Academic literature on the topic 'Choral leader'
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Journal articles on the topic "Choral leader"
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Willink, C. W. "Notes on the Parodos-Scene in Euripides' Heraclidae, 73–117." Classical Quarterly 41, no. 2 (December 1991): 525–29. http://dx.doi.org/10.1017/s0009838800004675.
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In response to Iolaus' cry for help, the chorus in Held, enter at a run (βοηδροµοντεс cf. 121), and the Parodos takes a form appropriate to that. Instead of choral song-and-dance, what follows, after an exceptionally brief non-strophic ‘entry’-passage, is an amoibaion first between the Chorus-leader and Iolaus, then between the Chorus-leader and the Herald, musical only as featuring some ‘half-chanted’ sequences in the Chorus-leader's utterances.
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Murnaghan, Sheila. "Penelope as a Tragic Heroine." Yearbook of Ancient Greek Epic Online 2, no. 1 (August 23, 2018): 165–89. http://dx.doi.org/10.1163/24688487-00201006.
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Abstract Attention to the ways in which Homeric epic is shaped by its engagement with choral lyric reveals continuities between epic and tragedy that go beyond tragedy’s mythical subject matter and the characteristics of tragic dialogue: both poetic forms rework the circumstances of choral performance into fictional events. This point can be illustrated through the figure of Penelope in the Odyssey who, like many tragic heroines, is in effect a displaced chorus leader. Penelope’s situation and her relations with her serving women, especially with the twelve disloyal maids whose punishment takes the form of a distorted choral dance, anticipate the circumstances of the tragic stage, in which individual characters act and suffer in the constant presence of choral groups.
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Pchelintseva, E. V. "THE MAIN WORK AREAS OF AN EDUCATIONAL CHORAL GROUP’S LEADER." Научное мнение, no. 12 (2018): 102–6. http://dx.doi.org/10.25807/pbh.22224378.2018.12.102.106.
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Martyniuk, Lyubov. "SPECIFICITY OF PROFESSIONAL TRAINING OF FUTURE MUSIK TEACHERS TO LEAD ARTISTIC AND CREATIVE GROUPS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 96–101. http://dx.doi.org/10.36550/2415-7988-2021-1-195-96-101.
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The article discovers the issues which are a part of a complex set of training future music teachers to manage artistic and creative ensembles, in particular, vocal and choral ones. It is emphasized that the dominant place in the process of training future music teachers to guidance these groups is occupied by aspects of conducting and choral training, the study of which is impossible without understanding the unique phenomena of native choral performance and features of working with vocal and choral collectives. To solve these problems there are the disciplines of conducting and choral cycle, the main task of which is to educate students in professional skills and skills of singing in the choir, as well as managing the choir based on mastering the methods of working with the choir, didactic principles and knowledge of psychophysiological process which a person has during singing. It is noted that the reserve for improving the quality of professional training of future music teachers to manage vocal and choral ensembles is the intersubject relationship of special disciplines with socio-pedagogical and music-theoretical ones. Modern performance and analytical requirements for professional training of future music teachers to guidance vocal and choral groups are analyzed, in particular, the ability to achieve the required level of knowledge and skills on condition that students master each subject of conducting and choral cycle with awareness of their interaction, high level of singing and conducting competence of students and their deep knowledge of vocal and choral repertoire, the art of mastering of not only performing vocal and choral skills, but also organizational skills by the future manager of the ensemble, the unity of erudition in the field of vocal and choral art, methodical training, pedagogical activities based on interrelation of knowledge and practice of working with an artistic and creative collective. The specifics of the professional training of future music teachers to lead vocal and choral groups is his singing and conducting competence, deep knowledge of vocal and choral repertoire, the art of mastering the leader of the vocal and choral group not only organizational skills but also performing vocal skills. For effective professional training, students need to constantly and purposefully develop their musicological and performing qualities in conjunction with conducting and choral and methodological training.
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Bielik-Zolotariova, Nataliia. "Viacheslav Palkin: the road to success (dedicated to the 85th anniversary of his birth)." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 125–43. http://dx.doi.org/10.34064/khnum2-23.08.
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Problem statement. One of the most important directions of modern choral studies is the research on the life and creative path of outstanding choirmasters, while understanding their performing experience, pedagogical approaches and taking into account their aesthetic and artistic beliefs. One of the most honorable places among artists is occupied by Viacheslav Palkin (1935–2008), who contributed greatly to the development and prosperity of both, the choral culture of Slobozhanshchyna and Ukraine. The relevance of topic lies in the necessity to study the creative experience of the remarkable choral conductor V. S. Palkin, to understand the contribution of the luminary of the Kharkiv conducting and choral school to the development of national art. Theoretical background includes the articles of O. Batovska (2005), H. Parfonova (2008) and the thesis of H. Savelieva (2012), N. Bielik(2007), which examines Palkin’s pedagogical approaches, his achievements as the head of the Choral Conducting Department of the Kharkiv I. P. Kotlyarevsky Institute of Arts, as well as the performing style of the Сhamber Сhoir led by him as an artistic director and choirmaster. Other sources of study embody the materials of the national conference, methodological works and articles by V. S. Palkin collected and published in I. Palkin’s book “Viacheslav Palkin. By the roads of choral art” (2011). The objective of the work is to define a periodization of Palkin’s life and career to identify the stages of his professional growth to the crowning achievements at the height of his creative career. The research methodology lies in the application of the principles of historicism, phenomenological and acmeocentric approaches, biographical method and the method of typological analysis. The periodization of the life and career of the distinguished choral conductor, teacher and educator V. S. Palkin is presented for the first time in art studies. Conclusions. The analysis of V. Palkin’s life and career resulted in the periodization. The following criteria were taken into account: biographical, geographical, evolutionary-performing and age-specific. The first period (1935–1951) covers childhood, the second one (1951–1960) represents his years of education. This period is characterized by his desire to comprehend and embrace all the subtleties of choir conducting. The third stage (1960–1978) is the accumulation of choirmaster, pedagogical, and life experience. The fourth one (1978–2008) is the culmination of the master’s life and career, his finest hour and acme phase, when he created a chamber choir, which reached the highest level of choral art under his leadership. It was established that choirs led by V. Palkin reflect changes in his artistic career path. The four stages reflect the evolution of the artist as a conductorinterpreter, organizer and leader of numerous choral groups, teacher and educator.
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Bielik-Zolotariova, N. A. "Choral dramaturgy of the opera «The Way of Taras» by O. Rudianskyi: symbolism of chronotope." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 25–39. http://dx.doi.org/10.34064/khnum2-18.02.
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Background. The last quarter of the 20th century – the beginning of the 21st century, marked in Ukraine by significant social changes, actualized the necessity to turn to eternal spiritual values of national culture, among which Taras Shevchenko’s creativity takes leading positions. During this time, a number of works appeared in Ukrainian musical and stage art that supplemented the domestic “Shevchenkiana” (a total of the works devoted to Shevchenko): the operas by O. Zlotnik, V. Gubarenko, H. Maiboroda, L. Kolodub). The tradition of embodying the image of T. Shevchenko was creatively developed by O. Rudianskyi. The significant role of choral scenes in his opera “The Way of Taras” led to their involvement in revealing the leading idea of the work: to show the main periods of the life of the great poet. Choral scenes are peculiarly organized in the time-space of the opera, gaining symbolic meaning. The disclosure of this symbolism becomes the key to understanding in the modern context of the historical role of T. Shevchenko’s life and work. The purpose of this study is to identify the symbolism of chronotope in the choral dramaturgy of the opera by O. Rudianskyi. The following events from the life of Shevchenko are presented in the opera «The Way of Taras» by O. Rudianskyi (1992, 2nd ed. 2002: the libretto by V. Yurechko & V. Reva): his arrival to Kiev from St. Petersburg after the graduation of the Academy of Arts, the activity in The Brotherhood of Saints Cyril and Methodius, finally, the arrest and the exile. The composer uses the choral factor in full – almost every stage of the opera has choral episodes, which receive various functions depending on the development of the dramaturgy of the opera. O. Rudianskyi created the images of the Ukrainians peasants, young men and women, children, members of the Cyril and Methodius Brotherhood, prisoners, soldiers -- by the use of male, female, children and mixed choir compositions. The opera includes: the "Ukrainian world", which obtains its characteristic precisely due to the presence of choral singing; the "Kazakh world", which is represented mostly by solo and dancing episodes; the "Russian world", which is presented through the spoken dialogues, orchestral fragments, choral recitation. The radical contrast in the depiction of Ukraine, the Kazakh steppes, and the St. Petersburg world creates to the chronotope changes in connection with the plot: Taras Shevchenko is free in Ukraine, he is not free in Russia and Kazakhstan. The opera-biography “The Way of Taras” almost for the first time at the Ukrainian musical stage emphasizes in the image of Shevchenko, who was a poet and a painter, the versatile of his creative personality. O. Rudianskyi introduces the method of artistic documentalism in revealing the events of T. Shevchenko’s life path, but along with the real people (Kostomarov, Petrov, Veresai), there are also fictional characters (the caretaker of the steppe – «Berehynia stepu»). Each of the pictures of the opera highlights a certain episode of the biography of the hero. The fragmentary character inherent in the opera by O. Rudianskyi makes it similar the opera “in four novels” «Taras Shevchenko» by H. Maiboroda and the opera-phantasmagoria «Poet» by L. Kolodub. Two female characters in the opera, Oksana and Zabarzhada, presents as a symbol of Taras’s unrealizable love. The image of Oksana – the first love of the poet – is created due to choreography, that makes it possible to define a ballet as another genre component of the composition. The development of the female theme involves both the women’s and the mixed choirs. O. Rudianskyi found a new approach to embodiment of the personality of the artist and poet in the first picture of the opera. This is the moment when T. Shevchenko is painting one of his picture on the bank of the Dnieper, reciting, at the same time, the lines of his immortal verse «Reve ta stohne Dnipr shyrokyi» («The broad Dnieper is roaring and moaning»), which became a folk song. In the fifth picture of the opera it is being sung powerfully by the choir – all Ukrainian people. So, the poet is presented as a prophet and spiritual leader of the people. Inspired by the Poet, people spoke out against the tyranny of the authorities. T. Shevchenko’s prayer with a mixed choir «To me, O God, give love on Earth» («Meni zh, mii Bozhe, na zemli podai liubov») is the reminiscence of the first picture, where the Poet created his immortal verse (its reciting with the vocalization of the choir basses). Conclusions. Thanks to choral scenes in the opera “The Way of Taras” by O. Rudiiyansky, a single space-time is created, in which the composer gives to the choir a symbolic meaning. In the choral presentation, the song about Dnieper River sounds as a symbol of freedom of the Ukrainian people; the effect by choir “church bells” symbolizes the conciliarity of Ukraine; the Marche funebre is the personification of the soldier serve, and the words-symbols “path”, “movement” embody Poet’s fate, inextricably linked with the fate of the Ukrainian people. The symbol of the opera whole is the word-image “path”. The semantics of the path, the moving is revealed both on the stage and on the mental levels: the Dnieper waves are constantly moving, the peasants are going to work, the path of prisoners is endless, and human life itself is the Path...
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Bonshor, Michael J. "Confidence and choral configuration: The affective impact of situational and acoustic factors in amateur choirs." Psychology of Music 45, no. 5 (October 7, 2016): 628–44. http://dx.doi.org/10.1177/0305735616669996.
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This article reports a qualitative study investigating the factors affecting confidence levels amongst adult amateur choral singers. Three focus groups (involving a total of 18 participants) and 16 individual interviews were carried out with experienced choral singers, and over 40 hours of recorded verbal data were collected. The research aims were to explore the lived experience of choral singers; to examine the main influences on choral singers’ perceptions of their voices and performance ability; to identify factors affecting their confidence as choral singers; to extrapolate confidence-building strategies for amateur choral singers. One of the major emergent themes was choir configuration, which encompassed the spacing between singers, the layout of the choir, the position of the individual singer within the choir, and the position of the choir within the venue. All of these elements reportedly had effects upon the confidence of choral singers during rehearsal and performance. These findings have practical implications for leaders of amateur choral ensembles, as choir configuration may be used as one of the tools for building collective and individual choral confidence.
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Peno, Vesna. "On the multipart singing in the religious practice of orthodox Greeks and Serbs: The theological-culturological discourse." Muzikologija, no. 17 (2014): 129–54. http://dx.doi.org/10.2298/muz1417129p.
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In 1844, Serbian patriarch Josif Rajacic served two central annual Liturgies, at the feasts of Pasha and Penticost, in the Greek church of Holy Trinity in Vienna; these were accompanied by the four-part choral music. The appearance of new music in several orthodox temples in Habsburg Monarchy (including this one) during the first half of the nineteenth century, became an additional problem in a long chain of troubles that had disturbed the ever imperiled relations between the local churches in Balkans, especially the Greek and Serbian Orthodox. The official epistle that was sent from the ecomenical throne to all sister orthodox churches, with the main request to halt this strange and untraditional musical practice, provoked reactions from Serbian spiritual leader, who actually blessed the introduction of polyphonic music, and the members of Greek parish at the church of St. George in Vienna, who were also involved with it. The correspondence between Vienna and Constantinople reflected two opposite perceptions. The first one could named ?traditional? and the other one ?enlightening?, because of the apologies for the musical reform based on the unequivocal ideology of Enlightenment. In this article the pro et contra arguments for the new music tendencies in Greek and Serbian orthodox churches are analyzed mainly from the viewpoint of the theological discourse, including the two phenomena that seriously endangered the very entity of Orthodox faith. The first phenomenon is the ethnophiletism which, from the Byzantine era to the modern age, was gradually dividing the unique and single body of Orthodox church into the so-called ?national? churches, guided by their own, almost political interests, often at odds with the interests of other sister churches. The second phenomenon is the Westernization of the ?Orthodox soul? that came as a sad result of countless efforts of orthodox theological leaders to defend the Orthodox independence from the aggressive Roman Catholic proselytism. ?The Babylonian captivity of the Orthodox church?, as Georg Florovsky used to say, began when Orthodox theologians started to apply the Western theological methods and approaches in their safeguarding of the Orthodox faith and especially in ecclesiastical education. In this way the new cultural and social tendencies which gripped Europe after the movements of Reformation and Contra-Reformation were adopted without critical thinking among Orthodox nations, especially among the representatives of the Ortodox diaspora at the West. Observed from this extensive context, the four-part music in Orthodox churces in Austria shows one of many diverse requirements demanded from the people living in a foreign land, in an alien and often hostile environment, to assimilate its values, in this case related to the adoption of its musical practices.
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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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Sledge, Sharlande. "“All Nature Sings”: Creation and Congregations Worshiping God." Review & Expositor 102, no. 1 (February 2005): 65–84. http://dx.doi.org/10.1177/003463730510200107.
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This essay on worship and creation provides images, hymns, scriptural references, poems, prayers and practical suggestions drawn from the congregational context of the author's life. Many of these resources will help stimulating worship leaders to think of creative ways to divide hymns into litanies or how to use hymn tunes about creation as the setting for liturgical dance. The author encourages adapting children's books about creation into choral readings and finding images of the natural world from Scripture texts for the preparation of a communion table. Most of all, these reflections will inspire worship leaders to think about how everyone has something to bring to the worship experience.
Dissertations / Theses on the topic "Choral leader"
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Zadig, Sverker. "Vi sjunger så bra tillsammans : Om medvetet eller omedvetet samarbete mellan körsångare samt om formella och informella ledare i körstämman." Licentiate thesis, Örebro universitet, Musikhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-20367.
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Aim of the research: This essay describes what can happen between the singers in a choral voice and how the individuals differ in taking initiative and acting in leading roles. Method: I have done qualitative interview studies with conductors and singers, and also recording studies. The recording sessions have been done in following choir rehearsals in a Swedish upper secondary school, and with a simultaneous video recording to be able to also take notice on eventual visual signs between the singers. With close up headworn microphones and by multi track recordings it have been possible through an analyzing program to watch graphically exactly how each individual sings and to compare the singers with each other. The recordings and analyses have been done using Cubase5 and Variaudio with printouts of the same sequence of the music the single voices in the same choral voice. Results: My informants all speak of formal and informal leaders in the choral voice. Many of them also talk about these leaders as leading the choral voice and also with their personal voice and timbre, give color to others. It is possible to graphically view differences in attacks and intonation, and also to notice when someone is ahead and “pulling” others to follow. This leading role can be both positive and negative, a confident but not so good singer can unfortunately bring along other singers to take wrong steps in the music.
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Koonce, James D. "Development of the worship leader role of the Celebration Choir at Shirley Hills Baptist Church through an intentional process of reflection, study and choral community interaction." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.
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Juliano, Kristy Lynn. "Facilitating transformative music experiences| A wholehearted approach for choral leaders." Thesis, California State University, Los Angeles, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1568685.
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In today's technology-driven age, choral arts programs are losing ground in the race for consumers' time and money. If these arts are to regain their rightful status in a balanced society, choral leaders must seek to elevate their music-making above the ordinary and expected to a heightened level of expression in which choral leader, choir, and audience connect and become one with the music, engendering a transcendence, however momentary, of present reality. Such a level cannot be attained by adapting to current trends and embracing technological enhancements, but rather by instilling respect for music for its own sake. This study contends that only by cultivating within themselves the qualities that lead to wholeheartedness—mindfulness, vulnerability, courage, authenticity, and humility—will choral leaders be able to facilitate that interconnectivity required to evoke such transformative experiences, and only then will choral arts programs become healthy and robust, impervious to fluctuating tastes and trends.
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Zoeller, Anthony. "“Song of Myself”: Themes of Identity and Context in Selected Early Twentieth-century Settings of Walt Whitman." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276951594.
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Lin, Shu-ting, and 林舒婷. "The analysis for Tyzen Hsiao’s sacred chorus works “He leadeth me, O blessed thought”, “O bless the Lord, my soul”, “The Lord’s prayer” and “Praise the Lord”, and applications for church ceremonies/Master's recital Shu-ting Lin choral conducting." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/29279573440029671282.
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碩士東吳大學
音樂學系
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Tyzen Hsiao is one of the most important modern composers in Taiwan. He has written vocal music pieces with much localism. And the chorus of forming pieces is the most precious portion of his works. There are four sacred chorus works which are created in great respect, including “He leadeth me, O blessed thought”, “O bless the Lord, my soul”, “The Lord’s prayer” and “Praise the Lord”. There are eight chapters in this thesis. The first chapter is a preface. The composer’s chorus works and biography are introduced with some analysis in the second chapter. Next, the composer’s four sacred chorus works were analyzed piece by piece in the third, the fourth, the fifth, and the sixth chapter. There are some suggestions about applications in sacred chorus works which are made for church ceremonies in the seventh chapter,. The eighth chapter is the conclusion of this thesis . ------------------------------------------------------------------------------ Giovanni Pierluigi da Palestrina（c.1525-1594）：Sicut cervus Tomas Luis de Victoria（c.1548-1611）：Ave Maria William Byrd（1543-1623）：Ave verum Orlande de Lassus（1532-1594）：Adoramus te, Christe Johann Sebastian Bach（1685-1750）：Cantata No.61 Tyzen Hsiao（1938-）： The Lord’s prayer O bless the Lord, my soul The messenger of peace Praise the Lord Jesus Though I walk through the valley of the shadow of death Spirituals： Down by the Riverside（arr. Jay Althouse, 1951-） Mary had a baby（arr. Walter Ehret） Don’t you let noboby turn you’round（arr. Lena J. McLin, 1928-） Here’s one（arr. William Grant Still, 1895-1978） Swingin’ with the Saints（arr. Mark Hayes）
Books on the topic "Choral leader"
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Connelly, Don. The song leader and congregational singing. Greenwood, IN: HBU Music, 2003.
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Mark, Jackson. The song leader: Teaching the church to sing. Schaumburg, Ill: Regular Baptist Press, 1991.
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You can have a children's choir: Create a joyful noise with children : a step-by-step guide for church leaders. Nashville, TN: Abingdon Press, 1988.
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Na ŭi hyŏngje Kim Hŏn-jŏng: Minju yŏnhap nojo yŏlsa p'yŏngjŏn. Sŏul: Maeil Nodong Nyusŭ, 2013.
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Garnett, Liz. Choral Pedagogy and the Construction of Identity. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.7.
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This chapter examines how theories of identity construction can usefully inform choral praxis. It starts with an outline of key concepts in theories of identity and how they can help us understand the processes by which choirs inculcate their members into their particular choral culture. It then examines three areas particularly salient for the choral leader. The first is the phenomenon of “non-singers”: how they emerge as a by-product of western cultural discourses, and what can be done to rehabilitate them. The second is the interpenetration of social and musical identity categories: how elements we may think of as “purely” musical are constructed in terms of wider social categories, including the habitus of the cultural environment, and the implications for how we frame the choral techniques we use. The third is the relationship between individual and group: how an ensemble establishes a corporate, supra-personal identity, and ways to facilitate this.
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Bonshor, Michael. The confident choir: A handbook for leaders of group singing. 2018.
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Ward-Steinman, Patricia Madura. Choral Pedagogy Responds to the Media. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.2.
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Pop choral music has changed during the 21st century due to the enormous popularity of contemporary a cappella and commercial network TV shows such as Glee, The Voice, The Choir, The Sing-Off, American Idol, and the Clash of the Choirs. Choir students watch these shows and are influenced by them in terms of vocal tone, repertoire, showmanship, and competitive spirit. What is the proper pedagogical response? Should the media shape/influence choral pedagogy, or should traditional pedagogy develop the pop-influenced singer? This chapter addresses these questions and includes viewpoints of choral teachers throughout the age and experience spectra—from first-year teachers who are very familiar with these shows to competition-winning show choir directors and leaders in the field of choral music who have witnessed the effects of these programs on choral interest, enrollment, attitudes, and achievement in school choral programs.
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Hicks, Michael. A Cultural Necessity. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039089.003.0006.
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This chapter discusses the activities of the Mormon Tabernacle Choir under Richard Condie's conductorship. On August 20, 1957, the First Presidency met to discuss who should replace Spencer Cornwall. They chose Newell Weight, a choral conductor at Brigham Young University, but he was on a two-year leave doing graduate work at the University of Southern California. Condie was appointed initially on a “limited” basis, but ended up directing the Choir for sixteen years. Not long after, Condie was accused of dropping old Choir members and installing in their places his University of Utah students. He was turning the Tabernacle Choir into “a university chorus.” This chapter considers Condie's rehearsal methods for the Choir, the Choir's recordings and its television appearances, domestic tours, and success in the areas of popular music and classical music. It also describes the Choir's identification with conservative Americanism as well as its dwindling reputation.
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Paul, Sharon J. Art & Science in the Choral Rehearsal. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.001.0001.
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In recent decades, cognitive neuroscience research has increased our understanding of how the brain learns, retains, and recalls information. At the same time, social psychology researchers have developed insights into group dynamics, exploring what motivates individuals in a group to give their full effort, or conversely, what might instead inspire them to become freeloaders. This book explores the idea that choral conductors who better understand how the brain learns, and how individuals within groups function, can lead more efficient, productive, and enjoyable rehearsals. Armed with this knowledge, conductors can create rehearsal techniques which take advantage of certain fundamental brain and social psychology principles. Through such approaches, singers will become increasingly engaged physically and mentally in the rehearsal process. This book draws from a range of scientific studies to suggest and encourage effective, evidence-based techniques, and can help serve to reset and inspire new approaches toward teaching. Each chapter outlines exercises and creative ideas for conductors and music teachers, including the importance of embedding problem solving into rehearsal, the use of multiple entry points for newly acquired information, techniques to encourage an emotional connection to the music, and ways to incorporate writing exercises into rehearsal. Additional topics include brain-compatible teaching strategies to complement thorough score study, the science behind motivation, the role imagination plays in teaching, the psychology of rehearsal, and conducting tips and advice. All of these brain-friendly strategies serve to encourage singers’ active participation in rehearsals, with the goal of motivating beautiful, inspired, and memorable performances.
Book chapters on the topic "Choral leader"
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Jansson, Dag, and Anne Haugland Balsnes. "Dilemmaer i skandinavisk korlederutdanning." In Higher Education as Context for Music Pedagogy Research, 215–44. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.119.ch9.
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Within higher education, programmes in choral conducting are offered of varying kinds and at different levels, from dedicated programmes to single courses that are embedded in other music programmes. The choral practice field is varied; choral leadership is partly a generic music competence and partly a profession. The variety and social reach of the choral movement suggest that the educational offering in choral conducting should be manifold in type and quantity in order to supply the practice field with qualified conductors. n this chapter we take a renewed look at material from three previous studies: (1) a mapping of Scandinavian choral leader education, based on document analysis and interviews with tutors and newly graduated conductors; (2) a quantitative survey on choral conducting competencies, where more than 600 conductors in Norway, Sweden, and Germany participated; and (3) an interview study of twenty Norwegian choral conductors on their professional careers. Although the findings from these studies were salient enough, the implications for choral conducting education were not equally clear. The point of departure for this chapter is that this is due to a series of difficult trade-offs, and we ask the question: What dilemmas do we face when educating choral conductors, and how might we understand these in light of the composite data? The material is analysed by drawing on established pedagogic categories, Wenger’s theory of communities of practice (1998), Jansson’s competence model for choral conductors (2018), and Varvarigou and Durrant’s discussion framework for choral conducting (2011).
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Jackson, Lucy C. M. M. "The Chorus and Society." In The Chorus of Drama in the Fourth Century BCE, 203–42. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198844532.003.0008.
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The chorus is frequently used as an analogue for the dynamics between a leader and those who follow. Chapter 7 focuses on two early ‘political theorists’, Xenophon and Plato, and the way they often reach for the image of a chorus as a means to illustrate and elucidate their arguments about leadership and the ideal society. While Xenophon tends towards a practical application of the dynamics between leader and led, found in choral training and performance, Plato is shown to go much further in his delineation of these dynamics, and their proposed practical use in his construction of the ‘second-best city’ in his Laws. Plato’s peculiar picture of the chorus, as a place where individuals lose their rationality and give themselves over to a child-like, ductile state, suits his overall aims in his construction of the city of Magnesia, but, the chapter argues, necessitates a profoundly distorted picture of ancient choreia.
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"Rise of a choral director: the case of an Asian cultural leader." In Arts and Cultural Leadership in Asia, 194–207. Routledge, 2015. http://dx.doi.org/10.4324/9781315746739-26.
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Jones, Alisha Lola. "“Men Don’t Sing Soprano”." In Flaming?, 70–86. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190065416.003.0003.
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Male soprano sound in gospel choral participation has come to be a locus for scrutiny, representing a site for the vocalized performance of identity. Drawing on a case study of African-American countertenor Patrick Dailey and an ethnography of his live performance, chapter 2 observes a black countertenor’s embodiment of gendered sound and the peculiar vocal qualities that are socioculturally perceived to signify a man’s queer potential. African-American gospel singing challenges the gender binary framework that the American public expects of men as singing low and women as singing high. Dailey’s performance engages African-American audiences through various types of cultural familiarity to portray competency as a worship leader and trained artist.
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Manzo, V. J. "Building Stand-alone Applications." In Max/MSP/Jitter for Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199777679.003.0016.
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In this chapter, we will analyze a “Chord Namer” application that allows a user to enter a chord name and see the notes on a MIDI keyboard. Unlike the other patches we’ve worked on thus far, we will “build” this patch as a stand-alone program that can be used on any computer even if it does not have Max installed. Stand-alone programs are a great way of distributing your work to people for educational or commercial purposes. Open the file chord_namer.maxpat from the Chapter 11 Examples folder. This patch allows users to type in the name of a chord (C, for example) and see the chord displayed on a large kslider. Users can then play the chord on their MIDI keyboard while looking at the visual example. The letter name of each note appears on each chord tone when it is highlighted. For taller chords, a user may enable more chord tones to be added than simply just a root, third, and fifth. For example, a user wanting to play a Cdom7#9 chord could simply enable 7ths and 9ths to be displayed by checking the appropriate toggles, typing Cdom7#9 into the space provided, and pressing the return or enter key. 1. Type C into the text box at the top left and press the return or enter key 2. Play a C chord on your MIDI keyboard This patch could be useful for helping people perform a piece for which they have only a lead sheet with chord names. Let’s take a look inside the patch. The patch is currently in Presentation mode. Unlock the patch and put it into Patching mode. The patch is rather large in size so you may need to zoom out on the patch (⌘for Mac or ctrl for Windows ). Now that the patch is open, you may be surprised to see that there is only a small number of objects inside. Take note of the 3 bpatchers in the patch that generate chords, handle MIDI output, and, to the right, above the kslider, handle MIDI input.
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Nobile, Drew. "Verse–Prechorus–Chorus." In Form as Harmony in Rock Music, 199–234. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190948351.003.0008.
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This chapter demonstrates that the presence of a prechorus—traditionally tossed off as an insignificant addition—entirely alters a song’s construction. In verse–prechorus–chorus form, all of the structural harmonic motion occurs before the chorus, such that the chorus itself acts as a celebration of an arrival. Verse and prechorus usually lead to a telos chorus, prolonging tonic through repeated gestures encouraging a significant amount of “rocking out” on the part of the audience. When the chorus is instead sectional, the effect is one of plenitude; the dual cadences at the beginning and end of the chorus saturate listeners with the release of tension. Alternatively, the rare occurrence of a continuation chorus after a prechorus involves delaying a highly anticipated cadential arrival; done carefully, this can have a transcendent effect. The chapter also discusses verse–prechorus fusion, where verse and prechorus functions occur within a single section.
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Gjerdingen, Robert O. "Partimenti and the Power of Improvisation." In Child Composers in the Old Conservatories, 113–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653590.003.0009.
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Like a lead sheet in popular music, a partimento gives a performer a single line of music to aid in the performance of a multivoice composition. Lead sheets provide a simplified melody and symbols for chords. Partimenti provide a bass and sometimes figured-bass numbers to indicate specific intervals. In both cases the reconstruction works well if the performer has a good knowledge of the style of music involved and a memory for the kinds of musical patterns needed. In Naples, children played the written partimento with their left hands at a small harpsichord. With their right hands they improvised the types of melodies, chords, and counterpoints implied by the bass. Beginners may have improvised mostly simple chords. Intermediate-level students improvised melodies and counterpoints. And advanced students developed highly contrapuntal realizations that included partimento fugues.
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Weiss, Naomi A. "Protean Singers and the Shaping of Narrative in Helen." In Music of Tragedy. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520295902.003.0005.
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This chapter analyzes the musical narrative of Helen—how the transition from lament to more celebratory mousikē linked to Dionysus mirrors the plot’s movement toward a happy resolution. It shows how this musical narrative is linked to a series of images addressed in the play’s songs, from the Sirens to the mourning nightingale, the Great Mother, and the syrinx-playing crane. All these images are associated with particular types of musical performance, and all of them revolve around Helen, who is herself a multiform figure of chorality. Weiss argues that each image reflects her state and physical location at each point within the tragedy, ultimately marking her separation from the dramatic chorus as she leaves Egypt for Sparta.
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Hough, Susan Elizabeth, and Roger G. Bilham. "Tecumseh’s Legacy: The Enduring Enigma of the New Madrid Earthquakes." In After the Earth Quakes. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195179132.003.0006.
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Like any proper mystery, the tale of the New Madrid earthquakes begins on a note of intrigue. According to legend, the earthquakes were predicted—even prophesied—by the great Shawnee leader and statesman Tecumseh. Concerned over continued encroachment of white settlers onto Indian lands in the mid continent, Tecumseh traveled widely throughout the central United States in the early 1800s, striving to unite diverse tribes to stand against further land cessions. According to legend, Tecumseh told his mostly Creek followers at Tuckabatchee, Alabama, that he had proof of the Great Spirit’s wrath. The sign blazed across the heavens for all to see—the great comet of 1811, a dazzling and mysterious sight. As if to emphasize Tecumseh’s words, the comet grew in brilliance through October, dimming in the night time sky in November just as Tecumseh left Tuckabatchee for points northward. Also according to legend, Tecumseh’s speech at Tuckabatchee told of an even more dramatic sign yet to come. In an oration delivered to hundreds of listeners, the leader reportedly told the crowd, “You do not believe the Great Spirit has sent me. You shall know. I leave Tuckabatchee directly, and shall go straight to Detroit. When I arrive there, I will stamp on the ground with my foot and shake down every house in Tuckabatchee.” The Creeks counted the days until the one calculated to mark Tecumseh’s return, and on that day— December 16, 1811—the first of the great New Madrid earthquakes struck, destroying all of the houses in Tuckabatchee. Tecumseh’s Prophecy, as it has come to be known, strikes a chord with those inclined to see Spirit and earth as intertwined. But it can also capture the imagination of those who see phenomena such as earthquakes as the exclusive purview of science. What if Tecumseh’s Prophecy was born not of communication with the Great Spirit, but instead of an ability to recognize signs from the earth itself? According to the renowned English geologist Sir Charles Lyell, Native American oral traditions told of devastating earthquakes in the New Madrid region prior to 1811.
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Shulman, Terry Chester. "Desperation." In Film's First Family, 69–76. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178097.003.0009.
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The Costellos slide back into poverty after Maurice parts ways with Vitagraph. They literally starve in the Bayside mansion as film work dries up completely and Maurice goes off on his own to pawn the family assets. The now-teenagedDolores assumes her new place as the family breadwinner, posing for artists like James Montgomery Flagg. In the early twenties, with Maurice getting occasional work in secondary parts, Dolores and Helene arehired byGeorge White’s Scandalsto dance in the chorus line. In Chicago, Dolores is offered a contract by a Warner Brother’s scout and the Costello women leave for Hollywood. They arrive to find acontract has also been drawn up for Helene. After months of stress and uncertainty, Warners picks up the girls’ options and they’re on their way.
Conference papers on the topic "Choral leader"
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Purba, Mauly, and Frida Deliana. "Choral Leader Empowerment in Vocal Management and Basic Vocal Techniques for Church Choir Leaders." In International Conference of Science, Technology, Engineering, Environmental and Ramification Researches. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0010085515061510.
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Kayama, Mizue, Kazunori Itoh, Kazushi Asanuma, Masami Hashimoto, and Makoto Otani. "A Chorus Learning Support System Based on the Tutoring Knowledge of the Chorus Leader." In 2010 IEEE 10th International Conference on Advanced Learning Technologies (ICALT). IEEE, 2010. http://dx.doi.org/10.1109/icalt.2010.10.
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Shaikh, F., W. Shamsi, K. Bibi, and P. P. Patel. "A Valve That Suddenly Leaked- Chordal Rupture from Infective Endocarditis." In American Thoracic Society 2020 International Conference, May 15-20, 2020 - Philadelphia, PA. American Thoracic Society, 2020. http://dx.doi.org/10.1164/ajrccm-conference.2020.201.1_meetingabstracts.a3484.
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Ding, Wei, and S. S. Iyengar. "Bootstrapping Chord over MANETs - All Roads Lead to Rome." In 2007 IEEE Wireless Communications and Networking Conference. IEEE, 2007. http://dx.doi.org/10.1109/wcnc.2007.642.
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Shang, Erbing, Z. Q. Wang, and J. X. Su. "The Experimental Investigations on the Compressor Cascades With Leaned and Curved Blade." In ASME 1993 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1993. http://dx.doi.org/10.1115/93-gt-050.
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This paper presents the results of the experimental investigations on the effects of leaned and curved blade of plane axial compressor cascade. The ink trace method has been used for the surface flow visualization. The five-hole probe measurements are performed at the cascade exit 12.5 percent chord downstream, and the static pressure distributions are measured on the endwalls and blade surfaces.
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Wang, Zhonglin, Yong Chen, Hua Ouyang, and Anjenq Wang. "Numerical Investigation on Wide-Chord Fan Blade Forced Response due to Vortex Ingestion." In ASME Turbo Expo 2018: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/gt2018-76352.
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When a turbofan engine is taxing or taking-off, a vortex can form between ground surface and the intake. As the diameters of engines increase, intakes are closer to the ground and as a result the possibility of vortex ingestion is increasing. The vortex starts from the ground surface and enters the inlet at high rotating speed. It is likely to draw in hard material or dust from the ground, which leads to blade erosion or impact damage. This is harmful to the engine durability and safety. Besides the vortex, inlet flow separation could induce high level of blade vibration, or aerodynamic instability, such as rotating stall. Cross wind may also lead to both vortex and flow distortion, which is more challenging for engine stability. Therefore, vibration characteristics and forced response under vortex ingestion should be evaluated to ensure the stability and safety of the engine in design phase. This paper presents a computational study of the forced response of a wide-chord fan blade under vortex ingestion. A finite element model was built, and modal analysis was conducted to characterize the vibrating characteristics of the fan blade with a corresponding Campbell diagram. Transient simulations of vortex passing over the fan blade were conducted with and without the blade pre-vibration at the natural frequency of the first bending mode. The forced response level was evaluated under various conditions, including different hitting time and increasing intensity of vortex. Results showed that the ingested vortex is able to amplify the displacement and vibratory response to a significant level of 18% at most. Linear relation between vortex intensity and blade response was found. The results give a comprehensive prediction of forced response for a better blade design against vortex ingestion.
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Bhattacharya, Shamik, and Zhaoming He. "Effect of Edge-to-Edge-Repair on Annulus Tension of Prolapsed Mitral Valve." In ASME 2010 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2010. http://dx.doi.org/10.1115/sbc2010-19571.
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The edge-to-edge repair (ETER) technique is a mitral valve (MV) repair procedure. It approximates the leading edges of the mitral leaflets by use of sutures, exhibits promising predictable repair results and offers the advantage of being performed pericutaneously without the need for open heart surgery. The technique is becoming a popular surgical procedure to correct MV prolapse caused by abnormal chordal elongation. MV prolapse leads to mitral regurgitation (MR). Generally the ETER technique is performed as a secondary procedure to ring annuloplasty. Although some groups have performed ETER without the ring annuloplasty, recent studies have shown that ETER technique alone leads to substandard results [1]. It is necessary to define the MV annulus mechanics in ETER condition during valve closure or mid-systole as it directly affects the annulus tension (AT) in the annulus plane. AT in the annulus plane is an important force component which balances the myocardium force and contributes to maintaining the annulus shape and size. This AT change caused by the ETER can lead to annulus dilation, reoccurrence of MR and impact reintervention. The objective of the current study is to understand this AT change in the MV annulus tension during the mid-systole in the ETER condition in order to improve the long term efficacy of the ETER procedure on MV annulus tension, after the technique has been applied with both anterior leaflet prolapse and posterior leaflet prolapse.
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Moser, Patrick, Silvestro Barbarino, and Farhan Gandhi. "Helicopter Rotor Blade Chord Extension Morphing Using a Centrifugally Actuated von-Mises Truss." In ASME 2012 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/smasis2012-8053.
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Previous studies have shown that chord extension morphing over a spanwise section of helicopter rotor blades can reduce main rotor power requirement in stall-dominant flight conditions while at the same time being able to increase the maximum gross weight, altitude, and flight speed capability of the aircraft. This study examines a centrifugally driven, fully passive chord morphing mechanism for helicopter rotor blades. It is based on a von-Mises truss situated aft of the leading-edge spar, connected to a rigid extension plate which deploys through a slit in the trailing-edge. When the rotor RPM increases beyond a critical value the chordwise component of centrifugal (CF) force on the von-Mises truss and plate assembly results in the deployment of the plate beyond the slit in the trailing edge, effectively increasing chord length. On reducing the RPM, a retraction spring pulls the plate back within the confines of the blade. This study presents the design process, iterations and the final design solution for a configuration that undergoes 20% chord extension. A prototype was fabricated and tested on the bench-top as well as on a rotor test stand at rotational speeds simulating 70% full-scale CF loads. The test results demonstrate that the concept works. However, effects such as friction lead to higher force (or RPM) requirements for deployment than predicted by simulation, and are present during retraction as well. The effects are more pronounced in the high CF field in the rotor test.
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Weber, A., W. Steinert, and H. Starken. "Design and Analysis of a High Pitch to Chord Ratio Cascade Representative of Ducted Propfans." In ASME 1991 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1991. http://dx.doi.org/10.1115/91-gt-335.
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Efforts to reduce the specific fuel consumption of a modern aero engine focus in particular on increasing the by-pass ratio beyond the current level of around 5. One concept is the counterrotating shrouded propfan operating at low overall pressure ratio and having only very few fan blades of extremely high pitch/chord ratios. The relative inlet Mach numbers cover a range from 0.7 at the hub to 1.1 at the tip section of the first rotor. A propfan cascade was designed by taking into account two characteristic features of a propfan blade-blade section: • a very high pitch/chord ratio of s/c = 2.25 • an inlet Mach number of M1 = 0.90 which leads to transonic flow conditions inside the blade passage In the design process a profile generator and a quasi-3D Euler solver were used iteratively to optimize the profile Mach number distribution. Boundary layer behavior was checked with an integral boundary layer code. The cascade design was verified experimentally in the transonic cascade wind tunnel of DLR at Cologne. The extensive experimental results confirm the design goal of roughly 5 degree flow turning. A total pressure loss coefficient of less than 1.5% was measured at design conditions. This validates the very high efficiency level the propfan concept is calling for. A 2D Navier-Stokes flow analysis code yields good results in comparison to the experimental ones.
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Gbadebo, Semiu A., Nicholas A. Cumpsty, and Tom P. Hynes. "Interaction of Tip Clearance Flow and Three-Dimensional Separations in Axial Compressors." In ASME Turbo Expo 2006: Power for Land, Sea, and Air. ASMEDC, 2006. http://dx.doi.org/10.1115/gt2006-90071.
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This paper considers the interaction of tip clearance flow with three-dimensional (3D) separations in the corner region of a compressor cascade. Three-dimensional numerical computations were carried out using ten levels of tip clearance, ranging from zero to 2.18% of blade chord. The 3D separations on the blade suction surface were largely removed by the clearance flow for clearance about 0.58% of chord. For this cascade, experimental results at zero and 1.7% chord tip clearance were used to assess the validity of the numerical predictions. The removal mechanism was associated with the suppression of the leading edge horseshoe vortex and the interaction of tip clearance flow with the endwall boundary layer, which develops into a secondary flow as it is drifted towards the blade suction surface. Such interaction leads to the formation of a new 3D separation line on the endwall. The separation line forms the base of a separated stream surface which rolls up into the clearance vortex.