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Journal articles on the topic 'Choral rehearsel'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

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 r

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2

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 (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)

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3

Nápoles, Jessica. "Teacher Talk and Perceived Teacher Effectiveness: An Exploratory Study." Update: Applications of Research in Music Education 35, no. 3 (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 ind

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4

Garrett, Matthew L. "An Examination of Critical Thinking Skills in High School Choral Rehearsals." Journal of Research in Music Education 61, no. 3 (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 n

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5

Davis, Anita P. "Performance Achievement and Analysis of Teaching during Choral Rehearsals." Journal of Research in Music Education 46, no. 4 (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. R

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6

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 (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

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7

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

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8

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 (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 ju

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9

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

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10

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

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11

Kaschub, Michele. "Composition in the Choral Rehearsal." Music Educators Journal 84, no. 1 (1997): 28–33. http://dx.doi.org/10.2307/3399083.

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12

Stamer, Rick A. "Motivation in the Choral Rehearsal." Music Educators Journal 85, no. 5 (1999): 26–29. http://dx.doi.org/10.2307/3399544.

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13

Gorelick, Brian. "Planning the Perfect Choral Rehearsal." Music Educators Journal 88, no. 3 (2001): 28. http://dx.doi.org/10.2307/3399755.

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14

Yarbrough, Cornelia, and Katia Madsen. "The Evaluation of Teaching in Choral Rehearsals." Journal of Research in Music Education 46, no. 4 (1998): 469–81. http://dx.doi.org/10.2307/3345344.

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Seven rehearsal excerpts demonstrating research-identified teaching skills were presented to university music majors ( N = 89) for ratings and comments. The excerpts focused on the conductor/teacher and were selected from previously taped choral rehearsals of two contrasting pieces across one complete semester. Numerical ratings from 1 to 10 were assigned by subjects to 10 categories of student and teacher behavior: time use, musicianship, accuracy of presentation, student attentiveness, student performance quality, enthusiasm, intensity, pacing, personality, and overall effectiveness. Compari

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15

Meredith, Victoria. "Reaching New Peaks in Choral Rehearsal." Music Educators Journal 81, no. 6 (1995): 20–61. http://dx.doi.org/10.2307/3398777.

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16

Corbin, Lynn A. "Enhancing Learning in the Choral Rehearsal." Music Educators Journal 88, no. 2 (2001): 34. http://dx.doi.org/10.2307/3399740.

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17

DeVenney, David P., and Lewis Gordon. "Choral Director's Rehearsal and Performance Guide." Notes 47, no. 3 (1991): 784. http://dx.doi.org/10.2307/941906.

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18

Corbalán, Mara, M. Puy Pérez-Echeverría, Juan-Ignacio Pozo, and Amalia Casas-Mas. "Choral conductors to stage! What kind of learning do they claim to promote during choir rehearsal?" International Journal of Music Education 37, no. 1 (2018): 91–106. http://dx.doi.org/10.1177/0255761418800515.

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Current research on choral practice has studied various aspects of interpretation and different strategies for improving rehearsal. This article considers the amateur choral rehearsal as a setting for teaching and learning music. It analyses choir conductor profiles that may be related to conceptions of teaching and learning and their possible relationship with the implicit theories of teaching and learning. A questionnaire was administered to 41 conductors, considering three variables (expert/non-expert, teacher/non-teacher, and children’s/adult choir conductor). Quantitative evaluation throu

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19

Webb, Jeffrey L. "Promoting Vocal Health in the Choral Rehearsal." Music Educators Journal 93, no. 5 (2007): 26–31. http://dx.doi.org/10.1177/002743210709300513.

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20

Kilpatrick, Carlton E. "Movement, Gesture, and Singing: A Review of Literature." Update: Applications of Research in Music Education 38, no. 3 (2020): 29–37. http://dx.doi.org/10.1177/8755123320908612.

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The purpose of this review of literature was to explore intersections between movement and gesture, and to examine their effects on singing. Music educators have long championed the integration of movement into music instruction. The effects of movement have been studied and correlations found between an individual singer’s intonation, internal pulse, and tone quality. The incorporation of movement activities into choral rehearsals has shown a significant level of perceived benefits by singers. The conducting gesture as a form of aesthetic movement has also been examined. One factor consistent

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21

Bonshor, Michael J. "Confidence and choral configuration: The affective impact of situational and acoustic factors in amateur choirs." Psychology of Music 45, no. 5 (2016): 628–44. http://dx.doi.org/10.1177/0305735616669996.

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This article reports a qualitative study investigating the factors affecting confidence levels amongst adult amateur choral singers. Three focus groups (involving a total of 18 participants) and 16 individual interviews were carried out with experienced choral singers, and over 40 hours of recorded verbal data were collected. The research aims were to explore the lived experience of choral singers; to examine the main influences on choral singers’ perceptions of their voices and performance ability; to identify factors affecting their confidence as choral singers; to extrapolate confidence-bui

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22

Strand, Katherine. "Teaching Musical Interpretations through Choral Rehearsals." Music Educators Journal 90, no. 1 (2003): 43–50. http://dx.doi.org/10.2307/3399976.

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23

Bell, Cindy L. "Enhanced Rehearsal Strategies for the Undergraduate Choral Conductor." Journal of Music Teacher Education 11, no. 2 (2002): 22–27. http://dx.doi.org/10.1177/105708370201100205.

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24

Nápoles, Jessica, and Angel M. Vázquez-Ramos. "Perceptions of Time Spent in Teacher Talk." Journal of Research in Music Education 60, no. 4 (2012): 452–61. http://dx.doi.org/10.1177/0022429412463246.

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The purpose of this study was to examine and compare self-estimates, peer estimates, and actual time preservice teachers spent talking in rehearsal. Participants ( N = 32) conducted a short choral rehearsal and estimated their teacher talk (expressed as a percentage of total rehearsal time). Their peers also reported estimates, and the researchers took data on actual time. Later, participants observed themselves on video and used stopwatches to compute teacher talk percentages on the same session. Participants then conducted a second rehearsal and again estimated their teacher talk percentage.

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25

Wilson, Gary B. "Three Rs for Vocal Skill Development in the Choral Rehearsal." Music Educators Journal 77, no. 7 (1991): 42–46. http://dx.doi.org/10.2307/3398172.

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26

Bell, Cindy L. "Harmonizing and Improvising in the Choral Rehearsal: A Sequential Approach." Music Educators Journal 90, no. 4 (2004): 31–36. http://dx.doi.org/10.2307/3399996.

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27

Cox, James. "Rehearsal Organizational Structures Used by Successful High School Choral Directors." Journal of Research in Music Education 37, no. 3 (1989): 201. http://dx.doi.org/10.2307/3344670.

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28

Fena, Christine. "Searching, sharing and singing: understanding the information behaviors of choral directors." Journal of Documentation 77, no. 1 (2020): 199–208. http://dx.doi.org/10.1108/jd-05-2020-0087.

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PurposeThis article aims to help music librarians and other information professionals effectively understand and support communities of choral directors and other groups dependent on networking and serendipitous information encounters. In addition, through discussion and comparison of theories of information behavior, research articles and analysis of events and experiences, the article encourages thoughtful and practical applications of information behavior research.Design/methodology/approachThis conceptual paper uses different theories of information behavior to outline three distinct modes

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29

Ganschow, Cory M. "Secondary School Choral Conductors’ Self-Reported Beliefs and Behaviors Related to Fundamental Choral Elements and Rehearsal Approaches." Journal of Music Teacher Education 23, no. 2 (2013): 52–63. http://dx.doi.org/10.1177/1057083713485587.

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30

Yarbrough, Cornelia, and Paul Henley. "The Effect of Observation Focus on Evaluations of Choral Rehearsal Excerpts." Journal of Research in Music Education 47, no. 4 (1999): 308–18. http://dx.doi.org/10.2307/3345486.

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Seven rehearsal excerpts demonstrating research-identified teaching characteristics were presented to university music majors ( N = 176) for ratings. Subjects watched either a videotape focused on the teacher or another focused on students. Numerical ratings from 1 to 10 were assigned by subjects to 10 categories of student and teacher behavior: time use, musicianship, accuracy of presentation, student attentiveness, student performance quality, enthusiasm, intensity, pacing, personality, and overall effectiveness. Results demonstrated that subjects gave their highest ratings when viewing the

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31

Grimland, Fredna. "Characteristics of Teacher-Directed Modeling in High School Choral Rehearsals." Update: Applications of Research in Music Education 24, no. 1 (2005): 5–14. http://dx.doi.org/10.1177/87551233050240010102.

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32

Copley, Edith, Diane Heaney, David Hoffecker, Michele McCall-Naughton, Christa Opriessnig, and Lizabeth Wing. "Choral Music Teacher Rehearsal Behaviors: An Essay on Knowing What We Do." Update: Applications of Research in Music Education 9, no. 1 (1990): 23–30. http://dx.doi.org/10.1177/875512339000900106.

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33

Tkach, Y. S. "Yevhen Savchuk’s Individual Performing Style: organization of the process of conducting interpretation." Aspects of Historical Musicology 13, no. 13 (2018): 126–41. http://dx.doi.org/10.34064/khnum2-13.10.

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Relevance of the study. The individuality of the musician-performer, his performing style were studied both in theoretical and practical aspects. Theoretical musicology vipracyuvalo holistic theory of musical style, a separate kind of which should be considered an individual performing style of musician. The main provisions of the theory of musical style are stated in the works. B. Asafi ev, N. Gorugo, V. Medushevskaya, N. Mikhailov Is. Nazaykinsky, S. Skrebkova, Would. Jaworski and others. Deepening and concretization of the ideas of these scientists is contained in the works of A. Katrich, I

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34

Lynch, Julie, and Charlotte E. Wilson. "Exploring the impact of choral singing on mindfulness." Psychology of Music 46, no. 6 (2017): 848–61. http://dx.doi.org/10.1177/0305735617729452.

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A wealth of academic research demonstrates an empirical link between choral singing and well-being. This study investigated the construct of state mindfulness as a potential generative mechanism by which this link exists. A within-subject design measured levels of state mindfulness in choristers before and after a choir rehearsal. Assessing state mindfulness before and after listening to a piece of music at home acted as the control condition. State mindfulness was assessed by the Mindful State Questionnaire (MSQ) among a sample of 83 adult amateur choristers (65 females, mean age 51.9 years).

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35

Freer, Patrick K. "Teacher instructional language and student experience in middle school choral rehearsals." Music Education Research 10, no. 1 (2008): 107–24. http://dx.doi.org/10.1080/14613800701871538.

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36

Watkins, Rosemary C. "Nonperformance Time Use in Middle and Junior High School Choral Rehearsals." Update: Applications of Research in Music Education 11, no. 2 (1993): 4–7. http://dx.doi.org/10.1177/875512339301100202.

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37

Monks, Susan. "Adolescent singers and perceptions of vocal identity." British Journal of Music Education 20, no. 3 (2003): 243–56. http://dx.doi.org/10.1017/s0265051703005424.

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The link between voice and self-image is so fundamental it is often overlooked or taken for granted. Yet the knowledge of this relationship has much to teach singing teachers and choral directors in making communication with singers more effective, in choice of repertoire, technical development and rehearsal strategies. This study set out to explore the way adolescent singers think about their voices and express themselves through singing. The results produced a rich diversity of evidence which suggests that vocal change is a fruitful area for exploring in greater depth the relationship betwee

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38

Arnold, James A. "Effects of Competency-Based Methods of Instruction and Self-Observation on Ensemble Directors' Use of Sequential Patterns." Journal of Research in Music Education 43, no. 2 (1995): 127–38. http://dx.doi.org/10.2307/3345674.

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The purpose of this study was to determine the effects of competency-based self-analysis of videotape rehearsals by practicing music teachers on the use of complete and correct sequential patterns of instruction and their components. Complete patterns follow the cyclical pattern of task presentation, student response, and immediate teacher feedback. Correct patterns require that task presentation include academic material and that feedback be specific and related to the task. Twelve teachers of sixth-grade choral and instrumental classes were matched in pairs, placed in experimental or contact

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39

Watkins, Rosemary C. "Nonperformance Time Use in High School Choral Rehearsals: A Follow-up Study." Update: Applications of Research in Music Education 14, no. 2 (1996): 4–8. http://dx.doi.org/10.1177/875512339601400202.

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40

Miroshnichenko, S. V. "I. G. AGAFONNIKOV — PORTRAIT OF A CONDUCTOR AND TEACHER." Arts education and science 1, no. 2 (2021): 107–12. http://dx.doi.org/10.36871/hon.202102013.

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The article presents a portrait of the outstanding choral conductor and teacher Igor Germanovich Agafonnikov (1932–2005) and highlights his pedagogical principles and methodological guidelines. The main feature of Agafonnikov's pedagogical style is the ability to create an atmosphere of special trust and respect towards students. It is pointed out the continuity of his pedagogical work with the historic traditions of Russian choral school represented by his mentors: Evstolia Nikolaevna Zvereva in the School at the Moscow State Conservatory named after P. I. Tchaikovsky and Vasily Petrovich Muk

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41

Henry, Michele L. "The Use of Targeted Pitch Skills for Sight-Singing Instruction in the Choral Rehearsal." Journal of Research in Music Education 52, no. 3 (2004): 206. http://dx.doi.org/10.2307/3345855.

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42

Winnie, Brian J. "Bridging the gap between classical and contemporary vocal technique: implications for the choral rehearsal." Voice and Speech Review 11, no. 1 (2017): 55–71. http://dx.doi.org/10.1080/23268263.2017.1370803.

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43

Duke, Robert A., Carol A. Prickett, and Judith A. Jellison. "Empirical Description of the Pace of Music Instruction." Journal of Research in Music Education 46, no. 2 (1998): 265–80. http://dx.doi.org/10.2307/3345628.

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The present study was designed to assess novice teachers* perceptions of timing in music instruction and to identify the aspects of timing that are associated with positive perceptions of instructional pacing. We selected eight 1-3-minute excerpts from teaching-practicum videotapes of four novice teachers teaching in a choral rehearsal, a band rehearsal, and two elementary music classrooms. Each teacher appeared in two excerpts that differed with regard to the pace of instruction depicted in each. Novice teachers (N = 44) viewed the videotaped excerpts and evaluated the pace of instruction alo

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44

Merlino, Sara. "Singing in “another” language: how pronunciation matters in the organisation of choral rehearsals." Social Semiotics 24, no. 4 (2014): 420–45. http://dx.doi.org/10.1080/10350330.2014.929390.

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45

Singletary, Laura, Kimberly VanWeelden, and Virginia Wayman Davis. "General Music Today Music Ideas Series, Viewpoints in Secondary General Music, Article 3, Seeds of General Music in the Secondary Ensemble: Time to Branch Out!" General Music Today 33, no. 2 (2019): 61–67. http://dx.doi.org/10.1177/1048371319877888.

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In the third segment of the series, we explore general music behaviors and techniques that may be incorporated into the secondary performing ensemble in order to provide enrichment and depth to performance-focused instruction. Using research-based evidence and ensemble experience in both the choral and instrumental settings, we will discuss methods for incorporating and integrating the general music behaviors of (a) listening, (b) moving, and (c) singing into the ensemble experience within traditional rehearsal techniques and practices. The focus will be placed on the experience of these pract

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46

Morgan, Kenneth. "Promoting high culture: The evolution of the Brisbane Musical Union, 1872–98." Queensland Review 27, no. 1 (2020): 21–38. http://dx.doi.org/10.1017/qre.2020.2.

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AbstractThis article analyses the musical work of the Brisbane Musical Union (BMU) between its founding in 1872 and the consolidation of its position by 1898. During this period, the BMU benefited from the dedicated leadership of its main conductor, R. T. Jefferies, who drew upon his high standing as a violinist, ensemble player and conductor in Brisbane to present regular choral concerts, mainly comprising oratorios, with an amateur choir. Despite financial challenges, difficulties over rehearsal and concert venues, periodic problems concerning the choice of repertoire, an insufficient number

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47

Bartolome, Sarah J. "“We sing to touch hearts”: Choral musical culture in Pretoria East, South Africa." Research Studies in Music Education 40, no. 2 (2018): 265–85. http://dx.doi.org/10.1177/1321103x18768101.

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The purpose of this study was to explore the culture of choral singing among children and youth in Pretoria East, South Africa. The philosophical underpinnings of the choirs, the roles of choirs within local and national communities, and the perceived values and benefits of participation were examined. This collective case study required the integration of standard ethnographic strategies employed over the course of a month-long period of fieldwork and two shorter follow-up visits. I observed approximately 40 hours of rehearsal and 25 hours of performance, focusing on five choirs in and around

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48

Baughman, Melissa. "Mentorship and Learning Experiences of Preservice Teachers as Community Children’s Chorus Conductors." Journal of Music Teacher Education 29, no. 2 (2019): 38–52. http://dx.doi.org/10.1177/1057083719876116.

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A service-learning model may be used to provide preservice music teachers with authentic context learning experiences and a range of pedagogical benefits, but research evidence specific to choral music contexts is limited. The purpose of this study was to investigate two preservice music teachers’ experiences as interns with a community children’s chorus. Through an examination of verbal and written reflections, I sought to understand how interns perceived themselves as music teachers, their ability to implement and recall specific instructional strategies, connections they made between teachi

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49

Taylor, Ouida. "Student Interpretations of Teacher Verbal Praise in Selected Seventh- and Eighth-Grade Choral Classes." Journal of Research in Music Education 45, no. 4 (1997): 536–46. http://dx.doi.org/10.2307/3345421.

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This study was an investigation of the effect that familiarity with a teacher and rehearsal context might have on seventh- and eighth-grade choral students' interpretations of teacher verbal praise. Teachers (N = 4) labeled randomly selected videotaped examples of their praise according to the purpose it was intended to serve. Students (N = 80) viewed 16 brief (30-second) examples of the praise and labeled it as deserved (directed at the performance) or one of three instructional uses (i.e., to encourage, to gain student cooperation, or to send a message to other members of the class). Results

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50

Barrett, Janet R. "The researcher as instrument: learning to conduct qualitative research through analyzing and interpreting a choral rehearsal." Music Education Research 9, no. 3 (2007): 417–33. http://dx.doi.org/10.1080/14613800701587795.

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