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Relevant bibliographies by topics / Choral rehearsel

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Academic literature on the topic 'Choral rehearsel'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Choral rehearsel"

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Beck, R. J., T. C. Cesario, A. Yousefi, and H. Enamoto. "Choral Singing, Performance Perception, and Immune System Changes in Salivary Immunoglobulin A and Cortisol." Music Perception 18, no. 1 (2000): 87–106. http://dx.doi.org/10.2307/40285902.

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In a naturalistic pre-post design, samples of saliva were collected from the members of a professional chorale during an early rehearsal (n = 31), a late rehearsal (n = 34) and a public performance (n = 32) of Beethoven's Missa Solemnis. As measures of immune system response, mean levels of secretory immunoglobulin A increased significantly, as a proportion of whole protein, 150% during rehearsals and 240% during the performance. Cortisol concentrations decreased significantly an average of 30% during rehearsals and increased 37% during performance. As measured through performance perception rating scales, a group of emotions and other experiential states that singers associated with professional singing were highly predictive of changes in level of secretory immunoglobulin A during the performance condition, but the results for the rehearsal conditions were not significant. The best multiple regression model for performance level of immunoglobulin A (p < .0015) included seven emotional, cognitive, and evaluative variables generally associated with choral singing, including levels of mood before and during singing, stress, relaxation, feeling "high," detachment/engagement, and specific satisfaction with the immediate performance.

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Fredrickson, William E. "Effect of Musical Performance on Perception of Tension in Gustav Hoist's First Suite in E-flat." Journal of Research in Music Education 47, no. 1 (April 1999): 44–52. http://dx.doi.org/10.2307/3345827.

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The purpose of the study was to examine whether musicians who rehearse and perform a musical selection perceive tension in the music differently than do listeners who have not had the performance experience. Students ( n = 32) in a university wind ensemble rehearsed and performed Gustav Hoist's First Suite in E-flat. Within 2 weeks of the performance, participants listened to a recording of the first movement (“Chaconne”) of that performance while registering their perceptions of tension in the music using a Continuous Response Digital Interface (CRDI) dial. Another group of students ( n = 32) from a university choral ensemble performed the same research protocol. Students in a high school band ( n = 60) also rehearsed and performed the selection. Participants listened to the recording of the musical selection, and registered their perceptions of tension, before rehearsals began and following their performance. Analysis indicated that the experience of performing the music did not seem to greatly affect perception of tension as measured in this study.

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Nápoles, Jessica. "Teacher Talk and Perceived Teacher Effectiveness: An Exploratory Study." Update: Applications of Research in Music Education 35, no. 3 (January 8, 2016): 5–10. http://dx.doi.org/10.1177/8755123315626228.

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The purpose of this study was to describe the perceptions of teachers, ensemble members, and outside observers when evaluating the effectiveness of rehearsals conducted with reduced amounts of verbal instruction. Preservice teachers led choral rehearsals employing Archibeque’s “rule of seven,” wherein instructions were delivered in seven words or fewer. Immediately following the teaching session, participants responded to the question: “What was your perception of this assignment and what did you notice about teaching effectiveness?” Outside observers responded to the same prompt. Findings indicated that choral members preferred rehearsals with reduced verbal instruction because they were able to perform more, with fewer interruptions. The preservice teachers favored the opportunity to organize their thoughts and focus instruction, but they expressed frustration with feeling stifled in leading rehearsal. The outside observers approved of the rehearsal pacing but were concerned by the lack of specificity in instruction and feedback.

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Garrett, Matthew L. "An Examination of Critical Thinking Skills in High School Choral Rehearsals." Journal of Research in Music Education 61, no. 3 (August 16, 2013): 303–17. http://dx.doi.org/10.1177/0022429413497219.

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The purpose of this study was to examine the relationship between time spent in nonperformance and critical thinking activities in high school choral rehearsals. Eighteen rehearsal observations were collected from public school music programs. Observed rehearsal behaviors were coded into three categories of nonperformance activity: lower-order thinking, critical thinking, and nonspecific activity. Results indicated that the mean rehearsal time spent in all nonperformance activities was 53.89%, with 45.96% focused on lower-order thinking skills, 6.36% in critical thinking skills, and 1.57% in nonspecific activities, including off-task behavior and silence. A significant positive correlation was found between the amount of time spent in nonperformance activities and time spent engaged in critical thinking skills. No significant correlation was found between the level of ensemble in which students were enrolled and percentage of time spent in activities that required the use of critical thinking skills. Findings suggest that amount of time spent using critical thinking skills in high school choral rehearsals may be influenced by a variety of factors, including rehearsal techniques and learning objectives used by master teachers.

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Davis, Anita P. "Performance Achievement and Analysis of Teaching during Choral Rehearsals." Journal of Research in Music Education 46, no. 4 (December 1998): 496–509. http://dx.doi.org/10.2307/3345346.

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Eighty-three rehearsals and four final performances of two high schools' beginning and advanced choruses were videotaped to identify rehearsal behaviors and to evaluate performance achievement in relation to performance preparation. Teacher academic and social instruction, student nonperformance response, rated (5-point scale) performance response with and without teacher verbal assistance, and teacher feedback were observed. Variables were measured in real time and converted to percentages of rehearsal time. Additionally, frequencies of teaching sequences were identified for each rehearsal. Review of improvements in the quality of performance for each school indicated a similarity in proximity to the final performance between beginning and advanced choruses. Considering this observation, variables were calculated for means between points of achievement. Findings indicate that (a) teachers pace improvement unrelated to ensemble maturity, (b) time spent in teacher verbalization may not relate to performance success, (c) teacher assistance during student practice decreases with student improvement, and (d) instructions decrease with student improvement.

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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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Guelker Cone, Leslie. "The Unaccompanied Choral Rehearsal." Music Educators Journal 85, no. 2 (September 1998): 17–22. http://dx.doi.org/10.2307/3399167.

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Dunn, Dwayne E. "Effect of Rehearsal Hierarchy and Reinforcement on Attention, Achievement, and Attitude of Selected Choirs." Journal of Research in Music Education 45, no. 4 (December 1997): 547–67. http://dx.doi.org/10.2307/3345422.

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A structured rehearsal hierarchy involving a multiple-baseline design, implemented across six rehearsals, was used to measure performance improvement of seven musical concepts, while an experimental design nested within was used to examine the effect of teacher reinforcement on attentiveness, achievement, and attitude in choral ensembles. Two high school choirs (N = 60) received either task presentations, directions, student performance, and reinforcement (n = 31), or identical instruction with no verbal/facial reinforcement (n = 29). Forty choral performances were evaluated by three expert judges, with individual concepts evaluated using 10-point scales and overall performances evaluated using 100-point scales. Results indicated similar performance gains were made for all excerpts, though less instructional time was needed to teach previously learned concepts in new musical contexts. Performance gains made immediately after instruction were maintained despite the addition of new musical concepts. An 11-day period without instruction resulted in a slight ratings decline, but scores recovered to previous levels quickly. Students receiving feedback had higher performance ratings, recorded a more positive attitude toward rehearsal, and were observed off-task a larger percentage of instructional time than students receiving no feedback, with both groups demonstrating lowest off task percentages during group performance activities.

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Demorest, Steven M. "Structuring a Musical Choral Rehearsal." Music Educators Journal 82, no. 4 (January 1996): 25–30. http://dx.doi.org/10.2307/3398913.

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Brunner, David L. "Carefully Crafting the Choral Rehearsal." Music Educators Journal 83, no. 3 (November 1996): 37–39. http://dx.doi.org/10.2307/3398978.

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Dissertations / Theses on the topic "Choral rehearsel"

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Root, Rachel Lorraine. "Choral rehearsal memory techniques /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11251.

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Jenkins, Bonnie L. "Beautiful choral tone quality rehearsal techniques of a director." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4126.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (November 8, 2006) Vita. Includes bibliographical references.

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Petty, Robert Allen. "Evaluation of Procedures to Develop Selected Choral Rehearsal Skills with Undergraduate Choral Methods Students." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384513025.

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Parent, Karen Augusta. "Applying Alexander Technique in the high school choral rehearsal." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31996.

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Developing healthy and coordinated vocal technique in adolescent singers is central to choral pedagogy. A singer's instrument is her body, and researchers of vocal pedagogy have increasingly explored the whole system's coordinated use in singing through bodymind awareness approaches such as Alexander Technique (AT). The purpose of my research was to examine the application of Alexander Technique in a high school choral setting to understand how a process of AT lessons in choral rehearsal may benefit students' vocal skills. Specifically, I investigated students' experiences of posture, breathing, and tone production through this process. I also explored, how students' understanding of Alexander Technique principles evolved over the study period. I employed an instrumental case study method to explore the vocal experiences of students in my senior concert choir for eight rehearsals over a period of six weeks. All 58 students participated in approximately twenty minutes of Alexander Technique instruction at the beginning of each rehearsal during the study period. Eight student respondents wrote weekly journals and four of these respondents participated in semistructured individual interviews at beginning, mid, and end points of the study. I wrote observational notes on each rehearsal and on videotaped rehearsals at the beginning and end of the study. Categorical and descriptive analysis of the data formed the basis of a chronological narrative of the findings for the choir and for two students. Through the process of Alexander Technique lessons in choral rehearsals students reported increased kinesthetic awareness and direction in their head-neck-back relationship, which allowed for a release of straining tensions in their jaw, neck, back, and abdominal areas, increased their breath capacity, and facilitated greater ease in sound production, also increasing their sensations of tonal resonance. Students' experience of benefits seemed to correspond with their level of application and understanding of Alexander principles over the six-week study. Benefits to the choir's posture and sound were most consistently evident in vocal warm-ups. Implications for choral teaching include increasing the recall of kinesthetic awareness during rehearsals and applying Alexander principles throughout the year. Cultivation of student attention to their singing habits through reflective journaling and a choral teacher's development of her own kinesthetic awareness of self-use are also suggested.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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Minut, Bogdan A. "Applying Constantin Stanislavski's acting system to choral rehearsals." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1536752.

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This research explores possible applications in choral rehearsals of techniques, methods, and theories of acting that were established by Russian actor, director, theoretician, and pedagogue Constantin Stanislavski (1863-1938). The parallel between the dramatic art and the art of choral music focuses on the discussion of the Stanislavski ‘system’ as described in detail in his ‘Acting Trilogy’ and other critical literature as well as on the use of psycho-technique by Romanian conductor Marin Constantin (b. 1925) and his Madrigal Choir of Bucharest. The introductory chapter presents the premises of this parallel and the complexity of Stanislavski’s artistic personality, his pivotal role in the history of theater and performing arts. The second chapter reviews existing literature that is pertinent to the topic, explaining all the elements of Stanislavski’s acting theory; this process divides the sources into three categories, namely the body of English translations of Stanislavski’s writings, the authoritative source materials that clarify and confirm the practicality of the ‘system,’ and the references on the use of psycho-technique in choral practice. The third chapter describes possible usage of key artistic elements, principles, and techniques of the acting ‘system’ in choral rehearsals, including concepts such as creative mood, concentration of attention, imagination, given circumstances, ‘magic If,’ inner motive forces, action (as in singing and conducting gestures), units (bits) and objectives (tasks), relaxation of muscles, ensemble work, communion, emotion memory, tempo-rhythm, active analysis, through line of action, and super-objective. The fourth chapter explores concrete applications of psycho-technical elements made by this researcher in a practical study with two student ensembles. Limitations and special circumstances about this collaboration are indicated. The rehearsal process is described in detail and focuses on the work on three choral pieces, namely Kasar mie la gaji by Venezuelan composer Alberto Grau (b. 1937), If Music Be the Food of Love by David C. Dickau (b. 1953), and There Will Be Rest by Franck Ticheli (b. 1958) on a poem by Sara Teasdale (1884-1933). The findings of this research, summarized in the final chapter, reflect not only the possibility of using elements of the Stanislavski ‘system’ of acting in choral rehearsals, but also the necessity to employ psycho-technique in choral practice; the results also recommend further applications of the ‘system’ in areas of formation of individual choristers as true artists, of building ensemble unity of expression of emotions, and of developing an effective and meaningful vocabulary of conducting gestures.
School of Music

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Banta, Courtney M. "THE PROCESS OF TEACHING VOCAL TECHNIQUES IN THE CHORAL REHEARSAL." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1335829757.

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Grimland, Fredna H. "Characteristics of teacher directed modeling evidenced in the practices of three experienced high school choral directors." Thesis, connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/grimland%5Ffredna/index.htm.

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

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

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

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

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Stevens, Harvey Morris. "A teacher/action research study of student reflective thinking in the choral music rehearsal /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008454.

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Books on the topic "Choral rehearsel"

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Tarik, O'Regan, ed. Evoking sound: The choral rehearsal. Chicago: GIA Publications, 2007.

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Willetts, Sandra. Beyond the downbeat: Choral rehearsal skills and techniques. Nashville: Abingdon Press, 2000.

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Gordon, Lewis. Choral director's rehearsal and performance guide. West Nyack, N.Y: Parker Pub. Co., 1989.

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Noble, Robert. The choral workbook series, evaluation copy. Struthers, OH (P.O. Box 161): Bob Noble, 1995.

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The use of the international phonetic alphabet in the choral rehearsal. Lanham, Md: Scarecrow Press, 2012.

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Matthew, Mehaffey, ed. Choral ensemble intonation: Method, procedures & exercises. Chicago: GIA Publications, 2001.

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Jothen, Michael Jon. Master strategies for choir: Ready-to-use resource material for the choir rehearsal. Milwaukee, WI: Hal Leonard, 2005.

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Telfer, Nancy. Singing high pitches with ease: Strategies & solutions for conductors, conductors-in-training & voice teachers. San Diego, Calif: Kjos Music Press, 2003.

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Emmons, Shirlee. Prescriptions for choral excellence: Tone, text, dynamic leadership. Oxford: Oxford University Press, 2006.

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Constance, Chase, ed. Prescriptions for choral excellence: Tone, text, dynamic leadership. New York: Oxford University Press, 2005.

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Book chapters on the topic "Choral rehearsel"

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Labuta, Joseph A., and Wendy K. Matthews. "The Choral Rehearsal." In Basic Conducting Techniques, 94–101. Seventh edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315621593-15.

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Rosenbaum, Harold. "Running Rehearsals." In A Practical Guide to Choral Conducting, 34–37. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315164281-7.

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"THE CHORAL REHEARSAL,." In Basic Conducting Techniques, 112–18. Routledge, 2015. http://dx.doi.org/10.4324/9781315664743-21.

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Paul, Sharon J. "Score Study—Look at Your Fish!" In Art & Science in the Choral Rehearsal, 169–90. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.003.0009.

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This chapter explores various methods for thoroughly learning a score. Although not the focal point of this book, having a well-prepared score before stepping onto the podium will provide better opportunities to design engaging and productive rehearsals. Each broad category of score study (such as text, time, architecture, harmony, etc.) includes sample brain-compatible rehearsal strategies. The chapter concludes with a consideration of frequently asked questions regarding how best to prepare a score for rehearsals and performance. Topics include methods for marking a score, how much or how little to listen to recordings, use of the International Phonetic Alphabet, and how to introduce a new score to your ensemble.

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Paul, Sharon J. "Fooling Father Time." In Art & Science in the Choral Rehearsal, 27–50. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.003.0002.

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This chapter discusses varied methods for achieving what psychologist Mihaly Csikszentmihalyi calls “flow,” the feeling that all members of a team are working smoothly and effectively together. In order to achieve flow in rehearsal, instructions must be delivered clearly and efficiently. Based on music education research and the author’s many years of experience, this chapter examines the mechanics of giving short and cogent instructions. It further explores lessons from thin-slicing research about the importance of one’s tone of voice when delivering instructions and the impact of non-verbal behaviors. Conductors can benefit from research on interleaving, which involves taking advantage of spaced practice and the mixing of learning activities when structuring rehearsals. The chapter further examines how rehearsal efficiency will increase when conductors understand the primacy/recency effect, the phenomenon that people remember best what happens first in a learning episode, and they remember second best what happens last.

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Paul, Sharon J. "It’s All in Your Mind." In Art & Science in the Choral Rehearsal, 141–56. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.003.0007.

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This chapter explores strategies to maintain student focus in a world of ever-shrinking attention spans. The author examines the use of mindfulness as a rehearsal tool both to encourage sharpened attention, and to reenergize a lagging rehearsal. The chapter looks at research that supports mindfulness as a significant strategy to improve focus and skillfully deal with distractions, which can thereby yield benefits to rehearsal engagement and enjoyment. This chapter also explores the importance of maintaining a positive atmosphere in rehearsal, and ways educators can avoid unintentionally creating an environment of learned helplessness, the situation where students’ repeated, perceived failures discourage future efforts. It discusses how maintaining a high level of focus, positivity, and creative flow in rehearsal will more likely result in concert performances that reflect these qualities as well.

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Paul, Sharon J. "Problem Solving." In Art & Science in the Choral Rehearsal, 1–26. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.003.0001.

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This chapter examines how to design rehearsal strategies that take advantage of the brain’s natural tendency to learn efficiently through problem solving. After a brief discussion of the science of learning, this chapter offers pragmatic exercises and ideas to increase singer engagement through the embedding of problem solving throughout the rehearsal process. Areas explored include how to begin rehearsal with a problem to solve, encouraging autonomous decision-making from your singers, experimentation with tuning forks, and teaching your students to self-monitor. It also looks at ways to allow for singer analysis and experimentation, create provisions for follow up, incorporate reflective exercises, use the Socratic method, and utilize collaborative problem-solving techniques in rehearsal.

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"REHEARSAL PLANNING FOR MIDDLE SCHOOL CHOIRS." In Becoming a Choral Music Teacher, 92–109. Routledge, 2010. http://dx.doi.org/10.4324/9780203868423-11.

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Paul, Sharon J. "The Write Choice." In Art & Science in the Choral Rehearsal, 157–68. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.003.0008.

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This chapter examines the use of writing as a tool for learning and retention in the choral rehearsal. Writing ensures a level of participation in analytical exercises not guaranteed during discussions, where students can easily disengage without notice. This chapter also notes the opportunity that writing can afford to the more introverted students, or those less likely to speak up to share their insights. The author suggests numerous ways to incorporate writing into various points of a rehearsal, such as during the opening minutes, at midway points, as exit cards at the conclusion, those occasions when singers need to sit out, or as journal entries written during or outside of rehearsal. No matter the type of writing activity, whether reflective, predictive, analytical, or summative, the chapter investigates exercises that keep students mentally engaged, encouraging creative and active participation in rehearsal.

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Paul, Sharon J. "Yearn for the Sea." In Art & Science in the Choral Rehearsal, 201–8. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.003.0011.

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This chapter concludes the book with a range of advice and reminders for the conductor/educator. These recommendations include guidance about professional behavior, how to cultivate a growth mindset, effective approaches to taking over a choral program from a colleague, and the imperative to reach out for professional support and assistance when necessary. The author examines the importance for conductors to reconnect daily with the passion that first drew them to their chosen field. Finally, the chapter draws inspiration from a letter written by a fifteen-year-old who credits acquiring the joy of discovery in all learning through her experiences as a choral musician.

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Reports on the topic "Choral rehearsel"

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

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

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