Relevant bibliographies by topics / Choral singing / Dissertations / Theses
To see the other types of publications on this topic, follow the link: Choral singing.

Dissertations / Theses on the topic 'Choral singing'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 dissertations / theses for your research on the topic 'Choral singing.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

Agenbag, Gustel. "Musical expressivity in choral singing." Thesis, Nelson Mandela University, 2017. http://hdl.handle.net/10948/13614.

Full text
Abstract:
This qualitative mini-treatise explores Musical expressivity in choral singing with reference to three High School choirs in the Port Elizabeth area. Singing with emotions is not only a facial expression of some sort. There are so many more aspects which could be applied in order for the choral performance to be of an outstanding nature and not merely a performance. The researcher questioned the possibility of introducing expressiveness into rehearsals and performance through the application of more expressive conducting techniques, more detailed musical aspects and a general sense of unity within the group. The choral conductor plays a primary role and should therefore be considered as the most important link between choir and excellence. Focus is put on specific warm up exercises and suggestions are put forward regarding the development of your own, personalized exercises which suits your own unique setup. Data was collected through open-ended interviewees of the three school choir conductors as well as data from current and past studies on various topics. The perceptions of these conductors were noted and the manner in which they apply Musical knowledge during their rehearsals. Research findings indicate that not enough emphasis is put on expressive singing during rehearsals. More research done by the conductors and attending workshops are recommended for personal growth and development.
APA, Harvard, Vancouver, ISO, and other styles
2

Fuller, Gregory. "Effects of metric conducting patterns, subdivided patterns, managed preparatory gestures, and no conducting on choral singers' precision and expressiveness at phrase punctuation points less than the unit pulse /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974630.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Hook, Sally. "Vocal agility in the male adolescent changing voice." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4151.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
4

Ekholm, Elizabeth. "The effect of singing mode and seating arrangement on choral blend and overall choral sound /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35878.

Full text
Abstract:
This study examined the effect of choristers' vocal production and seating arrangement on evaluations of choral blend and overall choral sound. Two singing modes were studied: (1) "soloistic" singing, in which choristers attempted to maintain normal solo vocal production; and (2) "blended" singing, in which choristers tried to maximize homogeneity of ensemble sound. Seating arrangements examined were: (1) random sectional seating, and (2) sectional seating according to "acoustic matching" of voices Crossing the 2 factors produced 4 experimental conditions.
An ad hoc choir, composed of 22 university voice majors, was recorded singing 4 choral pieces under each experimental condition. Thirty-seven choral conductors, 33 voice teachers and 32 nonvocal musicians rated the performances according to 7 standard evaluative criteria, and wrote comments. Eight of the choristers were recorded individually during the performances. These choristers was also recorded singing their parts as solo songs. Twelve voice teachers evaluated the vocal production of these a choristers. They ranked the 5 performances of each piece (4 choral and solo) by each chorister, and wrote comments. All choristers rated the 4 choral experimental conditions for each piece on a 5-point scale, according to vocal comfort and choral sound, and wrote comments.
Analysis of choral performance ratings revealed a significant seating arrangement effect in favor of acoustic seating over random seating. Singing mode had a significant effect in favor of blended singing over soloistic singing on choral conductors' ratings for all seven criteria. This effect was observed in the voice teachers only "blend/homogeneity." Otherwise, no significant singing mode effect was voice teachers and nonvocal musicians.
On the basis of individual vocal production, voice teachers ranked solo singing significantly higher than the 2 choral singing modes, and soloistic choral singing higher than blended choral singing. Moreover, they ranked acoustic seating higher than random seating.
Choristers rated acoustic seating higher than random seating for vocal comfort and choral sound. They preferred blended singing to soloistic singing for choral sound. For vocal comfort, sopranos preferred soloistic singing to blended singing, tenors preferred blended singing to soloistic singing. Altos and basses showed no singing mode preference for vocal comfort.
APA, Harvard, Vancouver, ISO, and other styles
5

Nemoy, Laura. "Experiencing Resonance: Choral Singing in Medical Education." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35542.

Full text
Abstract:
Arts and humanities programming is becoming increasingly incorporated in the medical school, balancing the biomedical paradigm, and nurturing human and emotional qualities and understandings in medical students. Music is often listed among these arts and humanities disciplines; yet there exists an acknowledged gap in the literature pertaining to musical activities and programming in the medical school, despite the prevalence of choirs, a cappella groups, small instrumental ensembles, and musical theatre programs in medical schools. Literature on choirs, musical ensemble, and community music suggests that choral singing can cultivate many of the intra and interpersonal skills that medical humanities programming encourages, such as empathy, cooperation, self-awareness, and human connection. Within the medical humanities, music has been tied to metaphors of “medicine as a performing art” or “the art of listening,” but very little literature exists delving into the actual musical experience of medical students. Drawing from medical humanities, community music, and education theory, and shaped by the metaphor of musical and emotional ‘resonance,’ this phenomenological study explores the relationships between choral singing and medical scholarship. Through semi-structured interviews, the primary goal of this inquiry was to develop in-depth understandings of the experiences of medical students singing as members of a musical community of practice: an extra-curricular medical school choir at a Canadian university. Findings indicate that choir is an informal, non-medical venue where students can engage with their musical identity during medical school; that choral singing can offer a means of stress-relief and creative outlet, mitigating symptoms of student burnout; and that engagement in the choir builds meaningful relationships and a supportive, connected community. Moreover, this study describes the role of music and choral singing in medical humanities and medical education, as well as suggests how involvement in a medical school choir may influence a medical student’s professional identity formation.
APA, Harvard, Vancouver, ISO, and other styles
6

Starker, Leonard Bonn. "From physics to music: an analysis of the role of overtones in the improvement of choral tone." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1650.

Full text
Abstract:
Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir's intonation.
APA, Harvard, Vancouver, ISO, and other styles
7

Reneau, April Christine. "Determining basic voice classification of high school choir students." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Baird, Maureen Jaymin. "Perceived benefits of choral singing : social, intellectual, and emotional aspects of group singing." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112325.

Full text
Abstract:
This research sought to explore the meaningfulness of belonging to a choir. Members of 14 Canadian choirs (N=404) responded to 18 statements concerning the perceived benefits of choral singing. Choristers ranked six aspects of choral singing in the following order of importance (from greatest to least): musical, intellectual, emotional, physical, social, and spiritual. An in-depth analysis of three central areas of the choral experience (social, intellectual, and emotional) was done and six sample populations were compared: paid vs. volunteer choristers, choristers living in different areas (urban, suburban, and rural), choristers with a music degree vs. non-degree, age of choristers (young adult, middle-aged, and senior), choir size (large, medium, and small), and type of choir (community and church).
Results showed that choristers in small choirs felt like valued members of their choirs, felt a positive connection with the other choristers, and that singing in choir raised their mood to a significantly higher degree than choristers in medium and large choirs. Significant findings showed that volunteer singers, to a greater extent than paid singers, found that choir raised their mood, helped them to relax, and was a satisfying experience which gave them a sense of accomplishment. The differences in responses between middle-aged and senior choristers were minimal, but both gave responses that were significantly higher when compared with young adult choristers. The older singers felt that singing in choir raised their mood, helped them to relax, provided them with a sense of accomplishment, and that there was a sense of unity within their choir more so than young adults.
APA, Harvard, Vancouver, ISO, and other styles
9

Detwiler, Gwendolyn Coleman. "Solo Singing Technique & Choral Singing Technique in Undergraduate Vocal Performance Majors: A Pedagogical Discussion." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1226948715.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
11

Mann, Betty Acheson Alison. "The effect of vocal modeling on student achievement and attitude /." Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8413.

Full text
Abstract:
Thesis (Ph. D.)--University of Oregon, 2008.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 62-69). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
APA, Harvard, Vancouver, ISO, and other styles
12

Ferrell, Matthew August. "Perspectives on Choral and Solo Singing: Enhancing Communication Between Choral Conductors and Voice Teachers." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/494.

Full text
Abstract:
Concepts of choral and solo singing diverge among the masses of pedagogues, teachers, and conductors who have differing opinions about healthy vocal technique and training. These differences have generated tension within some university music programs, with choral faculty and voice faculty sometimes on opposing sides. This document presents answers from professional singers who engage in choral and solo singing while maintaining a healthy vocal technique. All subjects interviewed for this document were asked to speak in detail to vocal adjustments made to sing in different styles. In addition, they were asked to identify any vocal faults that may arise from improper vocal production. The goal of this document is to lay grounds for valuable discussion regarding the opposing perspectives found in some academic circles with regard to proper vocal technique and training for choral and solo singing.
APA, Harvard, Vancouver, ISO, and other styles
13

Lister, Michael C. "Male choristers' perceptions of and preferences for choral formations based on individual singer placement within the ensemble." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/761.

Full text
APA, Harvard, Vancouver, ISO, and other styles
14

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
15

Yang, Eun Ho. "The study of seating arrangement effect on choral blend : positioning singers in three seating arrangements according to individual volume /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11276.

Full text
APA, Harvard, Vancouver, ISO, and other styles
16

Breznau, Sarah. "Intergenerational family choir| A new idea in choral singing." Thesis, California State University, Los Angeles, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10147540.

Full text
Abstract:

Intergenerational choral singing is a new and expanding practice in choral music. Despite statistics documenting the decline of traditional opportunities for beginning singers' exposure to choral singing, family choruses successfully bring music-making back to the heart of family and community life. Through the examination of several emerging family choruses this report catalogs the growth of this new trend while summarizing the many benefits and drawbacks to cooperative family singing. Directors and participants of The Family Folk Chorale, the Boston Intergenerational Chorus, the Singing in the Rain Family Choir, and the Harmonious Family Singers describe differing approaches to intergenerational singing. The concept is also exemplified through reporting on the programming, preparing, and performing of an intergenerational choir concert. Gaining popularity, family choirs are poised to become a significant new genre in choral singing, bringing new participants to the choral art, while building healthy families and strong communities.

APA, Harvard, Vancouver, ISO, and other styles
17

Cuesta, Helena. "Data-driven pitch content description of choral singing recordings." Doctoral thesis, Universitat Pompeu Fabra, 2022. http://hdl.handle.net/10803/673924.

Full text
Abstract:
Ensemble singing is a well-established practice across cultures, found in a great diversity of forms, languages, and levels. However, it has not been widely studied in the field of Music Information Retrieval (MIR), likely due to the lack of appropriate data. In this dissertation, we first address the data scarcity by building new open, multi-track datasets of ensemble singing. Then, we address three main research problems: multiple F0 estimation and streaming, voice assignment, and the characterization of vocal unisons, all in the context of four-part vocal ensembles. Hence, the first contribution of this thesis is the development and release of four multi-track datasets of vocal ensembles: Choral Singing Dataset, Dagstuhl ChoirSet, ESMUC Choir Dataset, and Cantoría Dataset, all of them with audio recordings and accompanying annotations. The second contribution is a set of deep learning models for multiple F0 estimation, streaming, and voice assignment of vocal quartets, mainly based on convolutional neural networks designed leveraging music domain knowledge. Finally, we propose two methods to characterize vocal unison performances in terms of pitch dispersion.
Cantar en un conjunt vocal és una activitat arrelada a moltes cultures i que es desenvolupa en diversos formats, idiomes i nivells. Tanmateix, la falta de les dades adequades ha fet que no s’hagi estudiat extensivament en el camp de la Recuperació de la Informació Musical (MIR). En aquesta tesi, primer abordem l’escassetat de dades creant noves bases de dades obertes amb gravacions multi-pista de conjunts vocals. Tot seguit, ens centrem principalment en tres tasques d'investigació: estimació i seguiment de múltiples valors de F0, assignació de veus i modelat d’unísons, totes en el context de grups vocals a quatre veus. Per tant, la primera aportació d’aquesta tesi és la publicació de quatre bases de dades amb enregistraments de conjunts vocals: Choral Singing Dataset, Dagstuhl ChoirSet, ESMUC Choir Dataset i Cantoría Dataset, totes amb enregistraments d’àudio multi-pista i anotacions. La segona aportació d’aquesta tesi és un conjunt de models d’aprenentatge profund per l’estimació i el seguiment de múltiples valors de F0 i per l’assignació de veus en quartets vocals, principalment basats en xarxes neuronals convolucionals dissenyades per incorporar coneixement musical. Finalment, proposem dos mètodes per modelar i caracteritzar unísons vocals en termes de dispersió d’altura tonal (pitch).
APA, Harvard, Vancouver, ISO, and other styles
18

Barrier, Julie Tacker. "The development of criteria for the selection of age-appropriate literature for the senescent voice." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186178.

Full text
Abstract:
The intent of this study is to attempt to create new scientific criteria for the evaluation of choral literature for senescent singers, The first criterion developed for selection of age-appropriate choral literature was a measurement for voice quality registration called phonetography. Phonetography is the registration of the dynamic range of a voice as a function of fundamental frequency. Manual phonetograms on twenty young adult singers and twenty senescent singers were developed to determine individual frequency-by-intensity relationships of the senescent voice. The graph that was created when all points of minimum and maximum sound pressure levels are connected, thus enclosing the subject's total phonation area, was the singer's phonetogram. Three choral adjudicators were present at the phonetogram testing to determine which pitch levels and dynamic ranges were acceptable for healthy choral singing in each subject. Gelfer acoustic-perceptual rating scales were completed by the choral adjudicators on each phonetogram test subject. Adjectives utilized most frequently by speech pathologists, singers, otolaryngologists, and untrained listeners were codified and confidence ratings were made by each of the four groups who were polled. Appropriate opposites for the selected descriptors were chosen. The Gelfer test results were consistent with phonetogram findings. Criteria for age-appropriate choral literature were proposed from phonetogram data and the Gelfer acoustic-perceptual analyses. The four pieces which were selected as age-appropriate were analyzed by tessiturometry as a final criteria of suitability for aging singers. The tessiturogram is a graphic analysis of the frequency of note occurrence within a composition. Lower tessituras and limited ranges were recommended for aging singers. Choral selections with long phrases, rapid melismatic passages, wide unprepared leaps, and sustained singing should be avoided. High, soft singing for older female singers is not suggested. Rhythmic, homophonic works are recommended for successful performance. Instrumental accompaniments are beneficial in reinforcing the older singers' intonation.
APA, Harvard, Vancouver, ISO, and other styles
19

Ekholm, Elizabeth. "The effect of singing mode and seating arrangement on choral blend and overall choral sound." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0023/NQ50154.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
20

Root, Rachel Lorraine. "Choral rehearsal memory techniques /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11251.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Detwiler, Gwendolyn Coleman. "Solo singing technique & choral singing technique in undergraduate vocal performance majors a pedagogical discussion /." Cincinnati, Ohio : University of Cincinnati, 2009. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1226948715.

Full text
Abstract:
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisors: Barbara Honn M.M. (Committee Chair), Barbara Paver M.M. (Committee Member), Brett Scott D.M.A. (Committee Member). Title from electronic thesis title page (viewed April 25, 2009). Includes abstract. Keywords: voice; choral; choir; vocal; pedagogy; vocal pedagogy; choral pedagogy; music; music education; undergraduate. Includes bibliographical references.
APA, Harvard, Vancouver, ISO, and other styles
22

Haygood, James L. "A study of the continuum of choral singing from secondary choral programs to selected higher education choral programs in Indiana." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/897485.

Full text
Abstract:
The purpose of this study was to examine the continuum of choral singing from secondary choral organizations to choral organizations at selected higher education institutions in Indiana. Examined were two large state institutions and two private, liberal arts colleges. Two groups of college students who had high school choral experience were surveyed: 1. non-participants, and 2. participants. Participants in choral ensembles made up 1.33% of the total enrollments of the institutions studied. Thirty four percent of the selected students had high school choral experience. Choral ensemble participants' responses to a questionnaire were compared with non-participants' responses. The state institutions' student responses were compared to the liberal arts institutions' student responses.There do not appear to be universal reasons for students to continue or not continue singing in choral ensembles. The reasons appear to vary with the individual student and institution. However, there were trends observed. Students perceived themselves as being well enough prepared to participate in higher education choral ensembles. There is a discrepancy between the expectations of the college conductors and the students' evaluation of their preparedness. Literature appears to be a highly significant factor in the interest of all respondents. Students preferred to sing all types of music. Neither participants nor non-participants reported that classical literature was the focus of their high school choral programs. Participants perceive that the university is interested in them, while non-participants reported negative responses. Private respondents felt that the university was interested in their participation in choral ensembles more than public respondents. Many students decide before arriving on the higher education campus whether or not they will participate in college choral ensembles. The amount of credit given for singing in ensembles or academic loads seem to be a minor factor. It appears that parents do influence choral participation.Private institutions have a larger percentage of their populations participating in choral ensembles than do public institutions. The higher involvement of liberal arts college students in choral ensembles may be explained by the department's need for adequate manpower and the personalized recruiting policies. The personality of the conductor was important to the students surveyed.
School of Music
APA, Harvard, Vancouver, ISO, and other styles
23

Wang, Wei-Chun. "The effect of seating arrangements on the mixed choral ensemble /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1331405851&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

Full text
Abstract:
Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 153-160). Also available for download via the World Wide Web; free to University of Oregon users.
APA, Harvard, Vancouver, ISO, and other styles
24

Tocheff, Robert Dale. "Acoustical placement of voices in choral formations /." Connect to resource, 1990. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1248976452.

Full text
APA, Harvard, Vancouver, ISO, and other styles
25

Adams, Kari A. "Adolescent Self-Theories of Singing Ability within the Choral Hierarchy." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703368/.

Full text
Abstract:
The purpose of this study was to explore adolescent self-views of singing ability through both implicit theories and self-concept meaning systems. A secondary purpose of this study was to examine these self-views specifically in the context of a choral hierarchy. Using a researcher-designed survey instrument, I gathered data from middle- and high-school students currently enrolled in a choir program organized in a hierarchical structure. I analyzed descriptive statistics of survey responses to items designed to measure implicit theories of singing ability, singing self-concept, and goal orientation. I also examined differences among participants by ensemble placement in implicit theory and self-concept scores, correlation between implicit theory and self-concept, and whether implicit theory, self-concept, goal orientation, or current enrollment could predict future enrollment decisions. In addition to these quantitative measures, I coded open-ended responses to two failure scenarios and examined participant responses by ensemble and gender. Both implicit theory and self-concept scores were higher for participants at the top of the choral hierarchy than at the bottom. Open-ended responses, however, did not align with the implicit theory scale and a number of students presented a false growth mindset. Open-ended responses also indicated that failure scenarios were likely to result in an altered view of the self and shame in placement in an ensemble at the bottom of the choral hierarchy. The means scores for participants in the middle- and high-school ensembles in both implicit theory and self-concept were significantly different, with participants in the high-school ensembles having higher scores in both constructs. Implicit theory and self-concept were significantly related, and self-concept, goal orientation, and current enrollment significantly predicted future enrollment decisions.
APA, Harvard, Vancouver, ISO, and other styles
26

Braucht, Melanie J. Henry Michele Len. "The effect of small versus large group learning on music reading accuracy in the choral classroom." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5038.

Full text
APA, Harvard, Vancouver, ISO, and other styles
27

Kwan, Eva Schmidt Charles Punnett. "Secondary choral music education in Hong Kong : relations among motivation to music, meaning of the choral experience, and selected demographic variables /." Electronic version (link to abstract and document) ProQuest document ID:1559848571 Publication Number: AAT 3307724 UMI no. 3307724 Electronic version (link to document), 2007. http://proquest.umi.com/pqdweb?did=1559848571&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.

Full text
APA, Harvard, Vancouver, ISO, and other styles
28

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
29

Sousa, Simone Santos. "Body-voice in collective context: voice actions formative in choral singing." Universidade Federal do CearÃ, 2011. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=7262.

Full text
Abstract:
CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior
Body and voice are together as an integral tool in the activity of singing. The goal of this work is to understand how this unique body is experienced in the teaching-learning singing. To this end, investigated the build process of the scenic-musical performances developed by Coral da Universidade Federal do CearÃ. I used the ideas of Dalcroze and Orff concerning the inclusion of the body in the process of musical education, the experiences with the choir of Villa-Lobos and Marcos Leite, the ideas of the body to the actor proposed by Appia, Artaud and Grotowski, beyond the metaphors body suggested by Patricia Pederiva. I opted for the qualitative approach of ethnographic and descriptive, seeking to elucidate the meanings related to body-question voice in the choir of the UFC, hoping to get greater depth through qualitative methodology. To know the reality of the involved was used as an instrument of data collection interview, conducted with conductors, singers and group physical trainers, in addition to daily rehearsals and performances observed. Subsequently we analyzed the contents of the data collected. In analyzing the data collected, I came to a set of categories that can be summarized as follows: a) meanings of body, b) Difficulties found c) procedures and experiences. The analysis showed the importance of the work of preparing the body integrated vocal technique in the search for a unique body, integral and organic, in which body, voice and movement to integrate more freely.
Corpo e voz estÃo juntos como um instrumento integral na atividade de cantar. O objetivo deste trabalho à entender como se vivencia esse corpo Ãnico no processo ensino-aprendizagem do canto. Para tal, investiguei o processo de montagem de espetÃculos cÃnico-musicais desenvolvido pelo Coral da Universidade Federal do CearÃ. Utilizei as ideias de Dalcroze e Orff que dizem respeito à inclusÃo do corpo no processo de educaÃÃo musical; as experiÃncias com coro de Villa-Lobos e Marcos Leite; as ideias de corpo para o ator propostas por Appia, Artaud e Grotowski; alÃm das metÃforas de corpo sugeridas por PatrÃcia Pederiva. Optei pela abordagem qualitativa de carÃter etnogrÃfico e descritivo, buscando investigar as significaÃÃes relacionadas à questÃo corpo-voz ao acompanhar os ensaios do coral da UFC, esperando conseguir maior grau de profundidade por meio da metodologia qualitativa. Para conhecer a realidade dos envolvidos, foi utilizada como instrumento de coleta de dados a entrevista individual, realizada com regentes, coralistas e preparadores corporais do grupo, alÃm de diÃrios de ensaios e apresentaÃÃes observadas. Posteriormente foi realizada a anÃlise do conteÃdo dos dados coletados. Ao analisar os dados coletados, cheguei a um conjunto de categorias que podem ser resumidas em: a) Significados de corpo; b) Dificuldades encontradas; c) Procedimentos e experiÃncias. A anÃlise mostrou a importÃncia do trabalho de preparaÃÃo corporal integrado à tÃcnica vocal na busca de um corpo Ãnico, integral e orgÃnico, no qual corpo, voz e movimento se integrem de forma mais livre.
APA, Harvard, Vancouver, ISO, and other styles
30

Dennis, Daniel C. "Sing Together! Choral Singing as a Supplementary Training Method for Actors." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1163.

Full text
Abstract:
Voice and speech training for the actor has traditionally defined itself as distinct from the vocal training of the musical theatre or opera singer. The separation in philosophy and practice by trainers of actors and singers reflects the resultant capabilities and proclivities of our performers. Those performers generally sing or act, and if asked, will sometimes do both, but may damage their voices in the process. This study aims to explore and reveal how actors may develop a greater sense of courage and trust, have easy access to breath, find freedom in their bodies and voices, become better listeners and therefore more engaging actors, uncover untold depths of characterization, unearth resonance that communicates easily, and discover the music of rhythm and melody in their spoken voices, all through the use of ensemble singing in the actor's voice and speech classroom.
APA, Harvard, Vancouver, ISO, and other styles
31

Keyne, Lori Valerie. "Choral seating arrangements and their effects on musical and social elements." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185836.

Full text
Abstract:
Choral experts have promoted either sectional block or mixed seating formations in choirs for various reasons. Previous research by Lambson indicates that there is no clear advantage to choral sound in either mixed or sectional formations, and, according to Tocheff, mixed formation has no advantage over sectional block formation. This research attempted to relate choral seating arrangements to individual musical growth and sociological dynamics. One hypothesis suggested that a mixed formation promotes individual musical growth in ear-training/sight-singing, vocal freedom, perceived scope of a choral work and also promotes group cohesion. The second and third hypotheses considered the correlation between the percentage of time spent in mixed formation and individual and group trust. Only two relationships were statistically significant: between mixed formation and perceived scope of a choral work, and between the percentage of time spent in mixed formation and group trust. An ancillary finding suggests that individuals who sing in mixed formation, prefer to sing with individuals from different voice parts. These findings suggest that individual musical growth and individual responsibility are enhanced in mixed formation.
APA, Harvard, Vancouver, ISO, and other styles
32

Pearson, Kathy Shay. "The Alexander Technique and Body Mapping : a strategy for voice teachers and choral directors /." Link to full text, 2009. http://epapers.uwsp.edu/thesis/2009/Pearson.pdf.

Full text
Abstract:
Thesis (M.M.E.)--University of Wisconsin--Stevens Point.
Submitted in partial fulfillment of the requirements of the degree Master of Music Education in Studio Vocal Pedagogy. Includes bibliographical references (leaves 39-41).
APA, Harvard, Vancouver, ISO, and other styles
33

Arasi, Melissa Tyson. "Adult reflections on a high school choral music program perceptions of meaning and lifelong influence /." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-07262006-082254/.

Full text
Abstract:
Thesis (Ph. D.)--Georgia State University, 2006.
Title from title screen. David Myers, Mary Deming, committee co-chairs; Dana Fox, Patrick Freer, committee members. Electronic text (242 p.); digital, PDF file. Description based on contents viewed Apr. 17, 2007. Includes bibliographical references (p. 224-233).
APA, Harvard, Vancouver, ISO, and other styles
34

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
35

Nolker, D. Brett. "Individual sight-singing success : effects of testing condition, large ensemble sight-singing rating, school size, and selected background factors /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3036849.

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Carr, Deborah Louise. "Concept mapping as an assessment tool : accessing learning in a choral ensemble /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9713218.

Full text
APA, Harvard, Vancouver, ISO, and other styles
37

Quist, Amanda. "Choral resonance re-examining concepts of tone and unification /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9049.

Full text
Abstract:
Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Apr. 22, 2007, Nov. 11, 2007, and Apr. 6, 2008. Includes bibliographical references (p. 48-50).
APA, Harvard, Vancouver, ISO, and other styles
38

Slusher, Hugh Douglas. "A comparison of the perspectives of college choral directors, voice teachers, and voice students concerning solo and choral singing." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392912787.

Full text
APA, Harvard, Vancouver, ISO, and other styles
39

Scott, Elizabeth Renee. "Fine tuning choral intonation: The development, implementation and evaluation of a pedagogical method for just intonation in a cappella choral singing." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/26817.

Full text
Abstract:
Choral singers have a natural tendency to tune to each other in just intonation. However, choirs are notorious for their pitch drift and poor intonation, particularly in a cappella choral repertoire. It is common practice for choral directors to use a piano in rehearsal to provide the singers with starting pitches, to aid in repertoire learning and to assist with tuning chords. However, this dependency on the equal-tempered piano, hinders ensemble listening and chorister self-reliance and can lead to out of tune singing in a cappella repertoire. The aim of this study is to develop, implement and evaluate a pedagogical method to facilitate just intonation in choral singing. Choristers trialled a series of warm-up exercises using pure intervals and learned a cappella repertoire using annotated scores designed for this study. To refine tuning, a just intonation keyboard was used to provide a pitch model. Throughout the rehearsal process choristers completed questionnaires and a sub-set of choristers participated in interviews. Choristers reported an increase in understanding and confidence in tuning in just intonation and were cognisant of an improvement to the sound of the choir in blend and intonation. Removing the piano encouraged the choristers to become more musically independent and enabled them to sing the a cappella repertoire in just intonation successfully. Choirs can aspire to singing in just intonation and respond well to innovations in choral pedagogy. This training program enhanced singers’ natural tendency to tune in just intonation and increased choristers’ musical and aural skills. Choral directors should be confident in choirs’ ability to adapt to just intonation and employ targeted warm-up exercises, annotated scores and where possible, a just intonation keyboard, to promote independence from the piano.
APA, Harvard, Vancouver, ISO, and other styles
40

Turcott, Amber. "Choral Music Education: A Survey of Research 1996-2002." [Tampa, Fla.] : University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000056.

Full text
APA, Harvard, Vancouver, ISO, and other styles
41

Stephens, Annette. "Education for an Australian choral tradition: Evaluating the philosophies of Stephen Leek." Thesis, Australian Catholic University, 2004. https://acuresearchbank.acu.edu.au/download/0065843662a439782a3e5b46fa2056dd031fef4c7aabdfa007bfb80c5e8cf8cc/5552303/65098_downloaded_stream_323.pdf.

Full text
Abstract:
The thesis aimed to assess the philosophies of Stephen Leek, in regard to the education for an Australian choral tradition. In order to address Stephen Leek's philosophies, a study of Australia's existing choral tradition and its history was conducted. This was followed by a general overview of music education in Australia post 1960. In light of these findings, Leek's educational philosophies were discussed, with specific influences, including biographical information. Leek's educational work Voiceworks was found to encapsulate his ideas. The program is creative-based, and aims to facilitate the discovery of new artistic concepts, and foster acceptance and interest in contemporary Australian choral music. Using the voice as the sole instrument, students can perform the pieces from Voiceworks, or use the ideas for further creativity in their own compositions. The program is based on experimentation, discovery, structuring, formulating, rehearsal, performance and discussion. Leek advocates that these stages are the quickest and most effective way of facilitating the learning of contemporary music techniques. In the evaluation of Leek's philosophies, case studies using a lesson from Voiceworks, were conducted with two Year 7 music classes in two different government coeducational schools. The findings revealed that Voiceworks can be a successful resource in the education for an Australian choral tradition. However, it was also found that excitement, enthusiasm and enjoyment are the key to its success, and hence excellent teaching is required in its presentation.
APA, Harvard, Vancouver, ISO, and other styles
42

Vaughan, Leigh T. "The missing males factors which contribute to low participation of adolescent boys singing in secondary school /." Connect to full text, 1998. http://hdl.handle.net/2123/5671.

Full text
Abstract:
Thesis (M. Mus. (Mus. Ed.)) -- University of Sydney, 1998.
Title from title screen (viewed November 11, 2009) Submitted in fulfilment of the requirements for the degree of Master of Music (Music Education) to the Music Education Unit of Sydney Conservatorium of Music. Includes bibliographical references. Also available in print form.
APA, Harvard, Vancouver, ISO, and other styles
43

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
44

Mecke, Ann-Christine. "Mutantenstadl : der Stimmwechsel und die deutsche Chorpraxis im 18. und 19. Jahrhundert." Berlin wvb, Wiss. Verl, 2007. http://www.wvberlin.de/data/inhalt/mecke.html.

Full text
APA, Harvard, Vancouver, ISO, and other styles
45

Vaughan, Leigh T. "The missing males : factors which contribute to low participation of adolescent boys singing in secondary school." Master's thesis, Sydney Conservatorium of Music, 1998. http://hdl.handle.net/2123/5671.

Full text
Abstract:
Thesis (M. Mus. (Mus. Ed.)) -- University of Sydney, 1998.
Title from title screen (viewed November 11, 2009) Submitted in fulfilment of the requirements for the degree of Master of Music (Music Education) to the Music Education Unit of Sydney Conservatorium of Music. Includes bibliographical references. Also available in print form.
APA, Harvard, Vancouver, ISO, and other styles
46

Botha, Charlotte. "Confronting Afrikaans diction challenges in non-Afrikaans mother tongue choirs." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1020956.

Full text
Abstract:
This study is an initial attempt to identify the most common Afrikaans diction challenges experienced by non-Afrikaans mother tongue speaking choirs, and to explore means of confronting these challenges. No dedicated source exists for choral diction in Afrikaans as a foreign language. This study reviews personal views and literature from various fields that would inform several key elements necessary for the creation of such a source. The primary data for this study was collected through study questionnaires, completed by expert choral conductors who are highly regarded for their success in teaching and performing Afrikaans diction in non-Afrikaans mother tongue speaking choirs, in performance settings such as the ATKV-Applous Choir Competition. Through its proposition of methods for the improvement of Afrikaans diction practices in the non-Afrikaans choral setting, the study promotes the prolific composition of Afrikaans choral literature, and its ubiquitous inclusion in choral repertoire both in South Africa and abroad.
APA, Harvard, Vancouver, ISO, and other styles
47

Westfall, Claude R. Sims Wendy L. "Criteria identified by selected Missouri high school choral directors for placement of concert repertoire in concert order." Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/6630.

Full text
Abstract:
Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 25, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Wendy L. Sims. Vita. Includes bibliographical references.
APA, Harvard, Vancouver, ISO, and other styles
48

Nesheim, Paul Jonathan. "Vocalises for choir: A collection of vocal exercises with a study of their value and of principles for their effective use." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185742.

Full text
Abstract:
For an untold number of years the vocalise has had an integral place in many of the methods used for the training and development of singers. Commonly referred to and used as "warm-ups" in the choral rehearsal, vocalises are considered by many conductors to have a usefulness that surpasses that of simply preparing voices for the singing which is immediately at hand. It remains a tendency in many cases, however, for vocalises to be used in an indiscriminate fashion without a clear understanding of the purposes of the vocalises used and/or using a method of presentation of vocal exercises that can diminish their usefulness or perhaps even have detrimental effects on the singers. A common additional plight facing many choral conductors seems to be the lack of availability of practical, printed resources for choral vocalization. Conductors can feel forced to rely only on exercises passed onto them by colleagues or by their own teachers. Either because of this lack of understanding of purpose or because of a lack of knowledge of vocalise repertoire, or both, a conductor might choose to limit or avoid entirely the use of vocal exercises in the choral rehearsal, depriving the conductor and the singers of what is perhaps one of the best tools for vocal development and conditioning. This study attempts to contribute toward the alleviation of the problems mentioned above. The study provides an extended collection of vocalises arranged with optional piano accompaniments by the author for use in the choral rehearsal, including original exercises, as well as those borrowed from colleagues in the solo and choral music fields and from selected printed sources. In addition, through a review of the writings of noted authorities in the field of voice education, the study discusses the usefulness of vocalises in the development of specific elements of good singing, with reference to the vocalises contained in the collection. Included in this discussion is a determination, based on these writings, of certain principles for the effective use of vocalises in the choral rehearsal. Finally, this study provides a selected list of known, available resource material that specifically contains vocalises for choir.
APA, Harvard, Vancouver, ISO, and other styles
49

Zadig, Sverker. "Vi sjunger så bra tillsammans : Om medvetet eller omedvetet samarbete mellan körsångare samt om formella och informella ledare i körstämman." Licentiate thesis, Örebro universitet, Musikhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-20367.

Full text
Abstract:
Aim of the research: This essay describes what can happen between the singers in a choral voice and how the individuals differ in taking initiative and acting in leading roles. Method: I have done qualitative interview studies with conductors and singers, and also recording studies. The recording sessions have been done in following choir rehearsals in a Swedish upper secondary school, and with a simultaneous video recording to be able to also take notice on eventual visual signs between the singers. With close up headworn microphones and by multi track recordings it have been possible through an analyzing program to watch graphically exactly how each individual sings and to compare the singers with each other. The recordings and analyses have been done using Cubase5 and Variaudio with printouts of the same sequence of the music the single voices in the same choral voice. Results: My informants all speak of formal and informal leaders in the choral voice. Many of them also talk about these leaders as leading the choral voice and also with their personal voice and timbre, give color to others. It is possible to graphically view differences in attacks and intonation, and also to notice when someone is ahead and “pulling” others to follow. This leading role can be both positive and negative, a confident but not so good singer can unfortunately bring along other singers to take wrong steps in the music.
APA, Harvard, Vancouver, ISO, and other styles
50

Olivier, Madelie Charlotte. "A critical study of voice teaching method, with specific reference to solo singing, choral singing and vocal health for the teenage singer." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1019926.

Full text
Abstract:
This dissertation presents a critical study of voice teaching method as this pertains to the high school learner studying voice within the South African educational environment, with learning outcomes determined for subject music within the GET (General Education and Training) and FET (Further Education and Training) bands of the Department of Basic Education at each school grade level, as well as by external examining bodies such as Unisa (University of South Africa), Trinity Guildhall and ABRSM (Amalgamated Board of the Royal Schools of Music). Emphasis is placed on the methodological principles applicable in the case of the Western classical music solo vocal repertoire, but reference is also made to the applicability of this method in other vocal genres and, in particular, in the case of choral music participation. Special attention is given to the subject of the vocal health of the developing teenage voice, which includes an overview of vocal disorders and suggestions for rehabilitation and remedial programmes where necessary. Triangulation of research results is achieved in this study through inclusion of: - A thorough survey of selected pertinent bibliographic sources - Description of and engagement with the researcher’s own numerous phenomenological encounters in this field - Interviews conducted in Port Elizabeth with Jill Nock, voice teacher, on the subject of voice teaching method, and with John Black, Ear, Nose and Throat Specialist, on the subject of vocal health. The researcher concludes that there is a need for continued education and training of music educators in the South African high school environment, many of whom are not trained voice specialists, in order to cater for the growing number of high school music learners who choose to specialise in voice. Although educator networking can go a long way towards creating an informal support system to address this need, it is ultimately the responsibility of the Department of Basic Education to address this in a formal and all-encompassing fashion.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Choral singing' for other source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography