Dissertations / Theses: '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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Barber, Holly. "Women in the Spotlight| A Survey of Female Choral Composers for Middle and High School Choirs." Thesis, California State University, Los Angeles, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10618445.

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This project report presents a set of criteria for choosing a balanced program of repertoire for choirs, specifically focusing on increasing the representation of female composers in programming for middle and high school choirs. The recital given in conjunction with this report represents these criteria in action.

In addition to providing a biography of each composer and analyzing the text and musical structure of each song, the author includes her rationale for choosing each piece based on the criteria, as well as teaching strategies and conducting techniques employed. The project report also includes an appendix with an annotated bibliography to provide an updated resource for conductors at the middle and high school level who want to be deliberate in programming a more diverse representation of composers.

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Higginbotham, Lee Ann M. "Teaching techniques : suggested techniques in teaching music through performance in choir /." View online, 2008. http://repository.eiu.edu/theses/docs/32211131459702.pdf.

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Fiocca, Pamela Dayle Hopton. "A descriptive analysis of the rehearsal behaviors of selected exemplary junior high and middle school choir directors." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1332880693.

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Breznau, Sarah. "Intergenerational family choir| A new idea in choral singing." Thesis, California State University, Los Angeles, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10147540.

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Intergenerational choral singing is a new and expanding practice in choral music. Despite statistics documenting the decline of traditional opportunities for beginning singers' exposure to choral singing, family choruses successfully bring music-making back to the heart of family and community life. Through the examination of several emerging family choruses this report catalogs the growth of this new trend while summarizing the many benefits and drawbacks to cooperative family singing. Directors and participants of The Family Folk Chorale, the Boston Intergenerational Chorus, the Singing in the Rain Family Choir, and the Harmonious Family Singers describe differing approaches to intergenerational singing. The concept is also exemplified through reporting on the programming, preparing, and performing of an intergenerational choir concert. Gaining popularity, family choirs are poised to become a significant new genre in choral singing, bringing new participants to the choral art, while building healthy families and strong communities.

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Abdalah, Gregory John. "The role of youth choirs in the Orthodox Church." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p015-0477.

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Dixon, Kira Leigh. "Assessment through technology in the choral classroom." Kansas State University, 2013. http://hdl.handle.net/2097/15993.

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Master of Music
Department of Music
Julie Yu-Oppenheim
Teaching a large performing ensemble class, such as choir, can make it difficult to keep a record of each student’s individual progress. This report will discuss my philosophy of music education along with ways to incorporate technology into student assessment. Technology can most benefit the educational process when it is easy and efficient. Through personal experience, incorporating technology into student assessment can be done in the four different methods explored in this report. These four methods are: integrating practice file submissions through a virtual interface; using Google Docs Surveys for self-reflection; incorporating audio or video recording students for sight-reading tests; and using YouTube for students to post videos for final projects. Each has the potential to both strengthen and organize the way student assessment is completed.

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Mensel, Robert. "A music of their own : the impact of affinity compositions on the singers, composers, and conductors of selected gay, lesbian, and feminist choruses /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1331405811&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 309-313). Also available for download via the World Wide Web; free to University of Oregon users.

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Hendricksen, David A. "Twentieth-century choral music programming by Concordia, Luther, and St. Olaf college choirs, 1950-1986." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/558362.

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This dissertation complements those analytical studies which discuss choral works and techniques of contemporary choral composition, by examining what twentieth-century literature was actually performed within one of the choral traditions of the United States.The a cappella choral tradition has spread widely throughout the United States. Previous studies have examined the history of the pioneering a cappella choirs and the biographies of the movement's leaders. This study also complements them in examining another aspect of the a cappella tradition.Three representative choirs were chosen: the Concordia Choir from Moorhead, Minnesota, Paul J. Christiansen, conductor; the Nordic Choir of Luther College from Decorah, Iowa, Weston Noble, conductor; and the St. Olaf Choir from Northfield, Minnesota, Kenneth Jennings, conductor. These choirs were selected because each had a long tradition of touring -- consequently exposing a broader public to the literature they performed, because each choir has been widely acknowledged for performance excellence, and because each has had remarkable continuity in leadership -having only one or two conductors during the thirty-six year span included in this study.The program archives of each choir were examined to determine the twentieth-century literature which had been performed. Three conductors, Paul J. Christiansen, Kenneth Jennings, and Weston Noble, were interviewed with regard to their ideas concerning selection and preparation of twentieth-century choral music.Though each choir was found to have some distinct patterns, there were also several elements in common among the choirs:1. Each took. seriously the relationship between music and text, and the fact that the choirs were representatives of Lutheran colleges.2. Each emphasized the highest possible level of performance in order that the expressive and aesthetic qualities of the music sung would be comprehended by both singers and audience.3. Each has given a prominent place to twentieth-century music by American composers.4. Each has given a comparatively minor role to music by Scandinavian composers.5. Each has repeated certain works several times during the thirty-six years, helping to establish them in the choral repertory.6. Each has performed an approximately constant quantity of twentieth-century music during the thirty-six years, but each has tended to program progressively more challenging works as time goes on. Appendices present listings of the choral literature included in the study, of the repertory for each choir, and of currently available recordings by the three choirs of twentieth-century choral music.
School of Music

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Pan, Yu-Wen. "Analysis and rehearsal strategies for selected renaissance choral music suitable for secondary school mixed choirs." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228838498.

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Lokken, Fredrick. "The music for unaccompanied mixed chorus of Einojuhani Rautavaara /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11425.

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Spillane, James D. "All-state choral music: A comprehensive study of the musicselected for the high school all-state choirs of the fifty states from 1995-2000." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/298794.

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This document is a comprehensive study of the music selected for the high school All-state choruses of the fifty United States for the years 1995-2000. Each of the nearly 3000 choral works was evaluated as to how many times it was programmed, which conductor programmed it, how often each conductor was selected, how often each composer's works were programmed, the style period/genre of each work, which of the 50 states the work was performed in, and which of the seven ADCA Divisions each state is affiliated with to allow comparisons of trends in programming throughout different areas of the United States. The 100 most programmed choral works were then examined further in regards to ten, more specific, musical aspects. These aspects included: texture, language, rhythmic complexity, metric complexity, length, dynamic range, harmonic complexity, vocal range, accompaniment, and whether the work had a dramatic ending or not. An annotated listing of these 100 works was also created that includes exact voicing, text, composer (including composer dates), publisher (including octavo # where available), specific accompaniment, duration, and a short description. Findings concluded that composer G. F. Handel was the most selected composer and Dirait-on, by American composer Morton Lauridsen, was the single most-programmed choral work. The differences in the music selected for the seven ACDA Divisions were slight and deemed not significant. Andre Thomas of Florida State University was the most selected conductor during this period. The typical All-state choral work from this period is a choral work with piano accompaniment, a large dynamic range, a dramatic ending, and is sung in English or Latin.

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Firth, Kerry. "British amateur singers and Black South African choral music : the politics of access and encounter." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/british-amateur-singers-and-black-south-african-choral-music-the-politics-of-access-and-encounter(aa580d73-8506-4cfc-80b1-02d77dca53f1).html.

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This thesis explores connections between British amateur singers and black South African choral music that, over the past fifty years, have grown in strength and significance. By concentrating on a set of representative case studies, it investigates how and why this music is learned, performed and rehearsed within a variety of choirs and ensembles of different styles and experiences. In addition, the thesis focuses on certain songs that have become popular within specific choral contexts, and discusses the reasoning behind their enthusiastic reception and attractive power. My approach is ethnographical, and the material I present is taken from my own participant-observations of choir rehearsals, workshops and performances, as well as from interviews I conducted with choir members and leaders. On a theoretical level, this thesis engages critically with ethnomusicological and anthropological debates surrounding cultural appropriation. Particularly pertinent to each chapter are discussions concerning authenticity, cultural authority and power relations, and I explore the politics and logistics that are associated with British singersâ encounters with black South African choral music. By discussing critically these different levels of encounter and engagement, I offer some new and intriguing standpoints from which to consider existing debates surrounding cultural appropriation and, in so doing, suggest approaches for theorising cross-cultural encounters through a more nuanced postcolonial lens.

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Derby, Sandra Elizabeth 1960. "Rehearsal of repertoire in elementary, middle, and high school choirs : how teachers effect change in student performance /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008313.

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Einarsdottir, Sigrun Lilja. "J.S. Bach in everyday life : the 'choral identity' of an amateur 'art music' Bach choir and the concept of 'choral capital'." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4022.

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This thesis presents research on an amateur composer-oriented Bach choir. Its main purpose is to study the development of musical identities and musical preferences of choir members as they take shape through the collective learning process of rehearsing and performing large-scale choral music. The study analyses how the choral participation and performance creates a certain type of ‘choral capital’ (a combination of social and cultural capital within the choral setting) and how the choristers reconstruct and relate to the composer (J.S. Bach) by creating ‘choral identities’ linked to the composer-orientation of their choir. This study is based on an interdisciplinary approach, seeking concepts and ideas from different fields of study – primarily sociology and music sociology (music in everyday life and the concepts of social and cultural capital in the amateur choral setting) but also music psychology regarding concepts of musical and vocal identities, history of music (especially Bach scholars, previous biographical writings about J.S. Bach), music and education (choral singing as informal music education) and interdisciplinary studies on music, health and well-being. The methodological approach of this research consists of a grounded theory based, single case study where the case was the Croydon Bach Choir in London performing J.S. Bach’s Mass in B Minor, using participant observation (where I sang with the choir for one semester) and qualitative interviews as main research methods and gathering demographic background data on choir members via paper-based survey. Whereas significant research on music performances has been conducted, so far choral research, where the direct participation of the researcher as a member of the choir is used as one of the main research methods, is still quite rare. Results indicate that participants develop socio-musical identity both through their choral participation in general, performance experiences and early music consumption in the family household and the emphasis of the importance of choral singing as a fulfilment instead of pursuing a professional career. Through choral singing, participants developed ‘choral capital’ through a) the effects of collective learning on their musical taste and preferences (thus broadening their musical taste and preferences and reconstructing the composer) and b) the well-being factor of collective singing and communal learning through the process of rehearsing and performing the Mass in B Minor. Furthermore, findings indicated that participants construct Bach as a genius and a devout Lutheran, an image that relates to the romantic image of Bach presented in the late 19th – early 20th century biographical writings on the composer. Thus in general, their choral activities form a valuable addition to their social and cultural capital (´choral capital´), which they use as a source of well-being in everyday life. In addition, participants create a certain ‘choral identity’ by relating to the composer-orientation of their choir; the promotional label of Bach as a synonym for quality choral singing and the emphasis of challenging repertoire.

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Detwiler, Gwendolyn Coleman. "Solo Singing Technique & Choral Singing Technique in Undergraduate Vocal Performance Majors: A Pedagogical Discussion." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1226948715.

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Hiney, Aoife. "Pedagogy through performance: a Kodály-based musical literacy programme for communitarian choirs." Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/23379.

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Doutoramento em Música
The primary objective of this research was to develop a musical literacy programme – with correlated repertoire written specifically for the programme –that was implemented during choral rehearsals, creating a bridge between pedagogy and performance. Data from the Música no Meio project’s survey of choral conductors in Portugal shows that although 80% of the surveyed choirs use scores, only 15% of the singers have developed the musical literacy skills required to autonomously read the score. Previous research (Hiney, 2012) has also shown that in the absence of musical literacy, rote-learning (imitating the conductor until the music is memorised) is the most common technique used to transmit repertoire. This thesis addressed two main problems associated with a lack of musical literacy skills; firstly the impact of rote-learning on repertoire selection, rehearsal efficiency and hence standards of performance and secondly the implications for artistic creativity, as the singers confined to the oral as opposed to the literate area (Williams, 1981) may be considered artisans, making art without any involvement in creative or artistic processes (Reimer, 1970). The musical literacy programme, based on Kodály’s Concept of Music Education, was developed with the members of the communitarian choir, Voz Nua in Aveiro, Portugal. Six composers participated in this project, writing pieces with progressive levels of difficulty that corresponded to each of the three phases of the literacy programme. Qualitative data produced through interviews and focus groups with the singers of Voz Nua and the composers was analysed in order to gain an understanding of their experience of participating in the musical literacy programme. This data showed that the development of musical literacy skills increased the efficiency with which the choir learns new repertoire, allowing more time for interpretation and impacting positively on the choir’s quality of performance.
O objectivo principal deste trabalho foi o desenvolvimento de um programa de literacia musical, recorrendo a repertório expressamente escrito para este programa, que foi implementado no contexto de ensaios corais, construindo uma ligação entre a pedagogia e a performance. Em anteriores pesquisas, nomeadamente no projecto ‘Música no Meio’, foi realizado um inquérito nacional com maestros de coros em Portugal que demonstrou que, apesar de cerca de 80% dos coros usarem partituras, apenas 15% dos cantores conseguem ler essas mesmas partituras de um modo autónomo. Num dos estudos presentes neste projeto (Hiney, 2015) foi possível ainda perceber que, na ausência de literacia musical, a aprendizagem por memorização (rote-learning) é a técnica mais frequentemente utilizada na transmissão do repertório. Esta tese concentra-se em dois dos problemas ligados à escassez de literacia musical, sendo o primeiro o impacto da aprendizagem por memorização na seleção de repertório, na eficiência do ensaio, e portanto, no nível de performance de um coro, e o segundo nas implicações para a criatividade artística, uma vez que os cantores que pertencem à zona da oralidade ao invés da zona da literacia (Williams, 1981) poderiam ser considerados artesãos, ao ‘fazer’ arte sem participar nos processos criativos ou artísticos (Reimer, 1970). Foi assim concebido um programa de literacia musical, baseado em Kodály, que foi realizado com os cantores do coro comunitário Voz Nua em Aveiro, Portugal. Participaram ainda neste projecto seis compositores que escreveram obras com graus de dificuldade e objectivos específicos para cada uma das três fases do programa. Os dados qualitativos produzidos através de entrevistas e focus groups com os cantores de Voz Nua e com os compositores, foram analisados tendo em vista uma melhor compreensão das experiências vividas pelos participantes no decorrer programa. Estes dados permitiram perceber que, após a desenvolvimento do programa de literacia musical, se verificou um aumento da eficiência nos ensaios e na aprendizagem de novo repertório, libertando mais tempo de ensaios para a componente interpretativa, com impacto positivo na qualidade da performance do coro.

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Lamb, Christina G. "A study of the collegiate non-auditioned, mixed choral ensemble : its purpose, its peculiarities, and its potential." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063300.

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This research project was a study of the non-auditioned, mixed collegiate choral ensemble. The investigation focused on successful ensembles of this type at five universities in the midwestern United States. The purpose of the study was to investigate the ensemble's need for existence and its function within the university's choral program, to research teaching strategies that work with such a unique ensemble, and to discover tactics which help this type of group reach its full potential. Information for the study was garnered through observations of the five choirs, through surveys of the group participants, and through interviews with the conductors.A total of 372 participants completed surveys. The surveys contained a variety of questions regarding group demographics, reasons for participating, rehearsal techniques, repertoire, and benefits of participating. Responses were compiled and then analyzed for similarities and differences. Three types of statistical tests were utilized to discover if significant differences existed. For those responses which were of a nominal nature, a chisquare test was used to determine if there was any significant interaction between the responses and the various ensembles. For those responses which were of a numerical nature, an Analysis of Variance (ANOVA) test was performed to determine if there were any significant differences among the choirs. If significant differences were detected (p<.05), a Tukey HSD post hoc test was utilized to determine where the differences occurred. For those questions which were of a qualitative nature, responses were simply compiled and compared for similarities and differences.The five conductors were interviewed and questioned regarding the purpose of their ensemble, the type of teaching strategies they incorporate, the structure of their rehearsals, any methods of motivation and reinforcement they use, and what techniques they use to help the ensemble reach its full potential.Some similarities were discovered among the five choirs, with the most striking one being the high level of satisfaction among the participants. Significant differences were also discovered between the choirs in a variety of areas, including reasons for participating, group perception, evaluation of the conductor's rehearsal techniques, and productivity of the rehearsal.
School of Music

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Busarow, Linda Cressman. "Selected baroque compositions with instrumental accompaniment for amateur choir." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1181305158.

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Helsel, Bryan R. "Travel as experiential music education: Considering impacts on secondary band, orchestra, and choral programs." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556134241478845.

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Bruenger, Susan Dill. "The Relationship of Selected Personal Investment Behaviors to the Meaning Non-Select Choir Members Attach to Their Choral Experience." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278230/.

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Koonce, James D. "Development of the worship leader role of the Celebration Choir at Shirley Hills Baptist Church through an intentional process of reflection, study and choral community interaction." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.

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Farmer, William Dale Walls Kimberly C. "Relationships of dimensions of the meaning of the choral experience to high school students preferences for concerts vs show choir." Auburn, Ala, 2009. http://hdl.handle.net/10415/1869.

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Jahn, Jeffry Allen. "Richard Wagner's ''Occasional Works'' for male chorus (1843-1844): Aspects and influences on Wagner's emerging compositional style during the Dresden years (1843-1849)." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185334.

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Richard Wagner was appointed Hofkapellmeister to the Dresden Court in 1841. In conjunction with the duties of his office, he composed four works for male chorus, categorized by him as "occasional works". These works written during the first year-and-a-half of his Dresden tenure demonstrate Wagner's early assimilation of his artistic and philosophical ideals that would culminate in the composition of the opera-cycle, Der Ring des Nibelungen. Wagner's association with the male-voice choral unions of Dresden allowed him opportunity to express and define his compositional goals in his constant quest for a true and pure German art form. The "occasional works" influenced and affected his use of male chorus in the operas Lohengrin, Tannhauser and Die Meistersinger. Wagner, forced to flee Dresden after the May 1849 uprising, no longer had access to the Dresden male-voice choral unions. Consequently, the frequency of male choruses in his operas composed after this time diminishes assuming a different position, both musically and dramatically than in those operas composed prior to and during his Dresden tenure. The "occasional works" demonstrate more than a servial obligation, rather, they encapsulate the very essence of Wagner's compositional thought in a highly condensed and intensely focused form.

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Nolker, D. Brett. "Individual sight-singing success : effects of testing condition, large ensemble sight-singing rating, school size, and selected background factors /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3036849.

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Bade, Andy. "Achieving Balance in Music for Chorus and Band: Analysis and Performance Issues in Requiem by Frigyes Hidas." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301478.

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The purpose of this study is to provide a guide for conductors when evaluating issues of balance in works for chorus and symphonic band, and to assist them in realizing such works in performance. The principal focus of the document will be an analysis of vocal and instrumental textures in Requiem by Frigyes Hidas as they affect balance and textual clarity, using accompaniment types described by Hawley Ades as guides. The analysis shows that the scoring helps mitigate balance problems commonly found in other works scored for similar forces, making a variety of performance options and interpretations available to conductors. Ensemble issues are discussed as they relate to balance, as are practical solutions regarding stage setup.

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Moon, Harry Edward. "Ralph Vaughan Williams' "A sea symphony" for soprano, baritone, chorus and orchestra: a conductor's study and performance." Diss., University of Iowa, 1987. https://ir.uiowa.edu/etd/5893.

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Bygdéus, Pia. "Uttryck genom handling : Medierande verktyg i körledararbete med barn och unga." Licentiate thesis, Lund University, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-71031.

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The role of the choir leader is a complex one. When working with a choir, choir leaders often use several aspects of their professional role. The aim of this qualitative study is to describe, verbalise and make visible the mediating tools that choir directors working with children and youth choirs use. In a longitude study, four choir leaders were observed closely while working with their choirs. They also took part in semi-structured interviews. The empirical data material consists of observation notes, reflective writing, individualinterviews, focus conversations and videotapes. Analysed from a sociocultural perspective, the result points to eight groups of mediating tools: a) a listening attitude towards the choir, with the music in focus; b) a variation in ways of working with the choir, where a variety of physical tools are used; c) the use of musical routines; d) the choir director acting as a role model in shaping musicalexpression with the group; e) a concentrated cooperation with the choir through short and expressive instructions; f) reflection in practice by planning and self-evaluation; g) storytelling, which results in memory training, stimulation of the imagination and the sharing of common experience, and h) the use of target images expressed as visions, small/big goals or jointly stated, communicated targets. The choir directors who participated in the study use a variety of approaches and ways of working as a strategy for communicating and working with child and youth choirs.

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Nannen, Briana E. ""Choir is for Girls"| Intersectional Mixed Methods Perspectives on Adolescent Gender Identity, Singing Interest, and Choral Music Participation." Thesis, The University of Nebraska - Lincoln, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271929.

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As students progress through adolescent development, researchers have observed a lack of male participation in choral music activities. This male to female imbalance is often attributed to a perception that singing is a feminine activity and results in a lack of balance in choral music ensembles. The purpose of this mixed methods study was to explore adolescent gender identity as it relates to singing interest and choral music participation. An explanatory sequential mixed methods design was used, in which quantitative data were collected and analyzed followed by in-depth qualitative interviews. A group of 9^th grade students (n=174) completed the Children’s Sex Role Inventory and the Singing Interest Inventory to gauge their self-perceived levels of masculinity and femininity along with their level of singing interest. Information from the quantitative portion of this study indicated that girls had both a higher interest in singing and a higher rate of participation in choral music ensembles than their male peers. A significant contribution of this study was that although singing is often perceived as feminine, no significant differences were found between categorized gender groups and singing interest.

Qualitative interviews were conducted with two groups of male students who were not enrolled in choir: low singing interest scores (n=4) and high singing interest scores (n=4). Transcribed and coded interviews resulted in the following themes: low singing interest, Guys are physical, Girls are feminine, Shared perceptions, Guys don’t sing, and Calling them names; high singing interest, Men want muscles, Girls are expressive, Shared perceptions, Choir is for girls, Get made fun of, and No labels. The shared theme Shared perceptions suggests that participant perceptions are the same as their parents and friends. The theme No labels was unique to the high singing interest group. Participants in that group demonstrated a higher level of acceptance for atypical gender behavior.

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West, Raymond Owen. "Secondary School Choral Teachers' Perceptions of Quality Professional Development." ScholarWorks, 2015. http://scholarworks.waldenu.edu/dissertations/1728.

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Quality professional development is essential to enhance and sustain teacher efficacy. In a Southeastern school district, content-based, job-embedded professional development was not practiced or available for secondary school choral teachers. The purpose of this research was to discover the perceptions that choral teachers possess about what constitutes quality professional development. Guided by Bruner's constructivist approach, Knowles' concept of andragogy, and DuFour's professional development practices, this study examined the connection between these 3 ideas and supplied the foundation for the development of a professional development program. Using a case study design, data were collected through interviews and lesson plan documents from 9 secondary school choral teachers. The data were coded by hand and analyzed using an inductive approach. The key results were that the secondary school choral teachers desire quality professional development, characterized by content-based subject matter and collaborative delivery methods. A project of customized content-based choral music was constructed using teacher collaboration and mentoring as critical components of the delivery system. This study has implications for positive social change by providing professional development that addresses the needs and desires of the educators and increases their knowledge and skills. The project can perform as a prototype for professional development in other academic disciplines.

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Schnipke, Richard L. "Gwyneth Walker an annotated bio-bibliography of selected works for mixed chorus /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228139768.

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Keating, Bevan T. "A choral organizational structure for the developing male singer." Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5num=osu1086095145.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xii, 136 p. : ill. Advisor: Hilary Apfelstadt, School of Music. Includes bibliographical references (p. 102-107).

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McDermid, John Aaron, and John Aaron McDermid. "Reimagining the Art of Choral Programming: Innovations of Larry L. Fleming in his Annual Christmas Festivals with the National Lutheran Choir." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621783.

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Larry L. Fleming is a prominent figure in American church music, widely known for his compositions and choral arrangements as well as his creative approach to concert programming as the conductor the National Lutheran Choir. No formal research has yet been done on Fleming, and I believe it is a fitting time for an examination of his contributions to choral music. In this study I will examine the unique choral programming techniques utilized by Larry Fleming in his annual Christmas Festival with the National Lutheran Choir. In particular, (1) his frequent use of short, fragmentary excerpts of larger musical works, (2) his use of sacred poetry from non-biblical sources for narration, and (3) the elimination of composer credits and composition titles in the body of the printed program. Audiences appreciate thematic programming,¹ and Fleming's methods offer tremendous opportunity for inventiveness on the part of conductors when planning concerts. I therefore contend that each of the three programming innovations listed above are viable and creative ideas other conductors could adopt in putting together their own thematic programs. In order to demonstrate this assertion, I created an original choral Christmas program utilizing his techniques. While the model program produced for this study replicates several of Fleming's programming innovations exactly as he used them I certainly do not recommend that conductors create concerts that are mere imitations of those produced by Fleming. It is my hope, rather, that this sample program will demonstrate the possibilities in creative programming, and will perhaps activate the imagination of conductors to devise their own unique approaches to programming. Since some readers may find my use of certain Fleming programming innovations controversial, particularly those related to the excerpting and adaptation of musical and poetic sources, this study will conclude with a brief look at how the philosophical issue of artistic license may affect the use of these innovations.

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Peters, Renae Joi Schmidt Robinson Charles R. "The Bethel College Concert Choir a Mennonite voice in choral music from 1932 to 2008 /." Diss., UMK access, 2009.

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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009.
"A thesis in music education." Advisor: Charles Robinson. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 25, 2009. Includes bibliographical references (leaves 153-163). Online version of the print edition.

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Cottrell, Duane Coles. "Increasing glottal closure in an untrained male chorus by integrating historical, scientific, and clinical practice into choral voice building exercises." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-10998.

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Tresler, Matthew Troy. "Ernst Pepping's Missa Dona Nobis Pacem: A Conductor's Analysis For Performance." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/128.

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The purpose of this study is to provide a conductor's resource for preparation of the Missa Dona Nobis Pacem of Ernst Pepping (1901-1981). While research on the organ works has been done, there is no English language resource on the sacred choral works of Pepping. This paper provides a collection of information on Pepping's life, musical characteristics, and the composition of the Missa Dona Nobis Pacem. Following an introductory first chapter, Chapter Two is a biographical sketch of the composer with emphasis on compositional periods and important historical figures, and it places Pepping's works into this context. The third chapter is a brief description of Pepping's musical language and places the Mass in historical compositional context through a discussion of the Vier letzte Lieder of Richard Strauss (1869-1949) and the Cinq rechants of Olivier Messiaen (1908-1992), two vocal works also written in 1948. Chapter Four is an overview of the Mass. The fifth chapter gives an analysis of the Missa Dona Nobis Pacem and provides musical examples. The sixth and final chapter provides further insight into the works for a cappella choir by Ernst Pepping with a discussion of two major examples from the same compositional period, Heut und ewig (1948) and the Passionsbericht des Matthaus (1949-1950). The Appendices are a chronological list of the choral compositions of Ernst Pepping, and a chronology.

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Brooks, Alyse Marie. "The Benefit to Children of Studying Music and the Use of a Summer Vocal Camp to Introduce Children to Music Education Opportunities." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1311197066.

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Clements, Ann Callistro. "The importance of selected variables in predicting student participation in junior high choir /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11244.

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Clarke, Steven Douglas. "Eph Ehly, all-state choir conductor : a video presentation of his philosophy and rehearsal techniques." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063298.

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Dr. Eph Ehly is one of the most sought after choral conductors in the United States today. Ehly has conducted over seventy All-State choirs. However, no previous source outlines the fundamental principles of his philosophy and rehearsal techniques.This study was designed to capsulize Ehly's contributions. The writer produced a videotape entitled, "Eph Ehly: A Source of True Inspiration." This video captures Dr. Ehly's philosophy regarding the All-State choir experience and demonstrates his rehearsal techniques. The author attended three All-State festivals where Ehly was the guest conductor (Indiana, New York, and Oklahoma). The video contains rehearsals and performances and videotaped interviews with Dr. Ehly.The cornerstone of Ehly's approach is this: using music to express. There are three components to Ehly's philosophy: 1) the physical component, 2) the emotional component, and 3) the spiritual component. The writer identified four forms of the physical component: 1) handshake, 2) hug, 3) clapping, and 4) other spontaneous physical gestures. The writer identified eight aspects of the emotional component: 1) expressivity, 2) sensitivity to the world, themselves, and their own emotions, 3) sympathy, 4) reality of emotions, 5) creating mood, 6) building ensemble, 7) music as a reflection of life, and 8) awareness of a "sixth sense." In describing the spiritual component, two divisions were identified: 1) the development of character, and 2) reaching a level of spirit-awareness.The study also summarizes Ehly's rehearsal techniques by outlining his idiosyncratic approach to the treatment of traditional musical elements. The video presentation highlights nine technical concerns and demonstrates Ehly's approach to these common problems. The areas addressed are: 1) tone quality, 2) diction, 3) rhythm, 4) dynamics, 5) phrasing, 6) articulation, 7) breathing, 8) vowel modification, and 9) vibrato. The videotape is supported by a written document containing background information, a script of the video, a summary by the author, a representative list of programs from AllState choirs conducted by Dr. Ehly, and transcripts of the interviews with Dr. Ehly. Church musicians, professional conductors, educators, and students of conducting can all benefit from the opportunity to view and evaluate Ehly's approach.
School of Music

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Fuchs, Michael C. "A Conductor’s Guide to the Incorporation of Bel Canto Methodology in the Choral Rehearsal." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396530409.

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Magin, Carrie. "Catulli Carmina Quinque for Mixed Chorus (SATB), a cappella." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1380612972.

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Dissertations / Theses on the topic 'Choirs (Music) Choral music Choral music'

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