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Journal articles on the topic 'Choral singing'
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1
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 (July 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 conductors preferred blended singing over soloistic singing. No significant singing mode preference, however, was found in choral evaluations by voice teachers and nonvocal musicians. Voice teachers ranked individual vocal production in blended choral singing lower than in soloistic choral singing, and both choral singing modes lower than solo singing. Acoustic seating positively affected evaluations of choral performance, individual vocal production, and choristers' vocal comfort and choral sound ratings.
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Smith, Brenda. "Lifelong Singing: Choral Singing and Children." Perspectives on Voice and Voice Disorders 12, no. 1 (March 2002): 31. http://dx.doi.org/10.1044/vvd12.1.31.
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Dumitriu, George. "THE ROMANIAN ORTHODOX CHURCH CHORAL CREATION OF CLASSICAL-ROMANTIC INFLUENCE." Review of Artistic Education 27 (April 1, 2024): 43–46. http://dx.doi.org/10.35218/rae-2024-0006.
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The liturgical singing of the Romanian Orthodox Church is monodic, of the Byzantine tradition. From the 19th century, under the influence of the Russian Orthodox Church, multiple voices choral singing penetrates the Romanian worship establishments. The beginnings were timid, isolated, from private initiatives and sometimes encountering the hostility of conservative ecclesiastical traditionalism. After 1959, the introduction of choral singing in the United Romanian Principalities was to be facilitated by state legislation. Choral singing would be used predominantly for the office of the Holy Liturgy. In finding a choral style suitable for the orthodox liturgical ceremonial, three main stylistic directions were outlined, among which the classical-romantic influence created a generous and varied repertoire.
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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 (April 11, 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. Correlational analyses and linear regression models were used to examine the association between the benefits of singing in choir and QOL.Results: Both correlation and regression analyses found significant relationships between the benefits of choral singing and three QOL domains: psychological, social relationships, and environment. These associations remained significant after adjusting for age and depressive symptoms. As hypothesized, older choral singers who reported greater benefits of choir singing had higher QOL in multiple domains. The older choral singers in the study also reported few symptoms of depression and high overall QOL and satisfaction with health.Conclusion: Results suggest that singing in a community choir as an older adult may positively influence several aspects of QOL. These results suggest that community choral singing may be one potential avenue for promoting QOL in older adults.
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Nikolaeva, Elena V. "“One-Voice Collective-Distributed Singing” as a Necessary Attribute of the Initial Stages of Teaching Children of Primary School Age Choral Singing." Musical Art and Education 7, no. 3 (2019): 163–77. http://dx.doi.org/10.31862/2309-1428-2019-7-3-163-177.
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The write incentive for this article was the desire to characterize the pedagogical potential of the method “One-Voice Collective-Distributed Singing” at the initial stages of training children of primary school age choral performance. Its essence is connected with a specific approach to learning and playing melodies of songs or vocal choral exercises. In the exercises, a sequential transmission / reception of the melodic line from one singer to another / another or from one group of singers to another is provided. The article reveals the author’s position, according to that this method is considered as a special kind of role-playing singing. At the initial stage of training in choral performance, its use (i) creates the favorable conditions for the implementation of an individual-personal approach to students in the process of vocal-choral activity, (ii) contributes to their mastery of vocal, (iii) effectively prepares children for intonationally pure and expressive intonation of the “choral part” performed by them, (iv) contributes to their experience in tracking the melodic line as a dialogue / polylogue of several choral parts, each of which brings new colors. This kind of choral performance stimulates the preparation of children for the development of polyphonic singing.
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Tyaglova, Svetlana, and Viktoriya Kolbasa. "Arousing children’s interest in choir singing in sunday schools." St. Tikhon's University Review. Series IV. Pedagogy. Psychology 65 (June 30, 2022): 120–29. http://dx.doi.org/10.15382/sturiv202265.120-129.
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The article considers the possibilities of solving the problem of spiritual and moral education of the younger generation by means of choral singing in Sunday school. It was choral singing and the church that were originally inseparable in the history of Russian culture. The authors consider the reasons for the lack of interest in singing among children in Sunday schools (a small amount of time for rehearsals, an audience of different ages, etc.), and ways to solve this problem are presented. The article considers the concept of interest and ways of its development in the scientific and methodological literature, the history of the formation of Sunday schools in Russia, the possibility of developing morality and spirituality of children by means of choral art. The results of a survey of parishioners of the temples of the Tobolsk-Tyumen Diocese are presented in order to identify the interest of respondents in the development of children's choral singing in the temple. Based on the results obtained, and the experience of the authors in this field, methodological recommendations were developed for developing children's interest in joint singing in the conditions of Sunday school classes.
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Tamburri, Nicholas, Debra Sheets, Andre Smith, and Stuart MacDonald. "INVESTIGATING THE NEURAL CORRELATES OF SOCIAL AND INDIVIDUAL SINGING IN PERSONS WITH DEMENTIA." Innovation in Aging 7, Supplement_1 (December 1, 2023): 789. http://dx.doi.org/10.1093/geroni/igad104.2549.
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Abstract Music interventions for persons with Alzheimer’s Disease and related dementias (PwADRD) have documented psychological benefits; however, the neurological correlates underlying these advantages remain less certain. Using functional near infrared spectroscopy (fNIRS), the present study i) investigated within-person patterns of cortical oxygenation during choral vs. individual singing; ii) explored how singing context (choral vs. individual) modulated patterns of functional connectivity (FC) within and across frontal and parietal cortices; and iii) leveraged these functional activations as predictors of cognitive status (degree of impairment) in a series of discriminant function analyses (DFA). Participants were 13 PwADRD who volunteered from a larger, ongoing social-cognitive choir intervention. fNIRS data were collected using a TechEn Cw6 system during both choral and individual singing conditions. Paired sample t-tests evaluated differences in activation patterns between singing conditions, with DFA used to determine whether these activations and neuropsychological function were predictive of between-person differences in cognitive impairment. Significant differences in cerebral oxygenation were identified in the right anterior PFC, with individual singing associated with significantly greater cortical oxygenation relative to group singing. Although not significant, individual singing was also associated with bilateral increases in cortical oxygenation across the majority of fNIRS channels, as well as increased FC, relative to group singing. The DFA analyses were not significant. This novel study is the first to examine differences in music-cognition correlates across environmental contexts for PwADRD. Patterns of functional activation suggest that choral singing in particular may represent an optimal lifestyle activity, placing comparatively fewer demands on cognitive function.
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Smyrnova, Tetyana. "MUSIC AND CHOIR EDUCATION IN UKRAINE XVI–XVIII СЕNTURIES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 28–32. http://dx.doi.org/10.36550/2415-7988-2021-1-195-28-32.
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The article analyzes the development of music and choral education during the Slavic Renaissance and Ukrainian Baroque. The special significance of the ideas of spirituality and the revival of Ukrainian-Slavic values of religious and folk singing is revealed in view of the absence of statehood, the decline of Orthodox musical traditions. The significance of the reformist ideas of «purification of the church» and the culture of the Enlightenment is highlighted. Positive results of the development of music and choral education on the basis of Renaissance-Baroque (Cossack) Ukrainian culture were revealed. The value of Cossack-kobzar music and choral education, regional music and choral schools, the phenomenon of Kyiv-Mohyla Academy is emphasized. The analysis of scientific sources testifies to the intensive development of music and choral education in Ukraine during the sixteenth and eighteenth centuries, which took place in difficult conditions of the liberation struggle of Ukrainians for national culture, spirituality and consciousness. The achievements of the national music and choral education of the Slavic Renaissance include the preservation of ideas and traditions of the post-Byzantine Balkan-Slavic culture of Orthodox singing (monasteries, parish schools); appeal to Roman Catholic music and choral education (Jesuit, Latin, Protestant, Uniate secondary and higher institutions); a bright revival of humanistic and educational slogans, traditions of national music and choral education, which took place taking into account European achievements (Ostroh Academy, fraternal schools). Musical and choral education of the Hetmanate (Ukrainian Baroque), despite the gradual destruction of statehood, was marked by the revival of Ukrainian culture of the Renaissance-Baroque (Cossack) type. Centers of kobzar-Cossack music and choral education and culture, regional singing schools, spiritual and singing Orthodox culture flourished (Kyiv-Mohyla Academy, monastic, hierarchical, secular city centers) flourished. Ukrainian music and choral education was glorified by the geniuses of the Ukrainian people M. Diletsky, D. Rostovsky, D. Bortnyansky, M. Berezovsky, A. Wedel, G. Skovoroda. The prospects for further research include a systematic analysis of trends in music and choral education in Ukraine in the populist period.
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Горбачева and N. Gorbacheva. "Features of Vocal-Choral Education of Younger Schoolchildren on the Basis ofIntegrated Approach." Standards and Monitoring in Education 5, no. 4 (August 21, 2017): 42–46. http://dx.doi.org/10.12737/article_5979fd5be59870.69743202.
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Integrated approaches in the pedagogy of general and pre-professional music education are quite in demand. Historically, an integrated approach is used throughout the educational fi eld of “art”. This article describes a new approach to the use of integration in choral classes in pre-professional education of children, which is the most eff ective and optimizing the process of vocal-choral learning. In the class on choral singing, integration is represented both by polygamousness and kinesthetics. Kinesthetic method of work in particular promotes a deeper understanding of the fundamental aspects and principles of choral singing in a children’s collective.
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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 distributed creative agency via a network of sounding bodies.
This article centres on a case study (March–October 2017) involving three British amateur choirs in the performance of improvisatory choral scores by Kerry Andrew (2005) and Cornelius Cardew (1968–70). Complexity Theory (Davis and Sumara 2006) offers a useful framework for understanding how creative impulses and constructions interact; both the vocal expression and corporeal receipt of these creative ideas occurs in an embodied way, drawing on dance and embodiment theory (Sheets-Johnstone 2009, Downey 2002). The research process and qualitative-data-processing methodology (Charmaz 2014) of the case study are described, before findings are laid out with a view to how they point towards ideas of embodied, complex interaction. These findings offer an important, and hitherto unexplored, view into how Complexity Theory (a common theoretical framework in other fields across the sciences and humanities) might usefully describe musical performance. In transcending attempts to atomise ensemble interaction according to shared intellectual knowledge and verbal communication, the complex, embodied interaction of diverse singers, through the physical connection of sound, might involve those singers in the distributed authorship of a musical work.
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Balsnes, Anne Haugland. "Hospitality in multicultural choral singing." International Journal of Community Music 9, no. 2 (July 1, 2016): 171–89. http://dx.doi.org/10.1386/ijcm.9.2.171_1.
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Caliga, Marina. "12. The Methodology of Music Education Lesson Completeness by Means of the Vocal-Choral Singing Dominant Activity." Review of Artistic Education 19, no. 1 (April 1, 2020): 93–99. http://dx.doi.org/10.2478/rae-2020-0012.
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AbstractChoral singing has always been an activity in which the participant, the choir singers sang together, achieved the same goals, lived and perceived music together. In the music education lesson, the choral-vocal singing is an activity with great teaching and educational possibilities. It is one of the most accessible ways of interpreting music in school. This article methodologically investigates the completeness of the music education lesson with the dominant activity of vocal-choral singing.
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Stojanović, Danijela, and Ivana Milošević. "(LACK) OF PUPILS’ MOTIVATION FOR CHORAL SINGING IN ELEMENTARY SCHOOLS IN NIŠ." Facta Universitatis, Series: Teaching, Learning and Teacher Education, no. 1 (January 23, 2020): 147. http://dx.doi.org/10.22190/futlte1902147s.
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The paper presents the results of research regarding interest and motivation of pupils in elementary schools in Niš for choral singing. The motive for this research is the data on the reduced number of school choirs participating in competitions in Niš in the last ten years. The research was conducted in October and November of 2018/2019 school year in five elementary schools in Niš. A total of 100 pupils in upper grades (V to VIII grade) were interviewed, 50 of whom were members of the school choir and 50 who were not members of the school choir. The obtained results show that pupils' motivation for choral singing is influenced by certain social factors (curricula, socialization, gender, grade, success), while factors related to genre preferences do not influence the attitude towards choral singing. Considering the results of the research, it is considered that the pupil's participation in the choir is very important for her/his personal psycho-physical development and socialization. Therefore, the role of school, teachers and parents should be enhanced to increase pupil's motivation for group/choral singing.
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Santi, Matej. "Choir singing: Performing Identities and Loyalties." Musicological Annual 53, no. 2 (November 27, 2017): 91–101. http://dx.doi.org/10.4312/mz.53.2.91-101.
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This paper traces the practice of choral singing of the three major ethnolinguistic groups – Italians, Slovenians, Germans – in pre-war Trieste, while the city was still part of the Habsburg Monarchy. Through widespread reviews in the media, choral singing in different social and linguistic contexts became politicised, with the goal of establishing political and national alliances.
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Martyniuk, Lyubov. "SPECIFICITY OF PROFESSIONAL TRAINING OF FUTURE MUSIK TEACHERS TO LEAD ARTISTIC AND CREATIVE GROUPS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 96–101. http://dx.doi.org/10.36550/2415-7988-2021-1-195-96-101.
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The article discovers the issues which are a part of a complex set of training future music teachers to manage artistic and creative ensembles, in particular, vocal and choral ones. It is emphasized that the dominant place in the process of training future music teachers to guidance these groups is occupied by aspects of conducting and choral training, the study of which is impossible without understanding the unique phenomena of native choral performance and features of working with vocal and choral collectives. To solve these problems there are the disciplines of conducting and choral cycle, the main task of which is to educate students in professional skills and skills of singing in the choir, as well as managing the choir based on mastering the methods of working with the choir, didactic principles and knowledge of psychophysiological process which a person has during singing. It is noted that the reserve for improving the quality of professional training of future music teachers to manage vocal and choral ensembles is the intersubject relationship of special disciplines with socio-pedagogical and music-theoretical ones. Modern performance and analytical requirements for professional training of future music teachers to guidance vocal and choral groups are analyzed, in particular, the ability to achieve the required level of knowledge and skills on condition that students master each subject of conducting and choral cycle with awareness of their interaction, high level of singing and conducting competence of students and their deep knowledge of vocal and choral repertoire, the art of mastering of not only performing vocal and choral skills, but also organizational skills by the future manager of the ensemble, the unity of erudition in the field of vocal and choral art, methodical training, pedagogical activities based on interrelation of knowledge and practice of working with an artistic and creative collective. The specifics of the professional training of future music teachers to lead vocal and choral groups is his singing and conducting competence, deep knowledge of vocal and choral repertoire, the art of mastering the leader of the vocal and choral group not only organizational skills but also performing vocal skills. For effective professional training, students need to constantly and purposefully develop their musicological and performing qualities in conjunction with conducting and choral and methodological training.
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Ferencziné Ács, Ildikó. "Seconds Under Magnifying Glass – Focus on Pure Intonation." Studia Universitatis Babeş-Bolyai Musica 69, no. 1 (June 10, 2024): 7–21. http://dx.doi.org/10.24193/subbmusica.2024.1.01.
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Several books, studies and videos are available on the Internet on the importance and role of singing in schools and choral singing, and on effective ways of learning songs and choral works. As a result of technological progress, MIDI recordings and digital choral parts are available to choirs and choir leaders to facilitate the rehearsal and learning process. However, what on the one hand seems modern and innovative (digital pianos, audio and video recordings, easy and fast communication, streaming, virtual choirs) can have a negative impact on the other. At international conferences and symposiums, it is common to see choirmasters making hand gestures to sound one or more parts, as a kind of attraction to show off solfa singing. It is not always clear, however, what the intelligent use of solmization can do beyond the two-(three-)part singing or vocal warm-up. The following chapters will point out why reading music with a relative system of solfa is beneficial, and why learning to sing a part or a choral work with the help of piano is less supported. Keywords: cent system, overtones, whole tones, relative solfa – absolute solfa, hand-signs, pure intonation.
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Meshkova, T. A., and E. G. Baklanova. "Psychological Well-being in the Older People: the Effects of Academic Choral Singing." Консультативная психология и психотерапия 32, no. 1 (May 7, 2024): 79–102. http://dx.doi.org/10.17759/cpp.2024320104.
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<p style="text-align: justify;">Aim. The purpose of this study was to investigate the level of psychological well-being of elderly and senile people who regularly engage in academic choral singing, and to identify factors related to this. Methods. A qualitative analysis was carried out to analyze the statements of the participants of two Moscow academic choirs of elderly people about the influence of choral singing on their physical and mental well-being. A quantitative comparison was made between the two groups of participants - choir members (46 people 57-91 years old; M=73,6±7,8), and a control group of people of the same age, but not involved in singing (56 people 52-82 years old; M=67,1± 6,8) - in terms of psychological and life well-being were conducted. The following measures were used: 1) the Russian version of the С. Ryff psychological well-being questionnaire, 2) a questionnaire regarding the socio-demographic information and the satisfaction with basic life circumstances, 3) a questionnaire (only for choristers) regarding the characteristics of musical and vocal-choral activity and their impact on the well-being of respondents. Results. The detailed statements of the choristers testify to the positive impact of choral singing on their physical and psychological well-being. The level of psychological well-being of elderly and senile people is largely determined by the well-being of important life circumstances. Engagement of elderly people in the academic choral singing has a significant effect in terms of increasing the psychological well-being of participants only if the level of well-being of the main life circumstances is high. The duration of engagement in the choir singing negatively correlates with the level of psychological well-being of the participants.</p>
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Clements-Cortés, Amy. "Clinical Effects of Choral Singing for Older Adults." Music and Medicine 7, no. 4 (October 31, 2015): 7. http://dx.doi.org/10.47513/mmd.v7i4.437.
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This paper presents a literature summary overviewing the clinical effects of choral singing with a focus on older adults. As part one of a two part paper, this review helps to establish the framework for the research study “Singing for Health Connection and Care” presented in part two. Information is offered on the psychophysiological effects of singing; social benefits of singing; emotional benefits of singing; music in long-term care facilities and outcomes for persons with dementia and their caregivers. To date, the studies conducted as examined in this review show promising results for physical, emotional, and mental health, however further research is needed. This analysis of the literature provides the necessary background information to implement future choral singing studies with older adults and their caregivers, and serves to support the need for the study undertaken in part two.
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Glebov, Ana. "5. Historical and Theoretical Foundations of the Development of Vocal and Choral Culture in Moldova." Review of Artistic Education 21, no. 1 (June 1, 2021): 31–34. http://dx.doi.org/10.2478/rae-2021-0005.
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Abstract The origins of the national choral art are based on Church singing, which has been widely developed since the founding of the Putnyansky and Nyametsky monasteries. In the further development of the centuries, Church singing intertwined with folk choral singing, which was reflected in the works of such conductors and composers as G. Muzichesku, M. Berezovsky, A. Kristya, M. Byrke, V. Popovich. Special attention is paid to the creative and conducting activities of Gavriil Muzichesku, all of whose initiatives were innovative and progressive, later becoming the leading ones in the national choral activities of Romania and Moldova. This article identifies and systematizes the main trends related to the process of creating vocal and choral works and their application in the system of Romanian and Moldovan musical education. Their analysis shows that the composer worked on the theoretical generalization of his own experience, turned to the best ideas of domestic and foreign pedagogy, including Russian, and thanks to this he was able to bring his knowledge and experience into a fairly coherent and integral system of musical education and education through vocal and choral culture.
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Batt-Rawden, Kari, and Sarah Andersen. "‘Singing has empowered, enchanted and enthralled me’-choirs for wellbeing?" Health Promotion International 35, no. 1 (February 2, 2019): 140–50. http://dx.doi.org/10.1093/heapro/day122.
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Summary Singing in groups is a global phenomenon and there is a growing body of evidence that singing can affect health and wellbeing. This is the first gender-based study to explore how women’s perceptions of their own health and wellbeing can be affected by singing in a choir; and also how choral singing may have an impact on social inclusion. Qualitative data was collected from nine choirs in two regions of Norway. The sample consisted of 19 (n = 19) women aged 21–75 (mean age, 51.3.) who had sung in choirs from 6 months to 20 years (mean, 6.2 years). The sample population included those who identified as ‘healthy’ and those experiencing health issues such as cancer, depression, anxiety or fatigue. Two focus groups and 16 semi-structured interviews were carried out and the data were analyzed using grounded theory. Findings were that choral singing can affect women’s perceptions of their wellbeing in four distinct ways: (i) through the joy of singing, (ii) experiencing singing as essential for survival, (iii) group singing as a route to social connection, which enhanced a sense of identity and of belonging, and thereby increased self-confidence and self-esteem and (iv) through promoting social inclusion. In the context of these findings, choral singing can be understood as a ‘salutogenic’ activity, that is, one that supports health and wellbeing. This has implications for self-care practice, social prescribing programs and public health policy.
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Călin Boba, Adrian. "CHURCH CHORAL SINGING IN HISTORICAL BANAT." ИСХОДИШТА 9, no. 1 (July 5, 2023): 27–35. http://dx.doi.org/10.46630/ish.9.2023.2.
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If some very well-documented treatises have been written about Romanian choral church music from Banat, which will also support the scientific research of some of the works that will be born according to this plan, instead of Serbian church music, an integral part of church choral music from Banat, we have too little data on in the Romanian language, thus feeling, over time, the lack of specialized discussions (be it biographies or analyzes of the work of Serbian composers, musicologists or systematizers) that would become bigger and more acute, deals in depth with this important aspect of church choral music in Banat. Moreover, about how the two branches first evolved separately, then together, and again separately from the 19th century, how they influenced each other, how they passed on to their descendants an almost unchanged heritage, there are too few writings and specialty studies, which led to the decision to address this topic. Studying the work of the first known musicologists, composers and systematizers of Serbian choral church music in the 19th and 20th centuries. century (I. Marinković, Kornelije Stanković and especially St. Stojanović Mokranjac) we believe that the academic treatment of the personalities and activities of these musicians as well as the scientific presentation of their contribution in the reading, saving, preserving and transmitting all data related to Banat church music, up-to-date from the point of view of musicological research, is more than desirable. The beginnings of the choral activity of the Serbs in the Romanian Banat can be found in the fourth decade of the 19th century, first in Timisoara (1836), with the establishment of the Serbian Orthodox Cathedral Choir and the Serbian Singing Society, then in 1876. (according to some authors in 1896) Society of Serbian songs from Arad.
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Nikolaeva, Elena V. "Individual and Personal Approach to Children at the Initial Stage of Learning Choral Singing." Musical Art and Education 8, no. 2 (2020): 140–60. http://dx.doi.org/10.31862//2309-1428-2020-8-2-140-160.
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The article presents a theoretical justification of the pedagogical feasibility of implementing an individual and personal approach to children at the initial stage of learning choral singing and reveals its essence, pedagogical potential, and features of its use in music lessons. Three main pedagogical conditions necessary for its implementation are described: 1) the teacher’s knowledge of the features of children’s singing voices, the quality of their singing intonation, which must be taken into account when presenting certain singing tasks of varying complexity to the class; 2) the teacher’s knowledge of various ways of choral arrangement and processing of the song material that is supposed to be learned, focusing on the specific composition of the class choir; 3) the orientation of the educational process to the formation in each child a positive emotional and value attitude to their own voice and ideas about its expressive capabilities, ways of protection, the ability to observe its condition and development. Special attention is paid to the characteristics of pedagogical tools that can guide a music teacher-choirmaster in implementing an individual and personal approach to young singers who are just beginning to master the basics of choral singing.
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Gavdush, Aleksey I. "SYNODAL SCHOOL: FORMING A MODEL OF PROFESSIONAL EDUCATION IN THE RUSSIAN CHORAL CULTURE OF THE XIXTH – EARLY XXTH CENTURIES." Arts education and science 2, no. 35 (2023): 26–35. http://dx.doi.org/10.36871/hon.202302026.
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The article is devoted to the development of professional choral conducting education in Russia, which in the XXth century rose to the same level as higher professional education in conservatories. It was aimed at educating regents — artists of a new type, capable to give a new impetus to the development of the distinctive domestic forms of singing culture, based on the original Old Russian singing tradition. The evolution of this process in the activities of the Synodal Choir and School proceeded from a special attitude to the art of church choral singing a cappella. The idea of developing a national style of church music, its carriers and performers through a series of reforms of one of the oldest choirs in Russia led to the creation of a unique, most modern model for the education of choral conductors in Russian choral culture at that time. The changes in the Synodal School followed the logic of a gradual comprehension of the uniqueness of the whole affair, which required both organizational changes and the introduction of new curricula.
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Rucsanda, Mădălina Dana. "Developing choral skills at a young age through choral singing." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), no. 2 (January 15, 2021): 139–52. http://dx.doi.org/10.31926/but.pa.2020.13.62.2.15.
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Tan, Fan. "Modern children’s choral art of Ukraine and China: presentation of masters’ experience (Serhiy Prokopov – Yang Hongnian)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (October 22, 2023): 91–106. http://dx.doi.org/10.34064/khnum1-67.06.
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Statement of the problem. The information space of the 21st century, including the cultural and educational areas, is characterized by tendencies towards synthesis and integration. So, modern children’s choral art of Ukraine and China appears as an art of cultural dialogue, in the process of which the spiritual values of a new type of a person are forming. The relevance of this study is determined by the need for analytical comparison and comprehension in the scientific discourse of the principles of creative activity of the leading representatives of the both cultural traditions in the field of children’s choral art. Despite the wide range of scientific works in the sphere of choral art, both, the historical and theoretical basis of contemporary children’s choral pedagogy in Ukraine and China, and its leading trends in nowadays remains relevant and requires special research. Objectives, methods and novelty of the research. The purpose of the article is to highlight the scientific, practical and pedagogical achievements of outstanding masters of modern children’s choral art of Ukraine and China, Serhiy Prokopov and Yang Hongnian. For the first time a comparative analysis of the scientific-practical and pedagogical experience of these outstanding masters is represented. The methods оf analysis and systematization, comparative, historical and culturological approach were attracted to research. Research results and conclusion. Summarizing the results of the analysis of the scientific, practical and pedagogical works of two famous masters of children’s choral performance of Ukraine and China, Serhiy Prokopov and Yang Hongnian, we noted that their methodological approaches are focused on the development of individual vocal and choral skills (singing arrangement, singing breathing, attack of sound, sound management, diction, articulation, timbre of the voice); on the formation of musical-auditory ideas (harmonic sense, coordination of hearing and voice, etc.); mastering the skills of choral singing (singing in unison and polyphony, rhythmic synchronicity, ensemble diction, etc.); on the development of emotional and figurative perception and thinking in children. Our research gives reasons to assert that the theoretical principles of two well-known choral conductors of modern children’s choral performances in Ukraine and China are based on the same priority approaches to choral pedagogy: humanistic, person-oriented, multicultural, comparative, systemic. The main factors that should be taken into account in the process of comparative analysis of the basic theoretical concepts of the both masters are the specifics of their national mentality determined by sociohistorical, cultural and educational conditions.
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Adams, Kari. "Adolescent Self-Theories of Singing Ability Within a Choral Hierarchy." Bulletin of the Council for Research in Music Education, no. 234 (October 1, 2022): 7–23. http://dx.doi.org/10.5406/21627223.234.01.
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Abstract The purpose of this study was to explore adolescent self-views of singing ability through both implicit theories (i.e., fixed mindset and growth mindset) and self-concept meaning systems in the context of a choral hierarchy. Using a survey instrument modified from Dweck (1999) to measure self-theories of singing ability, I gathered data from middle and high school participants currently enrolled in a hierarchical choral structure. I analyzed descriptive statistics of survey responses to items designed to measure implicit theories of singing ability, singing self-concept, and goal orientation and differences among participants by ensemble placement in implicit theory and self-concept scores. 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. Open-ended responses indicated that failure scenarios were associated with lowered self-concept and shame in ensemble placement, especially for female-identifying participants.
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Olsson, E. M. G., B. von Scheele, and T. Theorell. "Heart Rate Variability During Choral Singing." Music and Medicine 5, no. 1 (January 1, 2013): 52–59. http://dx.doi.org/10.1177/1943862112471399.
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Tonkinson, Steven. "The Lombard effect in choral singing." Journal of Voice 8, no. 1 (March 1994): 24–29. http://dx.doi.org/10.1016/s0892-1997(05)80316-9.
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Palkki, Joshua. "‘Becoming the song’: Alice Parker, community singing and unlearning choral strictures." International Journal of Community Music 15, no. 1 (March 1, 2022): 31–48. http://dx.doi.org/10.1386/ijcm_00033_1.
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This article conveys research about participatory community singing that I explore through various lenses. I present thoughts and reflections from my interview with Alice Parker, who has many years of experience leading community singing events as well as ethnographic data collected from a monthly community singing event in the American Midwest. I analyse these data through the lens of a ‘traditional’ choral conductor who, prior to undertaking this investigation, had little knowledge about participatory singing traditions; I also utilize scholarship on the differences between participatory and presentational music activities. In our interview, Ms Parker drew on many years of experience in both areas to provide touchstones for facilitating community singing events and also the differences between these events and more traditional choral settings. Perhaps in reflecting on this dichotomy, facilitators of these two important forms of music making might learn from one another.
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Viktorova, M. V. "FUNDAMENTALS OF VOCAL AND CHORAL WORK DURING TEACHING OF STUDENTS OF SINGING." Educational Dimension 5 (June 26, 2003): 191–99. http://dx.doi.org/10.31812/educdim.5163.
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On a present day stage of development of musical pedagogics the problem of forming of vocal-choral skills in the process of pupils’ education is the most actual. The vocal-choral singing takes a special place in the aesthetical and artistic pupils' upbringing. The purpose of music lessons in the secondary school is upbringing of pupils' musical culture. One of the most important tasks that a modern lesson of music solves is to teach children singing.
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Clements-Cortés, Amy. "Singing for Health, Connection and Care." Music and Medicine 7, no. 4 (October 31, 2015): 13. http://dx.doi.org/10.47513/mmd.v7i4.428.
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Singing Together was the third part of a multi-phase investigation examining the benefits of singing with older adults in an adult daycare program (Phase 1), and in a long-term care facility (Phases 2 and 3). Phase 3 focused on residents of a long-term care facility who were diagnosed with mild to moderate cognitive impairment and Alzheimer’s disease, and was unique in its extended scope of examining their choral participation with caregivers, or significant others. Pain, energy level, and mood were assessed using multiple objective and self-reported tools. Results of 16 weeks of choir sessions indicate statistically significant reduced perceptions of pain and increased energy and mood for both residents and significant others. Qualitative themes in this study included: encourages maximized participation; facilitates interaction and bonding; promotes enjoyment and fun; encourages improved mood and attitude; facilitates energy and motivation; promotes stress release and relaxation; and singing as a recognized therapy. Future implications of these findings will be discussed as well as overall analysis of the research project. A literature review outlining the effects of clinical choral singing with respect to older adults was provided in Part1: Clinical Effects of Choral Singing for Older Adults [1]of this two part paper.
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Kyfenko, Anna, and Khrystyna Holian. "METHODS OF PARALITURGICAL CHORAL COMPOSITIONS IN STUDENT CHOIR CLASSES." Modern Higher Education Review, no. 7 (2022): 80–89. http://dx.doi.org/10.28925/2518-7635.2022.76.
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The article focuses on revealing the methodology methods of paraliturgical choral compositions in student choir classes, namely, phonetic features of Church Slavonic hymns, nature of sound production, dynamic ensemble, vocal and timbre ensemble, and phrasing. The role of religious and spiritual culture, spiritual choral art is highlighted. The importance of spiritual choral music in the repertoire of the student choir is substantiated, and the system of Christian values is singled out. It was determined that currently, one of the urgent issues of art education is the revival of the spirituality of the nation, the search for new landmarks, a new system of values. The positive effect of spiritual singing on a person has been proven as well. It was determined that paraliturgical chants have a pedagogical and psychotherapeutic effect on the formation of personality, occupy an important place in the repertoire of student choirs. The interdisciplinary connections between the study of paraliturgical choral works and the subjects of the musical cycle are analysed, e.g., history of music, solfeggio, harmony, voice production, conducting. It was emphasized that in working on paraliturgical choral works, it is important for leaders of educational choral groups to master the special skills and abilities. Choral singing is a carrier of enormous informational and educational potential, containing interdisciplinary communicative connections of the main subjects of the musical cycle: solfeggio, music theory, harmony, polyphony, history of music, analysis of musical forms, solo singing, conducting. The article examines the main problem in the work of choirmasters, namely, the lack of knowledge of the traditional style of sacred music, its genre affiliation, and stylistic features.
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Viktorova, M. V. "METHODS OF VOCAL AND CHORAL WORK WITH STUDENTS IN MUSIC LESSONS." Educational Dimension 7 (May 26, 2022): 190–99. http://dx.doi.org/10.31812/educdim.5652.
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On a present day stage of development of musical pedagogics the problem of forming of vocal-choral skills in the process of pupils’ education is the most actual. The vocal-choral singing takes a special place in the aesthetical and artistic pupils' upbringing.
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Drozhzhina, Marina N., and Nina V. Pomortseva. "Formation of the Regional Choral Performing School." Observatory of Culture, no. 1 (February 28, 2015): 94–98. http://dx.doi.org/10.25281/2072-3156-2015-0-1-94-98.
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Explores the issue of development of the modern choral performing in the Kemerovo region. The authors define the notion of “art school” and its features, analyse emergence of the academic choral singing as the successful phenomenon of musical life in the region.
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Norris, Charles E. "A Nationwide Overview of Sight-Singing Requirements of Large-Group Choral Festivals." Journal of Research in Music Education 52, no. 1 (April 2004): 16–28. http://dx.doi.org/10.2307/3345522.
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The purpose of this study was to examine sight-singing requirements at junior and senior high school large-group ratings-based choral festivals throughout the United States. Responses to the following questions were sought from each state: (1) Are there ratings-based large-group choral festivals? (2) Is sight-singing a requirement? (3) Are there specific levels or classes of difficulty ? (4) Is musical content specified for each level or class ? (5) Is there an overall rating that includes both the performance and sight-singing ratings? Data revealed that less than half of all states require sight-singing at large-group festivals at both the junior high and high school levels. Fewer states delineate levels of difficulty, outline musical content to be assessed, and use the sight-singing rating in an overall final rating. Frequency of “yes” responses to all questions was consistently lower at the junior high level. The author suggested further analysis of the most evolved state sight-singing assessment systems to develop a more uniform, sequential system of content, materials, and assessment.
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GALAICU, Violina. "Byzantine monodic singing from the Romanian space versus polyphonic religious singing: divergences and convergences." Arta 31, no. 2 (January 2023): 7–11. http://dx.doi.org/10.52603/arta.2022.31-2.01.
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Among the agents of the infiltration of polyphony in native religious singing are the reforming current, coming from the West through Transylvania, as well as the act of uniting with Rome a part of Transylvanian Romanians (1701). Catholic choral pieces are insinuated in Psalter manuscripts, including the curious phenomenon of the transposition of polyphonic religious singing into the Byzantine semiographic system. The two components — monodic and polyphonic — are also meet in Moldova. In 1782 during the abbotship of Paisie Velicikovski, a choir of Russian monks was established, who practiced harmonic singing (along with native monks who, traditionally, sang monodically) at Neamts Monastery. In the first half of the 19th century, the contacts of psalter music with polyphonic religious music intensified. The presence of choral singing was signaled in several cultural centers in the researched area (Arad, Bucharest, Iasi). As time goes on, psalter singing is competing more and more dangerously with harmonic singing, things being pushed to a fierce confrontation between the two currents. The saving solution for keeping the balance between continuity and renewal is seen by the bishop Melchizedek of Roman.
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Veliyeva, I. "Musical-Aesthetic Education of Young Schoolchildren Through Vocal-Choral Performances." Bulletin of Science and Practice 7, no. 7 (July 15, 2021): 331–35. http://dx.doi.org/10.33619/2414-2948/68/44.
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The article deals with the necessity and importance of vocal and choir singing in the musical-aesthetic education of young schoolchildren. Musical-aesthetic education is aimed at improving many features of the child’s personality. The formation of artistic and aesthetic culture in the educational process can be successfully implemented in choir classes. The author believes that the process of children’s vocal and choral education occurs in close connection with the formation of the singing apparatus, music and aesthetic education: first, the acquisition of basic vocal and choral skills (breathing, vocalization, diction, intonation). The second is the formation of creative abilities, artistic and aesthetic culture in general. The article also discusses how music teachers not only instill vocal and choral skills in students, but also teach them the basics of spiritual, moral, artistic and aesthetic culture.
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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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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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Д. Попов, Дејан. "ХОРСКО ПЕВАЊЕ КАО НАЧИН ОЧУВАЊА КУЛТУРНО-НАЦИОНАЛНОГ ИДЕНТИТЕТА СРБА СА ДАНАШЊЕ ТЕРИТОРИЈЕ РУМУНИЈЕ." ИСХОДИШТА 1, no. 7 (July 8, 2021): 247–57. http://dx.doi.org/10.46630/ish.7.2021.17.
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The Serbian ethnic community in the present territory of Romania proudly nourishes a long and rich tradition of choral singing, which spans from 1836 continuously until nowadays. Initiated with the initial purpose of embellishing the church services, it quickly developed and became richer, carrying along a national component reflected mainly, but not exclusively in the repertoire. Choral singing thus became a means of preserving the cultural and national identity throughout the times, following the current geo-political contexts. The present article analyzes this phenomenon by looking at the repertoire and the overall activity of Serbian choirs in urban areas of today’s Romania.
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Ternstrom, Sten. "Characteristics of choral and solo singing, illustrated using singing‐voice synthesis." Journal of the Acoustical Society of America 107, no. 5 (May 2000): 2865. http://dx.doi.org/10.1121/1.429286.
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Jerold, Beverly. "Choral Singing before the Era of Recording." Musical Times 147, no. 1895 (July 1, 2006): 77. http://dx.doi.org/10.2307/25434386.
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Powell, Sarah J. "Masculinity and choral singing: An Australian perspective." International Journal of Music Education 33, no. 2 (May 12, 2014): 233–43. http://dx.doi.org/10.1177/0255761414533307.
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Zhang, Mingjue. "Choral Singing as a Source of Health." Университетский научный журнал, no. 69 (2022): 216–21. http://dx.doi.org/10.25807/22225064_2022_69_216.
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Umnov, Aleksei Iurevich. "Male choir singing in Karelia in the context of Russian choral singing traditions." Manuscript 17, no. 2 (March 27, 2024): 114–20. http://dx.doi.org/10.30853/mns20240016.
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The article aims to reconstruct the fundamental bases of male choir singing in Karelia and the continuation of these traditions in the historical and cultural context of the region in the 19th-20th centuries. The article accurately documents the main events related to the development of male choir singing centered in the capital of Karelia, the city of Petrozavodsk. Scientific and reference literature, as well as periodicals reflecting the audience's reaction to the premier performances of choir and ensemble groups, are employed for this purpose. The article traces the path from Karelian runo singers and Old Believers to pre-reform traditions of Orthodox singing and further to the formation of secular culture of male choir singing. The scientific novelty of the research lies in the first-time connection of modern male choir singing with the traditions of runo singing and Old Believer church singing, as well as in tracing the development of a professional male choir. The research concludes that Karelia's peripheral political position contributed to the preservation of traditions of male folk singing (runo singing) and Old Believer singing. As a result, the need for male choir singing remained latent for a long time and was able to fully materialize only starting from the second half of the 20th century.
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Lyubar, R. O. "PEDAGOGIC INFLUENCE OF CHORAL SINGING ON THE FORMING OF A SCHOOLCHILD'S PERSONALITY." Educational Dimension 18, no. 1 (May 10, 2007): 243–48. http://dx.doi.org/10.31812/educdim.5935.
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The article considers the issues of a schoolchild’s personality by the means of choral performance. The importance of choral amateur art activities for upbringing of schoolchildren’s moral and development of their aptitude for music is revealed.
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Ivanova, Yuliia. "Formation and development of female choral performance in Ukraine." Aspects of Historical Musicology 33, no. 33 (December 28, 2023): 111–27. http://dx.doi.org/10.34064/khnum2-33.06.
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Statement of the problem. Ukrainian women’s choral performance has long traditions. Today, there are women’s choirs in Ukraine that adequately represent the musical culture of our country. Nevertheless, in scientific research, the issues related to female choral performance do not attract enough attention: there are only isolated works on the activities of female choirs, therefore a systematic study of the genesis of female choral performance is relevant. Recent research and publications. Currently, there is only one textbook in Ukraine: Theory and Methods of Working with female Choirs (Kravtsova, Patskan, & Shkilnyuk, 2010). There are separate articles by K. Davydovskyi (2016), T. Martyniuk 92017), Yu. Olach (2017), and N. Kryzhanovska (2009), which study the activities of the female choirs and their conductors. Objectives, methods, and novelty of the research. The purpose of the study is to trace the process of formation of female choral performance in Ukraine, to determine its ways of development at the present stag, which is carried out for the first time in national art history. The study is based on the principle of historicism, systematic and complex approaches to the subject under consideration, and uses cultural, source studies, biographical and local studies, executive and interpretive research methods. Research results. Female choral singing has a long tradition that is closely linked to pagan rituals. The origins of professional women’s choral singing are associated with the founding of nunneries in Ukraine. Institutes for noble girls, diocesan schools and private boarding houses appeared in the second half of the XIX century. 13 women’s diocesan schools existed in Ukraine between 1854 and 1917. Singing in the church choir used to bean important element of education in these institutions. First female gymnasiums that appeared in Ukraine were called Mariinsky. They functioned in Kyiv (from 1859), Kharkiv (from 1860), and Odesa (from 1868). Education in Ukraine underwent significant changes after the revolution of the 1917. Most monasteries were destroyed and institutions for noble girls ceased to exist. The choral art of the first decades of the Soviet period was represented by the activities of amateur groups at factories and plants. Professional female choral singing continued to exist thanks to the emergence of music departments in pedagogical colleges. Nowadays, such collectives as S. Fominykh Choir (Mykolaiv, conducted by T. Ostrovska), the Women’s Choir of the R. Glier Kyiv Municipal Academy of Music (conducted by H. Horbatenko), and the “Pavana” Women’s Choir of the Drahomanov National Pedagogical University (Kyiv, conducted by L. Baida) bring to us outstanding examples of the female choral performance. The activity of bright female choirs in the contemporary space encourages composers to create highly artistic choral music. The works of L. Dychko, V. Stepurko, H. Havrylets, V. Poliova, I. Shcherbakov, V. Zubytskyi and others adorn the concert programs of many female choirs in Ukraine. Conclusions. The state’s gender policy has led to a significant spread of the female choral performance. Contemporary female choral performance is divided into amateur, educational, and church. Today in Ukraine there is not a single female choir that has the status of a professional one, but the performance skills of some educational groups actually put them on the level of professional choirs.
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Solovyova, Irina. "Regional Folklore as the Basis of Formation and Development of Professional Qualities of Students in Classes of Vocal and Choral Disciplines." Proceedings of Altai State Academy of Culture and Arts, no. 4 (2022): 62–69. http://dx.doi.org/10.32340/2414-9101-2022-4-62-69.
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The article discusses the key aspects of the creative activity of students in the direction of training "The Art of Folk Singing" in the practical development of musical folklore of the Altai Krai within the vocal and choral disciplines. In the author's opinion, an important condition for the effective education of undergraduate students and the formation of professional performing qualities of a future specialist in the field of folk singing culture is the use of educational-methodical and musical publications by folklorists of regional musical folklore. The author's view on the specifics of vocal and choral disciplines, revealed in the form of practical exercises, is stated, the importance of using musical folklore of the Altai Krai in the context of the formation and development of professional qualities of future specialists in the field of folk singing performance is noted.
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Cohen, Mary L. "Choral Singing in Prisons: Evidence-Based Activities to Support Returning Citizens." Prison Journal 99, no. 4_suppl (July 10, 2019): 106S—117S. http://dx.doi.org/10.1177/0032885519861082.
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Choral singing in prisons can help incarcerated individuals identify as returning citizens instead of felons. Shadd Maruna argues that while many legal and penal rituals exist to convince individuals to identify as “offenders,” few such rituals are in place to reconnect formerly incarcerated people to identify as community members outside of prisons. Maruna describes successful reintegration rituals as symbolic and emotive, repetitive, community-based, and infused with a dynamic of challenge and achievement; they give form to political and social processes that enable successful reentry. I maintain that choral singing models positive reintegration rituals that promote prosocial connections between returning citizens and the societies to which they are restored.
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Kaihua, Xu. "THE CONTRIBUTION OF SHEN XINGONG AND LI SHUTONG TO THE FORMATION OF CHORAL ART IN CHINA: FROM "SCHOOL SONGS" TO "SPRING WALK"." Arts education and science 1, no. 34 (2023): 79–88. http://dx.doi.org/10.36871/hon.202301079.
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The article traces the early development of Chinese choral art: from the singing courses introduced into the secondary school curriculum and the "school song" (Xue tang yuey ge), which acted both as an academic discipline and a popular vocal genre, to the appearance of the first three-voice choir "Spring Walk" by the composer and teacher Li Shutong. It is noted that the school song genre originated as an independent phenomenon in Japan, where works written in the hogaku style were highly revered, and the reforms of the Meiji period (1898–1912) played an important role in the development of choral art. Many Chinese students continued their studies in Japan, where, during the reforms, Western military and school music was borrowed, and choral singing began to be cultivated as a result of the perception of Christian culture. The purpose of this article is to present the works of Chinese educators, Shen Xingong and Li Shutong, whose activities were aimed at establishing the choral art in China. It describes the first school songs composed by Shen Xingong and Li Shutong to music borrowed from folklore, Christian hymns or famous Western European works, and the first three-voice composition by Li Shutong, which paved the way to Chinese choral polyphony.