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Journal articles on the topic 'Choir conductor'
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1
Deliana, Frida, and Suprayitno. "Training of Moria choir conductor members and conductors in efforts to improve quality in Medan city." ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 5, no. 1 (May 30, 2020): 1–6. http://dx.doi.org/10.32734/abdimastalenta.v5i1.4017.
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In ecclesiastical worship activities in the Christian community, singing activities both in the format of 'choir', congregational singing and others are integrated in a series of worship services in the church. It is also found among members of the Runggun Benameriah Protestant Karo Batak Church (GBKP) congregation who also use the choir format in activities to praise and glorify God. For Christians singing is a spiritual need. In both churches there are several types of choirs, both the choir moria (mothers), mamre choirs (fathers) gem choirs or youth / youth and elderly choirs. Each choir has a trainer (amateur) who also acts as choir leader, referred to as Dirigen. The problem is that often the quality of the choir that is displayed is low. This means that there are always a lot of technical errors and un-melodious voices from the choir members during the choir presentation. If this condition continues and occurs continuously, the presence of the choir can eventually interfere with the implementation of worship. Another condition is that almost all Dirigens in the GBKP choir are people who have limited musical abilities, and have no background in formal music education. His managerial ability and technical ability to teach choir is very weak. Dirigen's lack of musical knowledge and technical ability will certainly have a profound impact on the quality of the choir he leads. Therefore this dedication team will improve the choir management ability in vocal material and the ability of conducting to all participants so as to minimize the technical difficulties found in the preparation and presentation of the choir. This community service activity is expected that members and conductors / choir leaders can utilize their knowledge and experience as professionals in the field of choir training among community members in general.
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Çoşkunsoy, Bilgen Özcan, and Bahar Güdek. "The Impact of Body Language Use of a Conductor on Musical Quality." Journal of Education and Training Studies 7, no. 9 (June 30, 2019): 39. http://dx.doi.org/10.11114/jets.v7i9.4271.
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In this study, which points out the communication between the choir and conductor, the impact of body language movements of the conductor such as left hand, face, gestures and head on the quality of music in choir is aimed to be analyzed in terms of the fact that as a leader, the conductor, is the most important factor that affects the general music quality of the choir. The study carries an important role as it indicates what affective impacts there can be depending on how the conductor leads “Pulse”, “Measure Beat”, “Left Hand” and “Body Language” and whether this conductive variety has an impact on musical elements such as Note, Tone Quality / Timbre / Sound, Balance / Sound Stability, Intonation, Rhythm, Articulation / Diction, Vocals, Expression / Emotion, Dynamics, Breath, Synchronization/ Togetherness, Motivation in choir. During the experimental process of the study, a polyphonic piece named “Evening Rise” has been performed by a study group consisted of 29 members who were conducted with the methods of “Pulse”, “Measure Beat”, “Left Hand” and “Body Language” by the choir conductor. Audial and imagery data records obtained from each conduction method have been converted to Mpeg-4 format and evaluated by 9 expert conductors by using musical sub-dimensions such as Note, Tone Quality, Balance, Intonation, Rhythm, Articulation, Expression, Dynamics, Breath, Synchronization and Motivation that appear in Choir Musical Quality Assessment Form. As an outcome of the research, it is observed that “Left Hand” and “Body Language” conduction methods affect motivation, expression, articulation and dynamics steps placed in Choir Musical Quality Assessment Form a lot and that “Pulse” conduction does not affect musical elements sufficiently and that as a consequence of conduction methods of “Measure Beat”, “Left Hand” and “Body Language”, choir musical quality has been affected to a large extend.
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Skadsem, Julie A. "Effect of Conductor Verbalization, Dynamic Markings, Conductor Gesture, and Choir Dynamic Level on Singers' Dynamic Responses." Journal of Research in Music Education 45, no. 4 (December 1997): 509–20. http://dx.doi.org/10.2307/3345419.
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The purpose of this study was to determine the effects of conductor verbalization, dynamic markings, conductor gesture, and choir dynamic level on individual singers' dynamic responses in music. Singers (N = 144) sang along with nine renditions of a tune while watching a videotape of a conductor, listening to a choir through headphones, and referring to the music. Instructions regarding the dynamic level (soft or loud) were given under four conditions: (a) verbal instructions, (b) written instructions, (c) changes in conducting gesture, and (d) volume changes in the choir. Results indicated that verbal instructions from the conductor elicited significantly stronger dynamic performance responses (alpha = .05) than did the other three instructional conditions. Singers responded significantly better on instructions pertaining to soft singing than they did on instructions relating to loud singing. Comparisons were made between conductors, college singers, and high school singers, and eye contact was also examined.
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Zeman, А. "THE COMMUNICATION BETWEEN CONDUCTOR AND CHOIR IN THE PROCESS OF CREATING A MUSICAL WORK OF ART." Musical art in the educological discourse, no. 2 (2017): 62–67. http://dx.doi.org/10.28925/2518-766x.20172.6267.
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The work of a conductor requires the ability of effective communication in order for a unique musical work to come alive. This communication is not a matter of dictionary definitions but a complex process requiring the ability to encode and decode messages. Starting from reading musical score, which still has a lot of hidden information, through the art of carrying out the thoughtful interpretation of the piece, ending up with the communication between the conductor and the listener via the choir, the artist, including the conductor, can explore the space in which they act, identify it and thus verify and enrich it. Three links may be distinguished in the process of communication between the conductor and the choir: the sender — the conductor who sends a verbal and non-verbal message, the receiver — the ensemble and the code by the means of which the information transfer takes place. What determines effective communication between the conductor and the choir? Undoubtedly, an important if not a crucial role is played by the conductor’s attitude. The communication between the conductor and the choir in the process of creating a musical work depends on the conductor’s abilities, skills and personality, the choir singers’ vocal skills as well as on the regular, relentless work on the conductor’s own and the choir’s development.
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Emerson, Kathryn, Victoria Williamson, and Ray Wilkinson. "Once more, with feeling: Conductors’ use of assessments and directives to provide feedback in choir rehearsals." Musicae Scientiae 23, no. 3 (July 20, 2019): 362–82. http://dx.doi.org/10.1177/1029864919844810.
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In this article Conversation Analysis is used to explore the way that conductors give feedback in choir rehearsals through the use of assessments and directives. Assessments and directives have previously been investigated in some forms of music teaching and rehearsing, although not in choir rehearsals. There is also a paucity of research on the methods by which a conductor may give feedback following an episode of singing by the choir. This analysis is based on 19 hours of choir rehearsal data, involving eight choirs and nine conductors. We show that conductors’ feedback turns typically consist of two particular communicative behaviours: assessments and directives, either occurring singly or in various combinations. Assessments explicitly evaluate (positively or negatively) the just-produced singing of the choir, and directives explicitly tell the choir something about how members should sing in the future. However, the data reveal that assessments can also function implicitly to direct how the choir should sing, and directives can implicitly evaluate singing. Assessments and directives can be done in depicted forms (e.g., using sung vocalisations and gestures), as well as verbal descriptive forms. These findings highlight the distinctive ways that conductors produce feedback within rehearsals and some of the particular inferences that choir members must draw on to understand this feedback, as well as how change and improvement in the choir’s singing may be affected on a turn-by-turn basis.
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Grushka, Kathryn, Miranda Lawry, Kim Sutherland, and Charissa Fergusson. "A Virtual Choir Ecology and the Zoom-machinic." Video Journal of Education and Pedagogy 5, no. 1 (January 11, 2021): 1–16. http://dx.doi.org/10.1163/23644583-bja10013.
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Abstract covid-19 has changed the way we sing in choirs and has seen the extraordinary uptake of Zoom as a video chat platform across society. This is a reflective tale of four choirs members and their insights into how they improvised with traditional choir singing in a Zoom space. It consideres how zoom pedagogies allowed them to bridge social isolation during the pandemic. It includes the voices of the conductor; music teacher/technician; the voice of a media savvy artist choir member and finally the voice of a singing visual educator. The article embeds Deleuzoguattarian thinking. It draws on the concepts of the machinic assemblage and becoming as choir participants who embraced Zoom to facilitate song. Singing in a zoom virtual choir brings forth a burgeoning new relational way of being. To find ways to sing and imagine life and self without physical, temporal and spatial borders.
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Tobing, Octaviana. "Manajemen Paduan Suara Consolatio Universitas Sumatera Utara." Gondang: Jurnal Seni dan Budaya 2, no. 2 (December 19, 2018): 57. http://dx.doi.org/10.24114/gondang.v2i2.11282.
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This study aims to determine the management of the University of North Sumatra Consolatio Choir, regarding planning, implementation, and monitoring of evaluations that have been carried out. This study uses a qualitative descriptive analysis approach. Data collection is obtained through: interviews, observation and documentation studies. The research informants were the Chair of the Daily Management Board, Conductor, and Members of the USU Consolation Choir. Data analysis was performed using qualitative data analysis and with technical inductive analysis. Qualitative research is basically building theory, so in this study there is a new theory that is built namely "Service Management". Service here means that organizational management does not expect profits, but the organization still exists. USU's Consolatio Choir, an informal organization, from the outset of planning, the organization has presented the organization's vision and mission to prospective members from USU students and alumni, which in its implementation, the organization's mission went well and everything that was done selflessly and feared God . After the evaluation monitoring, there were still a few weaknesses in non-technical management by BPH. Conclusion of research, choirs can be formed from USU students, or can even be formed from any group who wants to sing in a choir.
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Volkmann, Roberta. "Sound Advice: Becoming a Better Children's Choir Conductor." Music Educators Journal 90, no. 2 (November 2003): 60. http://dx.doi.org/10.2307/3399936.
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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 (January 20, 2021): 257–66. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.28.
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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
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Küçük, Duygu Piji, and Bülent Halvaşi. "Team Perceptions of Choir Members." Journal of Education and Training Studies 7, no. 3 (February 26, 2019): 241. http://dx.doi.org/10.11114/jets.v7i3.4043.
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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.
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Silvey, Brian A., and Ryan A. Fisher. "Effects of Conducting Plane on Band and Choral Musicians’ Perceptions of Conductor and Ensemble Expressivity." Journal of Research in Music Education 63, no. 3 (August 26, 2015): 369–83. http://dx.doi.org/10.1177/0022429415597888.
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The purpose of this study was to examine whether one aspect of conducting technique, the conducting plane, would affect band and/or choral musicians’ perceptions of conductor and ensemble expressivity. A band and a choral conductor were each videotaped conducting 1-min excerpts from Morten Lauridsen’s O Magnum Mysterium while using a high, medium, and low conducting plane. These six videos then were synchronized with an appropriately corresponding identical high-quality band or choral audio excerpt. College ensemble members ( N = 120; band, n = 60; choral, n = 60) viewed all six videos and rated the expressivity of both the conductor and the ensemble. Through the use of a forced-choice task, they also provided one brief comment about either the conductor or the ensemble. Results indicated that conducting plane significantly affected ratings of both conductor and ensemble expressivity. A significant interaction was found between conducting plane (high, medium, and low) and ensemble type (band or choir audio excerpt heard) with regard to conductor expressivity ratings. Participants found the choir conductor conducting at the medium plane to be slightly more expressive than the band conductor conducting at the same plane. Conversely, participants rated the expressivity of the band conductor slightly higher than the choir conductor at both the high and low conducting planes. Participants’ written comments were directed predominantly at the conductor rather than the ensemble, and the high-conducting-plane videos elicited the most negative comments.
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Nikitina, Ekaterina. "Main Ways of Vladislav Sokolov’s Heritage Acquisition in the Choir Conduction Class." Musical Art and Education 7, no. 4 (December 30, 2019): 82–96. http://dx.doi.org/10.31862/2309-1428-2019-7-4-82-96.
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The article reveals the creative portrait of the outstanding Russian choir conductor Vladislav Gennadievich Sokolov and defines main approaches of acquisition of the composer’s complicated heritage. It dwells upon a highly emphasized creativeness component of Sokolov’s conducting practice and – consequently – virtuosity and freedom of performing interpretation at the concerts. The article enlights inclusion of Vladislav Sokolov’s composing oeuvre into the conduction classes repertoire. The author insists that adaptations of folk songs is the genre combining composer’s talent and conductor’s experience of V. G. Sokolov. Each of them is unique, but they are united by their vocal comfortable performance and natural voice leading. The article provides pedagogical tasks related to learning of particular works by Sokolov at various stages of choir conduction education. There is a special emphasis on the necessity to form students’ selfcontrol skills and conductor’s perception, vocal and acoustic understanding and muscular feelings. Among the most effective educational methods and techniques there is a teacher’s demonstrative performance, watching and listening to famous choirs followed by analysis, creative tasks related to formation of a few interpretations of one composition. Another abstract of the article is dedicated to methodical heritage left by V. G. Sokolov. It contains the analysis of “Working with the choir” summarizing the master’s longterm practical. The materials of the book are highly important for studying while preparing for vocal, choral and interpretative analysis of compositions learned at conduction classes.
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Kifenko, Anna, and Hrystyna Holyan. "Professional activity of conductor of educational choral collective." Musical art in the educological discourse, no. 4 (2019): 37–42. http://dx.doi.org/10.28925/2518-766x.2019.4.5.
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Professional activity of conductor of educational choral collective is considered in the article. It is educed that conductor’s activity is built on rational and emotional basis, it is multifunction and includes the different types of activity : analytical, carrying out, pedagogical and organizational one. It is conducted the analysis of theoretical works of national and foreign specialists, that testifies that in the context of research of dualness of pedagogical process, its productivity directly depends on the specific of mutual relations between a conductor and choristers. It is described professional and psychological-educational quality of conductor of educational choral collective. An educational choral collective is a valuable link of communication process that passes information and hypothetically changes it. A choral collective is characterized by communicative connections of subjects, that is expressed in such binomial pairs: a composer — musical text; musical text — a conductor; a conductor — choir; choir — a listener; a conductor — a listener, where encoding from one «language» on other happens. The activity of each of the subjects of musical communication shows the complex process of its interpretation. A communication channel is a way through which informational communication between the sender and recipient of musical reports becomes possible, however, of all the possible variants of this channel between various subjects of musical communication, before the detailed analysis, the communication channel will be the subject between the performer and the listener, due to which the act of musical communication will be realised finally. The activities of the conductor, his professional and personal characteristics play a valuable role in the process of the choir collective. Conducting is one of the most difficult profession. Its structure is multicomponent, and display is multifaceted. The main task of conductor is perception of information, its comprehension, its transfer to other members of the collective, the achievement of the necessary result. In this regard, the choirmaster must possess a number of professional as well as psychological-pedagogical qualities. Professional qualities consist of the natural gift of special studies. Pedagogical qualities are the following: gnostic abilities, psychological and methodical planning abilities, diagnostic abilities, research abilities. Among pedagogical abilities, the first place is occupied by gnostic abilities. They appear in ability to pass knowledge to other persons and provide their mastering. It requires a personal understanding of the knowledge and its presentation in accessible form to each participant of the choir. This is the psychological essence of didactic abilities. Psychological essence of didactics capabilities consists herein. In the same time, a comprehension of the abilities is reason and mortgage of perfection of own carrying out mastery.
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Zalevska, Olena. "Сhoir conductor Mykola Hobdych: the facets of a creative personality." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 160–66. http://dx.doi.org/10.32461/2226-2180.39.2021.238713.
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The purpose of the article is to analyze the creative personality of Mykola Hobdych, to consider the directions of his multifaceted activity for 30 years, to confirm the significant contribution of the artist to the revival of the national choral art of Ukraine, to draw the attention of musicologists to the study of the creative work of the master of choral performance. Methodology. Historical and general scientific methods were used in the analysis of the choral movement in Ukrainian society during the period of state independence, the comparative method revealed a significant contribution of the Kyiv Chamber Choir to the revival of national traditions of spiritual singing, the systematic method was used to assess the activity of the choir leader Gobdich. The scientific novelty is that for the first time M. Hobdych's creative interaction with such modern composers as Lesya Dychko, Viktor Stepurko, Myroslav Skoryk, Romuald Tvardovsky, Valentyn Silvestrov was noted, the importance of his organizational, publishing, and scientific activity was emphasized. Conclusions. At the turn of the XX and XXI centuries, the flourishing of spiritual choral creativity is strongly connected with the creative activity of M. Hobdych and the Kyiv Chamber Choir, as the founders of the International Festival "Golden-Domed Kyiv", which was able to revive the links between past and present. M. Hobdych's creative activity as a choirmaster. arranger, editor, and cultural figure deserves the more meticulous attention of musicologists.
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Smirnova, Tetyana. "THE SPECIFICITY OF STUDENTS’ CREATIVE SELF-EXPRESSION IN THE PROCESS OF CONDUCTOR-CHORAL EDUCATION." 1 1, no. 1 (September 2020): 10–16. http://dx.doi.org/10.34142/27091805.2020.1.01.02.
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Object. The article considers the issues of the future singers` and choral conductors` creative self-expression in the process of conductor-choral education. Methods. Analytical, historical-comparative, retrospective method was used in writing the article. Results. As a result of the analysis and generalization of scientific psychological-pedagogical and art-literary literature, comparison, comparison of different opinions the definition of the concept «creative self-expression of students» is presents. It means a conscious act of discovering and affirming the individual, personal and subjective capabilities of the «I am» as a professional, defining himself as a creative person and individuality. The advantages of the study are to identify the specifics of future singers` and choir conductors` creative self-expression as students of higher education. The success of individual psychological self-expression is determined by good health, muscle activity, development of singing and conducting apparatus, students` cognitive and emotional sphere. A positive factor in the student` personal and professional self-expression is the formation cognitive and professional interests, spiritual values, character traits that are regulators of singers` and conductors` professional growth as creative individuals. Prominent indicators of the growth of singers` and choir conductors` creative self-expressio, their leading professionally important qualities are musicality as an integrative musical ability (musical hearing, metro-rhythmic ability, musical memory, musical thinking, musical imagination) and performing skills (performing reliability, artistry, instrumental, vocal and choral, conducting skills). The specifics of future singers` and choir conductors` personal self-expression are determined (on the basis of diagnosis) as a level of cognitive and professional interests, ideals and value orientations on spiritual and national-civic values. Conclusions. The study summarizes a set of character traits that form the basis of singers` and choir conductors` professional success of (honesty, loyalty to the beauty, the ability to consciously and artistically embody it in the choral sound; friendliness, responsibility, optimism). It was found that the level of students` creative self-expression as a subject of his own professional development depends on the timely diagnosis, stimulation, content and procedural support the process of his professional «I am» –concept formation. It is proved that the contradiction between the real and the ideal «I am» becomes the source of the singers` or choir conductors` personal and professional development. On the basis of scientific research on professional acmeology the ways of singers` and choir conductors` creative self-expression as bright individuals (integration of individual, personal, subjective structures into integrity, identification of specificity of individuality, selection of content of own «I am», systematization and generalization of individual and specificity self-expression taking into account all factors, identifying the uniqueness of the relationship of all substructures, determining the social orientation of their own self-expression in further professional activities).
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Kovalenko, Inna. "3. The Particuliarities of Choir Conductor Training of the Chinese Student at Musical and Pedagogical Institutions in Ukraine." Review of Artistic Education 21, no. 1 (June 1, 2021): 20–25. http://dx.doi.org/10.2478/rae-2021-0003.
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Abstract This article deals with the problem of choir conductor training of the Chinese students. It discloses the peculiarities and the difficulties in their training at higher musical and pedagogical institutions in Ukraine.
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Corbalán, Mara, M. Puy Pérez-Echeverría, Juan-Ignacio Pozo, and Amalia Casas-Mas. "Choral conductors to stage! What kind of learning do they claim to promote during choir rehearsal?" International Journal of Music Education 37, no. 1 (October 24, 2018): 91–106. http://dx.doi.org/10.1177/0255761418800515.
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Current research on choral practice has studied various aspects of interpretation and different strategies for improving rehearsal. This article considers the amateur choral rehearsal as a setting for teaching and learning music. It analyses choir conductor profiles that may be related to conceptions of teaching and learning and their possible relationship with the implicit theories of teaching and learning. A questionnaire was administered to 41 conductors, considering three variables (expert/non-expert, teacher/non-teacher, and children’s/adult choir conductor). Quantitative evaluation through different cluster analyses showed three conductor profiles: Traditionals, including conductors who use little supervision, few different ways of representation other than corporeal, poor difficulty management and greater use of repetition during the rehearsal; a Focus on Reading profile, conductors who, in addition to using moderately complex processes, rely heavily on reading the score; and finally a Focus on Learning and Representation profile including non-experts and teachers, who use different representation modes in the rehearsal (corporeal, audio, visual, combined) and other complex processes such as transferring learning or metacognition. We also found significant differences among conductors for score processing levels. Finally, some features common to all three profiles characterise the choral environment as a peculiar field of musical learning, which may suggest some strategies for learning music.
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Ivanova, Yu M. "Synergy of intonation and emotions in children’s choral performance." Culture of Ukraine, no. 75 (March 21, 2022): 115–19. http://dx.doi.org/10.31516/2410-5325.075.15.
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The purpose of the article. At the present stage, choral performance has reached a new level, which is characterized by increased attention to the artistic side of the performance, which is accompanied by a tendency to emotionality, dramatization, synthesis of different arts. Brightness and emotionality of choral performance is determined by the degree of emotional impact on the audience. The conductor together with his group strives for the artistic performance of the choir on the stage, for joint creativity. Emotions play a special role in working with a children’s choir. Due to emotional influence, children’s cognitive and mental activity increases, physiological and mental mechanisms of perception are activated.
Therefore, for children’s choral performance it is important to understand theoretically the impact of emotions on the quality of choral intonation. Emotions are manifested at different levels of performance — from the initial (acquaintance in the work) to the concert. The purpose of the article is to identify aspects of the interaction of intonation and emotions in the work of the children’s choir.
The methodology consists of in the application of general scientific principles of art history and cultural studies. The following approaches are used in the work: system-analytical approach — for studying art history, culturological, pedagogical literature; informational and historical-logical approaches — to consider the theoretical and methodological features of the children’s choir.
The results. The degree of emotionality of choral performance is the main indicator of choral artistry, it’s influence on the audience. Emotions are of paramount importance in working with a children’s choir. The quality of choral intonation depends on emotions and is manifested at different levels of children’s choir. Emotion organizes the process of formation and realization of a work of art at the level of rehearsal work. Emotion affects the ensemble, sound quality, purity of intonation, ensemble, structure, rhythmic organization at the level of vocal and choral performance techniques. Nonverbal emotions of the conductor (movements, facial expressions) stimulate the concert performance of the work. Emotions affect the creation of the form of the work, they dividing or combining it. It is proved that based on the emotional response and speech intonation, it is possible to significantly improve the performance of the children’s choir. The study of synergistic aspects of choral performance will expand the horizons of choral thought.
The scientific novelty. For the first time the synergy of emotionality and choral intonation at different levels of performance in the work of children’s choir is substantiated.
The practical significance. The study of the synergy of emotions and intonation in choral performance will expand the aspects of the development of choral thinking, it will be useful for leaders of children’s choirs.
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Shumska, Liudmyla. "Technology of development of future choir conductors’ professional competences: system-integrative approach." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 4 (133) (December 24, 2020): 22–29. http://dx.doi.org/10.24195/2617-6688-2020-4-3.
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The article highlights the technology aimed at developing future choir conductors’ professional competences from the standpoint of the system-integrative approach in accordance with the requirements of new standards of higher education for bachelor students majoring in 025 "Musical Arts" in higher educational establishments. It determines the essence of the concepts "system" and "integration" in the context of higher school musical pedagogy as well as characterises the essence of implementation of the system-integrative approach in the process of conductorial-choral training by introducing into the educational process a specific pedagogical model which contains the components as follows: interdisciplinary-cognitive integration, methodical-operational integration, profession- and competence-based integration. It is established that the interdisciplinary-cognitive integration is a synthesis of knowledge units comprehended within special disciplines during the conductorial-choral training which form a new structural and substantive level of each separate discipline in the process of synthesis. It is noted that the methodological-operational integration acts at the intersection of a number of specific field methods dealing with the conductorial-choral disciplines and, as a result of polymodal accumulation of techniques, appears in the form of established professional methodological competences to be generalised, analysed and evaluated; they are based on their methodological knowledge and understanding of their further usage in the process of professional creativity. It is determined that the professional-competence integration is a strategic goal and the final result of the process of conductorial-choral training of the future bachelors: separate professional competences of the future choral conductors are integrated subsystems that jointly form a higher order system − the professional image of a choir conductor. The article systematises and organises professional competences of a future choir conductor, which are formed as a result of the proposed technology of their development on the basis of the system-integrative approach, and are considered as unconditional priorities of choral conductor's professionalism in the course of the polymorphic choir managerial and conductorial-pedagogical activities.
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Kobryn, Nataliia. "The Ukrainian periodicals of Galicia on Ostap Nyzhankivskyi’s musical activities in the 1880s." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 110–25. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-8.
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The paper aims to analyze the areas of Ostap Nyzhankivskyi’s musical activities in the 1880s via a prism of the publications in «Dilo» and «Zorya» press publications. Their content and main topics as well as the aspects of his music career have been systematized and analyzed. Research methodology. The historiographical, chronological, comparative and analytical methods are employed to analyze the publications on musical topics in «Dilo» and «Zorya», as well as to explore the early stage of Nyzhankivskyi’s musical activities. Findings. The first musical performances of O. Nyzhankivskyi in Lviv were featured in the «Dilo», specifically, in the reviews. These were the evening event at «Academic Brotherhood» in December 1884 and the concert in honor of Olexandr Konyskyi in January 1885. He was distinguished immediately as a choir conductor as well as a composer with his own choral works. At this decade Ostap Nyzhankivskyi was a conductor of the choir «Akademichne Bratstvo», worked with the society «Zorya». Additionally, he participated in the concerts of Academic Gymnasium and Theological Seminary as a conductor and a composer. Some music critics compared performance skills of the choir under the direction of Ostap Nyzhankivskyi to the most famous choral society of Lviv «Lutna». We know about many concerts Ostap Nyzhankivskyi participated in, and of his rich repertoir as a conductor. Specifically, from the press reports we learned about active concert activities of O. Nyzhankivskyi, considerable conductor’s repertoire and almost annual premiers of his new compositions ― choirs, solo performances and vocal duets. As a conductor he popularized works of the Ukrainian composers, specifically, such Galician ones as M. Lysenko and P. Nishchynskyi. According to listeners and musical critics, the most effective and resonant of his own works were the choral piece «Hulyaly» on Y. Fedkovych poetry and the vocal duet «Do lastivky» on the poetry by Volodymyr Navrotskyi. The authors of in-depth critiques on early Nyzhankivskyi orks were P. Bazhanskyi and V. Matyuk. Some press reports were on topic of functioning of the first Ukrainian musical publishing house in Galicia «Muzychna bibliotheka» cofounded by Ostap Nyzhankivskyi. It edited 17 volumes of the Ukrainian musical works during the period of 1885―1892s. One of the first musical critiques authored by O. Nyzhankivskyi was dedicated to the memory of the Ukrainian composer Denys Leontovych. Conclusions. We conclude that the versatile musical and creative activities of O. Nyzhankivskyi became one of the decisive drivers of the intensive development of national music in the Western Ukraine. It promoted a rise of the Ukrainian national consciousness and intensified a cultural life of the Galician Ukrainians. Keywords: Ostap Nyzhankivskyi, Ukrainian periodicals, music art, musical critics, concerts.
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Ilić, Miona. "Conditions for successful realization of choir teaching at younger school age." Zbornik radova Uciteljskog fakulteta Prizren-Leposavic, no. 14 (2020): 427–44. http://dx.doi.org/10.5937/zrufpl2014427i.
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With its significance and benefits that it provides while children growing up, choral music deserves great attention. With this paper, we wanted to point out the elements that make the methodical approach in working with the choir of the younger grades of primary school unique. In order to provide conditions for the realization of choir teaching at a younger school age, the paper discusses the role of the conductor and presents the way of planning work with this type of choir, which includes the selection of compositions for work, as well as the choice of singers. This review article provides an insight into the methodical procedure used for learning new songs, and within which the relevant literature does not skip certain elements in working with the choir, such as proper breathing, warming up, preparation for public performance, and finally the public performance as the final goal towards which every work with the choir should be directed.
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PEREVERZEVA, Elena. "Methodological fundamentals of formation of choir team in the process of conductor and choir education of future teachers of art." Humanities science current issues 2, no. 41 (2021): 299–305. http://dx.doi.org/10.24919/2308-4863/41-2-45.
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Radu-Țaga, Consuela. "Ioan Pavalache – Polyptic coordinates of a musician’s life." Artes. Journal of Musicology 18, no. 1 (March 1, 2018): 230–43. http://dx.doi.org/10.2478/ajm-2018-0014.
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Abstract Ten years have passed from the death of conductor and professor Ioan Pavalache. Born in Chișinău, Ioan Pavalache went through the difficulties of the 1944 refuge. He perfected his studies at Bucharest, choosing to practice in the field of music. His great passion was conducting, that is why he preferred to leave the capital and to come to Iași for conducting the Gavriil Musicescu Choir of Moldovian Philharmonic and at the same time the Romanian Opera’s Choir. He linked his destiny to the activity of the Philharmonic’s Choir which he led for 32 years, raising the ensemble to a high artistic level. He did not decline the involvement in organizational activities, which is why he managed the Romanian Opera from Iași as an artistic director. The enthusiasm and the professional skills turned him toward the academic career and at The Conservatory formed plenty of young conductors, who pursue today their activity in residential institutions. A continuator of the choral tradition, Ioan Pavalache founded Camerata Choir, which had a rich activity at national and international levels. The coordinates of a life dedicated to music deserve to be known at present and not only then…
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Halec, Barbara. "Professor Jan Szyrocki – the pioneer of the West Pomeranian choral art." Konteksty Kształcenia Muzycznego 4, no. 1 (October 19, 2017): 57–69. http://dx.doi.org/10.5604/01.3001.0010.5351.
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The article presents the figure of Jan Szyrocki, a conductor, pedagogue and music culture promoter, connected with Szczecin for most of his life. He was the founder of the “Słowiki” Boys’ Choir, the “Berżeretki” Girls’ Choir and, first and foremost, the Choir of the University of Technology in Szczecin, which he cooperated with continually for 50 years. The article also describes Jan Szyrocki’s contribution to the establishment of the International Choral Festival in Międzyzdroje and “In terra pax” Choral Academy, as well as his collaboration with renowned composers (e.g. Andrzej Koszewski, Krzysztof Penderecki, Jan Hawel, Marek Jasiński) and the conductor of the Szczecin Philharmonic – Stefan Marczyk. The article also discusses other issues, such as the didactic, social and cultural activity of Prof. Jan Szyrocki, his professional activity in the Szczecin branch of the Academy of Music in Poznań and in the College of Music Culture, founded on his initiative at the University of Technology in Szczecin, as well as information on his membership in cultural organizations and juries, awarded prizes, medals and distinctions.
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Bobryk, Urszula, Renata Gozdecka, and Tomasz Jasiński. "Niedokończony koncert dla Lublina. Wspomnienie o Beacie Dąbrowskiej (1960-2016)." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, no. 2 (January 12, 2017): 11. http://dx.doi.org/10.17951/l.2016.14.2.11.
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<p>Professor Beata Dąbrowska – a conductor, teacher, and organizer of musical life, highly merited for Lublin’s musical culture and Maria Curie-Skłodowska University (UMCS) – died on 14<sup>th</sup> March 2016. She was born on 5<sup>th</sup> January 1960 in Lublin, She attended the Karol Lipiński Music School in Lublin, and then studied at the Frederic Chopin Music Academy in Warsaw, from which she graduated in 1982 and received a Master of Music Degree in Choral Conducting. From 1982 until the end of her life she worked at the Institute of Music, Maria Curie-Skłodowska University (until 2000 it was the Institute of Arts Education). In 1992 she received the first-grade qualification (today – a PhD equivalent) in the artistic discipline of <em>conducting vocal and vocal-instrumental groups</em>; in 1999 she received her second-grade qualification (now – a postdoctoral degree: Habilitated Doctor). In 2003 she was appointed Associate Professor of UMCS. In 2005 she became Head of the Institute of Music. She held this function till her death, combining it with multiple academic activities. At the same time she pursued her artistic activity. In 1987, together with her husband Dariusz Dąbrowski, she founded the Chamber Choir of the Henryk Wieniawski Music Society of Lublin, whose conductor she was for almost 30 years. She and the Choir gave several dozen vocal-instrumental concerts and over 300 concerts a cappella; they took part in many festivals and competitions in other countries and won awards and honors. Most often she performed in Lublin at religious and official state ceremonies, various jubilees, or anniversaries; many times she took part in Lublin concert series (inter alia Ars Chori, Spotkania Chórów Akademickich [Meetings of Academic Choirs]), she also gave concerts in other towns ( e.g. in Gdańsk, Grudziądz, Olsztyn, Toruń, Wrocław). She was engaged in many initiatives of Lublin’s music culture and, at the same time, she improved her skills (in 1990 she completed Podyplomowe Studium Chórmistrzowskie [Postgraduate Choirmaster Training Program at the Feliks Nowowiejski Academy of Music in Bydgoszcz]). In 1995 she initiated in Lublin Międzynarodowe Dni Muzyki Chóralnej (International Days of Choir Music). She organized concerts in Lublin for many years. She was awarded many times for her dedicated and invaluable work, the formation of Lublin’s cultural image, and for the promotion of Polish culture in Poland and abroad.</p>
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Barlow, Jill. "London, St John's Smith Square: Vasari Singers Anniversary commissions." Tempo 59, no. 234 (September 21, 2005): 45–46. http://dx.doi.org/10.1017/s0040298205290307.
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The Vasari Singers, now well established as a much-acclaimed London-based chamber choir, celebrated their 25th Anniversary this year with a concert at St John's Smith Square on 15 May featuring short specially commissioned works by ten notable British composers. As conductor Jeremy Backhouse described to me, a private preview of the works, all on sacred themes, took place at Tonbridge School Chapel in February, in the presence of the composers, thus setting up a ‘dialogue’ on interpretation. Although strictly speaking of amateur status, the choir has achieved much critical success, winning the Sainsbury's Choir of the Year Competition, appearing on BBC Radio 3 and at major venues, and has shown a distinct interest in commissioning new choral works in recent years.
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Dem’yanko, Natalija. "ACTIVITY OF THE ART STUDIES DEPARTMENT IN POLTAVA INSTITUTE OF PUBLIC EDUCATION IN THE PERIOD FROM 1921 TO 1933 YEAR." Aesthetics and Ethics of Pedagogical Action, no. 17 (March 9, 2018): 128–39. http://dx.doi.org/10.33989/2226-4051.2018.17.176291.
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The article outlines the essence of the activity of the Department of Art Studies in Poltava Institute of Public Education (INO) for the training of pedagogical staff in the period from 1921 to 1933. The material and organizational-methodical conditions of its creation and functioning under direction of the famous Ukrainian musicologist, teacher, ethnographer, choreographer, conductor and composer V. M. Verkhovinets are revealed. The main directions of department's activity are described: musical- theoretical, conductor-choir, instrumental-performing, methodical training of future teachers; organization of research work and pedagogical practice of students in various educational institutions; preparation of concert programs and performances of student choir and other amateur art groups; conducting active public and cultural- mass work within the educational institution, city and region. The forms of educational process organization, including lecture classes, laboratory and scientific workshops, scientific observations and experiments, practice of teaching, studying of techniques, textbooks, scientific and educational and popular literature of corresponding specialties, labor practices, holding of student conferences for discussion of practical results are determined. The features of organization and diverse activities (educational, rehearsal, concert) of student choir in Poltava INO are revealed. Methods and principles (scientific, systematic, consistency, accessibility, visibility, unity of theory and practice of teaching educational disciplines are revealed).
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Sagach, Galina. "THE ROLE OF A HEAD OF A STUDENT CHOIR COLLECTIVE IN THE PROFESSIONAL FORMATION OF A FUTURE TEACHER." Aesthetics and Ethics of Pedagogical Action, no. 18 (September 9, 2018): 95–103. http://dx.doi.org/10.33989/2226-4051.2018.18.176325.
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The article deals with Ukrainian choral singing as a phenomenon of national culture and reveals its characteristic features. The functions of choral art (existential- ethical, cathartic, communicative, reflective, educational, transformative, historical, cognitive-educational, concert-performing, evdemonic genesis, philosophical and world-view) and its role in the formation of personality are determined. The creative portrait of the artistic director and conductor of the Ukrainian folk choir «Kalyna» of Poltava V. G. Korolenko National Pedagogical University, the Honored Worker of Arts of Ukraine, Professor G. S. Levchenko, is described. The main approaches (acmeological, humanistic, axiological, reflexive, and activity-behavioral) and the principles and methods of his musical and pedagogical activity are revealed. The content, forms and methods of the vocal and choral work of the artist in the student choir collective are considered. The creative activity of the Ukrainian folk choir «Kalyna» is described, features of his repertoire, technical and artistic performances, and outstanding cultural, artistic and pedagogical significance are revealed. The role of the head of the student choir collective in the professional development of the future is highlighted.
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Poggi, Isabella, Loredana Ranieri, Ylenia Leone, and Alessandro Ansani. "The Power of Gaze in Music. Leonard Bernstein’s Conducting Eyes." Multimodal Technologies and Interaction 4, no. 2 (May 20, 2020): 20. http://dx.doi.org/10.3390/mti4020020.
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The paper argues for the importance and richness of gaze communication during orchestra and choir conduction, and presents three studies on this issue. First, an interview with five choir and orchestra conductors reveals that they are not so deeply aware of the potentialities of gaze to convey indications in music performance. A conductor who was utterly conscious of the importance of gaze communication, however, is Leonard Bernstein, who conducted a performance of Haydn’s Symphony No. 88 using his face and gaze only. Therefore, a fragment of this performance is analyzed in an observational study, where a qualitative analysis singles out the items of gaze exploited by Bernstein and their corresponding meanings. Finally, a perception study is presented in which three of these items are submitted to expert, non-expert, and amateur participants. The results show that while the signal for “start” is fairly recognized, the other two, “pay attention” and “crescendo and accelerando” are more difficult to interpret. Furthermore, significant differences in gaze item recognition emerge among participants: experts not only recognize them more, but they also take advantage of viewing the items with audio-visual vs. video-only presentation, while non-experts do not take advantage of audio in their recognition.
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Wołoch, Paulina. "Chór Kameralny Towarzystwa Muzycznego im. Henryka Wieniawskiego w Lublinie. Beaty Dąbrowskiej dzieło życia." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, no. 2 (January 12, 2017): 59. http://dx.doi.org/10.17951/l.2016.14.2.59.
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<p>The Chamber Choir of the Henryk Wieniawski Music Society of Lublin was founded in 1987. Beata Dąbrowska (1960-2016) was its founder and conductor. The article consecutively describes special concerts of the Choir (inter alia on the occasion of national, religious holidays, various anniversaries and jubilees), its participation in cyclic concerts organized in Lublin, its journeys abroad (festivals and competitions, inter alia, in Belgium, Austria, France, Germany, Switzerland, Sweden), participation in diploma concerts of students of the Maria Curie-Skłodowska University’s Institute of Music, as well as its album and TV records. The appendix contains: the register of members of the Chamber Choir (1987-2015), its repertoire, and illustrations documenting the Choir’s activity.</p><p> The accomplishments of the Chamber Choir of the Henryk Wieniawski Music Society have significantly enriched Lublin’s music culture of the last thirty years and become the pride of our town. These achievements must be attributed to Professor Beata Dąbrowska, who worked on the Choir’s artistic development with utter dedication and exceptional consistency. This was Her <em>opus vitae.</em></p>
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Miroshnichenko, S. V. "I. G. AGAFONNIKOV — PORTRAIT OF A CONDUCTOR AND TEACHER." Arts education and science 1, no. 2 (2021): 107–12. http://dx.doi.org/10.36871/hon.202102013.
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The article presents a portrait of the outstanding choral conductor and teacher Igor Germanovich Agafonnikov (1932–2005) and highlights his pedagogical principles and methodological guidelines. The main feature of Agafonnikov's pedagogical style is the ability to create an atmosphere of special trust and respect towards students. It is pointed out the continuity of his pedagogical work with the historic traditions of Russian choral school represented by his mentors: Evstolia Nikolaevna Zvereva in the School at the Moscow State Conservatory named after P. I. Tchaikovsky and Vasily Petrovich Mukhin at the Moscow Conservatory. The author considers the main provisions of I. G. Agafonnikov's methodological work "Reflections on Choirmaster Training in the Middle Level of Musical Education", which fully reflects the fundamental principles of the teacher-conductor. Characteristic features of his individual pedagogical style, based on the liberal-democratic and tolerant methods of students' education under constant activity of all participants of the pedagogical process, are summarized. The professor's methodological approach to the work with students and the choir is analyzed. Particular attention is paid to the rehearsal process, in which the conductor encourages the singers to perform consciously and meaningfully.
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Rancāne, Anna. "CONTRIBUTION OF CHOIR CONDUCTORS TERĒZE BROKA AND STANISLAVS BROKS TO THE DEVELOPMENT OF LATGALIAN CULTURE IN DAUGAVPILS IN THE 60s OF THE 20TH CENTURY." Via Latgalica, no. 10 (November 30, 2017): 141. http://dx.doi.org/10.17770/latg2017.10.2774.
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Latgalian culture of the 60s and 70s of the 20th century is still insufficiently studied and evaluated. Although this time in Latvia is marked by the dominance of the Soviet ideology in all spheres of social life, russification, and ban of Latgalian print, there were people who managed to develop Latgalian identity and culture. Terēze Broka (1925) and Stanislavs Broks (1926–1977), the two outstanding choir conductors, are among such people. After graduation from Latvia State Conservatory they were appointed to work in Daugavpils. In this city, characterized by Russian spirit and with no choirs, the two conductors within a short period of time managed to establish musical collectives and develop repertoires where along with the obligatory Soviet songs Latgalian folk songs were included. In autumn 1954, Terēze Broka established a women’s vocal ensemble „Daina” and a group of kokle (a Latvian national musical instrument) players, and looked for more unknown Latgalian songs at the Academy of Sciences of the Latvian SSR. The folk songs were arranged by her husband, conductor and director of Daugavpils Music College Stanislavs Broks who in 1956 established a mixed choir, later called „Daugava”. Due to their persevering work in a short period of time both Daugavpils musical collectives gained brilliant success and were nominated to the VI World Youth and Students Festival in Moscow in summer 1957 where they were awarded the silver prize. This success is followed by the bright parade of Latgalian performance, the week of Latgalian culture in Riga in December 1958, where the two Daugavpils collectives were at the centre of all events. It is noteworthy that the two collectives mainly consisted of Latvians, Russians and Poles who did not know the Latgalian language, but were diligent and motivated to learn to be able to sing in Broks’ collectives. In 1961 the Latvian Music Department in Minneapolis (USA) released the first disc of the Latgalian folk songs “Latgalian (Latvian) Folk songs“ compiled by Mikelis Bukšs. The disc contains 15 music pieces from the repertoire of Daugavpils mixed choir „Daugava” (conducted by S. Broks) and the women’s vocal ensemble „Daina” (led by T. Broka). „Aiz azara bolti bārzi”, „Aiz azara augsti kolni...”, „Siermi zyrgi, jauni puiši...”, „Audzit muni gari lyni”, „Es sovai māmeņai...” and other Latgalian folk songs arrangements served as a specific brand of Daugavpils, which strengthened the self-confidence of Latgalians of that time.
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Silvey, Brian A. "The Effect of Ensemble Performance Quality on the Evaluation of Conducting Expressivity." Journal of Research in Music Education 59, no. 2 (June 9, 2011): 162–73. http://dx.doi.org/10.1177/0022429411406173.
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This study was designed to examine whether the presence of excellent or poor ensemble performances would influence the ratings assigned by ensemble members to conductors who demonstrated highly expressive conducting. Two conductors were videotaped conducting one of two excerpts from an arrangement of Frank Ticheli’s Loch Lomond. These videos subsequently were duplicated and synchronized with either excellent or poor performances that previously had been recorded with a university wind ensemble. To determine whether identical conducting performances would be evaluated differently on the basis of excellent or poor ensemble performance, college band, choir, and orchestra members ( N = 120) viewed each of the four 1-minute excerpts and rated conductor expressivity and ensemble performance quality on 10-point Likert-type scales and provided one brief written comment about each video. Results indicated that ensemble performance quality significantly affected ratings of conductor expressivity ( p < .001). However, the effect size was modest (partial η2 = .29). Participants’ written comments were directed most frequently to the conductor in the excellent-performance condition and to the ensemble in the poor-performance condition.
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Kornisheva, T. "Perfoming activity of conductor-choirmaster as a subject of cultural creation: conceptual models of the culturological discourse." Fundamental and applied researches in practice of leading scientific schools 33, no. 3 (September 2, 2019): 6–10. http://dx.doi.org/10.33531/farplss.2019.3.02.
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The article analyzes the activity of conductor-choirmaster as a subject of cultivation with the help of conceptual models of culturological discourse. Moreover it determines the problem of the concept of "cultural creation", investigates the content potential of its conceptual derivations: "cultural art", "culture", "cultural carrier", consequently it analyzes their heuristic significance for the analysis of those processes of world and national culture, that are issued in the modality of cultural changes, achievements, cultural dynamics, the active subject of which is the figure of the choir conductor. The methodological potential of a non-classical philosophical and cultural toolkit made it possible to integrate narrowly specialized musicological principles of study into the historical and cultural context, into specifics of cultural realities, both historical and contemporary. In the context of culturological methodology and toolkit, the article deals with the typological characteristics of the conductor-choirmaster as frontierity and liminality, emphasizing the transgression of the creative component of conductor’s performance activities.
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Zeman, Aleksandra. "Communication between a performer and listener during a choral concert." Konteksty Kształcenia Muzycznego 6, no. 1 (10) (June 30, 2020): 45–56. http://dx.doi.org/10.5604/01.3001.0014.2315.
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The article discusses the question of communication between a performer and listener during a choral concert. What happens there is an immediate encounter of three entities forming an inimitable community of the event. The entities comprise the following: conductor, choir, recipient–listener. In order to explore the essence of this unique relation between a performer and listener during a choral concert, research was carried out in the conductors’ milieu in 2018. The research was the second part of the project related to communication and creation of a musical work. A performer interacts with a listener at a choral concert through their own, unrepeatable interpretation. What facilitates this communication are first and foremost conductor’s and ensemble’s excellent skills, developed through regular work on the repertoire.
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PEREVERZEVA, Elena. "Formation of professional consciousness of the future teacher-musician in the process of conductor-choir training." Humanities science current issues 3, no. 47 (2022): 290–94. http://dx.doi.org/10.24919/2308-4863/47-3-47.
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Zavadska, Galina. "THE TECHNOLOGY OF DEVELOPING HARMONIC HEARING." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (July 24, 2015): 530. http://dx.doi.org/10.17770/sie2014vol2.647.
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In Latvia, the development of harmonic hearing takes an important place in the process of training pre-service music teachers, because a music teacher is a conductor of a school choir or a conductor of some other choir collective. The issues relating to the system of properties of harmonic musical hearing have been highlighted in a range of scientific works by different authors (Teplov, 1947; Sloboda, 1988; Petrushin, 1997). However, at present the understanding of the nature and ways of developing harmonic hearing is sometimes quite controversial. This, first of all, can be attributed to the complexity of the interrelations between harmonic hearing and general psychic processes: perception, presentation, reproduction, memory, and thinking. The interconnectedness of general human and specific, individual qualities makes this problem difficult to study. The solution of the problem is made difficult by the fact that a collective teaching at sol-fa classes in a higher education establishment often conflicts with learners’ individual peculiarities and problems of developing their harmonic hearing. Within the frame of the case study the technology of developing harmonic hearing based on the strategy of experiential learning (model by David Kolb, 1984) has been worked out. The presented technology is grounded on individual students’ learning styles and on the author’s model of developing harmonic hearing (Zavadska, 2012b).
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N., Mikhailova. "Sergiy Prokopov: phenomenon of the creative personality." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 6–21. http://dx.doi.org/10.34064/khnum1-52.01.
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Formulation of the problem. The modern choral art as never requires a theoretical understanding of the artistic experience accumulated over the years of its existence and enriched with the latest advances in this field. The bloom of the high professional choral performance in Ukraine shows, first of all, the active development of choral culture in practical terms, but unfortunately, in many theoretical aspects of the choral art there are significant gaps. Since in Ukraine a galaxy of dedicated experts in the field of the choral work function fruitfully, among whom the territory of the Slobozhanshchina region can boast the well-known name of Prokopov Sergiy Mykolayevych – the Honoured Art Worker of Ukraine, Professor, Head of the Choral Conducting Department of Kharkiv National University of Arts named after I. P. Kotlyarevsky, the coverage of the concept of the creative universalism of the famous Ukrainian conductor-choirmaster seems to be of a high relevance. The purpose of the article is to study a wide range of artistic activities of S. Prokopov in the aspect of identifying various vectors of creativity of this talented artist: his performances, scientific works and pedagogical guides, musical and public activities. Analysis of the recent research and publications. The study of each of the directions of the creative activities of the artist is not possible in isolation from the consideration of the main trends in the modern choral art. Ukrainian musicology is on the way of rethinking the classical methodological recommendations and finding new theoretical and practical approaches to the study of many aspects of the choral activity. The recent publications by such scholars as L. Parkhomenko, A. Lashchenko, L. Kiyanovska, A. Martyniuk, L. Yarosevich, O. Batovska, Y. Voskoboinikova and many others confirm the relevance of issues related to the genesis and the further development of the choral art. Research methods. The system analysis of the universe of the creative personality of the artist is the methodological basis of the study. Presenting the main material. Sergiy Prokopov is a well-known conductor-choirmaster, prominent teacher and musical-public figure in Ukraine and abroad. After many years of study, under the influence of the outstanding masters of the conducting-choral art A. A. Miroshnikova, E. P. Kudryavtseva, V. O. Chernushenko and A. V. Mikhailov the main methodological principles of teaching professional disciplines finally formed, and they found their embodiment in the further professional pedagogical activity of S. M. Prokopov. The research of the performing-pedagogical vector of the master’s work made it possible to analyse one of the most important spheres of activity of S. M. Prokopov – the work with children’s choir collectives. We should note that the sound of the choir called “The Spring Voices” is distinguished by the high quality of ensemble work, the most charming features of the children’s voice – ease, charm, and flying. The repertoire of the choir is extremely wide and diverse from the Renaissance to contemporary domestic and foreign compositions, different in genres and subjects, which is quite difficult for the amateur team. That is why the professional recognition of the children’s choir under the guidance of S. M. Prokopov is confirmed by many honorary awards of national and international competitions and choral festivals. Following the traditions of Kharkiv choral school, Prokopov S. M., while heading the choir of the students of the Choral Conducting Department of KhNUA named after I. P. Kotlyarevsky, greatly changed not only the repertoire policy of the choir, but also revised the correlation of teaching-educational and concert-performing tasks. The choral class is not only a solid base platform for the professional education of future choirmasters-specialists. The choir of students, under the guidance of S. M. Prokopov, is a full-fledged performing collective, whose power makes it possible to perform compositions of great forms. Working on the sound of the choir, at the stage of a warm-up, he relies on the artistic principles of the sound production, which represent a peculiar emotional and psychological setting for the further professional communication between the choirmaster and the singers. Such accentuation of attention on the complex of psychological tasks during the performance of vocal-choral exercises helps to combine and correlate the emotional and psychological state and technical capabilities of the singers with subsequent performing intentions. The key to the work of the master is a special relation to the interaction of the language and musical intonation. Expressiveness as a conscious singing is impossible without the right intonation, a clear pronunciation, an emotional exaltation in the process of performing a choral composition. The pedagogical activity of S. M. Prokopov continues in the class on conducting and relies on both the methodical foundations, theoretical positions, the generalizations of outstanding teachers, choirmasters, symphony conductors and many years of the own experience of the teacher, the conductor, and the conductor-choirmaster. Actually, his pedagogical style is characterized by a high level of culture, sophisticated taste, and deep knowledge of the specialty and in the related fields of both the humanities and social sciences. The sphere of interests of scientific activity of S. М. Prokopov covers various areas of the choral art. The scientific and methodical works by S. M. Prokopov outlines a range of issues related to the problems of the choral performance, the choral pedagogy and the educational process of formation of conductors-choirmasters at different stages of development. Professor S. M. Prokopov’s active and responsible life position prompts him for the public-education activities. Holding the post of the Head of the Kharkiv branch of the Association called “The Choir Society named after M. Leontovych”, on his initiative the significant competitions and festivals of the choral art take place, and they are known not only within Ukraine but also abroad. Sergiy Mykolayevych presents reports on the relevant issues of the choral art at international and all-Ukrainian conferences, conducts numerous master classes, lectures and concerts. Conclusions and the perspectives of the further research. Sergiy Prokopov is an example of a universal musician. To highlight one, the main of the directions of his activities is impossible. The teacher, choral conductor, scientist, talented organizer and musical-public figure, his work is a vivid example of creative and personal enthusiasm. The prospect of the further development of the topic is related to the in-depth study of the various spectra of S. M. Prokopov’s creative activities, his personal contribution to the development of Ukrainian culture.
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Tipton, Carrie Allen. "Glenn Burleigh, Let God Arise: Opus 35, Cantata for Eastertime. The Ambassador's Concert Choir; Graceway Baptist Church Adult Choir; Glenn Burleigh, conductor. Burleigh Music Inspirations, 1997, 2 CDs." Journal of the Society for American Music 7, no. 3 (July 30, 2013): 350–53. http://dx.doi.org/10.1017/s175219631300031x.
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Pivnitskaya, Olga V. "A True Teacher Is the One from Whom You Want to Learn All Your Life." Musical Art and Education 8, no. 3 (2020): 149–58. http://dx.doi.org/10.31862//2309-1428-2020-8-3-149-158.
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This article is an attempt to show the beginning of Eduard Borisovich Abdullin’s creative path in the pedagogy of music education, in particular, his experience in teaching as an artistic director and conductor of the choir studio “Melodia” of the Palace of Pioneers in the city of Podolsk, Moscow Region. As a graduate student of the Lenin Moscow State Pedagogical Institute, the young teacher achieved tremendous creative success: the choir studio under his direction performed in the Great Hall of the Moscow Conservatory, the Column Hall of the House of Unions, the P. I. Tchaikovsky Concert Hall, in the Kremlin Palace of Congresses; toured in the cities of the USSR and European countries. On the first television channel, two hour-long television programs were shown. The studio of the State House of Radio Broadcasting and Sound Recording has released educational records. For almost half a century, the “Melodiya” studio continued to meet with its leader, and all members of the choir strove to attend them in order to meet their Teacher again. Special attention is paid to the significance of the fundamental works by Eduard Borisovich Abdullin, which became the basis for the pedagogical interpretation by the author in his research activities of the conceptual provisions of the methodology of pedagogy of music education. The sequential expansion of the problem field of the conducted musical pedagogical research is described: from the theoretical substantiation of the model for the development of the Central Russian folk song tradition by children to the formation of a new direction of research searches associated with the use of various vocal techniques at the junction of different genres.
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Lysenko, Mariia. "METHODOLOGICAL PROVISION OF DEVELOPING THE ABILITY OF STUDENTS' SELF-REGULATION IN THE PROCESS OF CONDUCTOR AND CHOIR TRAINING." Aesthetics and Ethics of Pedagogical Action, no. 19 (June 7, 2019): 126–35. http://dx.doi.org/10.33989/2226-4051.2019.19.169779.
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Morgan, Kenneth. "Promoting high culture: The evolution of the Brisbane Musical Union, 1872–98." Queensland Review 27, no. 1 (June 2020): 21–38. http://dx.doi.org/10.1017/qre.2020.2.
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AbstractThis article analyses the musical work of the Brisbane Musical Union (BMU) between its founding in 1872 and the consolidation of its position by 1898. During this period, the BMU benefited from the dedicated leadership of its main conductor, R. T. Jefferies, who drew upon his high standing as a violinist, ensemble player and conductor in Brisbane to present regular choral concerts, mainly comprising oratorios, with an amateur choir. Despite financial challenges, difficulties over rehearsal and concert venues, periodic problems concerning the choice of repertoire, an insufficient number of available professional musicians and competition from rival local musical societies, Jefferies’ work with the BMU promoted an important aspect of high musical culture to the public and laid the foundations for further development of classical musical performance in Brisbane.
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Maslennikova, Anzhela. "Opera and Choral Performance in Mykhailo Krechko’s Work." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 131–42. http://dx.doi.org/10.31318/2522-4190.2021.130.231220.
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The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko.
Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of the multitasking of choir artists in a wide range of synthesis of arts in the opera house.Conclusions and prospects for further exploration in this direction. The article explores for the first time the theme of opera and choral performance in the works of the outstanding Ukrainian choirmaster — People's Artist of Ukraine, Professor Mykhailo Krechko. The above facts from archival materials and analysis of the maestro's artistic activity allow to learn more about the master's contribution to the choral art of Ukraine and its important role in the formation of the vector of development of the State Children's Musical Theater. Emphasis is placed on the specifics and universalism of the theatrical choir. Summarizing all the above, we can say that the modern creative life of the choir Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth is fundamentally based on the high artistic principles laid down by the founder of the choir — Mykhailo Krechko. The Maestro’s great love for the Theater Choir, which he called his “swan song”, high performing skills and a wide range of genres of repertoire, education of followers and like-minded people, and deep traditions established by the choirmaster are a strong foundation and guide to new artistic victories.
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Parfentyeva, Irina. "National-patriotic education of future teachers of musical art in the study of the disciplines of the conductor-choral cycle (on the example of the revival of the choral heritage of A. Wedel abroad)." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 224–27. http://dx.doi.org/10.33310/2518-7813-2019-65-2-224-227.
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The article deals with the problems of the national-patriotic education of future teachers of musical art by means of choral art on the example of one of the outstanding representatives of the Ukrainian composer and choirmaster school – Artemy Lukyanovich Vedel. The stages of knowledge of the choral heritage of the Ukrainian composer of the late eighteenth and early nineteenth centuries in Western Europe and America of the twentieth century are considered. Sources from periodicals allow us to analyze various forms of perception of his works by a foreign listener during concert performances. Named the national choir, Ukrainian and foreign performers, who were direct popularizers of the artist’s creativity. The distribution of A. Vedel’s choral heritage in the countries of Western Europe and America of the twentieth century had its own definite place. The problem of popularizing the choral heritage of the outstanding Ukrainian composer Artemii Lukyanovich Vedel is not sufficiently covered in modern scientific research. Domestic educators and culturologists pay more attention to revealing the secrets of biography, outlook and search of little-known works of the composer, therefore the question of widespread distribution of his musical work is now relevant, which helps to highlight the bright personality of the artist. The source of our searches is based on the materials of publications of the national periodicals of the twentieth century. These are, first and foremost, magazine and newspaper articles related to concert performances by well-known domestic choral groups and individual performers of the last century. Available factual materials allow us to conclude that despite all the prohibition on singing the works of this composer in the 19th and the first half of the 20th century, his art proved his vitality in concert performance by choir collectives, in the pedagogical repertoire of educational choir collectives, which was confirmed by modern practice. national musical pedagogy. This topic, with all its obvious features, has a prospect of development in various areas of musical and pedagogical research.
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Mróz, Bartłomiej, Piotr Odya, and Bożena Kostek. "Creating a Remote Choir Performance Recording Based on an Ambisonic Approach." Applied Sciences 12, no. 7 (March 24, 2022): 3316. http://dx.doi.org/10.3390/app12073316.
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The aim of this paper is three-fold. First, the basics of binaural and ambisonic techniques are briefly presented. Then, details related to audio-visual recordings of a remote performance of the Academic Choir of the Gdansk University of Technology are shown. Due to the COVID-19 pandemic, artists had a choice, namely, to stay at home and not perform or stay at home and perform. In fact, staying at home brought in the possibility of creating and developing art at home while working online. During the first months of lock-down, the audience was satisfied with music performances that were fairly far from the typical experience of a real concert hall. Then, more advanced technology was brought to facilitate joint rehearsal and performance of better quality, including multichannel sound and spatialization. At the same time, spatial music productions benefited from the disadvantage of remote rehearsal by creating immersive experiences for the audience based on ambisonic and binaural techniques. Finally, subjective tests were prepared and performed to observe performers’ attention behavior divided between the conductor and music notation in the network-like environment. To this end, eye-tracking technology was employed. This aspect is related to the quality of experience (QoE), which in the performance area–and especially in remote mode–is essential.
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Vavryshchuk, Serhii. "“Winds Are Blowing” by Hanna Havrylets in the Theatrical Interpretation of the Chamber Choir "Kyiv"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 50–65. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251795.
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The author has characterized the demonstrative features of the choral theater genre and their embodiment in the performance of historical oratorio "Winds are blowing" by Ganna Havrylets by the Municipal Academic Chamber Choir "Kyiv". The author defines the affiliation of this play to the type of choral theater "History in the Faces", as 12 historical songs recorded by O. Koshyts during the Kuban expedition (1903-1905) were selected, processed and combined into a dramatic integrity by composer Ganna Gavrilets. They focus on pictures of the national liberation struggle of the Ukrainian people. The theatrical concept of staging in the communicative link is built: composer - conductor - arranger - director - spectator. It was found that in order to dynamize the performance the authors of concert-theatrical performance (conductor Mykola Hobdych, director Vasyl Vovkun) made structural changes (removed individual numbers, added the final instrumental number), enriched the timbre sound palette of the chamber choir with additional instruments (bandura, reed pipe or flute, percussion), which are used by choristers simultaneously with singing. Approaches to the theatrical performances with personification images and general choral scenes, alternating in the form of contrast of drama of the work were underlined. It is established that in the choral works of the cycle with personified imagery the emphasis was on more effective individual acting means (facial expressions, plastics, movements), in epic songs - on more static but symbolically filled mise-en-scène factors (graphic-spatial forms of stage arrangement of performers on stage). It is noted that the directors contributed to the better disclosure of the content of the play through the integrated use of the background (eg, costumes), mise-en-scène and acting means of theatrical choral performance. These artistic techniques also increased the spectacle, concert and stage representativeness and created a variety of acoustic effects.
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PEREVERZIEVA, Olena. "The formation of a self-education culture of a musical art future teacher in the process of conductor-choir training." Humanities science current issues 4, no. 35 (2021): 274–79. http://dx.doi.org/10.24919/2308-4863/35-4-41.
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Warnaby, John. "James Wood's ‘Stoicheia’ and ‘Oreion’." Tempo, no. 172 (March 1990): 20–25. http://dx.doi.org/10.1017/s004029820006109x.
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Although James Wood has been in the forefront of contemporary music as both choral conductor and percussionist, directing the New London Chamber Choir in many new works, and organizing the Darmstadt Summer School Percussion Course for several years, his own compositions have little in common with the mainstream of postwar European music. It might be assumed that his interest in ancient Greek rhythms, together with their Indian and Chinese equivalents, stems from his association with the music of Xenakis; but he has never shown any inclination to use complex mathematical formulae, and has probably been less concerned than almost any other contemporary composer with the organization of pitch.
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Drew, David. "Killmayer Fragments (a birthday offering)." Tempo, no. 221 (July 2002): 34–36. http://dx.doi.org/10.1017/s0040298200015655.
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Berlin, May 2002: around a wooden table in a pleasantly overgrown garden, friends and neighbours had been discussing with an English visitor some recent and imminent events — Blair's 50-minute interview on prime-time German TV, George W. Bush's coming visit, the World Cup, and so forth. The conversation turned to Berlin and the performing arts — the deficits, the new appointments, the expected disappointments, and the prospects for next season. G., the conductor of an enterprising church choir, spoke of his next autumn festival and the one to follow. There were plans for an Anglo-German festival, sensibly exploiting official civic partnerships. Given the musical interests of almost everyone present, a surprising number of English composers, from Dunstable onwards, proved unfamiliar to all but the conductor and the visitor from abroad. It was already dusk, and H. and B., the hosts, suggested a move indoors, where names and dates could be checked in the umpteen volumes of their 1970 edition of Brockhaus.
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Tkach, Y. S. "Yevhen Savchuk’s Individual Performing Style: organization of the process of conducting interpretation." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 126–41. http://dx.doi.org/10.34064/khnum2-13.10.
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Relevance of the study. The individuality of the musician-performer, his performing style were studied both in theoretical and practical aspects. Theoretical musicology vipracyuvalo holistic theory of musical style, a separate kind of which should be considered an individual performing style of musician. The main provisions of the theory of musical style are stated in the works. B. Asafi ev, N. Gorugo, V. Medushevskaya, N. Mikhailov Is. Nazaykinsky, S. Skrebkova, Would. Jaworski and others. Deepening and concretization of the ideas of these scientists is contained in the works of A. Katrich, I. Kohanik, V. Moskalenko, S. Tishka, A. Sokol, etc. The individual performing style of the conductor-choirmaster along with the specifi cs of the conductor’s interpretation is an important part of the modern performing art, which today needs a deep theoretical understanding and systematization. Recently, there is a trend of scientifi c study of practical issues of the performing industry, including the specifi cs of the conductor. Although the study of this issue concerns to a greater extent symphonic conducting. That is why the appeal to the work of the outstanding Ukrainian choral conductor – Evgeny Gerasimovich Savchuk has great scientifi c value. The study of the phenomenon of individual performing style in the conditions of choral performance is impossible without understanding the outstanding phenomena of this fi eld of art. Creativity of the national honored academic chapel of Ukraine “Dumka” and its conductors refers to such phenomena. This is the oldest team of the country with a strong tradition and a strong creative potential became a real standard Patriotic choir performance. The chapel “Dumka” was and is an artistic environment in which a large number of chorus conductors, such as N., grew up and became stronger. Gorodovenko, A. Soroka, P. Muravsky, N. Buckwheat Is. Savchuk. Their performing heritage is of great interest to musicology, particularly in terms of interpretation and individual performing style. Main objective(s) of the study). Based on this, the purpose of the study is the theoretical understanding of the performance processes in the fi eld of choral art. In particular: a) the study of the specifi cs of the conductor’s interpretation of E. Savchuk in work with the choir; b) a detailed analysis of the stages of the conductor’s interpretation: independent, rehearsal, concert; C) understanding of The individual performing style of E. Savchuk in the context of worldview, repertoire, artistic priorities Maestro. Methodology. Various methods have been used. Inductive-research is built from concrete to General. Some characteristics of the conductor’s work lead to a generalized representation of his individual performing style. The method of analysis and synthesis used in the analysis of literature, unpublished sources. The comparative method is used to compare different stages of the process of conducting interpretation. How the study was done. The study has a number of scientifi c results and conclusions. In particular: a) analyzed the stages of the process of the conductor’s interpretation of E. Savchuk in working with the choral team (independent, rehearsal, concert); b) established the relationship between the stages of the conductor’s interpretation with the stages of creation, correction and implementation of individual-collective performance concept of the work; C) investigated the work of outstanding contemporary choral conductor E. Savchuk in the context of the specifi cs of his performing style. Results and conclusions. The research is of great scientifi c and cultural importance: 1) expands the boundaries of choral art as a phenomenon; 2) deepens and structures scientifi c knowledge in a specifi c sphere – choral performance; 3) paves the way to theoretical understanding of important cultural phenomena in the sphere of Ukrainian choral art. The practical signifi cance of this study lies in the possibility of using its provisions in subsequent courses of higher education: choral studies, choral literature, the history of Ukrainian music, the history of music of the twentieth century. A thorough analysis of the performing versions of a number of choral works will contribute to a deeper, conscious interpretation of their conductors – both in working with the team and in class work with students. The experience and peculiarities of the interpretation activity of the Dumka Capella conductors described in the study will help the conductor to find his own performing style.