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Corbalán, Mara, M. Puy Pérez-Echeverría, Juan-Ignacio Pozo, and Amalia Casas-Mas. "Choral conductors to stage! What kind of learning do they claim to promote during choir rehearsal?" International Journal of Music Education 37, no. 1 (October 24, 2018): 91–106. http://dx.doi.org/10.1177/0255761418800515.
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Current research on choral practice has studied various aspects of interpretation and different strategies for improving rehearsal. This article considers the amateur choral rehearsal as a setting for teaching and learning music. It analyses choir conductor profiles that may be related to conceptions of teaching and learning and their possible relationship with the implicit theories of teaching and learning. A questionnaire was administered to 41 conductors, considering three variables (expert/non-expert, teacher/non-teacher, and children’s/adult choir conductor). Quantitative evaluation through different cluster analyses showed three conductor profiles: Traditionals, including conductors who use little supervision, few different ways of representation other than corporeal, poor difficulty management and greater use of repetition during the rehearsal; a Focus on Reading profile, conductors who, in addition to using moderately complex processes, rely heavily on reading the score; and finally a Focus on Learning and Representation profile including non-experts and teachers, who use different representation modes in the rehearsal (corporeal, audio, visual, combined) and other complex processes such as transferring learning or metacognition. We also found significant differences among conductors for score processing levels. Finally, some features common to all three profiles characterise the choral environment as a peculiar field of musical learning, which may suggest some strategies for learning music.
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Tkach, Y. S. "Yevhen Savchuk’s Individual Performing Style: organization of the process of conducting interpretation." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 126–41. http://dx.doi.org/10.34064/khnum2-13.10.
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Relevance of the study. The individuality of the musician-performer, his performing style were studied both in theoretical and practical aspects. Theoretical musicology vipracyuvalo holistic theory of musical style, a separate kind of which should be considered an individual performing style of musician. The main provisions of the theory of musical style are stated in the works. B. Asafi ev, N. Gorugo, V. Medushevskaya, N. Mikhailov Is. Nazaykinsky, S. Skrebkova, Would. Jaworski and others. Deepening and concretization of the ideas of these scientists is contained in the works of A. Katrich, I. Kohanik, V. Moskalenko, S. Tishka, A. Sokol, etc. The individual performing style of the conductor-choirmaster along with the specifi cs of the conductor’s interpretation is an important part of the modern performing art, which today needs a deep theoretical understanding and systematization. Recently, there is a trend of scientifi c study of practical issues of the performing industry, including the specifi cs of the conductor. Although the study of this issue concerns to a greater extent symphonic conducting. That is why the appeal to the work of the outstanding Ukrainian choral conductor – Evgeny Gerasimovich Savchuk has great scientifi c value. The study of the phenomenon of individual performing style in the conditions of choral performance is impossible without understanding the outstanding phenomena of this fi eld of art. Creativity of the national honored academic chapel of Ukraine “Dumka” and its conductors refers to such phenomena. This is the oldest team of the country with a strong tradition and a strong creative potential became a real standard Patriotic choir performance. The chapel “Dumka” was and is an artistic environment in which a large number of chorus conductors, such as N., grew up and became stronger. Gorodovenko, A. Soroka, P. Muravsky, N. Buckwheat Is. Savchuk. Their performing heritage is of great interest to musicology, particularly in terms of interpretation and individual performing style. Main objective(s) of the study). Based on this, the purpose of the study is the theoretical understanding of the performance processes in the fi eld of choral art. In particular: a) the study of the specifi cs of the conductor’s interpretation of E. Savchuk in work with the choir; b) a detailed analysis of the stages of the conductor’s interpretation: independent, rehearsal, concert; C) understanding of The individual performing style of E. Savchuk in the context of worldview, repertoire, artistic priorities Maestro. Methodology. Various methods have been used. Inductive-research is built from concrete to General. Some characteristics of the conductor’s work lead to a generalized representation of his individual performing style. The method of analysis and synthesis used in the analysis of literature, unpublished sources. The comparative method is used to compare different stages of the process of conducting interpretation. How the study was done. The study has a number of scientifi c results and conclusions. In particular: a) analyzed the stages of the process of the conductor’s interpretation of E. Savchuk in working with the choral team (independent, rehearsal, concert); b) established the relationship between the stages of the conductor’s interpretation with the stages of creation, correction and implementation of individual-collective performance concept of the work; C) investigated the work of outstanding contemporary choral conductor E. Savchuk in the context of the specifi cs of his performing style. Results and conclusions. The research is of great scientifi c and cultural importance: 1) expands the boundaries of choral art as a phenomenon; 2) deepens and structures scientifi c knowledge in a specifi c sphere – choral performance; 3) paves the way to theoretical understanding of important cultural phenomena in the sphere of Ukrainian choral art. The practical signifi cance of this study lies in the possibility of using its provisions in subsequent courses of higher education: choral studies, choral literature, the history of Ukrainian music, the history of music of the twentieth century. A thorough analysis of the performing versions of a number of choral works will contribute to a deeper, conscious interpretation of their conductors – both in working with the team and in class work with students. The experience and peculiarities of the interpretation activity of the Dumka Capella conductors described in the study will help the conductor to find his own performing style.
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Nápoles, Jessica, and Brian A. Silvey. "Effects of Conductor Baton Use on Band and Choral Musicians’ Perceptions of Conductor Expressivity and Clarity." Journal of Research in Music Education 64, no. 4 (November 19, 2016): 474–86. http://dx.doi.org/10.1177/0022429416678216.
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The purpose of this study was to examine participants’ (college band and choral musicians, N = 143) perceptions of conductor clarity and expressivity after viewing band and choral directors conducting with or without a baton. One band and one choral conductor each prepared and conducted two excerpts of Guy Forbes’s O Nata Lux, a piece written in both choral and band idioms, with and without a baton. Participants viewed 10 excerpts (four choral, four band, and two distractors) and rated the conductors’ clarity and expressivity on 10-point Likert-type scales. There were significant main effects for participant ensemble emphasis (choral or band), baton use, and conductor type (choral or band), and a significant interaction between conductor type and baton use. The choral conductor was perceived to be clearer without a baton, whereas the band conductor was perceived to be clearer with a baton. The choral conductor was perceived to be more expressive with a baton, and the band conductor was perceived to be more expressive without a baton.
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Ryan, Charlene, and Nicholle Andrews. "An Investigation Into the Choral Singer's Experience of Music Performance Anxiety." Journal of Research in Music Education 57, no. 2 (June 18, 2009): 108–26. http://dx.doi.org/10.1177/0022429409336132.
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The purpose of this study was to examine the performance experiences of choral singers with respect to music performance anxiety. Members of seven semiprofessional choirs ( N = 201) completed questionnaires pertaining to their experience of performance anxiety in the context of their performance history, their experience with conductors, and their use of coping mechanisms. Results indicated that performance anxiety was a common experience for these choral singers. Solo performances were reported to be more anxiety inducing than ensemble experiences, but performing in instrumental ensembles induced greater anxiety than choral ensembles. Participants with college music training reported less frequent, although not less severe, episodes of performance anxiety than those without. The conductor emerged as one of the primary factors in choral singers' experience of performance anxiety.
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Ekholm, Elizabeth. "The Effect of Singing Mode and Seating Arrangement on Choral Blend and Overall Choral Sound." Journal of Research in Music Education 48, no. 2 (July 2000): 123–35. http://dx.doi.org/10.2307/3345571.
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This study is an examination of the effects of soloistic versus blended choral singing and random versus acoustic choral seating arrangements on evaluations of choral blend and overall choral sound. Thirty-seven choral conductors, 33 voice teachers, and 32 nonvocal musicians rated performances of four pieces by a choir of 22 voice majors. Eight choristers were recorded individually during choral performances and solo, and their vocal production was evaluated by 12 voice teachers. Choristers rated experimental conditions for vocal comfort and choral sound. Results indicated that choral conductors preferred blended singing over soloistic singing. No significant singing mode preference, however, was found in choral evaluations by voice teachers and nonvocal musicians. Voice teachers ranked individual vocal production in blended choral singing lower than in soloistic choral singing, and both choral singing modes lower than solo singing. Acoustic seating positively affected evaluations of choral performance, individual vocal production, and choristers' vocal comfort and choral sound ratings.
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Jansson, Dag, Beate Elstad, and Erik Døving. "Universality and situatedness in educating choral conductors." Music Education Research 21, no. 4 (June 14, 2019): 344–58. http://dx.doi.org/10.1080/14613808.2019.1626362.
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Baughman, Melissa. "Shattering the Glass Podium: Successes and Setbacks of Women in Collegiate Choral Conducting." Update: Applications of Research in Music Education 40, no. 1 (May 19, 2021): 10–17. http://dx.doi.org/10.1177/87551233211018395.
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The purpose of this study was to explore the status and experiences of women in collegiate choral conducting positions. Out of all collegiate choral conductors ( N = 992) at institutions accredited by the National Association of Schools of Music in the United States, 68.65% ( n = 681) were men and 31.35% ( n = 311) were women at the time of this study; I invited the women collegiate choral conductors to serve as study participants. Ninety-six respondents completed an online survey, resulting in a response rate of 30.86%. I collected data through a researcher-designed survey. First, I asked respondents to provide demographic information and respond to Likert-type and open-ended prompts related to three domains: gaining entry into the profession, navigating the profession, and issues surrounding gender. I analyzed data through descriptive statistics and qualitative methods of assigning codes, combining codes into themes, and displaying the data. I addressed general discrepancies in the self-reported attitudes of respondents. Although women reported an overall attitude of satisfaction as choral conductors in their Likert-type responses, many respondents detailed several instances of gender discrimination and other challenges in their open-ended responses. Implications for the music profession, including specific strategies to help empower women in collegiate choral conducting settings, are discussed.
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Varvarigou, Maria, and Colin Durrant. "Theoretical perspectives on the education of choral conductors: A suggested framework." British Journal of Music Education 28, no. 3 (October 14, 2011): 325–38. http://dx.doi.org/10.1017/s0265051711000325.
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This paper presents theoretical perspectives for choral conducting education. A wide range of related literature on choral practice and education in higher education contexts, as well as training in the workplace is reviewed. Whilst various attributes for effective choral conducting practice have been identified by research studies, there has been no systematic research on the process of choral conductor education and the contexts in which it occurs, particularly in the UK. The proposed framework consists of six interconnected parameters: (i) the tutor(s), (ii) the learner(s), (iii) the music repertoire and the singers, (iv) the sequence and amount of training, (v) the learning outcomes and (vi) the socio-cultural context(s), including teaching context(s) where practice takes place. The framework itself offers insights and related approaches for the development of choral conducting education.
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Manternach, Jeremy N., Matthew Schloneger, and Lynn Maxfield. "Effects of Straw Phonation and Neutral Vowel Protocols on the Choral Sound of Two Matched Women’s Choirs." Journal of Research in Music Education 66, no. 4 (November 28, 2018): 465–80. http://dx.doi.org/10.1177/0022429418809976.
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Many choral teacher-conductors and voice professionals utilize semioccluded vocal tract (SOVT) exercises (e.g., lip trills, straw phonation) in their classrooms or studios. Research with individual singers has indicated that these techniques may increase “vocal economy,” boosting acoustic output while reducing singer effort. Recently, researchers have investigated these phenomena in choral settings, finding that choirs have maintained or increased spectral energy after straw phonation. Most chorister participants have perceived improved choral sound and vocal efficiency after the protocols. These investigations, however, have used one-group pretest-posttest designs. Therefore, results could reflect a “masterclass effect.” The purpose of this study was to compare acoustic output and listener perceptions of pre- and posttest measurements of two matched women’s choirs who engaged in (a) a straw phonation protocol or (b) an identical protocol performed on a neutral, unoccluded vowel (“ah”). Results indicated that both groups sang with more spectral energy after the protocols, and a majority of expert listeners noted these increases. However, the straw group’s increase was more than 1 dB SPL greater across the entire spectrum (0–10 kHz). Choral teacher-conductors and music teacher educators may wish to use straw phonation exercises to increase choral output and reduce vocal effort.
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Ferrer, Rita, Joan Puiggalí, and Montse Tesouro. "Choral singing and the acquisition of educational values." International Journal of Music Education 36, no. 3 (December 21, 2017): 334–46. http://dx.doi.org/10.1177/0255761417741521.
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The main objective of this study was to observe the extent to which the practice of collective singing in children’s and youth choirs offers a way of teaching values. The main working tool used was a questionnaire that was completed by the choir conductors and singers of the different choirs surveyed. The purpose of the questionnaire was to assess if choral singing can be a space for working on and developing values, and if these values lead to improvements in the overall education of the person. On the one hand, choir conductors considered respect to be the most important value for a choral group and friendship the most valuable aspect for singers. This view was not shared by the singers, who considered friendship to be less important. On the other hand, they agreed on the influence of respect and communication and that spontaneity is undervalued.
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Aguirre, Ryan. "Finding the Trans Voice: A Review of the Literature on Accommodating Transgender Singers." Update: Applications of Research in Music Education 37, no. 1 (April 24, 2018): 36–41. http://dx.doi.org/10.1177/8755123318772561.
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Conversations surrounding transgender students are beginning to appear in the nation’s schools. In recent years, experts in the fields of music education and vocal pedagogy have shared their experiences and research on transgender issues in the choral classroom and private lessons. Studies focused on transgender issues in choral music education have yielded inconsistent results. While some have shown music educators to be supportive and accommodating, others have shown a gap in educator knowledge of transgender issues. Vocal pedagogues have had the unique opportunity to work closely with transgender singers one-on-one. Their work is highly transferable to a choral classroom setting. This review of literature synthesizes the work of choral conductors and private voice instructors with the narratives of transgender singers to provide implications for educators and a direction for future research.
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Baughman, Melissa. "Mentorship and Learning Experiences of Preservice Teachers as Community Children’s Chorus Conductors." Journal of Music Teacher Education 29, no. 2 (September 25, 2019): 38–52. http://dx.doi.org/10.1177/1057083719876116.
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A service-learning model may be used to provide preservice music teachers with authentic context learning experiences and a range of pedagogical benefits, but research evidence specific to choral music contexts is limited. The purpose of this study was to investigate two preservice music teachers’ experiences as interns with a community children’s chorus. Through an examination of verbal and written reflections, I sought to understand how interns perceived themselves as music teachers, their ability to implement and recall specific instructional strategies, connections they made between teaching young singers in a community choir context and future field work in public school settings, and mentor influence. Study participants were two junior-level music education majors and two children’s chorus conductors. Data collection methods included questionnaires, interns’ weekly video journals, one semistructured interview with each mentor, and one video-stimulated recall interview with each intern. Both interns assisted in teaching a weekly, 60-minute choral rehearsal for 10 consecutive weeks, and attributed their increased confidence as music teachers to this experience. They also discovered their own deficiencies in error detection and choosing teaching methods on the spot. Mentors had a positive impact on the interns’ overall experience. Implications for music education include the need to engage preservice teachers in all types of authentic context learning experiences, and to further explore the mentor’s role in these experiences.
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Cleobury, S. "Face to Face with Orchestra and Chorus: A Handbook for Choral Conductors." Music and Letters 87, no. 3 (August 1, 2006): 477–78. http://dx.doi.org/10.1093/ml/gci222.
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Chandler, Martin. "The Information Searching Behaviour of Music Directors." Evidence Based Library and Information Practice 14, no. 2 (June 12, 2019): 85–99. http://dx.doi.org/10.18438/eblip29515.
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Objective – This research project sought to elucidate some of the information searching behaviours of directors/conductors of performing music ensembles when selecting repertoire for performance. Of particular focus was the kind of information needed to select repertoire and where that information was sought and acquired.
Methods – Semi-structured, guided interviews were undertaken with three conductors from varying musical ensemble forms (choral, orchestral, and wind). This included a graphical elicitation exercise following Sonnenwald’s concept of information horizon maps. A narrative analysis was done, and recurring themes were sought in the various responses to questions and created drawings.
Results – The results indicated that directors make significant use of historical and print resources in creating personal lists of repertoire for current or future use. Professional connections for discussion of new or less well-known repertoire were also very important. One particularly interesting outcome was the non-temporally bound nature of conductors’ information searching behaviour, as the current models of information behaviour primarily relate to temporally bound searches. The Internet was noted by the three conductors not as an information source in and of itself but rather as an extension of other information sources.
Conclusions – This research highlighted the atemporal nature of information searching behaviour in music directors and suggested a similar aspect in the broader information search process. It indicated a need for libraries that cater to performers to maintain historical lists of varying types (e.g., concert programs, similar lists created by other prominent members of the community, and other types of repertoire lists). Additionally, maintaining community connections and knowledge of new or newly available repertoire is important.
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Redman, David J., and Jennifer A. Bugos. "Motivational factors in adult, auditioned community choirs: The power of aesthetic experiences." Psychology of Music 47, no. 5 (June 3, 2018): 694–705. http://dx.doi.org/10.1177/0305735618774900.
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The purpose of this study was to a) identify motivational factors to join and maintain membership in adult, auditioned community choirs; b) examine relationships between music achievement, music aptitude, and selected motivational factors; and c) examine the role of stress and anxiety as factors in choral participation. Participants ( N = 135) from four adult, auditioned community choirs participated in this study. Data was collected using measures of musical aptitude, vocal achievement, and a questionnaire relating to the topics of motivation, retention, and stress/anxiety informed by Cusp Catastrophe Theory. Results suggest that aesthetic motivation is a primary factor contributing to enrollment and retention in adult, auditioned community choirs. Experienced choral members perceive little stress or anxiety when learning or performing choral music; however, members believe that some stress may be beneficial to singing. Implications include the need for conductors to consider the importance of perceived aesthetic qualities when selecting choral literature. In addition, the impact of community ensembles on community cohesion, health benefits, and educational benefits may be related to motivational factors influencing continued participation.
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Ganschow, Cory M. "Secondary School Choral Conductors’ Self-Reported Beliefs and Behaviors Related to Fundamental Choral Elements and Rehearsal Approaches." Journal of Music Teacher Education 23, no. 2 (July 16, 2013): 52–63. http://dx.doi.org/10.1177/1057083713485587.
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Radu-Țaga, Consuela. "Ioan Pavalache – Polyptic coordinates of a musician’s life." Artes. Journal of Musicology 18, no. 1 (March 1, 2018): 230–43. http://dx.doi.org/10.2478/ajm-2018-0014.
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Abstract Ten years have passed from the death of conductor and professor Ioan Pavalache. Born in Chișinău, Ioan Pavalache went through the difficulties of the 1944 refuge. He perfected his studies at Bucharest, choosing to practice in the field of music. His great passion was conducting, that is why he preferred to leave the capital and to come to Iași for conducting the Gavriil Musicescu Choir of Moldovian Philharmonic and at the same time the Romanian Opera’s Choir. He linked his destiny to the activity of the Philharmonic’s Choir which he led for 32 years, raising the ensemble to a high artistic level. He did not decline the involvement in organizational activities, which is why he managed the Romanian Opera from Iași as an artistic director. The enthusiasm and the professional skills turned him toward the academic career and at The Conservatory formed plenty of young conductors, who pursue today their activity in residential institutions. A continuator of the choral tradition, Ioan Pavalache founded Camerata Choir, which had a rich activity at national and international levels. The coordinates of a life dedicated to music deserve to be known at present and not only then…
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Johnson, Christopher M., Harry E. Price, and Linda K. Schroeder. "Teaching evaluations and comments of pre-service music teachers regarding expert and novice choral conductors." International Journal of Music Education 27, no. 1 (February 2009): 7–18. http://dx.doi.org/10.1177/0255761408099061.
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Soloviev, A. V., and S. M. Movchan. "Value of Choral Arrangements of Folk Music in Formation of Universal Competences of Choral Conductors in Higher Education Institutions of Culture and Art." Uchenye Zapiski RGSU 17, no. 4 (December 18, 2018): 152–59. http://dx.doi.org/10.17922/2071-5323-2018-17-4-152-159.
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Brendell, Janna K. "Time Use, Rehearsal Activity, and Student Off-Task Behavior during the Initial Minutes of High School Choral Rehearsals." Journal of Research in Music Education 44, no. 1 (April 1996): 6–14. http://dx.doi.org/10.2307/3345409.
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In this study, the use of rehearsal time during the initial minutes (i.e., the warm-up time) of 33 high school choral rehearsals was examined. Student attentiveness was also investigated during initial rehearsal activities. Trained observers used interval observation techniques in collecting attentiveness, rehearsal activity, and time usage data. Interobserver agreement averaged .93 for off-task, .88 for activity coding, and .85 for rehearsal timing. Conductors averaged 43.45 elapsed seconds prior to the first verbal statement to begin and 14 minutes 19 seconds prior to rehearsal of literature. Time allotted to rehearsal activities was the following: sight-reading, 22.23%; vocal warm-up, 9.63%; getting ready, 6.75%; physical warm-up, 3.37%; literature instruction, 1.84%; and other activity, 1.46%. Off-task percentages were: getting ready, 26.14%; physical warm-up, 18.48%; other, 16.53%; literature instruction, 16.27%; vocal warm-up, 15.07%; and sight-reading, 9.22%. Results indicated that the highest percentages of off-task behavior occurred during activities requiring less singing and active participation. Off-task behavior seemed to be a function of the nature of the activity.
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Kuzmina, O. A. "Opera for children-performers in the work of contemporary choir conductors." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 281–98. http://dx.doi.org/10.34064/khnum1-56.18.
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Background. Operas for children-performers emerged almost two centuries ago. The first authors who began creative experiments in this field were amateur composers. In the second half of the 19th century opera for childrenperformers attracted the attention of music teachers who by education were often choir conductors. These authors created their works considering capabilities and needs of their students. The 20th century operas intended for children performance mainly were composed by professional composers, whose works have finally crystallized and sustained characteristic features of this genre. In the 21st century, professional composers are turning to the opera genre for children-performers as actively as their predecessors. At the same time, this area again attracts the attention of authors who are practitioners in choir conducting and are not composers by education but work closely with children groups and write operas based on practical experience with such choirs. The objective of this study is to introduce little-known operas by Ye. Karpenko and P. Stetsenko (both are choir conductors) for children-performers into the scientific discourse and to define their genre features. The methodological ground of the article is a complex approach that involves the following analytical methods: systemic, structural, comparative, historical. Research results. In 2006, Yevhen Karpenko created the opera “Sribna Divchynka” (“Silver Girl”; the libretto by Serhiy Diachenko after the fairy tale by Tamara Khvostenko). The work has the author’s genre designation “opera-fairy tale for children”, which specifies both, the target audience and the team of performers. There are four characters that have solo sayings. The opera features a personalized choir divided into groups, and the mimic character. The composition consists of two acts divided into completed separated numbers (8 in the first act and 7 in the second one). Between them are spoken scenes of varying length, which in this context perform a function similar to recitative in the traditional operatic model. The main form of solo, ensemble and choral expression in “Sribna Divchynka” is a song. The vocal parts do not fall outside of children voices diapason, except for the solo of Zirnytsa (the adult personage, the mother of Silver Girl) and completely correspond to their possibilities. The melody in the solo and in the ensemble-choral numbers is performed in unison allowing to absorb the material of the opera faster even for children without prior musical preparation. The piano part at “Silver Girl” is multi-functional; its level of complexity makes it possible to involve as accompanists even middle and high school students in music schools or studios. Yevhen Karpenko created the opera for children-performers, which organically combines established genre traits with modern genre and style techniques. “Sribna Divchynka” is the work of universal nature, because it can be performed by children without prior musical training, as well as by those who already have some musical and stage experience. “The Three Hermits” (2016; libretto by Tandy Martin based on the story by L. Tolstoy) by Paul Stetsenko reflects contemporary processes in the field of opera with moral and ethical coloring for children-performers. The author attributes the work to the genre of church opera. That affects both the nature of the drama collisions and the location of the action. The central part of the work retains all the main characters of the story. In Prologue, P. Stetsenko added the new personages: Teacher and the Children. The composer does not prescribe the timbre specialization of the protagonists giving freedom to choose within the available voices. The opera consists of six scenes, framed by Prologue and Finale (Stetsenko chooses a scene as a compositional and dramaturgical unit). The scenes are separated from each other in key and completed musically. Representing the heroes of the opera, the composer gravitates more to the dialogic scenes, where the plot develops, than to the solo statements. In “The Three Hermits”, the choir plays an important role. It is personified and participates in the action representing the Children in the Prologue, the Pilgrim in the main part and the Finale, and also functions as a commentator. The opera contains three leitmotifs: “motive of prayer”, “theme of the Bishop”, “motive of the waters”. The composition of the work has an arched construction that connects two spaces of action – the “real” one and the “parable” one. Stetsenko’s “The Three Hermits” proves that with the simplicity of the typological features of the opera genre for children-performers (relatively small length, piano accompaniment, the range of vocal parts that corresponds to the age of the performers) it is capable of embodying deep ideas, wisdom of a parable, stable characters, to involve children to the spiritual and religious experience of the past and eternal moral truths. Conclusions. Thanks to the practical experience of Ye. Karpenko and P. Stetsenko, their collaboration with real children’s groups (in particular, the Children Music Theater “Dzvinochok” in Sumy, Ukraine, and the choir of Westminster Presbyterian Church, Alexandria, Virginia, USA) operas created by them meet the capabilities and needs of young performers: parts have the appropriate for children’s voice range; the tunes are simple and easy to remember; the action develops dynamically, there are no stretched conversation scenes; there are a sufficient number of actors; the duration of the works is approximately 30–35 minutes. Thus, these two operas for children-performers are a clear result of the fruitful collaboration between children’s groups and choir conductors who have the composer vocation.
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Polin, Claire. "Conversations in Leningrad, 1988." Tempo, no. 168 (March 1989): 15–20. http://dx.doi.org/10.1017/s004029820002489x.
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Certainly it was the year to visit the USSR, as one rubbed shoulders with pre-Summit reporters awaiting Reagan/Gorbachev, and pilgrims celebrating the millennium of Christianity in Russia. Wandering up the Nevsky Prospekt, you saw musicians hurrying with instrument cases in hand; and whichever way you crossed the Neva or the canals, the babel of language sounded like a session at the United Nations. As Tikhon Khrennikov (still Chairman of the Composers Union 40 years after its notorious 1948 Congress) pointed out in his welcoming address at the opening concert, the Festival's purpose was ‘for building spiritual bridges between nations using music as the unique and indispensable means of communication’. Stylistic restrictions were withdrawn so that listeners would get an unusually broad idea of the ‘many-sided panorama of modern musical art’. Thus, not only ‘serious’ music but also pop, jazz, folk, and traditional musics were performed. Having attended the previous two Festivals, it was very interesting to observe the progressive attitude of the Third. Not only was there more of everything, but more variety: not only symphonic, chamber, and choral music events, but also organ recitals, modern violin music, opera, children's theatre, a song evening, and even one for light music. Not only did the best Soviet conductors and performers participate, but also the New York Philharmonic, the BBC Welsh Symphony Orchestra, jazz groups of the USSR and elsewhere, and the British avant-garde vocal group ‘Electric Phoenix’. Although the concerts were heavily weighted with Soviet works, still almost 40 countries were represented (from Cuba to Mongolia) with works by more than 150 living composers.
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Prokopov, S. "J. S. Bach and G. F. Handel’s works performed by the choir of the Kharkiv National Kotlyarevsky University of Arts students." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 22–37. http://dx.doi.org/10.34064/khnum1-52.02.
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Background. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortunately, their choral works aren’t often sounded today in the concert halls of musical academies and universities of arts. This music seemed to move from the concert stage to the classrooms. Analysis of publications according the topic. Among the researches that highlight the problems of the style of the sacred works of J. S. Bach and G. F. Handel, it is necessary to point out the fundamental studies of I. Givental and L. Gingold, M. Druskin, T. Livanova, V. Protopopov, A. Schweitzer, articles of modern authors by K. Berdennikova, N. Inutochkina, Y. Lyashenko, V. Semenuk, G. Skobtsova. However, the questions of the specifics of choral vocal technique remain, as a rule, outside the attention of scholars and they constitute the topic’s relevance of the article. Methods. The usage of the historical method contributed to the research of the educational choral performance at the present stage. It is involved structural-functional and intonational methods for establishing dramatic works’ features and concretization of their spiritual content. The comparative method is used to determine the differences between vocal style of J. S. Bach and G. F. Handel’s works and the technique of working with them. Objectives. The main goal is systematization of theoretical and practical observations with the performance of J. S. Bach and G. F. Handel’s choral works by the choir of the Kharkiv National Kotlyarevsky University of Arts students. The article is devoted to highlighting the problems of the performing process and the specifics of the choir practice of students with compositions by J. S. Bach (Cantata No. 140, ‘Wachet auf, ruft uns die Stimme’ and Magnificat) G. F. Handel (Dettingen Te Deum in D major, HWV 283). Results. The holding of the 22nd International Music Festival “Kharkiv Assemblies” devoted to the J. S. Bach and G. F. Handel’s oeuvre in 2015 was a significant event not only for Kharkiv but also the whole Ukraine’s musical life. The choir of the Kharkiv National Kotlyarevsky University of Arts students traditionally participated in it as in previous years (art director – Honored Art Worker of Ukraine, professor S. Prokopov, choirmasters – laureate of the all-Ukrainian competition H. Savelyeva, award winner of the all-Ukrainian competition O. Fartushka). The choir performed Magnificat and Cantata No. 140 by J. S. Bach ‘Wachet auf, ruft uns die Stimme’, fragments from the Dettingen Te Deum in D major, HWV 283 by G. F. Handel (the last two works are Kharkiv premieres). The work with them took place in short order and so it caused of some vocal technique difficulties and the problems of performative concept and performative style. Complaxities were intensified by the lack of necessary acoustic accumulation and the practical experience of performing the music of the Baroque by many young choirmasters, members of the choir group. The importance of studying the musical heritage of composers of genius in order to make a conductor-choirmaster personality is emphasized in the article. The main difficulties of learning choral scores due to the lack of performing experience, certain acoustic accumulation of choral music of the late baroque period which students of choral conducting specialization have. The approximation to the true understanding of the performing style of choral music by J. S. Bach and G. F. Handel may be provided with conditions of a thorough in-depth studying their works. The main tasks of the performative choices are described: appreciation of the entire depth of the spiritual content of J. S. Bach’s and G. F. Handel’s music by young performers, the correlation between vocal and instrumental principles, rational and emotional ones. One of the main tasks of the choir practice of students with J. S. Bach’s cantata No. 140 «Watchet auf, ruft uns die Stimme» was an adequate presentation of composer’s style. The composer treats the human voice as equal to the orchestra. Therefore, the vocal-instrumental nature of Bach’s choral style needs another way of sound-building, a greater unity of voices than our home choral music needs. They consider specific methods and techniques of work on such executive factors as tempo-rhythm, strokes. The questions of choral vocal technique, in particular, vocal intonation (significance of timbre expression, usage of different types of respiration, clear diction, active articulation) are raised. J. S. Bach’s interpretation of voice as an instrument, demands from performers a great deal of its mobility, almost virtuosity, especially in contrapuntal sections. As for the vocal style of G. F. Handel, the influence of the operatic style, which is felt in his oratorios and cantatas is emphasized. Conclusions. The choir practice of students and performing by the student choir of German composers’ genius works, the communication of young performers with outstanding conductors, singers (including foreign ones) became for them the true school of craftsmanship, promoted the professional growth of the choir group, revealed its new performance capabilities. Choral music of J. S. Bach and G. F. Handel should move from the educational audiences of universities and academies to the specific halls. The works of genius need to include in student choral groups’ repertoire.
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Chrenowicz, Jakub. "Walerian Bierdiajew, dyrektor Państwowej Opery im. S. Moniuszki w Poznaniu i profesor Państwowej Wyższej Szkoły Muzycznej w Poznaniu." Konteksty Kształcenia Muzycznego 4, no. 1 (October 18, 2017): 29–35. http://dx.doi.org/10.5604/01.3001.0010.5348.
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Niniejszy artykuł ma na celu usystematyzowanie wiedzy na temat poznańskiego okresu działalności Waleriana Bierdiajewa. Punktem wyjścia dla rozważań o słynnym dyrygencie są materiały archiwalne zgromadzone w Archiwum Teatru Wielkiego im. S. Moniuszki w Poznaniu oraz w Archiwum Akademii Muzycznej im. I. J. Paderewskiego w Poznaniu. Na podstawie analizy archiwaliów omówione zostały osiągnięcia Waleriana Bierdiajewa w dwóch nurtach jego aktywności: dyrygenckiej i pedagogicznej. Autor artykułu zaprezentował fakty dotyczące premier operowych i baletowych, poprowadzonych przez Waleriana Bierdiajewa w poznańskiej Operze, a także przeanalizował osiągnięcia pedagogiczne Waleriana Bierdiajewa w Akademii Muzycznej w Poznaniu oraz w innych uczelniach, w których słynny dyrygent pracował. Działalność Waleriana Bierdiajewa wiąże się z artystami, z którymi współtworzył on swoje spektakle. Studenci, spośród których kilku zostało słynnymi dyrygentami (symfonicznymi i chóralnymi) to postaci, przez pryzmat których można mówić o Bierdiajewie jako o pedagogu. Źródła związane z Walerianem Bierdiajewem stały się dla autora artykułu pretekstem do wspomnienia związanych z nim artystów – niektórych określanych dziś jako legendarnych, innych – mniej znanych czy wręcz zapomnianych. The article aims to systematize the information on Walerian Bierdiajew’s activity during his residency in Poznań. The starting point for reflections on the famous conductor are archive materials collected by the Archives of the S. Moniuszko Grand Theatre in Poznań and the Archives of the I. J. Paderewski Academy of Music in Poznań. Based on the analysis of the aforementioned materials, the two kinds of Walerian Bierdiajew’s achievements – conducting and teaching – have been discussed. The author of the article presents facts regarding opera and ballet premieres, conducted by Walerian Bierdiajew in the Poznań Opera House, as well as analyzes his didactic achievements at the Academy of Music in Poznań and other educational institutions he worked for. Walerian Bierdiajew’s activity is interconnected with other artists, with whom he co-created his performances. His students, some of whom became famous conductors (symphonic and choral ones), are personages who cast light on Walerian Bierdiajew as a pedagogue. Bierdiajew‑related sources have become a pretext for the author to recall the artists associated with the conductor – some of them are now described as legendary, while others are less known or even forgotten.
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RUCSANDA, Mădălina. "The role of the Conductor of children choir in the improvement of Interpersonal Communication through Music." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 257–66. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.28.
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Choral singing is a complex and multifactorial activity, it is a group activity in which participants are actively involved through music and are able to transmit varied touches of human psychoemotional states. The conductor of a children’s choir must have a complex personality, he must be a passion-filled musician, a teacher, a psychologist, he must have psychosocial competences and leadership abilities. In the conductor-choir relationship, the interaction of the conductor’s self with the members of the choir is of distinct importance. In order to increase the quality of said relationship, which is the basis of a remarkable artistic performance, a new method has been approached: the Johary Window model, which can be applied by the conductor in order to obtain a viable communication between the members of the choral ensemble
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Kawarazaki, Noriyuki, Yuhei Kaneishi, Nobuyuki Saito, and Takashi Asakawa. "A Supporting System of Choral Singing for Visually Impaired Persons Using Depth Image Sensor." Journal of Robotics and Mechatronics 26, no. 6 (December 20, 2014): 735–42. http://dx.doi.org/10.20965/jrm.2014.p0735.
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<div class=""abs_img""><img src=""[disp_template_path]/JRM/abst-image/00260006/06.jpg"" width=""250"" />Supporting system of choral singing</div> Visually impaired persons may find it difficult to take part in a chorus or other singing group because they cannot see the beat indicated by conductor’s hand movements. This paper provides a chorus support system for visually impaired persons using depth image sensor. This consists of an electric music baton with an acceleration sensor, a radio module, haptic interface devices with vibration motors, a depth image sensor, and a PC. The electric music baton transmits the signal indicating the conductor’s motion to visually impaired players based on sensor acceleration. Since the conductor must give individual instruction to player, we use a depth image sensor to indicate the direction in which the conductor’s baton points. This direction is estimated based on the conductor’s posture. We also attempted to develop a chorus support system without using the electric music baton. The beat is obtained by the maximum velocity position of the conductor’s hand motion using a depth image sensor. The effectiveness of our system is clarified by several experimental results. </span>
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Daugherty, James F., and Melissa C. Brunkan. "Monkey See, Monkey Do? The Effect of Nonverbal Conductor Lip Rounding on Visual and Acoustic Measures of Singers’ Lip Postures." Journal of Research in Music Education 60, no. 4 (November 16, 2012): 345–62. http://dx.doi.org/10.1177/0022429412464039.
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If singers, without prior prompting, mimicked a conductor’s nonverbal behavior and if this mimicry changed their vocal sound in less than a second, then such a phenomenon could interest vocal music teachers as a time-efficient pedagogical strategy. We tested this claim (“What they see, you will get”), which appears in choral methods literature, by measuring visual and acoustic responses to one nonverbal conductor behavior in a particular singing context. Specifically, we sought to determine whether singers ( N = 114) performing the first phrase of Mozart’s motet, “Ave Verum Corpus,” would mimic a conductor’s rounded lip posture on two /u/ vowels. We also wondered whether conductor lip rounding affected these singers’ tone quality. Visual measures (within-subjects photo comparisons and photo grid analyses) indicated that more than 90% of participants displayed more lip rounding on both /u/ vowels in the experimental condition as compared with baseline. Formant frequency profiles indicated that more than 90% of singers lowered all four examined formant frequencies each time the conductor rounded his lips. We discussed these converging visual and acoustic data in terms of the study’s limitations, potential pedagogical implications of mimicry by vocal performers, and directions for future research.
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Arkhipova, N. E. "John Damascus’s Church-Singing Brotherhood in Nizhny Novgorod at Beginning of 20th Century." Nauchnyi dialog, no. 6 (June 24, 2021): 302–16. http://dx.doi.org/10.24224/2227-1295-2021-6-302-316.
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The organization, composition, financial condition and activities of the John Damascus’s singing brotherhood are considered. The relevance of the study is associated with the need to revive spiritual and moral values in modern Russian society. The novelty of the esearch lies in the fact that for the first time, according to the chronicle of the church press, the functioning of the brotherhood was reconstructed, the choir of which consisted of representatives of the city clergy, and the conductors were professional musicians. The author notes that, despite the increase in the number of performers in peacetime, the unstable composition of the choir did not allow them to achieve high performing skills. It is shown that the brotherhood performed organizational, missionary, spiritual, educational, charitable functions. It is proved that the work of the brotherhood contributed to the activation of concert and choral activities in the city, helped to preserve the ancient singing tradition, on the one hand, and introduced the audience to modern sacred music on the other hand. It is emphasized that in the conditions of the expansion of secularization at the beginning of the 20th century, charitable spiritual concerts organized by the brotherhood helped to maintain, strengthen and develop religious and moral feelings, thoughts, moods in listeners. It is concluded that the deteriorating living conditions during the war years, and then revolutionary events stopped the functioning of the organization.
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Kobryn, Nataliia. "The Ukrainian periodicals of Galicia on Ostap Nyzhankivskyi’s musical activities in the 1880s." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 110–25. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-8.
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The paper aims to analyze the areas of Ostap Nyzhankivskyi’s musical activities in the 1880s via a prism of the publications in «Dilo» and «Zorya» press publications. Their content and main topics as well as the aspects of his music career have been systematized and analyzed. Research methodology. The historiographical, chronological, comparative and analytical methods are employed to analyze the publications on musical topics in «Dilo» and «Zorya», as well as to explore the early stage of Nyzhankivskyi’s musical activities. Findings. The first musical performances of O. Nyzhankivskyi in Lviv were featured in the «Dilo», specifically, in the reviews. These were the evening event at «Academic Brotherhood» in December 1884 and the concert in honor of Olexandr Konyskyi in January 1885. He was distinguished immediately as a choir conductor as well as a composer with his own choral works. At this decade Ostap Nyzhankivskyi was a conductor of the choir «Akademichne Bratstvo», worked with the society «Zorya». Additionally, he participated in the concerts of Academic Gymnasium and Theological Seminary as a conductor and a composer. Some music critics compared performance skills of the choir under the direction of Ostap Nyzhankivskyi to the most famous choral society of Lviv «Lutna». We know about many concerts Ostap Nyzhankivskyi participated in, and of his rich repertoir as a conductor. Specifically, from the press reports we learned about active concert activities of O. Nyzhankivskyi, considerable conductor’s repertoire and almost annual premiers of his new compositions ― choirs, solo performances and vocal duets. As a conductor he popularized works of the Ukrainian composers, specifically, such Galician ones as M. Lysenko and P. Nishchynskyi. According to listeners and musical critics, the most effective and resonant of his own works were the choral piece «Hulyaly» on Y. Fedkovych poetry and the vocal duet «Do lastivky» on the poetry by Volodymyr Navrotskyi. The authors of in-depth critiques on early Nyzhankivskyi orks were P. Bazhanskyi and V. Matyuk. Some press reports were on topic of functioning of the first Ukrainian musical publishing house in Galicia «Muzychna bibliotheka» cofounded by Ostap Nyzhankivskyi. It edited 17 volumes of the Ukrainian musical works during the period of 1885―1892s. One of the first musical critiques authored by O. Nyzhankivskyi was dedicated to the memory of the Ukrainian composer Denys Leontovych. Conclusions. We conclude that the versatile musical and creative activities of O. Nyzhankivskyi became one of the decisive drivers of the intensive development of national music in the Western Ukraine. It promoted a rise of the Ukrainian national consciousness and intensified a cultural life of the Galician Ukrainians. Keywords: Ostap Nyzhankivskyi, Ukrainian periodicals, music art, musical critics, concerts.
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Silvey, Brian A., and Ryan A. Fisher. "Effects of Conducting Plane on Band and Choral Musicians’ Perceptions of Conductor and Ensemble Expressivity." Journal of Research in Music Education 63, no. 3 (August 26, 2015): 369–83. http://dx.doi.org/10.1177/0022429415597888.
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The purpose of this study was to examine whether one aspect of conducting technique, the conducting plane, would affect band and/or choral musicians’ perceptions of conductor and ensemble expressivity. A band and a choral conductor were each videotaped conducting 1-min excerpts from Morten Lauridsen’s O Magnum Mysterium while using a high, medium, and low conducting plane. These six videos then were synchronized with an appropriately corresponding identical high-quality band or choral audio excerpt. College ensemble members ( N = 120; band, n = 60; choral, n = 60) viewed all six videos and rated the expressivity of both the conductor and the ensemble. Through the use of a forced-choice task, they also provided one brief comment about either the conductor or the ensemble. Results indicated that conducting plane significantly affected ratings of both conductor and ensemble expressivity. A significant interaction was found between conducting plane (high, medium, and low) and ensemble type (band or choir audio excerpt heard) with regard to conductor expressivity ratings. Participants found the choir conductor conducting at the medium plane to be slightly more expressive than the band conductor conducting at the same plane. Conversely, participants rated the expressivity of the band conductor slightly higher than the choir conductor at both the high and low conducting planes. Participants’ written comments were directed predominantly at the conductor rather than the ensemble, and the high-conducting-plane videos elicited the most negative comments.
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Roberts, Brian. "Book Review: The Choral Conductor's Art." International Journal of Music Education os-21, no. 1 (May 1993): 91–92. http://dx.doi.org/10.1177/025576149302100114.
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Yanushkevich, Maryia. "Preparatory work on a piece as a form of developing student’s artistic autonomy." Konteksty Kształcenia Muzycznego 4, no. 1 (October 19, 2017): 81–88. http://dx.doi.org/10.5604/01.3001.0010.5353.
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The development of a student’s artistic autonomy is one of the most important tasks in the educational process at higher education level. One of the methods of accomplishing this task is to teach students to work autonomously on the score. This is the first step towards helping a young conductor to get acquainted with a composition, to define one’s own vision of an artwork, to get prepared for cooperation with an ensemble and later for performing the piece on stage. Therefore, when reaching for a new score, a student should learn how to analyze it in terms of: form (taking into account the composition’s structure, harmonic layout, general knowledge regarding authors of lyrics and music, style), vocal-choral aspects (type and kind of a choir, vocal range, breathing, problems concerning voice production, diction, dynamics, agogics, articulation) and performance (manners of conveying one’s artistic vision, role of a conductor’s gesture, vocal-choral means of expression). A detailed analysis of the musical material advances performers towards proper interpretation, as close to the composer’s intentions as possible. Understanding the content and artistic idea behind the piece significantly eliminates ‘arbitrariness’ of performance. Getting acquainted with common influence of artistic means of expression, understanding the occurrence of particular elements of a musical language, comprehending the principles of a musical form, distinguishing characteristic qualities of a chosen composer’s style. These skills, developed over the course of analysis, help students respond to music more briskly, broaden their intellectual horizons, foster unassisted orientation in the musical form and language of a piece, develop perceptiveness and better memorization of a musical material.
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Pike, Damaris Peters. "More ideas for choral conductors." Music Educators Journal 74, no. 8 (April 1988): 5. http://dx.doi.org/10.2307/3398000.
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Halec, Barbara. "Professor Jan Szyrocki – the pioneer of the West Pomeranian choral art." Konteksty Kształcenia Muzycznego 4, no. 1 (October 19, 2017): 57–69. http://dx.doi.org/10.5604/01.3001.0010.5351.
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The article presents the figure of Jan Szyrocki, a conductor, pedagogue and music culture promoter, connected with Szczecin for most of his life. He was the founder of the “Słowiki” Boys’ Choir, the “Berżeretki” Girls’ Choir and, first and foremost, the Choir of the University of Technology in Szczecin, which he cooperated with continually for 50 years. The article also describes Jan Szyrocki’s contribution to the establishment of the International Choral Festival in Międzyzdroje and “In terra pax” Choral Academy, as well as his collaboration with renowned composers (e.g. Andrzej Koszewski, Krzysztof Penderecki, Jan Hawel, Marek Jasiński) and the conductor of the Szczecin Philharmonic – Stefan Marczyk. The article also discusses other issues, such as the didactic, social and cultural activity of Prof. Jan Szyrocki, his professional activity in the Szczecin branch of the Academy of Music in Poznań and in the College of Music Culture, founded on his initiative at the University of Technology in Szczecin, as well as information on his membership in cultural organizations and juries, awarded prizes, medals and distinctions.
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Bell, Cindy L. "Enhanced Rehearsal Strategies for the Undergraduate Choral Conductor." Journal of Music Teacher Education 11, no. 2 (January 2002): 22–27. http://dx.doi.org/10.1177/105708370201100205.
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Spurgeon, Debra. "Vocal Pedagogy Skills for the Undergraduate Choral Conductor." Journal of Music Teacher Education 13, no. 2 (January 2004): 28–33. http://dx.doi.org/10.1177/10570837040130020105.
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Lifeng, Xie. "Content and structure of the future music teachers’ performing will in the context of choirmaster training." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 2 (131) (June 25, 2020): 131–38. http://dx.doi.org/10.24195/2617-6688-2020-2-17.
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The article is devoted to the study of the essence of the phenomenon “performing will” as an important professional quality of future specialists in the field of art education. The purpose of the article is to substantiate the essence, content and component structure of the performing will generated by future Music teachers, in the context of choirmaster (choral) training in particular. These methods are used in the article: analysis, synthesis and generalization (in order to substantiate the key provisions of the study); the method of shifting from the abstract entities to the concrete ones (in order to study the essence of the complex concept "performing will of a Music teacher in the context of choral training"); the methods of modelling and systematisation (in order to study the structural components of the phenomenon under study). Based on the study, it was determined that the choirmaster training aimed at the future Music teachers involves mastering the competence in specific activities with pupils’ non-amateur and amateur choirs, as well as mastering the forms and methods of organising pupils’ group choral performance. The performing will of the future Music teacher in the context of choirmaster training is considered as individual basic personal and professional properties which provide mental and emotional influence of the conductor on the members of the choir to unite them on the basis of emotional and spiritual resonance. The will of the conductor-choirmaster acts as a mechanism of energy impact on each member of the team in order to achieve the necessary, highly artistic and convincing level of implementation of the performance conception as an intonation-auditory and emotional image of the musical work envisioned by the conductor. Based on the definition of the content-oriented and attributive characteristics of the performing executive will, the component structure of the studied phenomenon is substantiated, it consists of four interconnected components: motivational-incentive, intonation- and image-centred, manual-expressive and reflexive-corrective
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Morrison and Selvey. "The Effect of Conductor Expressivity on Choral Ensemble Evaluation." Bulletin of the Council for Research in Music Education, no. 199 (2014): 7. http://dx.doi.org/10.5406/bulcouresmusedu.199.0007.
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Gozdecka, Renata. "Dydaktyka uniwersytecka Beaty Dąbrowskiej. Przywołania chwil minionych." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, no. 2 (January 12, 2017): 25. http://dx.doi.org/10.17951/l.2016.14.2.25.
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<p>The article presents the teaching work of Beata Dąbrowska (1960-2016) at Maria Curie-Skłodowska University, Institute of Music. During over 30 years of her work at the University, Beata Dąbrowska – a conductor and teacher – educated several dozen graduates. As part of her teaching duties, she taught courses in choral conducting, reading the scores, vocal band, methodology of conducting vocal band, and in choir and choral literature. The classes in these subjects focused on choral music, which she liked the most. This text presents the methods and the style of her work during classes in choral conducting, reading the scores and choral literature. The description of her teaching, including, inter alia, manual and technical aspects of conducting, repertoire and interpretative issues, has been complemented with the remembrances by her students: graduates of the Institute of Music: Milena Lis and Izabela Urban and students – Kinga Rdzak and Jagoda Pondel. These memories confirm that Professor Dąbrowska – a person of great personal culture – conducted her classes with extreme calm and self-control. She was a demanding teacher but at the same time she created a warm and cordial atmosphere.</p>
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Radiushyna, Svitlana, and Maryna Tkachenko. "Pedagogical conditions for the development of future Music teachers’ interpretative skills in the process of choral and conductorial training." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 1 (130) (February 7, 2020): 90–98. http://dx.doi.org/10.24195/2617-6688-2020-1-12.
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The article analyses the essence, content and specificity of future music teachers’ interpretive skills. The purpose of the article is to substantiate pedagogical conditions favourable for effective development of future music teachers’ interpretive skills in the process of their choral and conductorial training. These methods of theoretical research are used: analysis, generalisation, synthesis, extrapolation, deduction, systematisation. Interpretation is seen as the basis and the necessary condition for understanding a piece of music, the subjective (personal) attitude and creative imagination of a teacher of music being of great importance. The essence of interpretation in the context of the activity of the Musical Arts teacher lies in the interpretation of an artistic text which reflects the content of the author's message in key note symbols. In the activity of the Musical Arts teacher, there are two forms of interpretation: performing and verbal-pedagogical. The interpretation of the choral work is considered in the article as an artistic-performing conception of the conductor which is based on his/her artistic and imaginative ideas, knowledge; it is realised in his/her creative interaction with the choral team. The list of specific interpretive skills to be demonstrated by the future Music teachers in the context of choral and conductorial training has been clarified. A system of interrelated pedagogical conditions has been offered, it includes these constituents: increase of future specialists’ motivation for the choral and conductorial activities through realisation of the axiological potential of choral music; the implementation of the coaching pedagogical technologies into the choral and conductorial training intended for the future Music teachers; a systematic widening of future specialists’ thesaurus of artistic and imaginative ideas. Further research involves the development of a step-by-step methodology for the development of future Music teachers’ interpretative skills in the process of their choral training.
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Тeriaieva, L. A. "Pedagogical conditions and innovative technologies in the process of learning discipline “Choral Conducting”." Musical art in the educological discourse, no. 2 (2017): 141–44. http://dx.doi.org/10.28925/2518-766x.20172.14144.
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Innovation of modern education is competence-based approach, which requires the students to receive sturdy theoretical knowledge and practical skills on the basis of interdisciplinary connections between choral conducting with other psycho-pedagogical and related musical academic disciplines. To achieve this goal it is necessary to create the appropriate pedagogical conditions. Creation of conditions depends on the organization of training, competence and experience of the teacher. Favorable pedagogical conditions always have a positive effect on the quality of students’ training in choral conducting, efficiency and intensification of their training. We offer to develop methodological competence of future music teachers in choral conducting classes following these pedagogical conditions: continual self-improvement of teachers; enhancing the motivation of learning through the use of exercises in choral conducting on visual means, multimedia and other modern computer technologies; complete methodological support for choral conducting and related musical disciplines by educational programs; independent work of students on improving their methodological competence; teaching students to be confident in their ability and own conductor’s skills; creative contact at classes on choral conducting between the future music teacher, teacher and accompanist, as well as between the future music teacher and the choir group. This article focuses on the requirement to create favorable conditions for teachers in the classses in choral conducting. It is considered, analysed and proposed pedagogical conditions which reveal psychological and pedagogical problems and highlight the ways to overcome them. Favorable conditions of teaching in choral conducting have a positive impact not only on the development of methodical competence, but also on quality of future music teachers’ training.
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Einarsdottir, Sigrun Lilja. "‘Leaders,’ ‘followers’ and collective group support in learning ‘art music’ in an amateur composer-oriented Bach Choir." British Journal of Music Education 31, no. 3 (August 14, 2014): 281–96. http://dx.doi.org/10.1017/s0265051714000242.
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The purpose of this paper is to demonstrate how amateur choral singers experience collective group support as a method of learning ‘art music’ choral work. Findings are derived from a grounded-theory based, socio-musical case study of an amateur ‘art music’ Bach Choir, in the process of rehearsing and performing the Mass in B Minor by J.S. Bach. Data collection consisted of participant observation, qualitative interviews and a paper-based survey. Findings indicate that in the process of learning a challenging choral work, participants use peer-learning as support and form supportive groups within each voice part, with ‘informal leaders’ supporting others (‘followers’) who are performing the work for the first time. On the other hand, performing a challenging work can also seem ‘intimidating’ for those less experienced singers. Findings also indicate that whereas followers (and the conductor) benefit from this group support, ‘leaders’ may experience a certain lack of musical challenge.
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Toms, John. "Extensity: A Tonal Concept for Choral Conductors." Music Educators Journal 72, no. 4 (December 1985): 16. http://dx.doi.org/10.2307/3400516.
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Ivec, Anja. "Glasbeno delovanje Heriberta Svetela v Ljubljani / Heribert Svetel’s Music Activities in Ljubljana." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, no. 33 (January 10, 2021): 131–55. http://dx.doi.org/10.26493/2712-3987.16(33)131-155.
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Composer, teacher, and conductor Heribert Svetel (1895−1962) lived and worked in Ljubljana in the first half of the 20th century. The article is mainly based on documents from family archives, owned by his granddaughter Marjeta Keršič Svetel, and provides an outline of his life with the major turning points, musical involvement in Choral Societies (Slavec, Sloga), and composition oeuvre in Ljubljana until 1946, when he left the capital and moved to Maribor.
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Warnaby, John. "James Wood's ‘Stoicheia’ and ‘Oreion’." Tempo, no. 172 (March 1990): 20–25. http://dx.doi.org/10.1017/s004029820006109x.
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Although James Wood has been in the forefront of contemporary music as both choral conductor and percussionist, directing the New London Chamber Choir in many new works, and organizing the Darmstadt Summer School Percussion Course for several years, his own compositions have little in common with the mainstream of postwar European music. It might be assumed that his interest in ancient Greek rhythms, together with their Indian and Chinese equivalents, stems from his association with the music of Xenakis; but he has never shown any inclination to use complex mathematical formulae, and has probably been less concerned than almost any other contemporary composer with the organization of pitch.
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Ryabinko, S. M. "Theoretical and methodological foundations of work with student chorus group in the context of modernization of art education." Musical art in the educological discourse, no. 2 (2017): 145–49. http://dx.doi.org/10.28925/2518-766x.20172.14549.
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The article investigates the actual problems of modern pedagogical science — students training in arrangement of students’ vocal and choral work at school. It examines basic theoretical and methodological approaches to the solution of contemporary problems of vocal and choral works and future music teacher training in the context of modern requirements for higher art education. It determines the complex of functions, methods and means of students training in arrangement of students’ vocal and choral work. The main approaches to organization of vocal and choral musical activity that are considered by us are the following: humanistic, aesthetic, culture studying, communicative, reflexive, creative, and projectoriented. Implementation of communicative and creative approaches to music teacher training encourage him to implement wide creative types of work and collective art in the process of education, which contributes to development of spiritual needs in performance and other types of musical and performance activity. Theoretical and methodical instruments mentioned above has become the basis of creative activities of the student choir “Gaudeamus” of the Institute of Art of Kyiv Borys Grinchenko University (conductor — Svitlana Ryabinko, accompanist — Oksana Bichkova). Pedagogical conditions for future music teachers training are developed for effective management of students’ vocal and choral activity, as follows: orientation of methods and forms of organization of informative and practical activity of students to understanding the specifics of vocal and choral work with students, motivation for personal creative self-realization in vocal and choral activity, integration of received knowledge, skills and abilities from different areas of art to pedagogical choral and vocal work at school.
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Wright, H. Stephen. ">A Conductor's Guide to Nineteenth‐Century Choral‐Orchestral Works." Music Reference Services Quarterly 12, no. 1-2 (June 2009): 49–51. http://dx.doi.org/10.1080/10588160902798017.
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Anastasiia Pater. "THE STANDARD OF CHORAL SOUND IN THE PERFORMANCE INTERPRETATION OF UKRAINIAN SACRED MUSIC." International Journal of Innovative Technologies in Social Science, no. 5(26) (June 30, 2020): 19–25. http://dx.doi.org/10.31435/rsglobal_ijitss/30062020/7133.
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The article highlights the issue of achieving a sound standard in the performance interpretation of sacred music by Ukrainian choral groups, which is relevant in the process of understanding the intonation-figurative sphere of performance. We believe that the standard performance version is the performance embodiment of a musical work that corresponds to the sound ideals characteristic of a certain tradition. The sound standard covers a complex of aesthetic and performing means that form a system of physiologically-technological technical-virtuosic, artistic-aesthetic components of the reference sound. Based on the analysis of the choral concert of Maxim Berezovsky "Don't reject me in my old age" in the performance versions of the Lviv state academic men's choral Capella "Dudarik" (conductor – Nikolay Katsal) and the Kiev chamber choir named after B. Lyatoshinsky (conductor – Viktor Ikonnik), the measure of compliance of their performance with the standard parameters of sound is traced.In the performance skills of both groups, the ability to reinterpret a musical work in accordance with its verbal basis can be traced. Depending on the figurative content, a rational reserved approach is used, devoid of emotional sound expression, or, in another situation, the secrets of spiritual experiences are soulfully transmitted. This mobility in the sense of the laws of eternal beauty and the ability to embody them in choral sonority, the combination of properties of the conscious and unconscious, determine the features of performing thinking inherent in the Ukrainian national choral art. The performance of the choral Capella "dudarik" truthfully conveys the performance style of the XVIII century, in which M. Berezovsky created. The combination of high light trebles, timbre- free soft Altos, ringing tenor groups and deep basses creates an impression of directness and sincerity in the transmission of spiritual content. But the choral intonation of the Kiev chamber choir appeals to the Western European style of music making, which is characterized by the most accurate reproduction of the elements of articulation specified in the composer's text – strokes, accents, caesuras, dynamic palette. At the same time, the balance of the single timbre ensemble of the choir with the deep "heart" sound paint characteristic of the Ukrainian tradition is preserved. The interpretation of musical architectonics by both groups brings its own uniqueness to their performing style and image-sound paint – and this is the ability to perceive and report the living matter of the work, to reincarnate the essential meanings of the national spiritual and aesthetic experience. Each of the considered performance versions corresponds to the essential characteristics of the reference sound.
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Semenova, N. F. "Topical Problems of Choral and Orchestra Conductors Training in the Russian Far East Region." Higher Education in Russia 27, no. 7 (July 31, 2018): 111–16. http://dx.doi.org/10.31992/0869-3617-2018-27-7-111-116.
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The article covers a wide range of problems connected with choral and orchestra conductors training in the Russian Far East Region. The author focuses on the specificity of the educational process organization for choral and orchestra conductors. The formation of orchestra and choral conductor’s professional skills is a three-dimensional process including educational work, concert-performing and research work. The author describes an experience of Khabarovsk State Institute of Culture in training professionals in choral and orchestra performance. The article describes the content, methodical and didactic aspects of the educational process of students majoring in Conducting. The author dwells on the features of the organization of students’ creative work and ways of cooperation between the Institute and the representatives of the creative and artistic environment.
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Horozhankina, Oksana, and Nadiia Ryzhenko. "Future Music Teachers’ Associative Thinking in the Course of Conductor and Choral Training." Research Notes, no. 1 (March 30, 2017): 76–82. http://dx.doi.org/10.31654/2663-4902-2017-pp-1-76-82.
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