Relevant bibliographies by topics / Choirs (Music) Choral music Choral music

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Academic literature on the topic 'Choirs (Music) Choral music Choral music'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Choirs (Music) Choral music Choral music"

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Lupu, Anamaria. "The Influence of Luther's View of Music on the Emergence of the Concepts of Musica poetica and Musical Rhetoric." Musicology Papers 35, no. 1 (November 1, 2020): 41–51. http://dx.doi.org/10.47809/mp.2020.35.01.03.

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La casa di peste drum [At the House across the Road] is, perhaps, Tudor Jarda`s most emblematic choral work, being the first composition of the 10 carols for mixed choir included in the volume Coruri [Choral Works] (1981). Dedicated to Maestro Dorin Pop and the Cappella Transylvanica choir, this work has been part of the ensemble`s repertoire since the publication of the collection, being also found in the repertoire of the most important Cluj and Transylvanian choirs. This paper aims to detail aspects of musical grammar in the choral work La casa di peste drum, highlighting the close connection between the text and music and its implications in the choral interpretation. The morphological and syntactic analysis also highlights certain characteristics of Tudor Jarda`s choral writing.
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Redman, David J., and Jennifer A. Bugos. "Motivational factors in adult, auditioned community choirs: The power of aesthetic experiences." Psychology of Music 47, no. 5 (June 3, 2018): 694–705. http://dx.doi.org/10.1177/0305735618774900.

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The purpose of this study was to a) identify motivational factors to join and maintain membership in adult, auditioned community choirs; b) examine relationships between music achievement, music aptitude, and selected motivational factors; and c) examine the role of stress and anxiety as factors in choral participation. Participants ( N = 135) from four adult, auditioned community choirs participated in this study. Data was collected using measures of musical aptitude, vocal achievement, and a questionnaire relating to the topics of motivation, retention, and stress/anxiety informed by Cusp Catastrophe Theory. Results suggest that aesthetic motivation is a primary factor contributing to enrollment and retention in adult, auditioned community choirs. Experienced choral members perceive little stress or anxiety when learning or performing choral music; however, members believe that some stress may be beneficial to singing. Implications include the need for conductors to consider the importance of perceived aesthetic qualities when selecting choral literature. In addition, the impact of community ensembles on community cohesion, health benefits, and educational benefits may be related to motivational factors influencing continued participation.
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Smyrnova, Tetyana. "MUSIC AND CHOIR EDUCATION IN UKRAINE XVI–XVIII СЕNTURIES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 28–32. http://dx.doi.org/10.36550/2415-7988-2021-1-195-28-32.

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The article analyzes the development of music and choral education during the Slavic Renaissance and Ukrainian Baroque. The special significance of the ideas of spirituality and the revival of Ukrainian-Slavic values of religious and folk singing is revealed in view of the absence of statehood, the decline of Orthodox musical traditions. The significance of the reformist ideas of «purification of the church» and the culture of the Enlightenment is highlighted. Positive results of the development of music and choral education on the basis of Renaissance-Baroque (Cossack) Ukrainian culture were revealed. The value of Cossack-kobzar music and choral education, regional music and choral schools, the phenomenon of Kyiv-Mohyla Academy is emphasized. The analysis of scientific sources testifies to the intensive development of music and choral education in Ukraine during the sixteenth and eighteenth centuries, which took place in difficult conditions of the liberation struggle of Ukrainians for national culture, spirituality and consciousness. The achievements of the national music and choral education of the Slavic Renaissance include the preservation of ideas and traditions of the post-Byzantine Balkan-Slavic culture of Orthodox singing (monasteries, parish schools); appeal to Roman Catholic music and choral education (Jesuit, Latin, Protestant, Uniate secondary and higher institutions); a bright revival of humanistic and educational slogans, traditions of national music and choral education, which took place taking into account European achievements (Ostroh Academy, fraternal schools). Musical and choral education of the Hetmanate (Ukrainian Baroque), despite the gradual destruction of statehood, was marked by the revival of Ukrainian culture of the Renaissance-Baroque (Cossack) type. Centers of kobzar-Cossack music and choral education and culture, regional singing schools, spiritual and singing Orthodox culture flourished (Kyiv-Mohyla Academy, monastic, hierarchical, secular city centers) flourished. Ukrainian music and choral education was glorified by the geniuses of the Ukrainian people M. Diletsky, D. Rostovsky, D. Bortnyansky, M. Berezovsky, A. Wedel, G. Skovoroda. The prospects for further research include a systematic analysis of trends in music and choral education in Ukraine in the populist period.
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Ryan, Charlene, and Nicholle Andrews. "An Investigation Into the Choral Singer's Experience of Music Performance Anxiety." Journal of Research in Music Education 57, no. 2 (June 18, 2009): 108–26. http://dx.doi.org/10.1177/0022429409336132.

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The purpose of this study was to examine the performance experiences of choral singers with respect to music performance anxiety. Members of seven semiprofessional choirs ( N = 201) completed questionnaires pertaining to their experience of performance anxiety in the context of their performance history, their experience with conductors, and their use of coping mechanisms. Results indicated that performance anxiety was a common experience for these choral singers. Solo performances were reported to be more anxiety inducing than ensemble experiences, but performing in instrumental ensembles induced greater anxiety than choral ensembles. Participants with college music training reported less frequent, although not less severe, episodes of performance anxiety than those without. The conductor emerged as one of the primary factors in choral singers' experience of performance anxiety.
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Zhukov, Katie, Margaret S. Barrett, and Graham F. Welch. "Developing a Child and Adolescent Chorister Engagement Survey: Probing Perceptions of Early Collective Experiences and Outcomes." Music & Science 4 (January 1, 2021): 205920432098321. http://dx.doi.org/10.1177/2059204320983215.

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This article describes the design and implementation of a survey instrument specifically developed for 6–17-year-old Australian choral singers to access and measure participants’ perceptions of their self-esteem, self-efficacy, musical identity and social engagement as outcomes of participation in a high-quality choral ensemble. After reviewing existing music surveys and identifying their strengths, complementarities, differences and potential weaknesses, we adapted established surveys from psychology and social science literature to the choral music setting. An initial draft survey was trialled with higher education choristers and refined prior to implementation in six young choirs that were noted for their high-quality performance. Data from 202 surveys were analysed using confirmatory factor analysis and this resulted in a four-factor model. The validated survey was implemented twice over a six-month period with 61 choristers drawn from three choirs. Results showed that social and psychological benefits of choir participation were evidenced, maintained and even improved over time. Findings support the suitability and psychometric soundness of this new survey instrument, and demonstrate the usefulness of adapting psychological/social survey instruments to music research.
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Barlow, Jill. "St. Albans and London: Cecilia McDowall's ‘Stabat Mater’ and ‘Night Trumpeter’." Tempo 59, no. 232 (April 2005): 84–85. http://dx.doi.org/10.1017/s0040298205280178.

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Cecilia McDowall is noted for her ‘practical’ approach to composing choral music to suit the needs and capabilities of local amateur choirs, and she has a growing association with several, notably the St Albans Choral Society, by whom she was commissioned to write a new setting of the Stabat Mater, which duly received its world première in St Albans on 23 October 2004. It was written to celebrate the Diamond Jubilee of St Albans Choral Society, and they duly rose to the occasion lustily in fine spirits.
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.
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Reames, Rebecca R. "High School Choral Directors' Description of Appropriate Literature for Beginning High School Choirs." Journal of Research in Music Education 49, no. 2 (July 2001): 122–35. http://dx.doi.org/10.2307/3345864.

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Undertaken to investigate and describe the literature performed with a population of “beginning” high school choirs, this study is a survey of 263 MENC high school choral directors. From the 80% responses, 5 categories were analyzed: demographic information, repertoire selection criteria, literature sources, types of literature performed, and recommended repertoire for beginning high school mixed choirs. Chi-square and Kendall's tau-b analyses produced only one significant relationship. Additional findings in the study revealed that directors selected repertoire for advanced and beginning choirs similarly and that directors valued concerts, choral reading sessions, personal choral libraries, and recordings. Directors indicated that they programmed 20th-century literature most frequently and most successfully. Few similarities were found when selections recommended by directors were compared with a large published list.
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Bonshor, Michael J. "Confidence and choral configuration: The affective impact of situational and acoustic factors in amateur choirs." Psychology of Music 45, no. 5 (October 7, 2016): 628–44. http://dx.doi.org/10.1177/0305735616669996.

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This article reports a qualitative study investigating the factors affecting confidence levels amongst adult amateur choral singers. Three focus groups (involving a total of 18 participants) and 16 individual interviews were carried out with experienced choral singers, and over 40 hours of recorded verbal data were collected. The research aims were to explore the lived experience of choral singers; to examine the main influences on choral singers’ perceptions of their voices and performance ability; to identify factors affecting their confidence as choral singers; to extrapolate confidence-building strategies for amateur choral singers. One of the major emergent themes was choir configuration, which encompassed the spacing between singers, the layout of the choir, the position of the individual singer within the choir, and the position of the choir within the venue. All of these elements reportedly had effects upon the confidence of choral singers during rehearsal and performance. These findings have practical implications for leaders of amateur choral ensembles, as choir configuration may be used as one of the tools for building collective and individual choral confidence.
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Meyer-Kalkus, Reinhart. "The speech choir in central European theatres and literary-musical works in the first third of the 20th century." Muzikologija, no. 18 (2015): 159–74. http://dx.doi.org/10.2298/muz1518159m.

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Speech choirs emerged as an offshoot of the choral gatherings of a wider youth musical and singing movement in the first half of the 20th century. The occasionally expressed opinion that choral speaking was cultivated primarily by the Hitler Youth and pressed into service on behalf of Nazi nationalist and racist propaganda is, historically, only partially accurate. The primary forces of choral speaking in Germany were, from 1919, the Social Democratic workers? and cultural movement and the Catholic youth groups, in addition to elementary and secondary schools. The popularity of speech choirs around 1930 was also echoed in the music of the time. Compositions for musical speech choirs were produced by composers like Heinz Thiessen, Arnold Sch?nberg, Ernst Toch, Carl Orff, Vladimir Vogel, Luigi Nono, Helmut Lachenmann and Wolfgang Rihm. Moving forward from the Sch?nberg School, the post-1945 new music thereby opens up the spectrum of vocal expressions of sound beyond that of the singing voice. It does so not only for solo voices but for the choir as well.
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Dissertations / Theses on the topic "Choirs (Music) Choral music Choral music"

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Wang, Wei-Chun. "The effect of seating arrangements on the mixed choral ensemble /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1331405851&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 153-160). Also available for download via the World Wide Web; free to University of Oregon users.
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Agenbag, Gustel. "Musical expressivity in choral singing." Thesis, Nelson Mandela University, 2017. http://hdl.handle.net/10948/13614.

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This qualitative mini-treatise explores Musical expressivity in choral singing with reference to three High School choirs in the Port Elizabeth area. Singing with emotions is not only a facial expression of some sort. There are so many more aspects which could be applied in order for the choral performance to be of an outstanding nature and not merely a performance. The researcher questioned the possibility of introducing expressiveness into rehearsals and performance through the application of more expressive conducting techniques, more detailed musical aspects and a general sense of unity within the group. The choral conductor plays a primary role and should therefore be considered as the most important link between choir and excellence. Focus is put on specific warm up exercises and suggestions are put forward regarding the development of your own, personalized exercises which suits your own unique setup. Data was collected through open-ended interviewees of the three school choir conductors as well as data from current and past studies on various topics. The perceptions of these conductors were noted and the manner in which they apply Musical knowledge during their rehearsals. Research findings indicate that not enough emphasis is put on expressive singing during rehearsals. More research done by the conductors and attending workshops are recommended for personal growth and development.
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Tocheff, Robert Dale. "Acoustical placement of voices in choral formations /." Connect to resource, 1990. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1248976452.

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Sharlow, David Lee Robinson Charles R. "Building common ground an investigation of choral conductors' definition of community within a choral ensemble /." Diss., UMK access, 2006.

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Thesis (Ph. D.)--Conservatory of Music and School of Education. University of Missouri--Kansas City, 2006.
"A dissertation in music education and curriculum and instruction." Advisor: Charles R. Robinson. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 20, 2007. Includes bibliographical references (leaves 167-179). Online version of the print edition.
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Haygood, James L. "A study of the continuum of choral singing from secondary choral programs to selected higher education choral programs in Indiana." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/897485.

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The purpose of this study was to examine the continuum of choral singing from secondary choral organizations to choral organizations at selected higher education institutions in Indiana. Examined were two large state institutions and two private, liberal arts colleges. Two groups of college students who had high school choral experience were surveyed: 1. non-participants, and 2. participants. Participants in choral ensembles made up 1.33% of the total enrollments of the institutions studied. Thirty four percent of the selected students had high school choral experience. Choral ensemble participants' responses to a questionnaire were compared with non-participants' responses. The state institutions' student responses were compared to the liberal arts institutions' student responses.There do not appear to be universal reasons for students to continue or not continue singing in choral ensembles. The reasons appear to vary with the individual student and institution. However, there were trends observed. Students perceived themselves as being well enough prepared to participate in higher education choral ensembles. There is a discrepancy between the expectations of the college conductors and the students' evaluation of their preparedness. Literature appears to be a highly significant factor in the interest of all respondents. Students preferred to sing all types of music. Neither participants nor non-participants reported that classical literature was the focus of their high school choral programs. Participants perceive that the university is interested in them, while non-participants reported negative responses. Private respondents felt that the university was interested in their participation in choral ensembles more than public respondents. Many students decide before arriving on the higher education campus whether or not they will participate in college choral ensembles. The amount of credit given for singing in ensembles or academic loads seem to be a minor factor. It appears that parents do influence choral participation.Private institutions have a larger percentage of their populations participating in choral ensembles than do public institutions. The higher involvement of liberal arts college students in choral ensembles may be explained by the department's need for adequate manpower and the personalized recruiting policies. The personality of the conductor was important to the students surveyed.
School of Music
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Canfield, Jennifer Leigh Kirkland Walls Kimberly C. "Middle and junior high school choral repertoire directors' criteria for selection, quality, and appropriateness /." Auburn, Ala, 2009. http://hdl.handle.net/10415/1814.

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Devous, Donald Michael. "A financial resource guide for the beginning secondary choral music director." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Aug2006/devous%5Fdonald%5Fmichael/index.htm.

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Westfall, Claude R. Sims Wendy L. "Criteria identified by selected Missouri high school choral directors for placement of concert repertoire in concert order." Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/6630.

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Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 25, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Wendy L. Sims. Vita. Includes bibliographical references.
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Turcott, Amber. "Choral Music Education: A Survey of Research 1996-2002." [Tampa, Fla.] : University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000056.

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Riegle, Aaron. "The pitch matching ability of high school choral students." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/621.

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Books on the topic "Choirs (Music) Choral music Choral music"

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Lamb, Gordon H. Choral techniques. 3rd ed. Dubuque, Iowa: Wm.C. Brown, 1988.

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Directing the choral music program. New York: Oxford University Press, 2004.

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Complete secondary choral music guide. West Nyack, N.Y: Parker Pub. Co., 1989.

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Besig, Don. The school choral program: The roundtable sessions. East Stroudsburg, PA: Music in Action, 1987.

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

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D, Sorensen Rodney, ed. The choral singer's companion. New York, N.Y: Facts on File Publications, 1987.

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The choral singer's companion. London: Batsford, 1987.

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Corp, Ronald. The choral singer's companion. [Great Britain]: Thames Publishing, 2000.

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Kempa, Grażyna. Aktywność wychowawcza polskiego ruchu śpiewaczego na Górnym Śląsku w latach 1848-1939. Katowice: Wydawn. Uniwersytetu Śląskiego, 1997.

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White, J. Perry. Twentieth-century choral music: An annotated bibliography of music suitable for use by high school choirs. 2nd ed. Metuchen, N.J: Scarecrow Press, 1990.

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Book chapters on the topic "Choirs (Music) Choral music Choral music"

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Shaw, Julia T. "Lessons Learned From Students’ Experiences Across the Three Choirs." In Culturally Responsive Choral Music Education, 85–99. New York : Routledge, 2019. | Series: Culturally responsive teaching in music: Routledge, 2019. http://dx.doi.org/10.4324/9780429503900-5.

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Quadros, André de. "Choirs in Global Engagement and the Manado State University Choir." In Focus: Choral Music in Global Perspective, 145–55. New York; London : Routledge, 2019. | Series: Focus on world music: Routledge, 2019. http://dx.doi.org/10.4324/9780429024627-8.

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Shaw, Julia T. "Culturally Responsive Teaching in the West Side Choir." In Culturally Responsive Choral Music Education, 22–42. New York : Routledge, 2019. | Series: Culturally responsive teaching in music: Routledge, 2019. http://dx.doi.org/10.4324/9780429503900-2.

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Shaw, Julia T. "Culturally Responsive Teaching in the North Side Choir." In Culturally Responsive Choral Music Education, 43–62. New York : Routledge, 2019. | Series: Culturally responsive teaching in music: Routledge, 2019. http://dx.doi.org/10.4324/9780429503900-3.

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Shaw, Julia T. "Culturally Responsive Teaching in the South Side Choir." In Culturally Responsive Choral Music Education, 63–84. New York : Routledge, 2019. | Series: Culturally responsive teaching in music: Routledge, 2019. http://dx.doi.org/10.4324/9780429503900-4.

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Quadros, André de. "The Chorus." In Focus: Choral Music in Global Perspective, 13–33. New York; London : Routledge, 2019. | Series: Focus on world music: Routledge, 2019. http://dx.doi.org/10.4324/9780429024627-2.

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Taylor, Benedict. "Choral and Liturgical Music." In Arthur Sullivan, 196–215. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315568027-9.

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Snoman, Rick. "Chords and harmony." In Dance Music Manual, 237–54. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453830-20.

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Mazey, Paul. "Choral Music: Christian and Pantheistic Mysticism." In British Film Music, 115–47. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33550-2_5.

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Frühauf, Tina. "Regenerating a Choral Music Culture." In Transcending Dystopia, 155–72. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197532973.003.0012.

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In the course of the 1950s and 1960s, different trends emerged with regard to choral music culture in the Jewish communities (and continued thereafter): New synagogue choirs formed and there were several children’s and youth choirs which sang during liturgy and nonritual contexts. If this suggests a lively choral music soundscape in the Jewish communities, the opposite was the case. Choral music held a complicated stance therein. Due to the difficulties of establishing and maintaining synagogue choirs, some communities relied on visiting choirs that operated as independent (concert) choirs and on local secular and even church choirs. The repertoire largely reveals an adherence to prewar aesthetics. As such, choral music culture offered an opportunity to approach and define the communities’ musical identity both in the context of worship and in relation to mainstream society.
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Conference papers on the topic "Choirs (Music) Choral music Choral music"

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Dutica, Luminita. "STRUCTURES AND ARCHETYPAL SYMBOLS IN ROMANIAN CONTEMPORARY CHORAL MUSIC." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.048.

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Rida, Imad, Romain Herault, and Gilles Gasso. "Supervised Music Chord Recognition." In 2014 13th International Conference on Machine Learning and Applications (ICMLA). IEEE, 2014. http://dx.doi.org/10.1109/icmla.2014.60.

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Fox, Jason, Leslie A. North, and Matthew Herman. "THE VOICE OF ICELAND: COMMUNICATING CLIMATE SCIENCE THROUGH CHORAL MUSIC." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-323404.

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Greer, Timothy, and Shrikanth Narayanan. "Using Shared Vector Representations of Words and Chords in Music for Genre Classification." In SMM19, Workshop on Speech, Music and Mind 2019. ISCA: ISCA, 2019. http://dx.doi.org/10.21437/smm.2019-10.

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Taitz, Alan, Diego Shalom, Marcos Trevisan, and Bruno Mesz. "The taste of scales and chords." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10445.

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Reliable crossmodal correspondences between basic tastes and music features have been found in recent studies [1,2]. In this work, we explore associations between scales, chords and tastes. Several of these elementary musical structures show non-random patterns of matching with basic tastes. Moreover, their aggregate dyadic consonance [3] anti-correlates with the relative frequency of their matching to bitter taste.
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Khramov, Mykhaylo, and Vadim Madgazin. "Music chords: Emotions and sonantometry: Through algebra of chord progressions to information theory of emotions." In 2011 World Congress on Information and Communication Technologies (WICT). IEEE, 2011. http://dx.doi.org/10.1109/wict.2011.6141224.

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Marques, Lucas. "A chord distance metric based on the Tonal Pitch Space and a key-finding method for chord annotation sequences." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10435.

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Music Information Retrieval (MIR) is a growing field of research concerned about recovering and generating useful information about music in general. One classic problem of MIR is key-finding, which could be described as the activity of finding the most stable tone and mode of a determined musical piece or a fragment of it. This problem, however, is usually modeled for audio as an input, sometimes MIDI, but little attention seems to be given to approaches considering musical notations and musictheory. This paper will present a method of key-finding that has chord annotations as its only input. A new metric is proposed for calculating distances between tonal pitch spaces and chords, which will be later used to create a key-finding method for chord annotations sequences. We achieve a success rate from 77.85% up to 88.75% for the whole database, depending on whether or not and how some parameters of approximation are configured. We argue that musical-theoretical approaches independent of audio could still bring progress to the MIR area and definitely could be used as complementary techniques.
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Yong-Hun Cho, Hyunki Lim, Dae-Won Kim, and In-Kwon Lee. "Music emotion recognition using chord progressions." In 2016 IEEE International Conference on Systems, Man, and Cybernetics (SMC). IEEE, 2016. http://dx.doi.org/10.1109/smc.2016.7844628.

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Churikova-Kushnir, O. D., and Z. V. Sofronii. "Vocal and choral training of future music art teachers in higher education institutions." In PEDAGOGY AND PSYCHOLOGY IN THE MODERN WORLD: THE ART OF TEACHING AND LEARNING. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-041-4-112.

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Brunner, Gino, Yuyi Wang, Roger Wattenhofer, and Jonas Wiesendanger. "JamBot: Music Theory Aware Chord Based Generation of Polyphonic Music with LSTMs." In 2017 IEEE 29th International Conference on Tools with Artificial Intelligence (ICTAI). IEEE, 2017. http://dx.doi.org/10.1109/ictai.2017.00085.

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Reports on the topic "Choirs (Music) Choral music Choral music"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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