conclusion, whilst Chapters 2 – 4 constitute the greater part of the research. Chapter 2 – Towards a definition of an effective conductor, offers a perspective on the various roles of conductors and investigates the nature of the art of choral conducting in order to move towards a definition of an effective conductor. In Chapter 3 – Current choral conducting curricula, the present situation with regards to choral conducting curricula in Australia, Austria, Canada, Czech Republic, Estonia, Finland, Germany, Hungary, Norway, Philippines, Russia, Slovenia, South Africa, Sweden, the Netherlands, the United Kingdom and the United States of America is discussed. Chapter 4 – Choral conducting skills, examines the knowledge and skills that ought to be part of a choral conductor's proficiency. The meaning of each component and its characteristics are discussed. The primary method of research was the review of literature in order to acquire an in-depth understanding of the theme under investigation. The researcher also used the Internet as source of information on national and international choral conducting curricula.Dissertation (DMus)--University of Pretoria
Music
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Роєнко, Марія Миколаївна, und Mariia Mykolaivna Roienko. „Формування мануальної техніки майбутніх диригентів хору у процесі фахової підготовки“. Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9685.
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У магістерській роботі досліджено проблему формування мануальної техніки майбутніх диригентів хору у процесі фахової підготовки. На основі теоретичного узагальнення літературних першоджерел уточнено науковий зміст понять «диригент», «диригування», «хор», «техніка», «виконавська техніка музиканта», «мануальна техніка майбутніх диригентів хору». Виявлено особливості формування мануальної техніки майбутніх диригентів хору та визначено сутність і структуру досліджуваного явища. Визначено критерії, показники та рівні сформованості мануальної техніки майбутніх диригентів хору. Розроблено методичний інструментарій (методи та прийоми) формування мануальної техніки майбутніх диригентів хору у процесі фахової підготовки.In the master's thesis the problem of formation of manual technique of future choir conductors in the process of professional training is investigated. Based on the theoretical generalization of literary sources, the scientific meaning of the terms "conductor", "conducting", "choir", "technique", "performing technique of a musician", "manual technique of future choir conductors" is specified. The peculiarities of the formation of manual technique of future choir conductors are revealed and the essence and structure of the studied phenomenon are determined. Criteria, indicators and levels of formation of manual equipment of future choir conductors are determined. Methodical tools (methods and techniques) for the formation of manual equipment for future choir conductors in the process of professional training have been developed.
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Patterson, Gary Walter. „George W. Bragg, Jr. and his techniques for training the preadolescent boy's voice as demonstrated through the Texas Boys Choir : 1946--1975 /“. 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3301210.
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Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007.Includes abstract. Vita. Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0433. Adviser: Chester L. Alwes. Includes bibliographical references (leaves 137-144) and discography (leaves 127-130). Available on microfilm from Pro Quest Information and Learning.
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De, Beer Maria Magdalena. „Die bydrae van die Drakensberg Seunskoor tot die musieklewe in Suid-Afrika : 'n historiese oorsig (Afrikaans)“. Thesis, 2008. http://hdl.handle.net/2263/24616.
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In hierdie studie word gepoog om ’n historiese oorsig te gee oor die bydrae van die Drakensberg Seunskoor tot die musieklewe in Suid-Afrika. So ’n studie is nog nie voorheen onderneem nie. As agtergrond tot die geskiedkundige navorsing is ʼn algemene oorsig van die koortradisies in Suid-Afrika, en hoe wedersydse beïnvloeding met die Drakensberg Seunskoor plaasgevind het, in hierdie studie uiteengesit. Daar is verder gekyk na die ontstaan en algemene agtergrond van die skool, die musiekopvoeding, kooraktiwiteite, konserte, repertorium, opnames, oudleerlinge en dirigente. ’n Algemene historiese weergawe van die Drakensberg Seunskoor vorm die grootste komponent van die studie. Persoonlike gesprekke, direkte observasie, deelnemende observasie, versameling van inligting deur dokumente en argiefrekords en die studie van kulturele artefakte is die metodes wat gebruik is om inligting te versamel. As gevolg van die feit dat die koor ʼn groot hoeveelheid repertorium van verskillende genres sing, word die toonkunstenaarskap van die koorlede en dirigente uitsonderlik ontwikkel, veral wat betref verskillende uitvoeringspraktyke, wat ook ’n praktiese toepassing is van die musiekkurrikulum by die skool. Die aantal optredes, toere, repertorium en opnames, asook die aantal hoëprofielkontrakte wat die Drakensberg Seunskoor sedert sy ontstaan ontvang het, is ’n duidelike bewys dat hierdie koor nie slegs ’n baie groot invloed op die Suid-Afrikaanse musieklewe het nie, maar ook internasionaal uitstekend vaar. Die sukses van alumni en oud-dirigente se verdere musiekloopbane onderskryf ook hierdie stelling. Die genoemde intense opvoeding deur middel van musiek het tot gevolg dat van die oud-leerlinge die internasionale musiekwêreld met sukses betree, en daardeur die skool se invloed ver buite die landsgrense uitdra. Curricula vitae van alumni van die skool, waaronder Barry Coleman, Jacques Imbrailo, Colin Lee, Mark Nixon, Clint van der Linde en Deon van der Walt, staaf hierdie stelling. Curricula vitae van dirigente wat betrokke was by die koorskool sedert die ontstaan van die skool (in 1967) tot 2006 toon dat die koor nie slegs musici van formaat lok nie, maar ook aan hierdie afrigters die geleentheid bied om hulle toonkunstenaarskap te ontwikkel wat hulle in staat stel om later ’n groot rol in die musieklewe van Suid-Afrika, asook soms internasionaal, te speel. Hierdie studie lewer ’n bydrae tot die erkenning wat die Drakensberg Seunskoor verdien. Dit gee terselfdertyd aan uitvoerders, studente en historici ’n breër agtergrond, insig en waardering vir die koorskool. English This study aims to give a historic overview of the contribution of the Drakensberg Boys’ Choir to music in South Africa. Such a study has not yet been undertaken up to date. As background to the historic research, a general overview of choral traditions in South Africa and the mutual influence with the Drakensberg Boys’ Choir is set out in this study. Other aspects explored include the origin and general background of the school, the musical education, choir activities, concerts, repertoire, recordings, past students and conductors. A historic account of the choir forms the greatest part of the study. The methods used to gather information include interviews, personal conversations, direct observation, participatory observation, the collection of information from documents and archive records and the study of cultural artefacts. Because the choir sings a large repertoire from different genres, the musicianship of the choir members and conductors is developed particularly well, especially regarding different performance practices, which is also a practical application of the music curriculum at the school. The number of performances, tours, repertoire and recordings, as well as the high profile contracts that the Drakensberg Boys’ Choir has received since its origin, are clear indications that the choir not only has a significant influence on South African music, but also does exceptionally well internationally. The success of the further music careers of alumni and past conductors supports this statement. The school’s intense education through music means that past students enter the international music world successfully, and in this way carry the school’s influence far beyond the country’s borders. Curricula vitae of alumni of the school, which include Barry Coleman, Jacques Imbrailo, Colin Lee, Mark Nixon, Clint van der Linde and Deon van der Walt, are proof of this. Curricula vitae of conductors that have been involved with the choir school since its origin (in 1967) to 2006, show that the choir not only attracts noted musicians, but also offers them the opportunity to develop their musicianship, which allows them to later play a great role in music in South Africa, often also internationally. This study contributes to the recognition that the Drakensberg Boys’ Choir deserves. It gives performers, students and historians a broad background, and at the same time insight into and appreciation for the choir school.Thesis (DMus)--University of Pretoria, 2008.
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Rodrigues, Cláudio Miguel Tavares. „A Igreja como “Sinfonia” em Santo Inácio de Antioquia“. Master's thesis, 2019. http://hdl.handle.net/10400.14/29323.
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Santo Inácio de Antioquia autoapresenta-se como “um homem propenso para a unidade” (Filad. VIII). A unidade constitui, de facto, o programa do seu múnus episcopal, tal como no-lo dá a conhecer nas suas Cartas. Tal prepósito faz dele um dos grandes construtores de comunidades, na senda de S. Paulo que tem, sem dúvida, por modelo. O objetivo desta dissertação é compreender melhor a noção de Igreja presente nas Cartas de S. Inácio de Antioquia, tomando como chave de leitura a noção de “synphonia” de que o autor se serve para restaurar a “unidade” da Igreja, num contexto de múltiplas ameaças à “Concórdia” eclesial. Procurar-se-á identificar os alicerces sobre os quais a Igreja se fundamenta, isto é, olhar com alguma profundidade para aqueles que a ela presidem e para aqueles que a compõe nos seus diversos membros. Tudo na procura da paz e da concórdia à qual é chamada a viver a Igreja de Deus.O trabalho estará dividido em três momentos: num primeiro momento olharemos para a figura de Inácio e para os seus escritos; num segundo momento entraremos no centro do nosso trabalho, no qual penetraremos na “Sinfonia” da Igreja. Observando aqui a sua fundamental dimensão litúrgica (eucaristia), o seu Maestro (bispo), o “coro” (assembleia de todos os fiéis), e os seus “com-servidores” (presbíteros e diáconos); num terceiro momento olharemos para todo um conjunto de vocabulário (expressões da unidade) que nos permitem compreender o pensamento de Santo Inácio.Saint Ignatius of Antioquia self-presents himself as "a man prone to unity" (Filad. VIII). The unit is, in fact, the programme of its episcopal world, as it makes it known in its letters. Such a precomposite makes it one of the great builders of communities, in the path of St. Paul, which undoubtedly has a model. The aim of this dissertation is to better understand the notion of church present in the letters of St. Ignatius of Antioch, taking as a key of reading the notion of "Synphonia" that the author is used to restore the "unity" of the church, in a context of multiple threats to " Ecclesial "Concord. It will be sought to identify the foundations on which the church is based, that is, to look with some depth to those who preside over it and for those who compose it in its various members. Everything in the pursuit of peace and harmony to which it is called to live the Church of God. The work will be divided into three moments: in the first moment we look at the figure of Ignatius and his writings; In a second moment we will enter the center of our work, in which we penetrate the "symphony" of the Church. Observing here its fundamental liturgical dimension (Eucharist), its Maestro (bishop), the "choir" (Assembly of all the faithful), and its "with-servants" (Elders and Deacons); In a third moment, we will look at a whole set of vocabulary (expressions of unity) that allow us to understand the thought of St. Ignacio.
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Tsai, Chen-Fang, und 蔡珍芳. „Claude Debussy:Trois chansons de Charles d'Orleans/Chen-Fang Tsai Choir Conduct Concert“. Thesis, 2007. http://ndltd.ncl.edu.tw/handle/48291318448525365025.
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碩士東吳大學
音樂學系
95
In late 19 century France raised the tide of revivalism under the effect of Franco-Prussian war and nationalism. Claude Debussy (1862-1918) self-assumed the “French musician” and absorbed influences from old France’s superior music and traditional culture. He integrated his creational concept and successfully emerged from the Germany-Austria musical shadow to create a new milestone for French music. This paper is to confer the masterpiece by Debussy and reflect the background at that time. It was the only a cappella (Trois chansons de Charles d’Orleans, 1908). The lyric of the masterpiece came from France gest in 15th century. Its creative composure shows the essence of Renaissance. The content of paper includes four parts: the first part is related to his bio-bibliography, introduction, the background of creation of Debussy, and also to explore the historical concepts displayed in the context (Trois chanson de Charles d’Orleans); the second part involves the development and expansion of chansons, introduction of bio-bibliography, lyric and modulation from Charles d’Orleans(1394-1465); the third part is to discuss the interior of organized structures according to musical form, pitch and harmony, melody, modulation and rhythm respectively; whilst outlining the creative process whereby Debussy combines modern and ancient style; the fourth part will identify and interpret applicable musical composition according to above-mentioned research.
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Alder, Alan L. „Successful high school show choir directors : their perceptions about their teaching and administrative practices“. 2012. http://liblink.bsu.edu/uhtbin/catkey/1675390.
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The typical high school choral director of today is expected to know a great deal about the various types of music that exist as well as the appropriate techniques to create those genres in such a way that their student’s performances are realistic and stylistically accurate. What most undergraduate students are taught in pursuit of a choral music education degree misses the mark in that the show choir genre is nearly ignored
throughout the curriculum. Yet, the nation’s
new teachers are expected to strike out into
the world of teaching and often find themselves in very large, competitive programs with the show choir at the very center. This study begins by identifying a number of
questions that a first year teacher with no
show choir directing experiences might ask,
identifying the “how and why” of the daunting
task of creating an artistic product in this
new American modern choral genre. These questions also served as a guide to formulate a profile of the ideal show choir director. Then utilizing the established profile of the ideal show choir director, several experts – those who have an established reputation for a high level of
success – were interviewed and their responses were documented, studied, and organized into categories that correspond with those found in the profile of the ideal show choir director. The correlation of these elements provided an in-‐depth look into the processes of these successful
directors that have proven to be effective
over the course of many years, giving the
reader a revealing look into how to build
a program from the beginning, and to see it
through to the end with ultimate success. As young teachers attempt to create musical
experiences that are appealing to their students, they often find themselves competing with an idea that singing in choir should be like what can be seen on television in shows such as GLEE or American Idol, and other similar programs. While this is not an entirely real reflection of what choral music education is about, there is some truth to what is shown, and to a degree, what can be done. The focus of this project is to provide
our new teachers a knowledge base to draw from that can assist them in their own development toward becoming a truly well balanced musician and educator. This project can assist these young teachers in developing into those who have knowledge of the show choir art form, and know how to teach the various techniques necessary to engage students and keep them interested in singing choral music.Access to dissertation permanently restricted to Ball State community only
School of Music
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Chang, Wei-Shan, und 張維珊. „A Case Study of One High Performance Elementary School Choir Conductor’s Teaching Beliefs as well as Organization and Training in Yunlin County“. Thesis, 2014. http://ndltd.ncl.edu.tw/handle/88090321788089448368.
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碩士國立臺北教育大學
音樂學系碩士班
103
Abstract This study aimed to investigate the case of elementary school choir conductor’s teaching beliefs as well as organization and training. The qualitative-oriented descriptive case study was adopted to study one high-performance elementary school choir conductor. Using single-case holistic design as analysis unit, through classroom observations, interviews and documents for data collection and analysis, this descriptive case study drew the following conclusions based on the research results: First, the teaching philosophies of the subject teacher in this case study are as follows: 1). The teacher is glad to promote choir education, and is willing to pass on the wonderful choral experience. Through guidance, and through the process of building tradition, she believes that every teacher is able to attend to every student without exclusion. 2). The teacher makes a point of utilizing various repertoire to strengthen students’ basic music training without increasing the need of extra practice, as well as building up a selection of unique competition repertoire through thoughtful design and transcription. 3). The teacher believes in adopting the methods of diverse teaching and peer learning to help students interpret music, which also improves the precision of learning progress and efficiency. 4). The teacher holds that besides the individual learning situation and choral skills, choir directors should emphasize on compliance, gregariousness, and concentration in the students’ evaluation. 5). The teacher shows the compassion for both learning and teaching, who is not only very active in further studies, but also constantly reviewing the direction of one’s teaching approaches. Second, the methods of the subject teacher in this case study on organizing an elementary-school children’s choir are as follows: 1). To provide diverse teaching approaches. Not only take into account of students’ timbre, intonation, but also focus on students’ learning inclination. 2). Admit more choir members than as required in the competition. Adjust choir members’ ratio among all voices according to the repertoire in order to reach the balance of both volume and timbre, especially emphasize on the lower voices as the base configuration of the choir. 3). Through diligent practice, gradually build up choir members’ ability. The aim would be to organically and naturally guide them to use their body as their own instruments. 4). Through competitions, performances, and school activities, along with the assistance from the school administration, to encourage and inspire the choir members, and to establish a harmonious relationship between teacher and students. 5). During every morning rehearsals, the practice drill should start from outward to inward, which means from body, vocal core, to sound sequence. These practice drills will help along the following repertoire learning. 6). Draw nutrients from the music. Lead the choir in cappella to reach a better understanding of “listening.” Through the training in “listening,” the choir members will realize the skills and connation in chorus. 7). Emphasize on the individual basis and then extend to the group learning. Use the methods of leading and imitation, from easy to complexity, gradually improving choir members’ perceptive sensibility 8). Work on the correct vocalizing, diction and music interpretation. Establish mutual understanding personally and musically. Based on the research findings, this thesis provides fellow teachers and school-related personnel several proposed recommendations, and serves as a reference for further studies.
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Kotlanová, Monika. „Pěvecký sbor Václav - hudební tradice Staré Boleslavi“. Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-307902.
Der volle Inhalt der QuelleAnnotation:
The degree work is bent on story and present singing church choir VÁCLAV and its influence over cultural life citiies Brandýs nad Labem-Stará Boleslav. Maps his turn and incidence, namely how contemporary Church choir VÁCLAV, so and his predecessor from year 1861. Deal with diffusion spiritual musical traditions in Stará Boleslav from pasts to the today's time.
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Хруцька, Віра Анатоліївна, und Vira Anatoliivna Khrutska. „Формування професійно-особистісних якостей майбутніх диригентів хору у процесі фахової підготовки“. Master's thesis, 2021. http://repository.sspu.edu.ua/handle/123456789/11787.
Der volle Inhalt der QuelleAnnotation:
У магістерській роботі досліджено проблему формування професійно-особистісних якостей майбутніх диригентів хору у процесі фахової підготовки. На основі теоретичного узагальнення літературних першоджерел уточнено науковий зміст понять «якості», «особистісні якості», «професійні якості», «професійно-особистісні якості», «професійно-особистісні якості майбутніх диригентів хору». Конкретизовано сутність та компонентну структуру професійно-особистісних якостей у контексті фахової підготовки майбутніх диригентів хору. Визначено критерії, показники та рівні сформованості досліджуваного конструкту. Розроблено методичний інструментарій (методи та прийоми) формування професійно-особистісних якостей майбутніх диригентів хору у процесі фахової підготовки.In the master's work the problem of formation of professional and personal qualities of future choir conductors in the process of professional training is investigated. On the basis of the theoretical generalization of literary sources the scientific content of the concepts "qualities", "personal qualities", "professional qualities", "professional and personal qualities", "professional and personal qualities of future choir conductors" is specified. The essence and component structure of professional and personal qualities in the context of professional training of future choir conductors are specified. Criteria, indicators and levels of formation of the studied construct are determined. Methodical tools (methods and techniques) for the formation of professional and personal qualities of future choir conductors in the process of professional training have been developed.