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Books on the topic 'Choir conductor'

Author: Grafiati
Published: 25 June 2021
Last updated: 28 May 2022

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1

Järg, Tiia. Gustav Ernesaks: Choir conductor & composer = koorijuht & helilooja. Tallinn: Eesti Muusika Infokeskus, 2004.

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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.

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3

Meg, Mundell, ed. Choir man. Pymble, N.S.W: HarperCollins, 2009.

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4

Welch, Jonathon. Choir man. Pymble, N.S.W: HarperCollins, 2009.

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5

Welch, Jonathon. Choir man. Pymble, N.S.W: HarperCollins, 2009.

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6

The choir director. Waterville, Me: Thorndike Press, 2011.

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7

The choir director. New York: Kensingron Pub. Corp., 2011.

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8

Knutson, Brian Jeffrey. Interviews with selected choral conductors concerning rationale and practices regarding choral blend. [Florida: s.n.], 1987.

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9

Carter, Julie Lane. Norman Luboff, his life, career, and professional choir. Ann Arbor, MI: UMI, 1993.

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10

Canterbury, Chloe. Tobee and the amazing bird choir. Louisville, KY: Bridge Resources, 2000.

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11

Choral techniques: Beyond the basics : practical suggestions for choral conductors of school groups and community and church choirs. San Diego, Calif: N.A. Kjos, 1997.

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12

Commitment to musical excellence: A 75 year history of the Gustavus Choir. Newcastle upon Tyne: Cambridge Scholars Pub., 2011.

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13

Grauzdin̦a, Ilma. Izredzētie: Latvijas Lielā kora virsdiriģenti [The Chief Conductors of the Gigantic United Choir of Latvia]. Edited by Dagmāra Lejiņa. Riga, Latvia: Valsts aģentūra "Tautas mākslas centrs", 2008.

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14

Tonoshita, Tatsuya, and Takuya Yokoyama. Nihon no gasshōshi. Tōkyō: Seikyūsha, 2011.

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15

Schaefer, Thomas. Chöre in Hamburg. 2nd ed. Bremen: Schaefer, 2000.

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16

Z istoriï kyïvsʹkoï khorovoï shkoly. Kyïv: Muzychna Ukraïna, 2007.

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17

Life is just a chair of bowlies. Kansas City, Mo: Andrews and McMeel, 1993.

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18

Engelbreit, Mary. Life is just a chair of bowlies. Kansas City, Mo: Andrews and McMeel, 1992.

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19

Kramm, Herma. Angekommen: Als musikalische Botschafterin mit dem Madrigalchor durch die Welt : das Reisetagebuch. Münster: Aschendorff Münster, 2000.

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20

1964-, Stockhecke Kerstin, ed. Mit Posaune, Chor und Taktstock: Wilhelm Ehmann (1904-1989) und die Kirchenmusik. Bielefeld: Verlag für Regionalgeschichte, 1999.

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21

Boilermaker music makers: Al Stewart and the Purdue musical organizations. West Lafayette, Ind: Purdue University, 1986.

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22

Labonté, Marie-Lise. Le choix de vivre: Comment les épreuves d'une vie nous guident vers l'essentiel. Montréal]: Édition du club Québec loisirs, 2010.

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23

Mason, Felicia. Testimony. Waterville, Me: Thorndike Press, 2002.

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24

Mason, Felicia. Testimony. New York: Dafina Books, 2004.

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25

Testimony. New York: Dafina Books, 2002.

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26

1957-, Manly Howard, ed. Lift every voice: Expecting the most and getting the best from all of God's children. New York: Hyperion, 1995.

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27

Hermanas Perelšteinas: Trys ištrėmimai ir gyvenimo prasmė. Vilnius: Alka, 1994.

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28

When you eat at the refrigerator, pull up a chair: Fifty ways to feel thin, gorgeous, and happy (when you feel anything but). New York: Hyperion, 1998.

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29

When you eat at the refrigerator, pull up a chair: 50 ways to be thin, gorgeous, and happy when you feel anything but. New York: Hyperion, 1998.

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30

Werner, Kremp, ed. Die Gregorius-Gilde an St. Martin Euskirchen. Köln-Rheinkassel: Dohr, 2005.

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31

Dupuis, Charles-O. Léandre Brault: Fondateur des Petits chanteurs du Mont-Royal. [Saint-Laurent, Québec]: Fides, 2000.

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32

Les âmes soeurs: Honorez les mystères de l'amour et de la relation. [Montréal]: Le Jour, 1995.

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33

Bartle, Jean Ashworth. Sound Advice: Becoming a Better Children's Choir Conductor. Oxford University Press, USA, 2003.

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34

Bartle, Jean Ashworth. Sound Advice: Becoming a Better Children's Choir Conductor. Oxford University Press, Incorporated, 2012.

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35

Hicks, Michael. “My Tabernacle ‘Mormon’ Choir”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039089.003.0003.

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This chapter discusses the activities of the Mormon Tabernacle Choir under the direction of its conductor, Evan Stephens. In 1890 Mormons outgrew two fads, one doctrinal, the other musical. First was the idea that the world would end between December 1890 and December 1891. This commonplace belief, which helped nurture Mormon ferocity in the face of anti-polygamy legislation, derived from a statement Joseph Smith had made in 1835. In musical terms, entering the mainstream meant full commitment to standard musical notation and a letting-go of the musical fad of the Tonic sol-fa method. In 1891, William D. Davies, Welsh cultural ambassador from the New York newspaper Y Drych, toured Utah, heard Stephens's Choir and pronounced it the best choir in the world. This chapter considers the controversies faced by the Choir during Stephens's term as well as its concerts, domestic tours, and the competitions it joined. It also examines how the Choir continued its mission of public visibility without even leaving Salt Lake City.
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36

Notebooks, Cool. Notebook: Music Orchestra Conductor Sarcasm Choir Gift 120 Pages, 6X9 Inches, Blank. Independently Published, 2019.

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37

Notebooks, Cool. Notebook: Music Orchestra Conductor Sarcasm Choir Gift 120 Pages, A4 , Dot Grid. Independently Published, 2019.

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38

Choir, Toronto Mendelssohn, ed. The Mendelssohn Choir of Toronto, A.S. Vogt, conductor: Annual concerts, Massey Music Hall ... [Toronto?: s.n., 1992.

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39

Hicks, Michael. The Power of the Air. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039089.003.0004.

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This chapter discusses the activities of the Mormon Tabernacle Choir under conductor Anthony Lund, with particular emphasis on its foray into broadcasting. In October 1915, the Salt Lake Telegram reported that Evan Stephens was being fired. A high Church committee, it said, had notified the First Presidency that it was time for Stephens to go in favor of a younger and presumably more flexible, less autocratic man. Lund was chosen as the new conductor, with Brigham Cecil Gates as his assistant. This chapter first considers Stephens's resignation as Choir conductor before describing Lund's initiatives for the Choir. It also looks at the Choir's repertoire and recordings as well as its television and radio broadcasts. Finally, it cites the appointment of Spencer Cornwall as Lund's successor.
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40

Notebooks, Cool. Notebook: Music Orchestra Conductor Birds Choir Free Gift 120 Pages, 6x9 Inches, Dot Grid. Independently Published, 2019.

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41

Notebooks, Cool. Notebook: Music Orchestra Conductor Birds Choir Free Gift 120 Pages, 6x9 Inches, Dot Grid. Independently Published, 2019.

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42

Notebooks, Cool. Notebook: Music Orchestra Conductor Birds Choir Free Gift 120 Pages, A4 , Lined / Ruled, Diary. Independently Published, 2019.

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43

Hicks, Michael. Soft Sell. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039089.003.0007.

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This chapter focuses on the activities of the Mormon Tabernacle Choir, first under Jay Welch and later Jerold Ottley. When Harold Lee ascended to the Mormon Presidency, he ramped up the musical forces of the Church of Jesus Christ of Latter-day Saints. He called dozens of new personnel, most of them academics, to a new Church Music Department that replaced the old Church Music Committee. Church President Spencer Kimball decided to replace Richard Condie with Welch, the conductor of the Mormon Youth Symphony and Chorus. Welch agreed to direct both the Tabernacle Choir and the Mormon Youth Symphony and Chorus, but he would soon be replaced by Ottley. This chapter first considers Welch's vision of Choir programming before discussing Ottley's initiatives as Choir conductor, along with the Choir's duties and achievements such as recordings, broadcasts, concerts, funerals, conferences, and international tours.
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44

Abrahams, Frank, Anthony Rafaniello, Jason Vodicka, David Westawski, and John Wilson. Going Green. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.4.

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This chapter describes a collaborative project that studied the applications of Lucy Green’s informal music learning curriculum within the context of high school choral ensembles. For a 12-week period, the conductors of four high school choirs charged students in small groups to copy a Christmas carol of their choice from a recording or to create a new arrangement inspired by the recording without intervention from their conductor. They would perform those carols at a public concert during the December holiday season. The overarching research question addressed the efficacy of informal learning as choral pedagogy to nurture the students’ musicianship in choir. Data consisted of interviews, video recordings, and reflective journals. Results showed a positive impact on group cooperation, peer-directed learning, choral rehearsal strategy, leadership, and personal musical identity. It also served as a catalyst to change perceptions of students and teachers relative to musical skill and ability.
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45

Hicks, Michael. A Cultural Necessity. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039089.003.0006.

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This chapter discusses the activities of the Mormon Tabernacle Choir under Richard Condie's conductorship. On August 20, 1957, the First Presidency met to discuss who should replace Spencer Cornwall. They chose Newell Weight, a choral conductor at Brigham Young University, but he was on a two-year leave doing graduate work at the University of Southern California. Condie was appointed initially on a “limited” basis, but ended up directing the Choir for sixteen years. Not long after, Condie was accused of dropping old Choir members and installing in their places his University of Utah students. He was turning the Tabernacle Choir into “a university chorus.” This chapter considers Condie's rehearsal methods for the Choir, the Choir's recordings and its television appearances, domestic tours, and success in the areas of popular music and classical music. It also describes the Choir's identification with conservative Americanism as well as its dwindling reputation.
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46

Rardin, Paul. Building Sound and Skills in the Men’s Chorus at Colleges and Universities in the United States. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.26.

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Conductors of collegiate men’s choruses face unique challenges in building excellent choirs. They are likely to lead ensembles with disproportionately wide gaps between their most- and least-experienced singers, with a plurality or even majority of non-music majors—and may need to teach voice as much as they conduct. This chapter offers rehearsal techniques for these conductors which involve learning and utilizing vocal pedagogy, imparting basic phonation, and utilizing vocal tone exercises to build foundation and sound in a choir or glee club. They must then create a sense of community within their musically and vocally diverse choir; instill habits that lead to effective “core singing,” combining alignment, breathing technique, and resonance; and help male singers navigate shifts between their vocal registers.
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47

Hicks, Michael. Buildings and Professors. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039089.003.0002.

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This chapter discusses the beginnings of the Mormon Tabernacle Choir. It first considers the construction of the Salt Lake Tabernacle on April 6, 1852, before turning to the schoolhouse that Brigham Young built to provide vocal lessons for as many as 200 children at a time under the direction of David Calder, who championed a modified form of John Curwen's Tonic sol-fa method. Graduates of the Tonic sol-fa classes sang in concerts in the Salt Lake Theater, the dedication of which featured an anthem, “God Bless Brigham Young,” or “The Saints' National Anthem”; this suggested that the Mormons now saw their society as self-contained, a new “nation” outside the nation they had left. The music to this new anthem was composed by Charles John Thomas, the newly appointed director of the theater orchestra and, on Sundays, of the Tabernacle Choir. The chapter also considers the acoustics of the Salt Lake Tabernacle, the Tabernacle organ, and the appointment of Thomas Griggs as the new Choir conductor on August 19, 1880.
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48

Wilson Kimber, Marian. Multiplying Voices. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040719.003.0008.

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“Verse-speaking” choirs led by women trained in elocutionary techniques were popular at women’s colleges in the 1930s and 1940s. School groups expressively speaking poetry together reflected the Depression-era values of social usefulness and civic unity. Pedagogical materials written by women consistently relied on musical terminology to describe choirs’ arrangements. Choirs undertook recitation utilizing differently pitched voices and alternating spoken solos with larger groups. The Wellesley College Choir, conducted by Cécile de Banke, was a leading representative of this style of musical interpretation of contemporary poetry. While elocution had featured female soloists in personal interpretations of literary works, the speech choir, with its patriotic overtones of civic good, was an even safer venue for feminine expression, as women’s personalities would be absorbed into the whole.
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49

Abrahams, Frank, and Paul D. Head, eds. The Oxford Handbook of Choral Pedagogy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.001.0001.

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This text explores varied perspectives on teaching, learning, and performing choral music. Authors are academic scholars and researchers as well as active choral conductors. Topics include music programming and the selection of repertoire; the exploration of singer and conductor identity; choral traditions in North America, Western Europe, South America, and Africa; and the challenges conductors meet as they work with varied populations of singers. Chapters consider children’s choirs, world music choirs, adult community choirs, gospel choirs, jazz choirs, professional choruses, collegiate glee clubs, and choirs that meet the needs of marginalized singers. Those who contributed chapters discuss a variety of theoretical frameworks including critical pedagogy, constructivism, singer and conductor agency and identity, and the influences of popular media on the choral art. The text is not a “how to” book. While it may be appropriate in various academic courses, the intention is not to explain how to conduct or to organize a choral program. While there is specific information about vocal development and vocal health, it is not a text on voice science. Instead, the editors and contributing authors intend that the collection serve as a resource to inform, provoke, and evoke discourse and dialogue concerning the complexity of pedagogy in the domain of the choral art.
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50

Dundas Centre Methodist Church: Rev. Dr. Saunders, P., Tor., Tuesday evening, December 11th, 1900, presentation by the choir ... Spohr's grand oratorio "The last judgment" ... organist and conductor Mr. W.H. Hewlett. [S.l: s.n., 1986.

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