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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 rating scales, a group of emotions and other experiential states that singers associated with professional singing were highly predictive of changes in level of secretory immunoglobulin A during the performance condition, but the results for the rehearsal conditions were not significant. The best multiple regression model for performance level of immunoglobulin A (p < .0015) included seven emotional, cognitive, and evaluative variables generally associated with choral singing, including levels of mood before and during singing, stress, relaxation, feeling "high," detachment/engagement, and specific satisfaction with the immediate performance.

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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 (April 1999): 44–52. http://dx.doi.org/10.2307/3345827.

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

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3

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

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

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4

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

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

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5

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

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

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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 (April 1996): 6–14. http://dx.doi.org/10.2307/3345409.

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In this study, the use of rehearsal time during the initial minutes (i.e., the warm-up time) of 33 high school choral rehearsals was examined. Student attentiveness was also investigated during initial rehearsal activities. Trained observers used interval observation techniques in collecting attentiveness, rehearsal activity, and time usage data. Interobserver agreement averaged .93 for off-task, .88 for activity coding, and .85 for rehearsal timing. Conductors averaged 43.45 elapsed seconds prior to the first verbal statement to begin and 14 minutes 19 seconds prior to rehearsal of literature. Time allotted to rehearsal activities was the following: sight-reading, 22.23%; vocal warm-up, 9.63%; getting ready, 6.75%; physical warm-up, 3.37%; literature instruction, 1.84%; and other activity, 1.46%. Off-task percentages were: getting ready, 26.14%; physical warm-up, 18.48%; other, 16.53%; literature instruction, 16.27%; vocal warm-up, 15.07%; and sight-reading, 9.22%. Results indicated that the highest percentages of off-task behavior occurred during activities requiring less singing and active participation. Off-task behavior seemed to be a function of the nature of the activity.

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7

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

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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 (December 1997): 547–67. http://dx.doi.org/10.2307/3345422.

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

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9

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

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10

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

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11

Kaschub, Michele. "Composition in the Choral Rehearsal." Music Educators Journal 84, no. 1 (July 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 (March 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 (November 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 (December 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. Comparisons of the characteristics of the highest-rated excerpt with the highest-rated showed that the highest-rated excerpt contained less off-task student behavior, a higher percentage of approvals, more eye contact, more activity changes, and that the average length of both teacher and student activities was from 5-6 seconds. Subjects' comments revealed that the highest-rated excerpt received the most positive comments and the lowest-rated received the most negative comments. For the highest-rated excerpt, the most positive comments were for student attentiveness, enthusiasm, pacing, and overall teaching effectiveness; and for the lowest-rated, the most negative comments were for student attentiveness, pacing, and overall teaching effectiveness.

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15

Meredith, Victoria. "Reaching New Peaks in Choral Rehearsal." Music Educators Journal 81, no. 6 (May 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 (September 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 (March 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 (October 24, 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 through different cluster analyses showed three conductor profiles: Traditionals, including conductors who use little supervision, few different ways of representation other than corporeal, poor difficulty management and greater use of repetition during the rehearsal; a Focus on Reading profile, conductors who, in addition to using moderately complex processes, rely heavily on reading the score; and finally a Focus on Learning and Representation profile including non-experts and teachers, who use different representation modes in the rehearsal (corporeal, audio, visual, combined) and other complex processes such as transferring learning or metacognition. We also found significant differences among conductors for score processing levels. Finally, some features common to all three profiles characterise the choral environment as a peculiar field of musical learning, which may suggest some strategies for learning music.

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19

Webb, Jeffrey L. "Promoting Vocal Health in the Choral Rehearsal." Music Educators Journal 93, no. 5 (May 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 (February 24, 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 consistently reported is a relationship between the intentional use of movement in rehearsal and increased engagement. Additionally, movement has also been found to share a meaningful link with music and emotion. Movement and music both illustrate abstract emotional concepts and can aid in the formation of concrete relationships between them. Recommendations for music educators and suggestions for future research are provided.

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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 (October 7, 2016): 628–44. http://dx.doi.org/10.1177/0305735616669996.

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This article reports a qualitative study investigating the factors affecting confidence levels amongst adult amateur choral singers. Three focus groups (involving a total of 18 participants) and 16 individual interviews were carried out with experienced choral singers, and over 40 hours of recorded verbal data were collected. The research aims were to explore the lived experience of choral singers; to examine the main influences on choral singers’ perceptions of their voices and performance ability; to identify factors affecting their confidence as choral singers; to extrapolate confidence-building strategies for amateur choral singers. One of the major emergent themes was choir configuration, which encompassed the spacing between singers, the layout of the choir, the position of the individual singer within the choir, and the position of the choir within the venue. All of these elements reportedly had effects upon the confidence of choral singers during rehearsal and performance. These findings have practical implications for leaders of amateur choral ensembles, as choir configuration may be used as one of the tools for building collective and individual choral confidence.

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22

Strand, Katherine. "Teaching Musical Interpretations through Choral Rehearsals." Music Educators Journal 90, no. 1 (September 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 (January 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 (October 19, 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. Results indicated that by the second rehearsal, participants reduced their teacher talk by about half, and their estimates became closer to actual time. Significant differences were discovered between all estimates from the first rehearsal and the second rehearsal. Self-analysis through videotapes appears to be a useful tool for reducing teacher talk and increasing estimation accuracy.

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25

Wilson, Gary B. "Three Rs for Vocal Skill Development in the Choral Rehearsal." Music Educators Journal 77, no. 7 (March 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 (March 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 (November 3, 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 of learning and knowing within communities of choral directors: individual searching, community expertise and serendipitous encounters.FindingsThe choral directing community is one that benefits not only from information support systems that emphasize individual information seeking, but also collaborative networking and serendipitous encounters with other community members. Librarians and other information professionals can best help this group discover new repertoire, plan concert programs, improve rehearsals and support other relevant activities through understanding and helping to provide access to professional music networks and being creative in providing opportunities for serendipitous information discovery.Originality/valueLittle information behavior research and discussion have focused specifically on the information practices of choral directors and how the format and schedule of a professional choral conference illuminate such practices and needs.

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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 (July 16, 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 (December 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 teacher and lowest ratings when viewing students. The highest-rated excerpt contained a hw percentage of student off-task behavior (6.53%), a high percentage of approvals (71%), moderate eye contact (2730%), many activity changes (27), a high percentage of student response time (66%), and rapid pacing, as indicated by an average length of both teacher and student activities of 5-6 seconds.

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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 (November 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 (November 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 (September 15, 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. Kohanik, V. Moskalenko, S. Tishka, A. Sokol, etc. The individual performing style of the conductor-choirmaster along with the specifi cs of the conductor’s interpretation is an important part of the modern performing art, which today needs a deep theoretical understanding and systematization. Recently, there is a trend of scientifi c study of practical issues of the performing industry, including the specifi cs of the conductor. Although the study of this issue concerns to a greater extent symphonic conducting. That is why the appeal to the work of the outstanding Ukrainian choral conductor – Evgeny Gerasimovich Savchuk has great scientifi c value. The study of the phenomenon of individual performing style in the conditions of choral performance is impossible without understanding the outstanding phenomena of this fi eld of art. Creativity of the national honored academic chapel of Ukraine “Dumka” and its conductors refers to such phenomena. This is the oldest team of the country with a strong tradition and a strong creative potential became a real standard Patriotic choir performance. The chapel “Dumka” was and is an artistic environment in which a large number of chorus conductors, such as N., grew up and became stronger. Gorodovenko, A. Soroka, P. Muravsky, N. Buckwheat Is. Savchuk. Their performing heritage is of great interest to musicology, particularly in terms of interpretation and individual performing style. Main objective(s) of the study). Based on this, the purpose of the study is the theoretical understanding of the performance processes in the fi eld of choral art. In particular: a) the study of the specifi cs of the conductor’s interpretation of E. Savchuk in work with the choir; b) a detailed analysis of the stages of the conductor’s interpretation: independent, rehearsal, concert; C) understanding of The individual performing style of E. Savchuk in the context of worldview, repertoire, artistic priorities Maestro. Methodology. Various methods have been used. Inductive-research is built from concrete to General. Some characteristics of the conductor’s work lead to a generalized representation of his individual performing style. The method of analysis and synthesis used in the analysis of literature, unpublished sources. The comparative method is used to compare different stages of the process of conducting interpretation. How the study was done. The study has a number of scientifi c results and conclusions. In particular: a) analyzed the stages of the process of the conductor’s interpretation of E. Savchuk in working with the choral team (independent, rehearsal, concert); b) established the relationship between the stages of the conductor’s interpretation with the stages of creation, correction and implementation of individual-collective performance concept of the work; C) investigated the work of outstanding contemporary choral conductor E. Savchuk in the context of the specifi cs of his performing style. Results and conclusions. The research is of great scientifi c and cultural importance: 1) expands the boundaries of choral art as a phenomenon; 2) deepens and structures scientifi c knowledge in a specifi c sphere – choral performance; 3) paves the way to theoretical understanding of important cultural phenomena in the sphere of Ukrainian choral art. The practical signifi cance of this study lies in the possibility of using its provisions in subsequent courses of higher education: choral studies, choral literature, the history of Ukrainian music, the history of music of the twentieth century. A thorough analysis of the performing versions of a number of choral works will contribute to a deeper, conscious interpretation of their conductors – both in working with the team and in class work with students. The experience and peculiarities of the interpretation activity of the Dumka Capella conductors described in the study will help the conductor to find his own performing style.

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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 (September 20, 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). The development and psychometric properties of the MSQ are described. Paired t-tests revealed significant increases in levels of state mindfulness for both conditions (choir singing; t = 10.82, p < .001, η2 = 0.58; listening to music; t = 4.48, p < .001, η2 = 0.21), however the effect sizes and confidence intervals indicated a far greater effect for the choral singing condition. Limitations and future recommendations are discussed, with examples of opportunities to incorporate these findings into the promotion of mental health in Ireland.

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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 (March 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 (March 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 (October 29, 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 between the voice, musical expression and the human psyche.

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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 (July 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-control groups, and videotaped during four rehearsals of the same class at 2-week intervals. Subjects reviewed Tapes 2 and 3 of their own rehearsals, with experimental teachers using operational definitions and self-analysis of typed transcripts, and contact-control teachers using unfocused observation instructions. Results indicate that research-based teaching techniques were effective in significantly increasing experimental teachers' use of complete sequential patterns and percentages of time spent in music activities.

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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 (March 1996): 4–8. http://dx.doi.org/10.1177/875512339601400202.

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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 Mukhin at the Moscow Conservatory. The author considers the main provisions of I. G. Agafonnikov's methodological work "Reflections on Choirmaster Training in the Middle Level of Musical Education", which fully reflects the fundamental principles of the teacher-conductor. Characteristic features of his individual pedagogical style, based on the liberal-democratic and tolerant methods of students' education under constant activity of all participants of the pedagogical process, are summarized. The professor's methodological approach to the work with students and the choir is analyzed. Particular attention is paid to the rehearsal process, in which the conductor encourages the singers to perform consciously and meaningfully.

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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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Winnie, Brian J. "Bridging the gap between classical and contemporary vocal technique: implications for the choral rehearsal." Voice and Speech Review 11, no. 1 (January 2, 2017): 55–71. http://dx.doi.org/10.1080/23268263.2017.1370803.

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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 (July 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 along six semantic differential scales: fast—slow; appropriate—inappropriate; tense—relaxed; smooth-uneven; too fast-too slow; good-bad. Subjects discriminated among the faster and slower examples on five of the six evaluation dimensions, and among teachers on all six dimensions. Subjects rated the pace of instruction more positively when the rates of student performance episodes and teacher activity episodes were higher rather than lower, and when the mean durations of teacher and student activity were shorter rather than longer. These variables may function as operational measures of the pace of instruction in music performance.

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Merlino, Sara. "Singing in “another” language: how pronunciation matters in the organisation of choral rehearsals." Social Semiotics 24, no. 4 (July 28, 2014): 420–45. http://dx.doi.org/10.1080/10350330.2014.929390.

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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 (October 3, 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 practices as they relate to performance goals, in contrast to the typical general music experience of these behaviors where they are the primary goal. Techniques and resources will be applicable in a variety of secondary ensemble settings.

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Morgan, Kenneth. "Promoting high culture: The evolution of the Brisbane Musical Union, 1872–98." Queensland Review 27, no. 1 (June 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 of available professional musicians and competition from rival local musical societies, Jefferies’ work with the BMU promoted an important aspect of high musical culture to the public and laid the foundations for further development of classical musical performance in Brisbane.

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Bartolome, Sarah J. "“We sing to touch hearts”: Choral musical culture in Pretoria East, South Africa." Research Studies in Music Education 40, no. 2 (May 8, 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 the University of Pretoria. I also conducted 22 semi-structured interviews with choristers, directors, staff members, and parents. Participants identified a philosophy of “message bearing” as the primary goal of choral performance. Innovation and diversity in programming and competition were additional emergent themes related to this philosophy. Choirs were found to have multiple roles, including recruiting and marketing, promoting diverse South African musical cultures, and cultivating a national, South African identity. Participants described a wide range of musical, social, educational, and personal benefits associated with participation, with choristers most commonly alluding to choir as a means of “relaxing.” Choir emerged as a source of bridging social capital, encouraging cooperation among participants from diverse racial and cultural backgrounds, promoting intercultural understanding and trust, and cultivating a broadened sense of national South African identity.

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Baughman, Melissa. "Mentorship and Learning Experiences of Preservice Teachers as Community Children’s Chorus Conductors." Journal of Music Teacher Education 29, no. 2 (September 25, 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 teaching young singers in a community choir context and future field work in public school settings, and mentor influence. Study participants were two junior-level music education majors and two children’s chorus conductors. Data collection methods included questionnaires, interns’ weekly video journals, one semistructured interview with each mentor, and one video-stimulated recall interview with each intern. Both interns assisted in teaching a weekly, 60-minute choral rehearsal for 10 consecutive weeks, and attributed their increased confidence as music teachers to this experience. They also discovered their own deficiencies in error detection and choosing teaching methods on the spot. Mentors had a positive impact on the interns’ overall experience. Implications for music education include the need to engage preservice teachers in all types of authentic context learning experiences, and to further explore the mentor’s role in these experiences.

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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 (December 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 showed students across choirs could separate deserved from instructional praise, but in 9 examples, familiarity with a context made a significant difference in labeling praise as deserved and in detecting a specific instructional purpose. Results suggest the importance of further investigations that determine how teachers intend praise to function and how their students interpret its use.

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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 (November 2007): 417–33. http://dx.doi.org/10.1080/14613800701587795.

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