Dissertations / Theses: 'Chorals'

1

Pfisterer, Andreas. "Cantilena romana : Untersuchungen zur Überlieferung des gregorianischen Chorals /." Paderborn ; Wien ; Zürich : F. Schöningh, 2002. http://catalogue.bnf.fr/ark:/12148/cb38981317g.

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Naxer, Meghan M. "César Franck’s Trois chorals pour orgue No. 3: A Schenkerian Perspective." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1293670461.

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Matyl, Ulrich. "Die Choralbearbeitungen der Schüler Johann Sebastian Bachs /." Kassel ; Basel ; London : Bärenreiter, 1995. http://catalogue.bnf.fr/ark:/12148/cb36959513p.

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4

Scognamiglio, Francesco <1973&gt. "Alcuni aspetti compositivi de "L'organiste" e dei "Trois chorals" di César Franck." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/2586/1/Scognamiglio_Francesco_tesi.pdf.

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Scognamiglio, Francesco <1973&gt. "Alcuni aspetti compositivi de "L'organiste" e dei "Trois chorals" di César Franck." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/2586/.

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Müller, Michael Florian [Verfasser]. "Träger nationaler Gesinnung? : Die Bedeutung des protestantischen Chorals in der Konzertouvertüre / Michael Florian Müller." Berlin : epubli, 2017. http://d-nb.info/1190949830/34.

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Grüßinger, Michael Florian [Verfasser]. "Träger nationaler Gesinnung? : Die Bedeutung des protestantischen Chorals in der Konzertouvertüre / Michael Florian Müller." Berlin : epubli, 2017. http://d-nb.info/1190949830/34.

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Klugseder, Robert. "Quellen des Gregorianischen Chorals für das Offizium aus dem Kloster St. Ulrich und Afra Augsburg /." Tutzing : Schneider, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3078010&prov=M&dokv̲ar=1&doke̲xt=htm.

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9

Chi, Youn Sim. "Johann Sebastian Bach's harmonizations and arrangements of four-part chorales and chorale preludes based upon "Wer Nur Den Lieben Gott Lässt Walten" /." Access Digital Full Text version, 1986. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10647235.

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10

Lim, Aesook. "The Long Chorale Preludes of J. S. Bach (1685-1750): Study of Accompaniments together with Three Recitals of Selected Works by Dietrich Buxtehude (1637-1707), J. S. Bach, Louis Vierne (1870-1937), and Others." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5219/.

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Johann Sebastian Bach's chorale preludes are varied and artistic not only in the treatment of chorale melodies, but also in the accompaniments of those chorale melodies. This study examines the accompaniments of Bach's long chorale preludes, focusing on identifying the various types and the characteristics that make them unique. This study investigates the two broad categories of accompaniments depending on whether the motives are chorale-derived or independent of the chorale. While the chorale prelude accompaniments in the first large group are closely related, the accompaniments of the chorale preludes in the second group stand independently and illustrate the vast range of Bach's compositional skill. Both groups demonstrate Bach's interest in expanding his predecessors' models, a trait that can be traced throughout all of Bach's compositional history.

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Hadjeres, Gaëtan. "Modèles génératifs profonds pour la génération interactive de musique symbolique." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUS027/document.

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Ce mémoire traite des modèles génératifs profonds appliqués à la génération automatique de musique symbolique. Nous nous attacherons tout particulièrement à concevoir des modèles génératifs interactifs, c'est-à-dire des modèles instaurant un dialogue entre un compositeur humain et la machine au cours du processus créatif. En effet, les récentes avancées en intelligence artificielle permettent maintenant de concevoir de puissants modèles génératifs capables de générer du contenu musical sans intervention humaine. Il me semble cependant que cette approche est stérile pour la production artistique dans le sens où l'intervention et l'appréciation humaines en sont des piliers essentiels. En revanche, la conception d'assistants puissants, flexibles et expressifs destinés aux créateurs de contenus musicaux me semble pleine de sens. Que ce soit dans un but pédagogique ou afin de stimuler la créativité artistique, le développement et le potentiel de ces nouveaux outils de composition assistée par ordinateur sont prometteurs. Dans ce manuscrit, je propose plusieurs nouvelles architectures remettant l'humain au centre de la création musicale. Les modèles proposés ont en commun la nécessité de permettre à un opérateur de contrôler les contenus générés. Afin de rendre cette interaction aisée, des interfaces utilisateurs ont été développées ; les possibilités de contrôle se manifestent sous des aspects variés et laissent entrevoir de nouveaux paradigmes compositionnels. Afin d'ancrer ces avancées dans une pratique musicale réelle, je conclue cette thèse sur la présentation de quelques réalisations concrètes (partitions, concerts) résultant de l'utilisation de ces nouveaux outils
This thesis discusses the use of deep generative models for symbolic music generation. We will be focused on devising interactive generative models which are able to create new creative processes through a fruitful dialogue between a human composer and a computer. Recent advances in artificial intelligence led to the development of powerful generative models able to generate musical content without the need of human intervention. I believe that this practice cannot be thriving in the future since the human experience and human appreciation are at the crux of the artistic production. However, the need of both flexible and expressive tools which could enhance content creators' creativity is patent; the development and the potential of such novel A.I.-augmented computer music tools are promising. In this manuscript, I propose novel architectures that are able to put artists back in the loop. The proposed models share the common characteristic that they are devised so that a user can control the generated musical contents in a creative way. In order to create a user-friendly interaction with these interactive deep generative models, user interfaces were developed. I believe that new compositional paradigms will emerge from the possibilities offered by these enhanced controls. This thesis ends on the presentation of genuine musical projects like concerts featuring these new creative tools

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12

Lurton, Guillaume. "Le Choeur partagé : le chant choral en France, intégration socio-économique d'un monde de l'art moyen." Paris, Institut d'études politiques, 2011. http://www.theses.fr/2011IEPP0037.

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Cette thèse retrace le développement du chant choral en France depuis les années 1940. Les pratiques vocales collectives sont étudiées ici selon l'approche des mondes de l'art, définie par Howard Becker. La thèse s'attache à retracer les réseaux d’interactions qui se tissent autour de la production de pièces chorales. Elle mobilise un matériau qualitatif croisé avec des données issues d’enquêtes par questionnaires. Elle croise les acquis de la sociologie de la culture et ceux de la sociologie économique pour rendre compte des dynamiques à l’œuvre au sein de ce monde de l'art. Quatre perspectives sont adoptées successivement pour analyser ce monde de l'art. Le monde choral est situé parmi les hiérarchies symboliques qui structurent les mondes artistiques. Le chant choral peut être décrit comme un « art moyen », dans la mesure où il hybride les répertoires de musique savante et de musique populaire. Les coopérations artistiques sont alors considérées. La particularité du monde choral de ce point de vue tient au fait que l'unité de cet espace repose non sur le partage d'un système de conventions unique, mais sur la définition d'équilibres locaux au sein des chœurs. L'économie du monde choral amateur est étudiée dans un troisième temps. La thèse propose une grille de lecture théorique permettant d'ordonner le foisonnement d'une économie ne relevant pas exclusivement de la forme marchande, ni de l'économie monétaire. Dans un dernier temps, la thèse retrace les processus de professionnalisation qui ont marqué la transformation de l'interprétation chorale dans les années 1980
This dissertation describes the development of choir singing in France since the 1940’s. Collective vocal practices are studied here as an “art world”, as defined by Howard Becker. This work analyses the networks of interactions involved in the production of choir works. It is based on both qualitative data and statistical analysis of quantitative surveys. It mobilises both sociology of culture and economic sociology perspectives, to explain the dynamics of this art world. This dissertation focuses successively on four questions to analyse the world of choral music. Choir singing is first considered with regard of the symbolic hierarchies that structure artistic worlds. Choir music results from the fusion of highbrow and lowbrow musical repertoires. To that extent, it can be described as a “middle brow art”. The question of artistic cooperation is hen considered. The specificity of the choral world lies in the fact that its unity does not depend on a unique system of conventions, but on the definition of local equilibriums within choirs. A third part is devoted to the economy of amateur choir singing. This dissertation proposes a typology of economic forms. This theoretical frame is a tool which can be used to organize the diversity of an economy which does not relies exclusively on market forms nor on monetary exchanges. The last part of the dissertation is devoted to professionalization processes which transformed the production of choral works during the 1980’s

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Corbin, Dwayne. "The three wind/choral works of Heitor Villa-Lobos Quatuor, Nonetto, and Choros no. 3 /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1155331674.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Sept. 6, 2007). Includes abstract. Keywords: Villa-Lobos, Quatuor, Nonetto, Choros no. 3. Includes bibliographical references.

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Wyvill, Janet. "Australian Choral Conductors and Current Choral Practice: A Longitudinal Study of Australian Choral Experts." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/367961.

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This dissertation explores the nature of the Australian Choral Conductor. Through survey, interview and case study, the research aimed to reveal the attributes of the Australian Choral Conductor, particularly in relation to the skills and experiences that contribute to a conductor becoming an expert. The Australian Choral Conductor, it could be argued, is under valued and little understood. There are very few opportunities for Australian experts to remain as full time choral conductors within their own country. In some cases Australian conductors have moved overseas to take up choral conducting positions, and in the process have gained international recognition. This research investigated if there was a particular pathway to becoming a choral conductor, and if there were opportunities to remain as such within Australia. The research arose out of three defining moments in Australian choral music. These were the 1998 National Strategic Plan for Choral Development; and the 1998 ANCA survey research entitled ‘So you want to be a choral conductor?’ and the 1996 World Symposium of Choral Music in Sydney. Using a longitudinal frame, the research focussed on examining the cases of five eminent Australian musicians, probing areas of a conductor’s passion and reasons for becoming a choral conductor. The research also investigated the ways in which choral conductors’ training, knowledge and experience influenced their choice of repertoire and, in turn, their performance standard and level of expertise. The research examined whether there was a consistent way of determining how conductors’ choral practice is developed. The study went on to investigate why Australian conductors did not receive wider recognition as experts within the choral community, or within Australia in general.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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15

COYLE, PATRICK O. "SIGNIFICANT MALE VOICE REPERTORY COMMISSIONED BY AMERICAN GAY MEN'S CHORUSES." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1151349055.

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Corbin, Dwayne Vincent. "The Three Wind/Choral Works of Heitor Villa-Lobos:Quatuor, Nonetto,andChoros No. 3." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1155331674.

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17

Kang, Hyojin. "Choral music of Kirke Mechem : an analytical approach to his choral cycles and representative choral works /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11432.

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18

Yoo, Jin Ah. "J.S. Bach's great eighteen chorale preludes arranged according to difficulty." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/1813.

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Johann Sebastian Bach used his own organ compositions when teaching his students. Seeking to understand and learn from Bach's organ pedagogy, many scholars have sought to establish a list of Bach's organ works according to difficulty. These arranged lists are briefly summarized in chapter two of the present thesis, and it is shown that none of them have sufficiently explained the rationale for deciding difficulty. Chapter three establishes and describes criteria according to which Bach's organ works can be analyzed. Chapter four demonstrates how these criteria are to be applied within a selected corpus of J.S. Bach's organ works, the Leipzig versions of the Great Eighteen Chorale Preludes. The criteria and resulting arrangement according to difficulty answer a problem within Bach scholarship by providing an objective standard by which teachers and students can select level-appropriate works for purposes of learning and performance.

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19

Cottrell, Duane Coles. "Increasing glottal closure in an untrained male chorus by integrating historical, scientific, and clinical practice into choral voice building exercises." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-10998.

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20

Bade, Andy. "Achieving Balance in Music for Chorus and Band: Analysis and Performance Issues in Requiem by Frigyes Hidas." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301478.

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The purpose of this study is to provide a guide for conductors when evaluating issues of balance in works for chorus and symphonic band, and to assist them in realizing such works in performance. The principal focus of the document will be an analysis of vocal and instrumental textures in Requiem by Frigyes Hidas as they affect balance and textual clarity, using accompaniment types described by Hawley Ades as guides. The analysis shows that the scoring helps mitigate balance problems commonly found in other works scored for similar forces, making a variety of performance options and interpretations available to conductors. Ensemble issues are discussed as they relate to balance, as are practical solutions regarding stage setup.

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Rolf, Ares. "Bach's choral ideal /." Dortmund : Klangfarben-Musikverlag, 2002. http://catalogue.bnf.fr/ark:/12148/cb41134010p.

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Earnhart, Cari L. "Cross-culture Choral Music Education: Issues for Western Choral Conductors Related to the Performance of Arabic Choral Music." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804962/.

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The concept of choral music as defined by the Western world was foreign to Arab cultures until the colonization of the Arab world began in the seventeenth century when we began to see the Western choral style emerging in the churches of the Arab world. Group singing of traditional music was done in unison or heterophonic textures. Notated part-singing is a product of colonization, Westernization, Christianization, and now globalization. In recent years, singing music in mixed or multiple voicings not of a heterophonic nature has spread beyond the churches to the secular Arab world. As choral singing has increased in the Arab world, a new genre of Arabic choral music has emerged. In order for Western conductors to effectively teach, conduct, or perform these new works, it is important for them to develop a basic understanding of traditional Arabic musical styles and pronunciation of the language, thereby making Arabic choral music more accessible and enabling it to become a part of the larger world’s musical vocabulary. This study serves as an introductory resource for non-Arab choral conductors concerning key elements related to performing Arabic choral music and provides a context for how these elements relate to this evolving choral genre. In addition, through interviews with composers and conductors of Arabic choral music, this project will further inform the reader regarding the performance of this genre.

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Yoho, Joshua G. "Selecting high quality and effective choral literature for a choral ensemble." Kansas State University, 2012. http://hdl.handle.net/2097/14199.

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Master of Music
School of Music, Theater, and Dance
Julie Yu-Oppenheim
This report is for the beginning choral music educator or music education student who seeks guidance when selecting repertoire for their advanced elementary or beginning middle school choir. I attended the 2011 Kansas Choral Directors Association conference. Conferences such as these are great resources for the novice choral educator and even the veteran teacher. Choral reading sessions are excellent ways to find new and quality repertoire, because the directors that select the music spend a good amount of time researching and selecting songs. In determining what factors directors use to choose repertoire for their choirs, a survey was developed and administered to forty Kansas music educators at one of the reading sessions which asked the following three questions: 1) What is the likelihood that you would use this song in a concert or program? The next two are questions in which I asked (these two were based on a ‘disagree or agree’ scale): ‘This song has good educational value for the students’ and ‘I can teach many elements of music within this song.’ Evidence is shown from other master educators of various levels that choosing appropriate, worthy, and challenging repertoire is crucial to the success of the choral program.

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Bédard-Bruyère, Flavie. "Développement social de l'enfant autiste par le chant choral : trois études de cas." Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/68631.

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L'autisme est un trouble neurodéveloppemental qui affecte environ 1% de la population mondiale. Les manifestations de ce trouble touchent particulièrement les sphères sociales et langagières. Plusieurs méthodes d’intervention ont été développées pour pallier les défis rencontrés par ces personnes. Des méthodes artistiques, comme la musique, ont également été considérées. Différentes interventions et programmes musicaux ont été implantés auprès des populations autistes afin d’en observer les effets sur leur développement social. Cependant, parmi ces interventions, les activités de chant en groupe ont été peu exploitées. L’objectif de ce mémoire était de comprendre en quoi une activité parascolaire de chant choral peut contribuer au développement des habiletés sociales d’enfants autistes. La méthodologie de l’étude de cas qualitative a été privilégiée afin de répondre à ce questionnement. Trois enfants ayant un TSA âgés de 6 à 12 ans ont été recrutés. Ces derniers participaient à une activité parascolaire de chant choral au sein de leur école spécialisée. Des observations ont été faites lors des séances de chorale à l’hiver 2020. La pandémie mondiale de la Covid-19 a cependant forcé la fermeture des écoles. C’est pourquoi seulement quatre séances d’observation ont été menées. Selon l’analyse des résultats, la chorale semble être un contexte où les enfants peuvent satisfaire leur curiosité sociale. C’est également un endroit où les comportements stéréotypés s’expriment dans une moindre mesure et où les enfants peuvent se familiariser aux changements dans un contexte sécurisant. Des pistes de recherche sont également formulées à la fin de ce mémoire.
Autism is a neurodevelopmental disorder that affects 1% of the world's population. The manifestations of this disorder particularly affect the social and language spheres. Several intervention methods have been developed to alleviate the challenges encountered by these individuals. Artistic methods, such as music, have also been considered. Various interventions and musical programs have been presented to autistic populations in order to observe their effects on their social development. However, among these interventions, a group singing activity was little exploited. The objective of this dissertation was to understand how an extracurricular choral activity can contribute to the development of social skills in children with autism. The methodology of the qualitative case study was favoured in order to answer this question. Three children with ASD aged 6 to 12 years were recruited. These children participated in an extracurricular choir activity at their special school. Observations were made during choir sessions in the winter of 2020. However, the global Covid-19 pandemic has forced the closure of schools. Therefore, only four observation sessions were conducted. According to the analysis of the results, the choir seems to be a context where children can satisfy their social curiosity. It is also a place where stereotypical behaviours are expressed to a lesser extent and where children can become familiar with changes in a safe context. Research avenues are also formulated at the end of this paper.

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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.

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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

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26

Hadjeres, Gaëtan. "Modèles génératifs profonds pour la génération interactive de musique symbolique." Electronic Thesis or Diss., Sorbonne université, 2018. http://www.theses.fr/2018SORUS027.

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Ce mémoire traite des modèles génératifs profonds appliqués à la génération automatique de musique symbolique. Nous nous attacherons tout particulièrement à concevoir des modèles génératifs interactifs, c'est-à-dire des modèles instaurant un dialogue entre un compositeur humain et la machine au cours du processus créatif. En effet, les récentes avancées en intelligence artificielle permettent maintenant de concevoir de puissants modèles génératifs capables de générer du contenu musical sans intervention humaine. Il me semble cependant que cette approche est stérile pour la production artistique dans le sens où l'intervention et l'appréciation humaines en sont des piliers essentiels. En revanche, la conception d'assistants puissants, flexibles et expressifs destinés aux créateurs de contenus musicaux me semble pleine de sens. Que ce soit dans un but pédagogique ou afin de stimuler la créativité artistique, le développement et le potentiel de ces nouveaux outils de composition assistée par ordinateur sont prometteurs. Dans ce manuscrit, je propose plusieurs nouvelles architectures remettant l'humain au centre de la création musicale. Les modèles proposés ont en commun la nécessité de permettre à un opérateur de contrôler les contenus générés. Afin de rendre cette interaction aisée, des interfaces utilisateurs ont été développées ; les possibilités de contrôle se manifestent sous des aspects variés et laissent entrevoir de nouveaux paradigmes compositionnels. Afin d'ancrer ces avancées dans une pratique musicale réelle, je conclue cette thèse sur la présentation de quelques réalisations concrètes (partitions, concerts) résultant de l'utilisation de ces nouveaux outils
This thesis discusses the use of deep generative models for symbolic music generation. We will be focused on devising interactive generative models which are able to create new creative processes through a fruitful dialogue between a human composer and a computer. Recent advances in artificial intelligence led to the development of powerful generative models able to generate musical content without the need of human intervention. I believe that this practice cannot be thriving in the future since the human experience and human appreciation are at the crux of the artistic production. However, the need of both flexible and expressive tools which could enhance content creators' creativity is patent; the development and the potential of such novel A.I.-augmented computer music tools are promising. In this manuscript, I propose novel architectures that are able to put artists back in the loop. The proposed models share the common characteristic that they are devised so that a user can control the generated musical contents in a creative way. In order to create a user-friendly interaction with these interactive deep generative models, user interfaces were developed. I believe that new compositional paradigms will emerge from the possibilities offered by these enhanced controls. This thesis ends on the presentation of genuine musical projects like concerts featuring these new creative tools

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27

Hansen, Chris Robert. "Contemporary choral arrangements product /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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Thesis (M.C.M.)--Western Conservative Baptist Seminary, 1987.
Bound with accompanying tape of the arrangements recorded, by the mixed choral ensemble from Milwaukie First Baptist Church, Milwaukie, Oregon and the men's chorus from Western Seminary in Portland.

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28

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

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29

Post, Doris Juliane Elisabeth. "Choral authoritativeness in Sophocles." Thesis, Open University, 2018. http://oro.open.ac.uk/54915/.

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The ‘authority’ of the chorus in Greek tragedy has been a matter of discussion for a very long time. The word authority, however, has two distinct meanings: it can refer to the status of the chorus within the dramatic world and to the truthfulness or reliability of the choral discourse. To avoid this confusion, I use the term authoritativeness in this thesis to indicate the extent to which we can trust what the chorus are saying, chanting, or singing. In chapter 1, I establish a number of textual and linguistic markers which suggest whether a choral discourse can potentially be regarded as authoritative. One important factor is identifying where the chorus operate as a stage figure and where qua chorus. The subsequent chapters are taken up by case studies in which I closely analyse the language and context of the chorus’s utterances in three of Sophocles’ seven extant tragedies. I have chosen the Philoctetes, the Antigone, and the Electra because, in each, the chorus is used in a different way. Altogether, my analysis shows how Sophocles constantly experiments with the use of the choral voice: some markers raise the expectations that choral comments and judgements can be taken as a reliable guide for an interpretation of the action. At the same time, however, different devices undermine this potential authoritativeness, making the precise meaning of the discourse ambiguous or multivalent and contributing to the continuing disagreements on the precise interpretation of the tragedies.

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Hansen, Christopher M. "An Analysis of Influences on Choral Performance Adjudicators' Rating Decisions of Choral Performance." Thesis, The University of North Carolina at Greensboro, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10260567.

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The purpose of this study was to (a) examine influences on choral music adjudicators’ rating decisions of choral performance quality and (b) to see if differences existed among those influences by participants’ years of adjudication experience and academic training (degree focus). Part One of the study included eight randomly selected participants (N = 8), comprised of choral adjudication experts, to aid in the construction of the data collection instrument. Part Two of the study included a convenience sample (N = 71) comprised of choral music performance adjudicators within the southeastern United States.

For the primary purpose, the Choral Adjudicator Preference Scale (CAPS), a researcher-constructed data-gathering instrument, was developed to determine influences on choral adjudicators’ rating decisions of choral performance. A Cronbach’s Coefficient Alpha measure of internal consistency was calculated to establish reliability of the CAPS data collection instrument. A coefficient of .934 was found for the CAPS, which indicated a high level of internal consistency. Validity for the data-gathering instrument was established through three sources, (a) an open-ended questionnaire sent to the eight choral adjudicators, (b) a thorough review of the related literature and (c) verification by choral activities chairpersons among the southeastern states. For research question one (What factors influence adjudicators’ decisions when adjudicating choirs?) a principal component analysis revealed 23 items that coalesced among four factors of influence: (a) the ensemble’s performance, (b) visual aspects, (c) extra-musical aspects, and (d) the conductor’s contributions. These four factors accounted for 61.49 percent of the total variance in participants’ responses.

For the secondary purpose, a two-way repeated measures analysis of variance was calculated to determine if differences existed among factors of influence by participants’ years of adjudication experience and academic training (degree focus). For research question two (Do differences exist among adjudicators’ influences on rating decisions by years of adjudication experience?) a significant main effect was found for the factors, F (3, 189) = 216.581, p = .000, η² = .775; however, there was no main effect for years of adjudication experience, nor an interaction effect among the factors and years of adjudication experience. For research question three (Do differences exist among adjudicators’ influences on rating decisions by academic training?) a significant main effect was found for the factors, F (3, 201) = 195.326, p = .000, η² = .745; however, there was no main effect for academic training, nor an interaction effect among the factors and academic training.

A discussion of the influences on choral adjudicators’ rating decisions was presented. Recommendations for future research were suggested regarding music performance adjudication, influences on rating decisions, and characteristics of evaluators.

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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.

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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.

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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.

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Lamartine, Nicole Christopher. "A curriculum of voice pedagogy for choral conductors: The effect of solo voice exercises on individual singer technique, choral tone, and choral literature." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280427.

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The document presents a Curriculum of Voice Pedagogy for Choral Conductors based on the author's solo voice techniques derived from studio voice teaching. Included in the Curriculum is basic voice pedagogy for the chorister, a differentiation between choral warm-ups and voice exercises, five steps to cultivating undeveloped voices, the development of the undergraduate voice, and a sample semester outline of the curriculum. The Curriculum's effectiveness was tested by University Singers, an entry-level collegiate choral ensemble (n = 77), and a panel of six graduate choral conductors at the University of Arizona. Seven common choral tone (Color Voices, Intonation, and Vowel Modulation) and singer technique (Flexibility, Legato, Resonance, and Diction) issues and corresponding exercises from the Curriculum were chosen to be tested from an individual singer's standpoint and from a conductor's aural ensemble perspective. Each exercise was applied to excerpts of choral literature to test its effectiveness in helping a singer to develop the vocal skills demanded by choral music. All exercises were concluded to be successful in that singers understood the purpose, the execution, and the pedagogical function of each exercise, and were inclined to use them in future vocal experiences. In addition, all tested vocal exercises helped to develop singer technique for issues encountered in the choral literature. Furthermore, four of the seven exercises were found to have a positive effect on the ensemble's sound as judged by the panel of conductors. The ensemble sound was also positively affected by the exercises for other tested issues in six out seven cases. Results showed that a focus on building individual singer technique will improve the overall sound and vocal ability of the choral ensemble. Furthermore, individual improvement in Intonation and Legato positively influenced the ensemble sound for all other tested issues.

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

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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.

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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.

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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.

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Petty, Robert Allen. "Evaluation of Procedures to Develop Selected Choral Rehearsal Skills with Undergraduate Choral Methods Students." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384513025.

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Saavedra, Rafael. "Les compétences du chef de chœur : enquête sur les attentes déclarées des choristes et des chefs." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040064.

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Ce travail propose une étude du domaine de la direction de chœur. Il est centré sur les compétences du chef et les conditions d’une performance optimale, selon attentes déclarées des acteurs du monde choral. Il s’agit de compétences souhaitées par les choristes et les chefs. Les questions du répertoire, du contexte social et historique de la direction sont abordées, ainsi que les aspects épistémologiques de l’interprétation musicale. Les origines du concept de compétence, son évolution, son approche selon différentes perspectives, son emploi pédagogique précèdent l’observation empirique qui prend la forme d’une enquête menée sur un vaste échantillon dans six pays : l’Allemagne, l’Autriche, l’Espagne, les Etats-Unis, la France et le Venezuela. L’analyse critique donne une image psychologique des compétences du chef, décrit sa position culturelle et sa performance dans le contexte social. En découlent des considérations liées à l’héritage historique de la direction de chœur et une réflexion relative à la formation du chef
The work consists in a study related to the field of choral direction. The study focuses on the competences and the conditions of choir directors to achieve optimum performance in the opinion of constituents of the choral world as desired by choir members and directors. Choice of repertoire, social and historical context of choral direction, and epistemological issues of the musical interpretation have been addressed.The origins of the concept of competences, their evolution and approach according to different perspectives and their educational use precede the empirical observation. The latter study consists of a wide survey in six countries, namely Austria, France, Germany, Spain, United States of America and Venezuela. The critical analysis of this study reflects the psychological image of choir director’s competences, describing the cultural position and its performance in the social context. This study triggers assumptions relating to the historical legacy of choral direction as well as a framework of considerations related to the professional qualification of choir directors

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

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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.

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Armendariz, Fernando R. "Improving Participation During Choral Responding." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1375%5F1%5Fm.pdf&type=application/pdf.

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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.

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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.

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Lerew, Thomas E., and Thomas E. Lerew. "Programming For Success: A Study of Repertoire Selection Practices By Undergraduate-Focused, Religiously-Affiliated, Collegiate Choral Programs Nationally Recognized For Performance Excellence." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/620999.

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The purpose of this study was to examine the repertoire selection practices of collegiate choral conductors at nationally recognized, religiously-affiliated, undergraduate-focused institutions for choral music performance. Participation in the study was determined based on the institution's history of invitational performances at the national conferences of the American Choral Directors Association for the period 1995-2015. The study involved a multiple case study of five Directors of Choral Activities and their five collegiate choral ensemble programs. Descriptive data were gathered from these five directors in the form of both concert programs of ten academic semesters and follow-up personal interviews pertaining to the content of the concert program collected data. The concert programs were analyzed for genre type, secular versus sacred text, language, composer, historical era, number of times performed, and any other appropriate commonalities. An examination of the application of repertoire selection principles (criteria) to varying levels of musicianship proficiency was conducted and an explanation regarding the learning purposes for each ensemble at the institutions was studied. Commonalities in repertoire selection practices for the purposes of vocal and musicianship growth were identified to support the scholarly literature on the subject of repertoire selection. This included the need to engage students in the repertoire selected by providing a balance of variety in historical era or style, genre, modality, key center, language, meter, and tempi. The repertoire selected for performance by all five institutions, as well as the individual conversations with the research participants, are included in the document.

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Di, Grazia Donna Marie. "Concert societies in Paris and their choral repertoires c. 1828-1880 /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598869.

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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.

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Sharlow, David Lee Robinson Charles R. "Building common ground an investigation of choral conductors' definition of community within a choral ensemble /." Diss., UMK access, 2006.

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Thesis (Ph. D.)--Conservatory of Music and School of Education. University of Missouri--Kansas City, 2006.
"A dissertation in music education and curriculum and instruction." Advisor: Charles R. Robinson. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 20, 2007. Includes bibliographical references (leaves 167-179). Online version of the print edition.

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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.

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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.

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Hyman, Brent A. "Choral repertoire selection experiences required of undergraduate choral music education majors at selected Indiana universities." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1540701.

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This study investigated the repertoire selection experiences that undergraduate choral music education majors are given at two different universities in Indiana. The lives of the instructors who teach undergraduate choral music majors how to select repertoire were examined with the goal of getting a better understanding of what life experiences may have influenced their decisions about the types of repertoire selection activities they would require of their students. Both instructors give their students repertoire selection experiences; however, their life experiences and current teaching situations have influenced the types of repertoire selection experiences they choose to offer to their students. The type of education the professors had influences the types of repertoire selection assignments they give. The size and design of the music curriculum affects the amount of time professors can devote to teaching repertoire selection.
Introduction to the study -- Literature review -- Method -- Dr. Green and Jefferson University -- Dr. Asher and Kerr University -- Comparison of Dr. Asher and Dr. Green -- Discussion.
School of Music

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Howard, Chris 1967. "Prelude, chorale and fantasy : Ecclesiastes 12." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69607.

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The Prelude, Chorale and Fantasy is a tonally conceived work for orchestra with a duration of approximately twenty minutes which uses as its inspiration the final chapter of Ecclesiastes. It is constructed from a relatively small number of germinal elements which function throughout the work as connecting forces and icons. In it can be found musical ideas used to represent the Trinity, the most significant of which are the quotations of the hymn "How Brightly Shines the Morning Star" which appear throughout.
A greater understanding of the work can be gained by approaching it first on a philosophical level, making connections between the Biblical text and the music and extrapolating from those connections. Following this, a step by step analysis will show the microscopic structure of the work and its relationship to the larger form.

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Faure, Patricia. "La fonction éducative comme fonction chorale." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20057/document.

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Ce travail porte sur la fonction des éducateurs spécialisés en institution. Malgré les différents profils des éducateurs et leurs différents cadres d’intervention (spatiaux et temporels), la fonction éducative peut être définie comme fonction « chorale », en référence au choeur de la tragédie grecque, dans sa qualité première d’institution. La métaphore tragique a permis d’envisager cette fonction selon le paradigme groupal proposé par la métapsychologie. Les théories psychanalytiques du groupe rendent possible l’examen du travail du lien intersubjectif et de la question des transferts dans l’éducation spécialisée, tant du coté de l’équipe éducative que du coté des « confiés ». La fonction éducative conçue comme fonction « chorale », fonction d’une psyché groupale, permet de penser les relations éducatives plurielles dans leur potentiel de figuration, contribuant à la tâche primaire. La problématique du lien intersubjectif s’avère pertinente pour fonder une « clinique éducative »
This work concerns the educative function of caseworkers in institution. Despite the caseworkers‘ different profiles and their different frameworks (time and space related), the educative function could be described as a choral function in reference to the Greek tragedy’s choir, in its institution first quality. The tragic metaphor made it possible to think this function according to the group paradigm offered by metapsychology(psychoanalysis). Group psychoanalytical theories made it possible to examine the inter‐subjective link and the question of transfer in social work, so much for the caseworkers than the “users”. The educative function, as a choral function, function of group psyche, allowed us to think the plural educative relationship in their conformation potential, contributing to the primary task. The inter‐subjective link problematic turns out to be relevant to found a “clinic of education”

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Lin, Pei-Chi. "A Performance Guide to Se Enkhbayar's Choral Tone Poem Önchin Botog (A Lonely Baby Camel) for SATB Soloists and SATB Chorus (with Divisions) A Cappella." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157562/.

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Se Enkhbayar (b. 1956) is one of the most important contemporary Mongolian composers in China. His choral tone poem, Önchin Botog, integrates the traditional Mongolian musical elements Urtiin Duu (long song) and Khöömii (throat singing) with modern choral music and is one of the most representative works in the genre of modern Mongolian choral music. The purpose of this study is to provide a performance guidance for non-Mongolian musicians on Se Enkhbayar's work, Önchin Botog, by presenting his biographical and cultural backgrounds, discussing the use of traditional Mongolian singing styles, special rhythmic patterns (horse-step rhythm) and Chinese pentatonic scales. For conductors, this guide can shorten preparation time by providing musical analysis for artistic interpretation and practical points for sound effect creation. For solo singers, this guide will enable a Bel Canto singer to sing Urtiin Duu in Mongolian singing style. For Khöömii singers, this guide provides supplementary practical suggestions.

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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.

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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.

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Dissertations / Theses on the topic 'Chorals'

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