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Dissertations / Theses on the topic 'Choral conductors Conductors (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Keating, Gary E. "In Praise of Music: A Motivation for Choral Conductors." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/538.

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"In Praise of Music": A Motivation for Choral Conductors, is a conductor’s survey of four contemporary works for chorus all titled "In Praise of Music." This study was created in tandem with the recital presentation of two of the works by composers David Conte and David Frank Long and an additional two works by Keith Bissell and Paul Hindemith. Each work is different in style, in the choice of text, in accompaniment, and in the choral forces required. There is no single text titled "In Praise of Music" from which each composer might have begun the creative process. What binds these works together is the concept that music carries emotion and shares it with those who hear it. Bissell requires orchestra, an Orff instrument ensemble, satb mixed chorus and women’s chorus in his music with texts from four different poets: Alfred, Lord Tennyson; John Dryden; William Shakespeare; and Robert Herrick. David Conte’s work is set for chorus, six soloists, semi-chorus, and orchestra. Conte also chose the texts for his work from three poets; Thomas Carew, John Dryden, and Percy Bysshe Shelley. Paul Hindemith’s work, set to a text by Martin Luther, offers many different performance options as it is meant to be performed by non-professional musicians and singers, using whoever might be available. "Our Song (In Praise of Music)" was commissioned by this writer for his D.M.A recital performance. Composer David Frank Long wrote both the text and music for the work. The essay includes biographical information on each composer and poet and the texts used for each work. There is also a structural chart and compositional analysis of each work.

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2

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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3

Earnhart, Cari L. "Cross-culture Choral Music Education: Issues for Western Choral Conductors Related to the Performance of Arabic Choral Music." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804962/.

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The concept of choral music as defined by the Western world was foreign to Arab cultures until the colonization of the Arab world began in the seventeenth century when we began to see the Western choral style emerging in the churches of the Arab world. Group singing of traditional music was done in unison or heterophonic textures. Notated part-singing is a product of colonization, Westernization, Christianization, and now globalization. In recent years, singing music in mixed or multiple voicings not of a heterophonic nature has spread beyond the churches to the secular Arab world. As choral singing has increased in the Arab world, a new genre of Arabic choral music has emerged. In order for Western conductors to effectively teach, conduct, or perform these new works, it is important for them to develop a basic understanding of traditional Arabic musical styles and pronunciation of the language, thereby making Arabic choral music more accessible and enabling it to become a part of the larger world’s musical vocabulary. This study serves as an introductory resource for non-Arab choral conductors concerning key elements related to performing Arabic choral music and provides a context for how these elements relate to this evolving choral genre. In addition, through interviews with composers and conductors of Arabic choral music, this project will further inform the reader regarding the performance of this genre.

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4

Sinclair, Robert Louis. "The conducting pedagogy of B.R. Henson : a systematic approach to conductor training /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999315.

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5

Haan, Keith Alan. "Trends in complimentary recordings distributed by choral music publishers and the use made of these recordings by Missouri School Choral Directors /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3101021.

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6

Weiss, John R. "Vocal health in the choral rehearsal: Common ground for operatically trained singers, studio voice teachers and choral conductors." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290591.

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Recent research and experimentation by Johan Sundberg, Ingo R. Titze, Mirano Hirano, William Vennard, and many others have contributed greatly to the understanding of voice physiology and function. Nevertheless, much anecdotal evidence reveals that there are continuing vocal problems experienced by operatically trained singers in the collegiate choral rehearsal. Although previous research has dealt with these problems in various specialized ways, no study has attempted to integrate contemporary voice research with vocal pedagogy and choral methodology. This study will summarize the last thirty years of research in the physiology and function of the singing voice. In addition, it will present relevant vocal health concerns, and discuss possible causes of vocal fatigue. Finally, this study will suggest some choral rehearsal techniques that incorporate basic knowledge of voice function. By utilizing these techniques, operatically trained singers should be able to participate in a collegiate choral ensemble without experiencing vocal fatigue, compromising vocal development, or risking vocal injury.

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7

Lamartine, Nicole Christopher. "A curriculum of voice pedagogy for choral conductors: The effect of solo voice exercises on individual singer technique, choral tone, and choral literature." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280427.

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The document presents a Curriculum of Voice Pedagogy for Choral Conductors based on the author's solo voice techniques derived from studio voice teaching. Included in the Curriculum is basic voice pedagogy for the chorister, a differentiation between choral warm-ups and voice exercises, five steps to cultivating undeveloped voices, the development of the undergraduate voice, and a sample semester outline of the curriculum. The Curriculum's effectiveness was tested by University Singers, an entry-level collegiate choral ensemble (n = 77), and a panel of six graduate choral conductors at the University of Arizona. Seven common choral tone (Color Voices, Intonation, and Vowel Modulation) and singer technique (Flexibility, Legato, Resonance, and Diction) issues and corresponding exercises from the Curriculum were chosen to be tested from an individual singer's standpoint and from a conductor's aural ensemble perspective. Each exercise was applied to excerpts of choral literature to test its effectiveness in helping a singer to develop the vocal skills demanded by choral music. All exercises were concluded to be successful in that singers understood the purpose, the execution, and the pedagogical function of each exercise, and were inclined to use them in future vocal experiences. In addition, all tested vocal exercises helped to develop singer technique for issues encountered in the choral literature. Furthermore, four of the seven exercises were found to have a positive effect on the ensemble's sound as judged by the panel of conductors. The ensemble sound was also positively affected by the exercises for other tested issues in six out seven cases. Results showed that a focus on building individual singer technique will improve the overall sound and vocal ability of the choral ensemble. Furthermore, individual improvement in Intonation and Legato positively influenced the ensemble sound for all other tested issues.

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8

Dean, Brandon L. "A Repertoire Selection Rubric for Preservice and Beginning Choral Conductors Based on Criteria of Aesthetic and Pedagogical Merit." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1313764499.

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9

Hall, Megan. "Teaching the female adolescent to sing: A survey of choral conductors and voice instructors." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86730.

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Although existence of female voice change is not disputed, symptoms are subtle and not widely understood. Due to the recent nature of research conducted on the female adolescent voice, the researcher investigated what information had reached teachers of singing. The primary research question sought to determine what is known by voice instructors and choral conductors regarding the female adolescent voice and how was this knowledge acquired. Results of the 44 surveys and 4 follow-up interviews lead the researcher to conclude: 1) participants believe that female adolescents experience voice change; 2) the majority of participants believe they have a "fairly complete" understanding of the physiological and pedagogical elements of the female adolescent voice; 3) Despite "fairly complete" understanding of the female adolescent voice, symptoms of voice change are not consistently identified or understood; 4) voice instructors focus on the individual needs of students rather than trends or tendencies of age group or gender.
Bien que l'existence de changement de la voix féminine n'est pas contestée, les symptômes sont discrets, et très peu comprise. En raison du caractère récent des recherches menées sur la voix de l'adolescente, le chercheur a étudié quelles informations avaient atteint les professeurs de chant. La question de la recherche primaire a cherché à déterminer ce qui est connu par des instructeurs voix et aux chefs de choeur en ce qui concerne la voix adolescente et comment ces connaissances acquises. Résultats des 44 enquêtes et 4 entretiens de suivi mener le chercheur de conclure: 1) les participants croient que les femmes adolescents changement de la voix d'expériences; 2) la majorité des participants croient qu'ils ont une "assez complète" compréhension des éléments physiologiques et pédagogiques de la voix chez les adolescentes; 3) Malgré "assez complète" compréhension de la voix chez les adolescentes, les symptômes de changement de la voix ne sont pas toujours identifiés ou compris; 4) les professeurs de chant se concentrer sur les besoins individuels des élèves plutôt que des tendances ou des tendances du groupe, d'âge, ou sexe.

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10

Carvalho, Edson Dias. "Choral students' attentiveness and attitude as related to conductor's score utilization and eye contact /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9842513.

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11

Billingham, Lisa Adalade. "The development of a gestural vocabulary for choral conductors based on the movement theory of Rudolf Laban." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290423.

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The purpose of this study was to create a conductor's gestural vocabulary that can be used to demonstrate stylistic elements in choral music. Specifically, the study assigned Laban Movement Theory elements of Effort and Body to specific choral music examples that demonstrate differences in articulation, rhythm and phrase shape. This study explored Laban Movement Theory and Bartenieff Fundamentals as they relate to body movement and application to the conducting gesture. Gestures were designed following musical analysis and subsequent study with Janice Meaden, an internationally recognized movement instructor and certified LMA/Bartenieff Movement Analyst. These gestures were based on Rudolf Laban's Eight Effort Elements in Combination (float, wring, glide, press, flick, dab, slash and punch). Modifications to the gestures were based from ongoing feedback from a college level choir. At the conclusion of the study, all gestures were evaluated in terms of their ability to communicate the desired response. Six of the eight designed gestures were deemed to be successful, with two needing further modification. Implications for teaching choral conducting as well as conducting choirs are drawn. Conclusions drawn from the study support the application of Laban Movement Theory to the conducting gesture as an useful tool for creating expressive conducting gestures.

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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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13

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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14

Armendarez, Christina Marie. "The influence of Fredrik Melius Christiansen on six Minnesota conductor-composers." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/armendarez%5Fchristina%5Fmarie/index.htm.

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15

Pagan, Ellen M. "College choir directors' and voice instructors' techniques for classifying female voices." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237398533.

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16

Murray, Brian Clark. "A Conductor's Guide to Lionel Daunais's Figures de danse." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703295/.

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Lionel Daunais was an eminent and beloved 20th-century Québécois musician who contributed greatly to the performing arts in Canada. Through his work with the Trio Lyrique, Les Variétés Lyriques, and his numerous compositions, he wielded a potent sphere of influence on the Canadian musical landscape. Lionel Daunais's compositions constitute a significant oeuvre, comprising solo vocal works, song cycles, folksong arrangements, individual choral works, and multi-movement choral works. Marked by irresistible wit, the melodicism of French mélodie, and the absolute eminence of the text, Figures de danse is his most well-known multi-movement choral work. Daunais penned the earliest extant version of Figures de danse in 1947, however, the work emerged into Québec's choral scene in the mid-1970s via the establishment of the Alliance des Chorales du Québec. This set of tragicomic caricatures, which sets beautiful choral and piano writing to clever—and sometimes hilariously nonsensical—texts by Daunais himself, is accessible for performance by youth choirs, community choirs, university choirs, and professional choirs alike. Unfortunately, various factors (e.g. the separation of the choral and piano scores, local references, and score errors) often stymie its performance. The purpose of this dissertation is to ameliorate these challenges via a conductor's guide and to advocate for the performance of Daunais's chef-d'oeuvre.

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17

Kantor, James Graham 1967. "A conductor's study of the choral works of Daniel Asia." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288731.

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Daniel Asia (b.1953) is often referred to as a composer who writes in an "accessible" style. Asia's style of composition evolved from an aleatoric and dissonant style to more lyrical and "accessible." He received commissions from numerous musical organizations. Although Professor Asia's primary compositional focus has been on symphonic music, he has also written five works for chorus. This document will attempt to chronicle Asia's compositional development through a study of his five choral works: (1) Nineteen (published under the title, Sound Shapes) (1973); (2) Why (?) Jacob (1978); (3) She (1981); (4) Celebration (1988); and (5) purer than purest pure (1996). It suggests that these pieces can be performed by auditioned undergraduate choirs, despite their fairly chromatic harmonic idiom and intricate rhythms, if the rehearsals are approached in a pedagogically logical and sequenced manner. Problematic sections of works will be identified, and solutions or exercises provided. The appendix will include bar-line analysis of four of the works. This bar-line analysis will be in the style of "Herford graphs," a system created by Julius Herford and familiar to most choral conductors. A complete list of published works and discography are also included in the appendix.

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Frizzell, John David. "A CONDUCTOR’S ANALYSIS OF VELJO TORMIS’ LOODUSPILDID." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/93.

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Estonian composer Veljo Tormis (1930-2017) is one of the most prolific in his country’s history. A significant portion of his writing has been for choirs. Tormis composed most of his works under Soviet rule. During this communist reign of Estonia, Tormis turned to using traditional music. The source material for a large portion of Tormis’ choral output is regilaul, a type of ancient Estonian folk song. In 1991, Estonia gained their independence, thereby allowing Tormis’ compositions to be more easily seen, heard, and performed around the world. This dissertation presents a conductor’s analysis of a set of choral cycles composed by Tormis between 1964 and 1969, Looduspildid, or Nature Pictures. A set of cycles representing all of the seasons and incorporating prominent Estonian poetry, Loodispuldid represents one of Tormis’ most important works. It illustrates Tormis’ maturing style as he utilized a variety of 20th Century techniques like extended tertian harmonies, modal scales, pandiatonicism, clusters, and mixed meters. Tormis also employs his own orchestrally-derived techniques of carefully constructed simultaneous articulations along with cumulative chording. Each cycle contains its own unique style and feel. Sügismaastikud is perhaps the most tonal of the four. Most movements are pandiatonic and one uses the whole tone scale. On a macro level, Sügismaastikud moves from soft in the earlier movements to a fff climax on the final chord of the last movement. Talvemustrid also begins at a very soft dynamic level on a unison D4, grows to multiple ff dynamics throughout, and ends back at a soft dynamic on Db. The cycle is more harmonically adventurous than Sügismaastikud, with consistent chromaticism, octatonic scale, and marked dissonance. Suvenmotiivid only contains three movements, but continues the harmonic and rhythmic complexity of Sügismaastikud. The first movement, Põualim, immediately begins on a tritone with octatonic scale. Different meters occur simultaneously during the second movement, which also moves quickly through 4 keys. The final movement ends with orchestral voicing and a 10-note chord cluster. Kevadkillud contains six very short movements, most of which are pandiatonic like Sügismaastikud. There is far less chromaticism and harmonic complexity than the middle two cycles, almost as if Tormis is bringing the set full circle. Moreover, the final movement of this cycle (and the entire set) is really just one major chord with embellishments. As a set, Loodispuldid represents a thorough perspective of Tormis’ mature style. The analyses done as a part of this paper reveal an incredible efficiency in his writing. Motives have purpose and context. Each movement possesses a well-defined harmonic language and rhythmic identity. A variety of formal structures exist, from binary to rondo. Even the many through-composed movements are expertly crafted with clear direction.

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Brown, Joshua Ray. "A Conductor's Guide to the Choral Music of Joshua Rist." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703332/.

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Composed exclusively in the last decade, Joshua Rist's works have received significant performances by numerous high-profile ensembles including prominent high school, collegiate, and community choirs. Although conductors continue to program his works with increased frequency, minimal scholarly work is published about this music and its composer. The quality of Rist's body of work coupled with a scarcity of scholarly research provides opportunity for further study. Closer examination of Rist's works could provide a framework for conductors who perform his music. This study provides background and bibliographic information on the composer. It contains a review of choral works by Rist highlighting critical elements within each work that provide a framework for future performances of his works. This dissertation identifies stylistic characteristics that define Rist's compositional style. Additionally, it highlights the evolution of Rist's artistic growth and development.

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20

PARRA, CIRA GUADALUPE. "A CONDUCTOR'S GUIDE TO SELECTED CHORAL WORKS OF MODESTA BOR." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1151498320.

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21

Lourenço, Paulo V. "A Conductor's Guide to Select Choral Works of Eurico Carrapatoso." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1406901556.

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22

Monroe, J. Carlton IV. "A Conductor's Guide to the Choral Works of Chen Yi." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1250544823.

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23

Ashby, Bonnie Marie. "Help! : an annotated bibliography of resources for the beginning choral conductor /." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd507.pdf.

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24

Howell, Matthew Clayton. "A Conductor's Introduction to the Performance of Modern Japanese Choral Music." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/196096.

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Currently in Japan there are 5,202 choirs registered as part of the Japan Choral Association. The majority of these choirs are amateur or professional choirs. This situation contrasts with that in the United States where colleges and universities are the primary entities perpetuating the advancement of the choral art. Most likely because of this, there is little if any academic investigation of modern Japanese choral music. Even in Japan, there is not a substantial body of academic study of this literature. As a result, this repertoire is seldom, if ever, performed outside of Japan.Numerous problems confront Western choral conductors interested in programming modern Japanese choral music that is based on traditional Japanese musical idioms. In this document, I have provided information that will allow Japanese choral literature to be accessible to non-Japanese speaking conductors. This information is divided into four areas. First, an overview of Japanese music history is provided. Next, a discussion of the elements of traditional Japanese music such as genre types, modes and tonalities provides the necessary background for a conductor to approach modern Japanese choral music. Third, a practical method whereby non-Japanese speaking choral conductors may transcribe the two phonetic Japanese alphabets into readable English phonetics is proposed. Fourth, a practical approach to the performance of modern Japanese choral music, inclusive of various musical genres, voicing, and instrumental complements is suggested. Discussion of representative choral works by three native composers including a work based on a folk tune, a work for women's chorus, a work for men's chorus, and a composition for mixed chorus and traditional Japanese instrumental complement provides concrete application of the aforementioned discussions.Lastly, in this document I will provide information on several contemporary native Japanese composers, their compositions, and their publishing companies to facilitate the acquisition and performance of this rich choral repertory.

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25

Gerber, Gary George. "A conductor's analysis of the sacred choral music of Luigi Cherubini /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371038055.

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Kotowich, Bruce Justyn Geron. "A Conductor's Guide to the Choral Music of Ruth Watson Henderson." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1281451688.

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27

Deignan, Ryan. "Michael Daugherty's Mount Rushmore: Analysis and Conductor's Guide." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538671/.

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According to the American League of Orchestras' most recent report, Michael Daugherty is one of the ten most performed American composers of concert music in modern times. He has received six GRAMMY awards, including awards for Best Contemporary Classical Composition in 2011 and 2017. Characteristics of Daugherty's music are diverse: colliding tonalities and blocks of sound, driving polyrhythmic counterpoint, and jazz and pop elements. His music can be minimalistic at times and at others, stirringly melodic. Amongst this eclecticism, a fascination with American iconography remains a consistent hallmark of his music, exemplified by titles such as American Gothic, Jackie O, or Lost Vegas. Daugherty has stated that his goal is to create sophisticated, abstract music that is also catchy or memorable, with melodies and cultural allusions that audiences can "hang their hat on." Despite widespread success, relatively little scholarly work has been done on Daugherty's music, providing an opportunity for further research. The primary goal of this study is to add to the literature on Michael Daugherty by providing an analysis and conductor's guide of his first choral-orchestral work, Mount Rushmore. It is a genuine show piece, galvanizing and colorful, modestly demanding of the listener, and appreciated by individuals of diverse musical backgrounds. The work also contains multitudes, offering layers of musical complexity and extensive historical symbolism for those who wish to engage further. Daugherty's Mount Rushmore offers immediate appeal and an excellent return on investment. Using interviews with the composer as well as detailed formal, harmonic, and historical-textual analysis, this paper provides in-depth information and guidance to future conductors who wish to present an appealing choral-orchestral work by a prominent, living American composer. Conductors who program Daugherty's Mount Rushmore will find it valuable for their ensemble and community for years to come.

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MORGAN, JENNIFER SUSAN. "A CONDUCTOR'S GUIDE TO SELECTED CHORAL-ORCHESTRAL WORKS OF EMMA LOU DIEMER." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115393701.

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Jung, Sea Hwa. "A Conductor’s Guide to Representative Choral Music of Leopold Mozart (1719-87)." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1335462994.

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Morel, Jessica. "Orchestral Excerpts for Conductors." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157567/.

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"Orchestral Excerpts for Conductors" is a compilation of sixty-five full score excerpts from the orchestral repertory arranged for string quartet and piano. The purpose of this collection is to provide conducting students with a pedagogical resource for learning how to handle technically challenging excerpts in orchestral music. This dissertation serves as a plan for the final publication of the excerpts book; while it includes the full score excerpts, it does not include the arrangements for string quartet and piano.

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Spriggs, Olga A. "A Choral Conductor’s Guide to Pyotr Ilyich Tchaikovsky’s “Moscow” Coronation Cantata." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439307279.

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32

Owens, Margaret B. "MORTEN LAURIDSEN’S CHORAL CYCLE, NOCTURNES: A CONDUCTOR’S ANALYSIS." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/145.

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Morten Lauridsen is one of the most prolific composers of choral music in the 20th and 21st centuries. His characteristic tone is both readily identifiable and timeless. Works such as Lux Aeterna, Les Chansons des Roses, “Sure on this Shining Night” (from Nocturnes) , and “O magnum mysterium” have solidified his place as one of the most important compositional voices in modern choral music. Lauridsen’s most often-performed choral works have been individual movements excerpted from his larger choral works, due to their accessibility for advanced high school and collegiate choirs. For example, the popular “Dirait-on” comes from the cycle Les Chansons des Roses; “O nata lux” from Lux Aeterna; and “Sure on this Shining Night” from Nocturnes. Although “Sure on this Shining Night” is performed across the United States on a variety of concert programs from high school to professional choirs, it is rare to encounter a performance of the choral cycle Nocturnes in its entirety. Morten Lauridsen composed Nocturnes as the Raymond W. Brock Commissioned Work for the 2005 American Choral Directors Association (ACDA) National Convention in Los Angeles. At the time of its composition, Nocturnes was a choral cycle consisting of three movements: “Sa Nuit d’Été,” “Soneto de la Noche,” and “Sure on this Shining Night.” Later, in 2008, he added a fourth piece, “Epilogue: Voici le Soir,” which would round out the cycle. Interesting elements of both unity and contrast weave through this choral cycle, potentially leaving the listener and performer to wonder what inspired Lauridsen to select the variety of languages, poetry, and instrumentation. Three different languages and poets are utilized throughout the cycle: “Sa nuit d’Été” in French, set to a poem by Rainer Maria Rilke, “Soneto de la Noche” in Spanish, set to a poem by Pablo Neruda, “Sure on this Shining Night” in English, set to a poem by James Agee, and “Epilogue: Voici le Soir returning to French and the poetry of Rilke. Another element of contrast exists in the instrumentation, with three out of the four pieces utilizing the piano. “Soneto de la Noche,” however, is a cappella with much more pervasive vocal divisi than the other pieces, making it the most technically difficult piece in the cycle. The variety of languages and difference in level of difficulty is one reason that this song cycle is not widely performed in its entirety. This monograph draws on background information regarding other similar works by Lauridsen, information regarding the poetry of these works, and musical analysis of these works, in addition to an interview with Lauridsen himself.

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Klausmeyer, Sue T. "A CONDUCTOR'S STUDY OF MUSICAL MOTION AND SOURCES OF INVENTION IN SELECTED CHORAL WORKS BY JOHN TAVENER." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin976031083.

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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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Tasher, Cara Suzanne. "A Conductor’s Guide to the Choral Works of Lili Boulanger (1893-1918)." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148303598.

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Miller, Samuel James. "AN ANALYSIS AND CONDUCTOR’S GUIDE TO ZDENĚK LUKÁŠ’ REQUIEM PER CORO MISTO, OP. 252." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/114.

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Zdeněk Lukáš (1928-2007) was one of the most prolific Czech composers of the 20th century having composed over 300 pieces. His works include a wide array of genres including symphonies, operas, chamber music, and a large amount of choral and vocal music. He was influenced by Czech folklore and music and was self-taught until he was nearly 40 years old. Lukáš began his career as a teacher but later began working for the Czechoslovak Radio Studio in Plzeň where he founded the mixed choir, Česká Píseň (Czech Song), which became quite famous and still enjoys great fame. Requiem per coro misto, op. 252 is considered by many to be Lukáš’s most famous choral work. It was written in 1992 for a cappella SSATB chorus. The piece is divided into seven movements; “Requiem aeternam,” “Dies irae,” “Lacrymosa,” “Offertorium,” “Hostias,” “Sanctus,” and “Agnus Dei.” This document presents an analysis and conductor’s guide of Requiem. The analysis includes an examination of Latin pronunciation employing Germanic Latin when possible and an IPA pronunciation guide and translation of the text. Also included in the analysis is discussion on form, tonality, and development of melody, harmony, and rhythm all of which reveal that Lukáš wrote this piece in a very traditional style. The conductor’s guide points out many of the issues that a choir may face in preparing Requiem. Some of the issues include intonation, range, and dynamics. One specific issue is that although the piece is tonal, there is considerable use of modes and scales that many singers would consider exotic. One such scale is the Hungarian Gypsy which is essentially a harmonic minor scale, but includes a raised fourth degree. Many of the intonation issues that could arise stem from the frequent parallel motion. Lukáš believed that a cappella singing is one of the purest forms of music and that singers should be allowed to sing without regard to any instrumental influence whether it be from the composer or some other source. Requiem exhibits this belief through its challenges and its beauty. The work or its individual movements can be challenging yet accessible to singers of all levels.

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Noh, Wonil. "A Conductor's Guide to Hyo-Won Woo's Choral Music as Reflected in "Oh! KOREA"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404580/.

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The choral music of Hyo-won Woo, the composer of Oh! KOREA, is being widely performed by universities and professional choruses in Korea, as well as throughout the world. The work exhibits Woo's remarkable compositional style, which displays traditional Korean musical influences. Hyo-Won Woo's Oh! KOREA consisting of four movements, is for chorus, two pianos, and both Eastern and Western percussion instruments. Woo's Oh! KOREA employs an excellent introduction to the Korean choral repertoire for Western audiences, rooted in traditional Korean folk tunes. As today's choral conductors, singers, and audience cannot fully appreciate the value of this traditional Korean work and will likely not understand its intended context, it is therefore necessary to provide an in-depth investigation of this work for any conductor considering a performance of this piece. This study includes influences of traditional Korean elements within Oh! KOREA and rehearsal and performance consideration for Western choir directors.

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Ferrell, Matthew August. "Perspectives on Choral and Solo Singing: Enhancing Communication Between Choral Conductors and Voice Teachers." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/494.

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Concepts of choral and solo singing diverge among the masses of pedagogues, teachers, and conductors who have differing opinions about healthy vocal technique and training. These differences have generated tension within some university music programs, with choral faculty and voice faculty sometimes on opposing sides. This document presents answers from professional singers who engage in choral and solo singing while maintaining a healthy vocal technique. All subjects interviewed for this document were asked to speak in detail to vocal adjustments made to sing in different styles. In addition, they were asked to identify any vocal faults that may arise from improper vocal production. The goal of this document is to lay grounds for valuable discussion regarding the opposing perspectives found in some academic circles with regard to proper vocal technique and training for choral and solo singing.

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MacNay, Regan Arlene. "A CHORAL CONDUCTOR’S APPROACH TO CHRISTOPHER THEOFANIDIS’S THE HERE AND NOW." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/124.

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American composer Christopher Theofanidis’s choral-orchestral work The Here and Now (2005) is a setting of Jalal ad-Din Rumi’s thirteenth-century poetry as translated by Coleman Barks. Theofanidis employs a cappella sonic contrasts, silence, rhythmic text setting, and a libretto based on fragments of Rumi’s poems to tell a story about the search for love, longing, joy, and gratitude. While rooted in traditional Western composition methods, this twenty-first-century work uses musical elements like color chords (bichords), cluster chords, changing meters, and modality, as well as imitative polyphony and unifying motifs within a new, tonal American aesthetic espoused by the Atlanta School of Composers, of which Theofanidis is a founding member. This DMA project presents warmups, rehearsal strategies, and teaching methods to guide the choir and conductor through the challenges of rhythmic text setting and dense harmonic language so that learning and performing The Here and Now is a rewarding endeavor.

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Jacobsen, Lesa Lynn. "Verbal imagery used in rehearsals by experienced high school choral directors : an investigation into types and intent of use /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3136422.

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Thesis (Ph. D.)--University of Oregon, 2004.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 102-105). Also available for download via the World Wide Web; free to University of Oregon users.

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Johnson, Dirk. "A Conductor’s Guide to the Masses of Charles Gounod." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1249973805.

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Ryu, Hanpil. "A Conductor's Guide to Un-Yung La's Choral Music as Reflected in Easter Cantata." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862841/.

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Un-Yung La was one of the first Korean composers of Western style choral music who used Korean folk elements in his composers. According to Un-Yung La's musical theory, which he demonstrated in Easter Cantata. Korean-style melody and rhythm were created based on Korean traditional scales and he also used Western-style harmonization. He attempted a new Korean style of expression through Sikimsae technique in Korean traditional vocal music genres: Pansori and Sijo. The purpose of this paepr is to discuss traditional Korean performance elements related to melody, harmony, and rhythm as employed in La's Easter Cantata. The study will increase the knowledge of western conductors who wish to understand Korean folk music in preparation for performance of choral works such as La's Easter Cantata.

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CHENG, WEI. "A CONDUCTOR'S GUIDE TO SOFIA GUBAIDULINA'S ST. JOHN PASSION." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1155577851.

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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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McKendrick, Ryan Parker. "A Conductor's Analysis of Gabriel Faure's Requiem, Op. 48." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/music_theses/2.

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Gabriel Fauré’s Requiem, Op. 48 was an evolving work, which he continued to revise from its inception in 1887 until the published version of 1900. The focus and intent of this paper is to present a detailed analysis of Requiem, Op. 48 as well as historical background to aid conductors in the preparation and performance of this work. Discussions include the history of the requiem mass as a liturgical form, the evolution of Requiem, Op. 48, the John Rutter edition (1984) and his research, and a conductor’s analysis addressing issues of harmony, form, and style.

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Tasher, Cara Suzanne. "A conductors guide to the choral works of Lili Boulanger (1893-1918)." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1148303598.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.
Advisor: Dr. Earl Rivers. Title from electronic thesis title page (viewed June 7, 2009). Includes abstract. Keywords: Lili Boulanger; French twentieth century choral music; French symbolism; female composers; 20th century; Psalm settings. Includes bibliographical references.

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Gillespie, Andrew Robbins. "A Conductors Guide to Vincent Persichetti's King Lear." Thesis, Colorado State University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10785840.

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Vincent Persichetti’s septet King Lear was originally composed for the choreographer Martha Graham and her 1949 production, Eye of Anguish. While the production was considered a failure and has not been performed since its European tour in 1950, Persichetti admired his own portion of the collaboration and argued it would stand on its own merit as a chamber work. This thesis represents the first significant study of Persichetti’s King Lear. It is a guide for conductors and chamber ensembles preparing an informed performance, with historical information, theoretical analysis, and rehearsal analysis.

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Pinsonneault, Albert. "A conductor's guide to selected choral works of F. Melius Christiansen (1871-1955)." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1250619506.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisor: Brett Scott. Title from electronic thesis title page (viewed Jan. 15, 2010). Includes abstract. Keywords: F. Melius Christiansen; St. Olaf; a cappella choir; beautiful savior; christiansen. Includes bibliographical references.

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Bucoy-Calavan, Maria L. "The Incomplete Conductor:A Comparative Evaluation of the Separated Subspecialties in Graduate-Level Conducting Pedagogy." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396530297.

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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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