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Dissertations / Theses on the topic 'Choral rehearsel'
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1
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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Zrust, Adam Charles. "A Descriptive Analysis of Concurrent Instruction in Secondary Choral Rehearsals." Thesis, The Florida State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10282805.
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Although many teachers use concurrent instructional strategies, little is known about how or when they function in rehearsal, or how frequently they are employed. The purpose of the present study was to examine pitched and unpitched concurrent instructional behaviors as they occurred naturally in secondary choral rehearsals over time. Three master teachers (two male, one female) with at least 10, 20, and 30 years of teaching experience, respectively, recorded their rehearsals over the course of approximately six weeks, from the introduction of a new piece of literature, through the point in time when it is deemed “performance-ready” by the director. Data were recorded, on average, twice per week, in the form 15–20 minutes of audio footage, and sent to the researcher for analysis. Results indicate that mean concurrent instruction was present for 25.88% of a given rehearsal. The most frequently used pitched behavior was singing and the most frequently used unpitched behavior was the academic hustle. Potential implications for music education practitioners and directions for future research are discussed.
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Fiocca, Pamela Dayle Hopton. "A descriptive analysis of the rehearsal behaviors of selected exemplary junior high and middle school choir directors." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1332880693.
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Fuchs, Michael C. "A Conductor’s Guide to the Incorporation of Bel Canto Methodology in the Choral Rehearsal." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396530409.
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Rohwer, Mark Edward. "Talking within music : an ethnographic study of choral instruction, verbal interactions and the resulting ensemble sounds within a high school choral rehearsal /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487947501133792.
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Clarke, Steven Douglas. "Eph Ehly, all-state choir conductor : a video presentation of his philosophy and rehearsal techniques." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063298.
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Dr. Eph Ehly is one of the most sought after choral conductors in the United States today. Ehly has conducted over seventy All-State choirs. However, no previous source outlines the fundamental principles of his philosophy and rehearsal techniques.This study was designed to capsulize Ehly's contributions. The writer produced a videotape entitled, "Eph Ehly: A Source of True Inspiration." This video captures Dr. Ehly's philosophy regarding the All-State choir experience and demonstrates his rehearsal techniques. The author attended three All-State festivals where Ehly was the guest conductor (Indiana, New York, and Oklahoma). The video contains rehearsals and performances and videotaped interviews with Dr. Ehly.The cornerstone of Ehly's approach is this: using music to express. There are three components to Ehly's philosophy: 1) the physical component, 2) the emotional component, and 3) the spiritual component. The writer identified four forms of the physical component: 1) handshake, 2) hug, 3) clapping, and 4) other spontaneous physical gestures. The writer identified eight aspects of the emotional component: 1) expressivity, 2) sensitivity to the world, themselves, and their own emotions, 3) sympathy, 4) reality of emotions, 5) creating mood, 6) building ensemble, 7) music as a reflection of life, and 8) awareness of a "sixth sense." In describing the spiritual component, two divisions were identified: 1) the development of character, and 2) reaching a level of spirit-awareness.The study also summarizes Ehly's rehearsal techniques by outlining his idiosyncratic approach to the treatment of traditional musical elements. The video presentation highlights nine technical concerns and demonstrates Ehly's approach to these common problems. The areas addressed are: 1) tone quality, 2) diction, 3) rhythm, 4) dynamics, 5) phrasing, 6) articulation, 7) breathing, 8) vowel modification, and 9) vibrato. The videotape is supported by a written document containing background information, a script of the video, a summary by the author, a representative list of programs from AllState choirs conducted by Dr. Ehly, and transcripts of the interviews with Dr. Ehly. Church musicians, professional conductors, educators, and students of conducting can all benefit from the opportunity to view and evaluate Ehly's approach.School of Music
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Pan, Yu-Wen. "Analysis and rehearsal strategies for selected renaissance choral music suitable for secondary school mixed choirs." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228838498.
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Parker, Donald. "The Effect of Metaphoric-Image, Motion, and a Dual Modality Approach on the Perception of Vocal Tone." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12964.
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The use of imagery and movement to affect vocal tone has long been a part of choral pedagogy. These often used, yet little explored tools, are employed by choral directors on all levels. The present study sought to determine if the use of imagery, metaphor, motion, and a combination of the three, as pedagogic tools to affect vocal tone, could be perceived by outline listeners. Three singers - an untrained singer, an undergraduate in choral music education, and a graduate student in vocal performance - were asked to perform a melody under a control and three research conditions: metaphoric-image, motion, and dual modality (a combination of metaphoric-image and motion). Participants were randomly assigned to listen to one of the three singers. Participants were asked to rate each condition on tone color, tension, and preference and were directed to ascribe a color to the tone they heard for each condition.
Results indicated that respondents could indeed perceive a difference in tone over the different conditions. For the metaphoric-image condition, the singers were asked to "sing the line as if it were yellow." Overall, respondents rated this tone brighter than any others across singers and conditions. The majority of respondents also ascribed the color yellow to the metaphoric-image tone across singers and conditions. Overall data indicated that respondents rated the dual modality condition as darkest and most relaxed while the metaphoric-image condition was rated as brightest and most tense. These results were consistent with the expected pedagogic intent of the conditions as well as the researcher's hypothesis. A chi-square test performed on the color ascription data revealed statistical significance in the expectation of response. The data seem to indicate that specific color ascription to vocal tone is consistent across respondents and conditions.
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Black, Mary Teresa. ""Let the music dance!" : the functions and effects of verbal imagery in choral rehearsals." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/13121/.
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The main aim of the research was to determine the context and efficacy of verbal imagery in choral rehearsals. It sought to establish the types of imagery used and whether and how they were understood by singers. The research aimed to define the relationship between imagery and the other rehearsal strategies directors employ. The intention of the research was to establish what role imagery plays in choral directing pedagogy and what implications this has for choral directors’ practice. The investigation was completed over five years and adopted a multi-method approach, using videoed observations, questionnaires and interviews; twenty-one directors and 332 choir members across 15 choirs contributed to the research. Interpretative Phenomenological Analysis (IPA) was the most appropriate analytical approach for this research as it is concerned with how participants make sense of their experiences. The sung responses to imagery were examined in their rehearsal context. The research identified five types of imagery in choral rehearsals: simple, multiple, themed, negative and stock images. It also determined nine functions and effects of imagery: • Imagery is used to transmit clear objectives • Imagery is used effectively to achieve objectives • Imagery is used to change thinking • Imagery is used to create multiple-effects • Imagery is used as a mnemonic • Imagery is used to save rehearsal time • Imagery can replace technical terminology • Imagery is used to illustrate the text • Imagery is associated with a specified musical phrase. Imagery is influential in developing singers’ understanding of the concepts involved in choral singing and in enabling singers to create and modify vocal sounds in response to their director’s requests. Choral directors can employ these findings to inform their thinking and practice, combining imagery with other rehearsal techniques in the knowledge that it is a useful and effective strategy.
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Van, Zyl Lionel. "A critical investigation of the effectiveness of warm-ups as technical exercises for the improvement of choral tone : a case study of the Eastern Cape Children's Choir." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/634.
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This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.
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Derby, Sandra Elizabeth 1960. "Rehearsal of repertoire in elementary, middle, and high school choirs : how teachers effect change in student performance /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008313.
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MacNay, Regan Arlene. "A CHORAL CONDUCTOR’S APPROACH TO CHRISTOPHER THEOFANIDIS’S THE HERE AND NOW." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/124.
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American composer Christopher Theofanidis’s choral-orchestral work The Here and Now (2005) is a setting of Jalal ad-Din Rumi’s thirteenth-century poetry as translated by Coleman Barks. Theofanidis employs a cappella sonic contrasts, silence, rhythmic text setting, and a libretto based on fragments of Rumi’s poems to tell a story about the search for love, longing, joy, and gratitude. While rooted in traditional Western composition methods, this twenty-first-century work uses musical elements like color chords (bichords), cluster chords, changing meters, and modality, as well as imitative polyphony and unifying motifs within a new, tonal American aesthetic espoused by the Atlanta School of Composers, of which Theofanidis is a founding member. This DMA project presents warmups, rehearsal strategies, and teaching methods to guide the choir and conductor through the challenges of rhythmic text setting and dense harmonic language so that learning and performing The Here and Now is a rewarding endeavor.
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Lopes, Paulo. "Estudo do desenvolvimento da escuta melódica de adultos integrados a coros vocacionais." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-19082015-145539/.
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O objetivo principal deste trabalho é estudar os processos de desenvolvimento da escuta melódica de adultos, sem formação musical, integrados a coros vocacionais, com o intuito de poder melhorar a performance vocal do grupo. Tendo como objeto o processo de formação do Coral Oficina Comunicantus, grupo integrado ao Comunicantus: Laboratório Coral do Departamento de Música da Escola de Comunicações e Artes da Universidade de São Paulo. Nosso método de coleta de dados foi baseado nas observações dos ensaios e nas análises das avaliações (relatórios) feitas pelos monitores integrados ao Comunicantus: Laboratório Coral, através dos quais procuramos vislumbrar as necessidades de aprendizagem dos coralistas do coro supracitado. Por se tratar de uma pesquisa ora de observação ora interativa, atuamos combinando tais ações e orientando o desenvolvimento das habilidades inerentes à escuta melódica em aspectos pré-definidos. Durante o processo investigativo, utilizamos como método referencial de análise, dos conteúdos musicais, os trabalhos do Prof. Dr. Marco Antonio da Silva Ramos e do Prof. Paulo Rubens Morais Costa e, por outro lado, a produção bibliográfica de educadores como César Coll e Teresa Mauri, que atuaram na reforma escolar espanhola, de forma a subsidiar nossas escolhas pedagógicas e didáticas para atuar junto aos coralistas. Como resultado desse processo, pudemos desenvolver algumas atividades que contribuíram para a resolução de certas necessidades de aprendizagem momentâneas deste grupo e também suscitaram a criação de outras que foram utilizadas oportunamente, após o término do prazo definido de observação e interação a que este trabalho se refere.This dissertation aims mainly at studying the processes of development of melodic hearing by adults who do not have any musical formation and yet join vocational choirs in order to improve the vocal performance of the group. Its object is the process of formation of the Educational Lab-Choir Comunicantus, which belongs to the Comunicantus Choral Office of the Department of Music of the School of Communication and Arts of the University of São Paulo. The method of data collection was based on rehearsal observations and on the analysis of evaluations (reports) made by student trainees integrated in the Comunicantus Choir Office, through which we trie to identify the gaps in learning of the choir singers. As the research is partly made up of observations and partly interactive, action was taken so as to combine these actions and give advice on the development of skills innate to melodic hearing in predefined aspects. Along the process of investigation, the Referencial de Análises of the musical contents by Professor D. Marco Antonio da Silva Ramos and Professor Paulo Rubens Morais Costa were used as a method. On the other hand, the works by educators as César Coll and Teresa Mauri, who worked in the Spanish school reform, were used to provide pedagogical and didactic choices for us to act with the choral singers. As a result of this process, some activities were developed that contributed to offer solution to some specific learning needs of this group and also made possible the creation of others that were used, whenever suitable, after the period of observation and interaction.
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Rolsten, Kathy K. "The Performance Production Process of an Outstanding High School Choir." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3321.
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Despite the interest in and importance of producing high quality choral performance, the question "How is superior performance produced?" has not been addressed in a holistic and naturalistic way. A synthesis of previous research findings suggests that a combination of actions, interactions, relationships, and conditions produce superior choral performance. Yet a holistic examination of this multi-faceted production process has not been conducted. In order to identify all factors contributing to the production of superior performance and how these factors work together, I comprehensively examined an extreme case of superior performance. This extreme case of superior performance was one high school, mixed choir who had performed at a national ACDA convention on three different occasions. This choir had consistently earned state superior ratings and top awards in many competitions. Through grounded theory analysis of over 34 hours of interview data, three and one-half days of observation, examination of material culture and field notes, and analysis of survey data, I purposed to discover how this choir produced superior performance.
Results of my study indicated that a combination of choral performers' beliefs, values, characteristics, actions, and interactions produced superior performance. As the core explanation of the production of superior performance, the common beliefs and values of the director and his singers promoted and activated actions and interactions that produced superior performance. Choral performers (i.e., director and singers) strongly believed in and valued hard work, diligence, excellence, success, caring, responsibility, and the music. These beliefs and values powerfully determined their identity and the quality of their performance. The director's motivational strategies and expert technical pedagogy also provided explanation for how the choir produced superior performance. The director's musicianship and musical pedagogy powerfully motivated singers. The director's musicianship inspired singers to increasingly greater performance heights. Singers' love for the music and their convictions for producing aesthetically, expressive performance, grew as they learned about and experienced the intermingling of musical and textual devices. Of lesser importance to the production of superior performance was the director's expert technical pedagogy. Through technical pedagogy, singers learned to perform with precision. Through the director's motivational strategies, musicianship, and musical and technical pedagogy, singers learned the actions and interactions necessary for the production of superior performance. Performers' beliefs and values interacting with the motivational strategies of the director propelled singers into achieving these actions and interactions and determined the intensity with which they performed.
The results of this investigation suggest examination into the effects of motivation, musicianship, and musical pedagogy on large ensemble performance quality. Results also suggest the need for investigation into the choral performers' beliefs and values and how they may impact the rehearsal and the quality of performance.
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Wolff, Unita Liberta. "Choral unit standards and support material for primary schools in South Africa." Thesis, 2002. http://hdl.handle.net/2263/30171.
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Lebas, Leonardo C. Schubert Franz. "Choral, orchestral, and choral-orchestral rehearsal techniques to optimize choral-orchestral renditions." 2009. http://proquest.umi.com/pqdweb?did=1828669011&sid=1&Fmt=2&clientId=14215&RQT=309&VName=PQD.
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Thesis (D.M.A.)--University of Nebraska-Lincoln, 2009.Title from title screen (site viewed July 8, 2010). PDF text: iv, 92 p. : music ; 754 K. UMI publication number: AAT 3365843. Includes bibliographical references. Also available in microfilm and microfiche formats.
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Knight, Gerald Roderick Fenton Kevin A. "The music philosophies, choral concepts, and rehearsal practices of two African-American choral conductors." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-07172006-160556/.
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Dissertation (PhD) Florida State University, 2006.Advisor: Kevin Fenton, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-2-07). Document formatted into pages; contains 175 pages. Includes biographical sketch. Includes bibliographical references.
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Lin, Pei-chi, and 林培琦. "Musical Analysis and Choral Rehearsal Suggestions in Mendelssohn''s 12 Duets." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/90042643349999673278.
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碩士國立中山大學
音樂學系研究所
94
Felix Mendelssohn (1809-47) was one of the most important composers in the early Romantic period. He composed in many different genres of music. His art songs, compared with other types of his musical works, are numerous but not well known. This large production of art songs was due to his personal interest and his taste in literature and the arts, which were cultivated in the family environment as he grew up. Mendelssohn’s art songs have all the characteristics of a typical art song of that time, such as simple strophic form, sweet melody, beautiful harmony, and close relationship between piano and voice. Mendelssohn has composed approximately 130-140 art songs, among which twelve pieces are duets. These duets were composed during the years of 1836-47, which is considered the mature period of Mendelssohn. These duet songs are collected in Op.63, Op.77, and WoO.11; however, they are all independent from each other. They share the many desirable qualities with the solo art songs. They have elegant lyrics, lovely fresh melodies and tasteful harmony, and clear and compact form. For the purpose of a choral educator, they can be treated as two-part choral songs to good advantage. This thesis is organized as follows. The first chapter is an introduction. The second chapter provides background information on Mendelssohn’s life along with his art song style. The third chapter is the musical analysis of these twelve duet songs. Chapter Four, the main focus of this thesis, discusses the applicability of these duets to the choral performance. It includes four sections—German diction, voice training, music interpretation, and conducting suggestions. The fifth chapter draws a conclusion for the thesis. An appendix is prepared for the lyric translation and pronunciation guide of these twelve duets, which is expected to assist Taiwanese choral educators to easily realize the meaning of the lyrics and their standard German pronunciation.
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Arthur, Judy Russell Bowers Judy. "Experienced teachers use of time in choral rehearsals of beginning and advanced choirs." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-02062009-151900/.
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Thesis (Ph. D.) -- Florida State University, 2003.Document formatted into pages; contains 204 pages. Advisor: Judy K. Bowers, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-19-03). Includes biographical sketch. Includes bibliographical references.
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Van, der Sandt Johannes Theodorus. "Towards a curriculum for training undergraduate choral conducting students in South Africa." Thesis, 2013. http://hdl.handle.net/2263/31574.
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It is a feature of present-day schooling, in South Africa and abroad, that music teachers are expected to organise and direct vocal ensemble activities, for example, yet adequate preparation provided in higher education courses for this role that the school music teacher has to fulfil, seems lacking. The purpose of this study is to compile a knowledge base that will enable the planning and development of a choral conducting curriculum, for use in South African tertiary institutions. The curriculum should be aimed at aspirant teachers in primary and secondary schools and community leaders who are culturally aware and who have a responsibility and interest in the choral field. Choral conducting as a recognised subject of an undergraduate study package is a relatively new academic field in South Africa. The envisaged curriculum needs to enhance the proficiency of choral conducting students within an educational context. The thesis is presented in five chapters of which Chapter 1 represents the background to the study, Chapter 5 summarises the study with recommendations and a conclusion, whilst Chapters 2 – 4 constitute the greater part of the research. Chapter 2 – Towards a definition of an effective conductor, offers a perspective on the various roles of conductors and investigates the nature of the art of choral conducting in order to move towards a definition of an effective conductor. In Chapter 3 – Current choral conducting curricula, the present situation with regards to choral conducting curricula in Australia, Austria, Canada, Czech Republic, Estonia, Finland, Germany, Hungary, Norway, Philippines, Russia, Slovenia, South Africa, Sweden, the Netherlands, the United Kingdom and the United States of America is discussed. Chapter 4 – Choral conducting skills, examines the knowledge and skills that ought to be part of a choral conductor's proficiency. The meaning of each component and its characteristics are discussed. The primary method of research was the review of literature in order to acquire an in-depth understanding of the theme under investigation. The researcher also used the Internet as source of information on national and international choral conducting curricula.Dissertation (DMus)--University of Pretoria
Music
unrestricted
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Chang, Naiching, and 張乃菁. "The Effective Use of Cox’s Organizational Structures and Strategies in Choral Rehearsal: An Action Research on Elementary Choir." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/80939593248653876796.
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碩士國立屏東教育大學
音樂學系碩士班
101
This study aimed to explore the effective use of organizational structures and strategies for choral rehearsal on elementary school choir through action research. Subjects are 45 to 47 elementary school students participated in a choir from 2011 to 2012. Research instruments include documentations, audio-visual recordings of students’ practice sessions, video recordings of students’ interviews, observation notes, checklists and teacher’s reflection journals. The data was triangulated through the interviews with students, the researchers’ reflection journals and also the observer’s notes. The research findings are as follows: 1. Effective Structures used in choral rehearsals (1) The rehearsal Structure A to be more effective in the first stage (8 weeks) of rehearsal process while students are not yet familiar with the music. (2) The rehearsal Structure C to be more effective on the intensive rehearsal stage right before the competition (2 weeks). 2. Effective Strategies used in choral rehearsals (1) The use of gesture can enhance students’ intonation and the flow of music. (2) The use of choral formation can enhance students’ intonation and choral blend. (3) Total number of choir members can affect dynamic range. (4) Intensive resonation training can improve the brightness of students’ voice. (5) The individual training can improve students’ rhythm, articulation, and intonation. (6) To emphasize the importance of articulation in advance can avoid the time wasted in correcting students’ pronunciation. (7) The intervention of expert tutors can point out the instructor’s blind spots and accelerate the rehearsal process.
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HUA, CHEN, and 陳樺. "An Action Research of Applying Tonal Pattern Learning Content for Vocal Blending into Mixed Choral Rehearsals." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/63zp83.
Full textAbstract:
碩士國立臺中教育大學
音樂學系碩士班
106
This study aims to describe the changes of utilizing tonal pattern learning content in mixed choral vocal blending rehearsals. This is an action research. The research subject was Taichung City Xiangxiang Choir (pseudonym) and choir members came from different careers. The number of 4-part (Soprano, Alto, Tenor, Bass) voices was unbalanced. The average age of participants was 61.58. The boundary of this study is from 2017 November to 2018 January, taking a 10-week period. This study focuses on the rehearsal plan design based on tonal pattern learning content and the changes of choral vocal blending of 4-part (SATB) during choral rehearsals. The researcher collected quantitative data through researcher's Self-designed Research Feedback evaluated by three co-researchers. Additionally, the instruments of this study include Rehearsal Observation Record Notes and Feedback, Choir Member Participants’ Feedback, and Researcher Reflection Notes. The conclusions of this study are as follows: 1. The use of tonal pattern learning content in the mixed choral vocal blending rehearsals needs to specify two teaching objectives, including: (1) horizontal teaching objectives, providing clear and concrete teaching goals of each rehearsal; (2) longitudinal teaching objectives, the teaching objectives between each rehearsal should have a longitudinal and logical connection relationship. Based on the two main teaching objectives, it is helpful for the planning, effectiveness, and thoroughness of the curricular implementation in choral rehearsals. 2. The use of specific and flexible teaching strategies in the choral rehearsal plans is conducive to increase the learning effectiveness of the singers. 3. The multi-sensory learning used in choral rehearsals helps to improve the choral members' learning interests and learning efficiency. 4. The tonal pattern learning content used in choral rehearsals needs to match the musical tonalities and modes of the songs taught in each rehearsal. 5. In choral rehearsals, the use of tonal pattern exercises with audiation can improve singing pitch accuracy of singers. 6. With tonal pattern exercises, the use of audiation, singing in neutral syllables, harmonic exercises, and exercises of harmonic cadences, it can enhance harmonic ability of singers. 7. Applying tonal pattern learning content for vocal blending into choral rehearsals, through the association learning manner of listening and singing, it can improve vocal blending of singers. 8. In the process of choral rehearsals, through appropriate adjustment of seating, it can enhance singing pitch accuracy and vocal blending between and among inter- and intra-part of the choir. Based on the conclusions, the researcher also made several recommendations for choral conductors in their choral rehearsals.
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Lin, Jia-huei, and 林佳潓. "The Survey of Elementary School Choral Conductors’ Conceptions and Utilization of Modeling During Rehearsals in the Southern Taiwan." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/08747929916504636967.
Full textAbstract:
碩士國立臺南大學
音樂學系教學碩士班
99
The purpose of this study was to investigate the elementary school choral conductors’conceptions and utilization of modeling during choral rehearsals in the Southern Taiwan. It also explored the connection between those two variables and the background of the conductor. The research was done through a self-designed questionnaire. Two hundred and fifty copies were sent from the population after the telephone interview. There were 166 effective questionnaires came back. The recover rate achieved 64.4 percent. Base on the result of the survey, I have came out with the following conclusion: 1. Most of choral conductors agree to the conceptions of modeling during choral rehearsals. 2. Regarding the conceptions of modeling during choral rehearsals, the obvious difference appears in school distribution、school scale、sex and learning background. 3. Regarding utilization of modeling during choral rehearsals, the obvious difference appears in service seniority、sex and learning background. 4. Since choral conductors’ experience and vocal abilities、voice characteristics are all different, teaching with appropriate modeling can achieve teaching potency. 5. The conceptions of modeling during choral rehearsals could be more generally accepted and understood. 6.Through multidimensional utilization of modeling, the students can easily and effectively learn, and enjoy the process of the choral rehearsals. According to the research results, the researcher made several suggestions in regarding to the curriculum of choral teaching, choral directors and future study for references of popularizing the choral education and realizing multidimensional choral teaching.
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Chiung-Yueh, Chang, and 張瓊月. "The Influence of Using Concept Mapping on the Teaching Effectiveness of Pre-service Teachers in Choral Rehearsals: A Case Study." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/42881813362794116714.
Full textAbstract:
碩士國立臺北教育大學
音樂教育學系碩士班
95
The purpose of this study was to explore the influence of using concept mapping on teaching effectiveness of two elementary pre-service teachers in choral rehearsals. This study focused on the two teachers’ teaching goals, instructional strategies, and teacher-students interaction. The participants of this study were two pre-service teachers in Taipei County and the boundary of this study was one year. The instrument of this study was concept mapping. Through analysis of concept mapping, the two pre-service teachers’ conception of concept mapping was recognized. Their conceptual development of choral teaching and the connection of theory and practice were discussed in this study. Data collected included teaching video taping, interview transcripts, teaching notes, observation notes, and reflective notes. Nvivo software was utilized to analyze data. The advantages of using concept mapping through the study can be concluded as follows: 1. In choral rehearsals it can be a means to improve pre-service teachers’ teaching effectiveness and as a tool of assessment. 2. It can assist pre-service teachers to think about the ways of instructional preparation. 3. With lesson plans, it can help pre-service teachers develop their teaching framework and teaching process. 4. It can examine the appropriateness of the pre-service teachers’ teaching content. 5. It can provide pre-service teachers with the opportunity for their teaching reflection and adapt instructional planning. 6. It can enhance pre-service teachers’ combination and comparison of prior and new knowledge as well as demonstrate the teaching context and the development of their thinking about teaching. 7. It can help pre-service teachers have continuous thinking, conceptual development, and organized instructional planning. 8. It can help the pre-service teachers to proceed the teaching assessment, concept integration, reflection (the generation of the “AIR” theory), and improve the teaching effectiveness. According to the conclusion of this study, the researcher made several recommendations for the future researchers, pre-service choral music teachers, and teacher education programs. Keywords: teaching effectiveness, pre-service teachers, concept mapping, choral instruction in elementary school