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Books on the topic 'Choral rehearsel'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

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

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2

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

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3

Gordon, Lewis. Choral director's rehearsal and performance guide. Parker Pub. Co., 1989.

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4

Noble, Robert. The choral workbook series, evaluation copy. Bob Noble, 1995.

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Evoking sound: Fundamentals of choral conducting and rehearsing. GIA Publications, 1996.

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12

Aylen, Sarah. An investigation into the use of movement as a teaching strategy in the choral rehearsal. [University of Surrey], 1998.

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13

1922-, Noble Weston, ed. Building beautiful voices: A concise, yet comprehensive study of vocal technique for the choral rehearsal or private instruction. R. Dean, 1995.

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14

Evoking sound: The choral conductor's aural tutor : training the ear to diagnose vocal problems. GIA Publications, 2006.

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15

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 kn

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16

Cottrell, Duane. Vocal Pedagogy in the Choral Rehearsal. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.27.

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One of the primary endeavors of choral conductors is the facilitation of good choral tone, which is largely dependent upon the vocal technique of the individual singers. This chapter examines principles of historical vocal pedagogy, discussing their correlation with modern scientific research, and present suggestions for practical implementation of specific techniques in choral rehearsals. The chapter discusses four primary areas of vocal pedagogy in choral rehearsals: first, the significance of laryngeal position in choral singing; second, principles of resonance in singing and their impact o

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17

Demorest, Steven M. Building Choral Excellence: Teaching Sight-Singing in the Choral Rehearsal. Oxford University Press, USA, 2003.

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18

Demorest, Steven M. Building Choral Excellence: Teaching Sight-Singing in the Choral Rehearsal. Oxford University Press, USA, 2001.

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19

Head, Paul D. The Choral Experience. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.3.

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Much has changed in the choral rehearsal room over the past two generations, particularly in regard to the role the choral conductor assumes—or commands—in the rehearsal process. This chapter discusses the ever-evolving stereotypical roles of the conductor, while examining alternatives to traditional leadership models with particular emphasis on the encouragement of student engagement and peer-based learning. In addition to the facilitation of collaborative learning exercises, the chapter outlines a specific process of written interaction with the choral ensemble. This section is inspired by t

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20

Carrington, Simon, and Jason Vodicka. Professional Adult Choirs. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.22.

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This chapter provides an overview of the history of professional choruses and offers insight into the structure, choral pedagogy, history of choral music, and current state of professional choral ensembles in the United States. The authors first provide an historical overview of the professional choir, demonstrating that professional choral choruses have been a staple of Western society since the medieval era. They then report on the limited body of research dealing with the rehearsal pedagogy of professional ensembles. Data were gleaned from scholarly publications and from information provide

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21

Paul, Sharon J. Art and Science in the Choral Rehearsal. Oxford University Press, Incorporated, 2020.

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22

Paul, Sharon J. Art and Science in the Choral Rehearsal. Oxford University Press, Incorporated, 2020.

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23

Wolfe-Hill, Nana. Collaboration and Meaning Making in the Women’s Choral Rehearsal. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.10.

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This chapter gives examples of collaborative choral methods that impact female singers positively and holistically as individuals and musicians. A brief overview of the inception and facets of feminist pedagogy reveal its potential influence on singers and lays the groundwork for a qualitative research study of a collegiate women’s choir led by a conductor who has adopted the values of feminist pedagogy. The case study illustrates ways in which feminist pedagogy can be implemented in the choral rehearsal through collaborative methods that give singers the opportunity to make their own decision

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24

Abrahams, Frank, and Daniel Abrahams. Choral Pedagogy and the Construction of Meaning. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.11.

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In this chapter, the authors focus on pedagogies, such as the theories of Lev Vygotsky and the active learning concepts of John Dewey, that contribute to the making of meaning, and the acquisition of meaningfulness by proposing a sociotransformative approach to choral pedagogy in the teaching of the expert chorister. Based on constructivist learning theories, and applying reciprocal teaching, this perspective centers on the conductor’s influence as they design opportunities for dialogic conversation, authentic activity, metacognition, and reflexivity. When skillfully integrated into the fabric

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25

Jordan, James, and Matthew Mehaffey. Choral Ensemble Intonation. GIA Publications, 2001.

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26

Warner, David L. An investigation of patterns of motivation in rehearsal construction of selected high school choral conductors. s.n.], 1986.

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27

Lakschevitz, Eduardo. Conducting Corporate Choirs in Brazil. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.14.

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Corporate choirs represent a large part of choral music-making in Brazil. Many Brazilian companies hire choral directors to develop group singing activities with their employees, thanks in part to the recent Music Education Bill. These directors face very particular challenges that are rarely considered in their training at colleges and universities. Nonetheless, they are a significant part of the work of choral directors in Brazil. Leading a peripheral activity in relation to the company’s core business, lack of rehearsal time, volunteer singer participation, inappropriate physical conditions

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28

Abrahams, Frank. Critical Pedagogy as Choral Pedagogy. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.1.

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In this chapter, the author suggests that choral directors use the tenets of critical pedagogy as the framework for the choral experience, a shift in traditional choral pedagogies. The chapter explores the roots of critical pedagogy. In particular it discusses the ways an approach grounded in critical pedagogy might remedy issues of the inappropriate uses of power, the marginalization of singers, and hegemonic practices in school politics. The text suggests rehearsal strategies and explains techniques of reciprocal teaching to better connect the ways singers engage with music and in the proces

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29

Goetze, Mary. Repertoire as Pedagogy. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.18.

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Including music from a wide range of cultures calls for choral directors to rethink the common practices employed in most choral rehearsals, and to open themselves to a world of new procedures within rehearsals and performances. Since few directors are also ethnomusicologists, these new practices may also impact the role the director plays in the rehearsals. This chapter challenges directors to define their reasons for including vocal music from outside the western art tradition. Directors should consider alternative processes for finding repertory, presenting it to the ensemble, and sharing i

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30

Harrison, Scott, and Anthony Young. 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/9780199373369.013.8.

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The chapter speaks to the creation of an encouraging environment in which singing is considered a natural part of male identity. The chapter begins by problematizing the issue of boys’ identity, and addresses some of the concerns raised in the literature and recent research regarding a reluctance of males to sing in the choral setting. After a brief overview of the physiological aspects of changing voice, the chapter moves to discuss the practical considerations. The chapter reflects on practitioners and scholars that have had positive experiences of singing, and issues are systematically addr

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31

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.

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32

Hibbard, Therees Tkach. The use of movement as an instructional technique in choral rehearsals. 2002.

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33

Singing High Pitches With Ease. Neil A. Kjos Music Company, 2003.

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34

Bjella, Richard. The Art of Successful Programming. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.16.

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It seems that many concert programs are presented without enough concern for the overall flow, purpose, and direction of the choral performance itself. Often, many wonderful selections are included, but rarely do they truly work together in tandem or with enough significant diversity and color changes to warrant the audiences complete attention. Several unique models for programming at all levels are discussed. Questions are raised concerning choral programming tendencies (from Psalm choral settings to mixed meter music to Carmina Burana) and how the building of varied repertoires and unorthod

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35

Abrahams, Frank, Anthony Rafaniello, Jason Vodicka, David Westawski, and John Wilson. Going Green. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.4.

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This chapter describes a collaborative project that studied the applications of Lucy Green’s informal music learning curriculum within the context of high school choral ensembles. For a 12-week period, the conductors of four high school choirs charged students in small groups to copy a Christmas carol of their choice from a recording or to create a new arrangement inspired by the recording without intervention from their conductor. They would perform those carols at a public concert during the December holiday season. The overarching research question addressed the efficacy of informal learnin

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36

Crowther, Duanes. Teaching Choral Concepts: Simple Lesson Plans And Teaching AIDS for In-rehearsal Choir Instruction. Horizon Pub & Dist Inc, 1993.

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37

Cottrell, Stephen. The creative work of large ensembles. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0013.

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Preparing large ensembles for performance involves musical, social, logistical and financial challenges of a kind seldom encountered in other forms of collective music-making. The conventional approach to meeting the challenges that arise during rehearsal is to appoint a single musical overseer, usually a conductor, whose ostensible role in musical preparation is to directly influence the musicians while working towards the creation of a musical product to be delivered in later performances. Rehearsal leadership, viewed from this perspective, moves predominantly in one direction, from conducto

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38

Malone, Thomas. “Singer’s Music”. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.27.

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With a turbulent musical fabric of open and parallel fifths, high-decibel vocal production, and a grassroots DIY organizational structure, Sacred Harp singing has been described variously as “Gregorian Chant meets Bluegrass” and “Punk Rock Choral Music.” With historical roots in rural singing schools of New England and the American South, singing from The Sacred Harp tunebook remains a living, growing, and vital musical multinational subculture that operates without auditions, rehearsals, or performances. This chapter discusses participatory and social factors of music outside the presentation

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39

Gumm, Alan. Making More Sense of How to Sing: Multisensory Techniques for Voice Lessons and Choir Rehearsals. Meredith Music, 2009.

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40

Wis, Ramona M. Gesture and body movement as physical metaphor to facilitate learning and to enhance musical experience in the choral rehearsal. 2002.

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