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Relevant bibliographies by topics / Choral singing Instruction and study

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Journal articles

Academic literature on the topic 'Choral singing Instruction and study'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Choral singing Instruction and study"

1

Demorest, Steven M. "Improving Sight-Singing Performance in the Choral Ensemble: The Effect of Individual Testing." Journal of Research in Music Education 46, no. 2 (1998): 182–92. http://dx.doi.org/10.2307/3345622.

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The purpose of this study was to examine the effect of individual testing, in conjunction with group instruction, on students' sight-singing skills. A quasi-experimental study was designed to test the following prediction: Choir students given a regular program of individual testing will show a significantly greater improvement in individual sight-singing over students given group sight-singing instruction alone. A sample of 306 subjects was drawn from the beginning and advanced choirs of six high schools in the State of Washington where sight-singing was taught. Intact choirs were randomly as

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2

Demorest, Steven M., and William V. May. "Sight-Singing Instruction in the Choral Ensemble: Factors Related to Individual Performance." Journal of Research in Music Education 43, no. 2 (1995): 156–67. http://dx.doi.org/10.2307/3345676.

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In this study, we examined individual sight-singing skills of choir members in relation to their private musical training, their choral experience, the difficulty of the melodic material, and the system used for group sight-singing instruction. The subjects (N= 414) were drawn from both the first and second choirs of four Texas high schools. Two schools used the fixed-do system of sight-singing; the other two, the movable-do system. Subjects were randomly assigned to two melody conditions of varying difficulty. A multiple-regression analysis of musical background variables indicated that the n

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3

Ngobeni, Nyiko Condry. "Investigating Virtual Teaching Experiences: Perspectives of Undergraduate Student Teachers in Singing and Choral Techniques." International Journal of Learning, Teaching and Educational Research 23, no. 2 (2024): 184–202. http://dx.doi.org/10.26803/ijlter.23.2.9.

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The COVID-19 pandemic has prompted a widespread shift toward virtual learning across various educational domains, significantly impacting music instruction. This qualitative study, conducted at a university in the Eastern Cape Province, delved into the experiences of third-year undergraduate music students enrolled in the "Singing and Choral Techniques" module. Guided by the Technology Acceptance Model (TAM) and Constructivist Learning Theory, the research employed thematic analysis on in-depth interviews with 30 purposefully sampled students, revealing intricate dynamics related to technology

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Brendell, Janna K. "Time Use, Rehearsal Activity, and Student Off-Task Behavior during the Initial Minutes of High School Choral Rehearsals." Journal of Research in Music Education 44, no. 1 (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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5

Chumak, Olena. "Singing in the original language in opera-choral performance: from practical experience." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (2023): 107–25. http://dx.doi.org/10.34064/khnum1-67.07.

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Statement of the problem. In modern vocal and choral art, singing in the original language is an international performance practice that requires compliance with certain requirements. In this regard, singers face the peculiarities of the phonetic systems of different languages, articulation and diction difficulties, which leads to errors in pronunciation, and the transfer of singing skills in the native language to singing in a foreign language turns into an accent, incorrect pronunciation of a foreign text, which can even lead to semantic distortions This circumstance becomes particularly rel

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6

Liao, Mei-Ying, and Jane W. Davidson. "The effects of gesture and movement training on the intonation of children’s singing in vocal warm-up sessions." International Journal of Music Education 34, no. 1 (2015): 4–18. http://dx.doi.org/10.1177/0255761415614798.

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The main purpose of the current study was to examine the effects of gesture and movement training for beginning children’s choirs with regard to improving intonation. It was a between-subjects design with one independent variable Training Technique (TT). One dependent variable was measured: intonation in the singing of vocal pattern warm-up exercises. Fifty-three fifth grade students (10–11 years old) participated in the empirical investigation. They were randomly assigned into three training groups: (1) Group 1— students who received no gesture and movement training; (2) Group 2— students who

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7

Nechesnyi, Ihor. "Formation of Basson Classes at the Paris Conservatory." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(60) (September 27, 2023): 98–111. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296802.

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The object of the study was the origins and initial period of the formation of bassoon classes at the Paris Conservatory. The author analyzed the early stages of the training process involved in the French bassoon school. The role of maîtrise and military bands in the instruction of bassoon performers before the beginning of the revolutionary events in 1789 was revealed. The study exposed the influence of the church music-educational system on the professionalization of secular instrumental and vocal performance, as well as its importance in the creative development of prominent French bassoon

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8

Ekholm, Elizabeth. "The Effect of Singing Mode and Seating Arrangement on Choral Blend and Overall Choral Sound." Journal of Research in Music Education 48, no. 2 (2000): 123–35. http://dx.doi.org/10.2307/3345571.

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This study is an examination of the effects of soloistic versus blended choral singing and random versus acoustic choral seating arrangements on evaluations of choral blend and overall choral sound. Thirty-seven choral conductors, 33 voice teachers, and 32 nonvocal musicians rated performances of four pieces by a choir of 22 voice majors. Eight choristers were recorded individually during choral performances and solo, and their vocal production was evaluated by 12 voice teachers. Choristers rated experimental conditions for vocal comfort and choral sound. Results indicated that choral conducto

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9

Johnson, Julene K., Jukka Louhivuori, Anita L. Stewart, Asko Tolvanen, Leslie Ross, and Pertti Era. "Quality of life (QOL) of older adult community choral singers in Finland." International Psychogeriatrics 25, no. 7 (2013): 1055–64. http://dx.doi.org/10.1017/s1041610213000422.

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ABSTRACTBackground: Enhancing quality of life (QOL) of older adults is an international area of focus. Identifying factors and experiences that contribute to QOL of older adults helps promote optimal levels of functioning. This study examines the relationship between perceived benefits associated with choral singing and QOL among community-dwelling older adults.Methods: One hundred seventeen older adults who sing in community choirs in Jyväskylä, Finland, completed self-report measures of QOL (WHOQOL-Bref), depressive symptoms, and a questionnaire about the benefits of singing in choir. Correl

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10

Galbreath, Daniel. "Embodied Complexity in Choral Singing." Airea: Arts and Interdisciplinary Research, no. 2 (October 7, 2020): 49–62. http://dx.doi.org/10.2218/airea.5044.

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Amateur musical ensembles draw participants from widely varying disciplines into shared artistic activity in a way that few other artforms do; in particular, choral music, in which bodies both create and directly receive sound, raises profound questions of how performers’ uniquely embodied creative approaches interact. Amateur choral singing therefore offers a lens into how musical creativity is distributed among, and emergent from, a diverse group of individuals. This article explores how the performance of indeterminate and improvisatory choral works offers a powerful example of this distrib

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