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Relevant bibliographies by topics / Conducting Conducting Orchestra Choral conducting

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Academic literature on the topic 'Conducting Conducting Orchestra Choral conducting'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Conducting Conducting Orchestra Choral conducting"

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Vasiliu, Alex. "15. Antonin Ciolan – The Teacher, The Founder of Orchestras, The Master Conductor." Review of Artistic Education 11, no. 1 (March 1, 2016): 126–32. http://dx.doi.org/10.1515/rae-2016-0015.

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Abstract The founder of a conducting style, who organised orchestras in two important musical centres in Romania (Iaşi and Cluj), “the partriarch of conductors”, respected and praised by George Enescu, Sergiu Celibidache or Erich Bergel, was a multilateral personality of exceptional merits as a teacher of orchestra, orchestra conducting, harmony and counterpoint; having founded several prestigious religious choral ensembles, organised and led musical teaching and concert institutes, Antonin Ciolan deserves to be brought to the awareness of more recent generations of researchers and audiences, as his historic achievements indicate.

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Semenova, N. F. "Topical Problems of Choral and Orchestra Conductors Training in the Russian Far East Region." Higher Education in Russia 27, no. 7 (July 31, 2018): 111–16. http://dx.doi.org/10.31992/0869-3617-2018-27-7-111-116.

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The article covers a wide range of problems connected with choral and orchestra conductors training in the Russian Far East Region. The author focuses on the specificity of the educational process organization for choral and orchestra conductors. The formation of orchestra and choral conductor’s professional skills is a three-dimensional process including educational work, concert-performing and research work. The author describes an experience of Khabarovsk State Institute of Culture in training professionals in choral and orchestra performance. The article describes the content, methodical and didactic aspects of the educational process of students majoring in Conducting. The author dwells on the features of the organization of students’ creative work and ways of cooperation between the Institute and the representatives of the creative and artistic environment.

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Howe, Sondra Wieland. "Julius Eichberg: String and Vocal Instruction in Nineteenth-Century Boston." Journal of Research in Music Education 44, no. 2 (July 1996): 147–59. http://dx.doi.org/10.2307/3345667.

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Julius Eichberg (1824-1893) made valuable contributions to the development of music education through his string and vocal instruction in Boston. Educated in Europe, Eichberg was a violin professor in Geneva before immigrating to the United States in 1857. He directed the Boston Museum Concerts 1859-1866 and composed four operas. In 1867, he founded the Boston Conservatory, developed its string department, and published string method books and chamber music. In the Boston public schools, Eichberg taught high school vocal music, supervised music for the entire school system, and taught teacher-training courses. Boston s school system became a model for other school systems. The annual Music Festivals in Boston, with Eichberg conducting choruses and orchestras, brought the schools positive publicity. Eichberg also composed choral works for his school choruses and edited music textbooks. Eichbergs work in string education and high school choral music laid foundations for programs in the twentieth century.

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Kharakoz, Hаnna. "On the genre and performance peculiarities of J. S. Bach’s choral fugue (on the example of comparative analysis of BWV 131 and BWV 131a)." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 164–79. http://dx.doi.org/10.34064/khnum2-21.11.

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Background. Despite the vast musical material associated with the embodiment in the choral texture of the highest polyphonic form – the fugue, there is lack of the literature that would outline the specificity of this arrangement, its fundamental principles. Many researchers have addressed choral polyphony on the material of the works of various composers. However, the problem of identifying the specificity of the choral fugue hasn’t been highlighted yet as a major issue in domestic musicology. Among the most recent works, which include the consideration of the issue of choral fugue, we should mention the capital study by N. Simakova (2007). The author offers a classification of choral fugue, depending on the accompaniment presence or absence. N. Simakova points out the importance of the timbre content of the theme for emphasizing the figurative content of the words, since the most striking in the process of the deployment of the fugue is the register-timbre modus, and the timbre coloring of soprano, alto, tenor and bass gives a relief figurative representation. Objectives. The article’s subject is to reveal genre and performance peculiarities of the choral fugue “Und er wird Israel” from the cantata BWV 131 by Johann Sebastian Bach. The comparative analysis of two editions of the cantata – choral and instrumental (organ fugue BWV 131a) – reveals the determinants of the choral fugue connected with the peculiarities of its performance. Methods. The study is based on systematic-analytical, comparative and semantic musicological approaches. Results. Two factors play a particularly important role in a choral fugue – the verbal text and the timbre coloring of the voices. This way, both themes of the fugue sound vivid and recognizable even to the unaccustomed listener, since they have different text assigned to the theme and each theme is placed in the voice that corresponds to it tonally. The first theme – light and full of hope – is assigned to the timbral voice that corresponds to it, such as the soprano, while the second theme is assigned to the timbral rich, “heavy” bass part. In any section of the cantata fugue, unlike in the organ version, the themes will be well recognizable thanks to the verbal text and the timbre coloring of the various voices, whereas the timbre of the organ, in comparison with the sound of the choral parts, is monolithic, and the sound “attack” is viscous, leading to a lack of separation in the melodic line. Thus, the presence of a verbal text, fixed to a particular theme (or part of it) and the timbral dramaturgy determine particularly the specificity of the choral fugue. However, the potential of the human voice is known to be limited by its tessitura depending the physical capabilities , which in turn affects the structure of the theme and the form in general. For the two-voice fugue theme, in which the author seeks to emphasize contrast, the timbre and tessitura peculiarities is the most convenient solution. It is important to compare the musical material of the two versions, to search for the differences and their causes, which are connected with the possibilities of the instrumental presentation of the fugue. So, in order to adapt it for twohand performance, in the organ work we occasionally observe simplification, “removal”, of the texture, as well as the addition of the musical text in order to “outplay” with the different functions using the manual keyboards and the pedal on the organ. An important feature of the choral fugue is the orchestra presence, its peculiar instrumental double, which gives it a special stability. As a rule, this or that instrument is attached to a particular timbre that is associated with specific parts of the chorus. In most cases, the orchestral part in a given cantata duplicates all of the theme material in the chorus. The orchestra also provides a solid harmonic foundation for the choral parts, especially where tonality could be interpreted in two ways. The alto part plays a passive role throughout the entire fugue, and a thematic lead is assigned to it only twice, and this is not accidental, since the alto part is “hidden” within the texture, and for a varied two-theme fugue, the comparison of different themes and their registers becomes important in the first place. In the cantata, the fugue is the culmination, the emotional climax of the entire cycle, it sounds rich and dense, and the bright timbre richness of the orchestra complements the general majestic character of the sound. In the organ fugue, however, it is vice versa: here one can sense the borders of the sections of the generally accepted fugue form much more clearly, and simplicity and elegance predominate. The presence of episodic moments of the redistribution of the thematic material in one part between two different voices (belonging to one voice in the original choral source) testifies to the secondary nature of the timbre factor in the instrumental fugue; the main thing here is the presence of the thematic voice-conducting itself. Therefore, in the clavier (organ) arrangement, one theme can be observed in different voices. All these examples make it possible to consider the choral fugue as a unique, independent form enriched with its own specific features. Conclusions. Despite the abundance of literature devoted to the fugue theory in general, the phenomenon of the choral fugue has so far received insufficient research attention. In order to understand the nature of the choral fugue, it is necessary to consider the influence that such specifically “choral” factors as timbre, register, tessitura, verbal text, ensemble, and others have on its structure. The comparative analysis of the musical scores of “Und er wird Israel” from Bach’s cantata BWV 131 and the organ fugue BWV 131a revealed differences between the choral primary source and its organ version, which makes it possible to consider them as factors contributing to a better understanding of the choral fugue peculiarities.

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Asaulyuk, I. O., and A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания." Health, sport, rehabilitation 5, no. 1 (March 30, 2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.

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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>

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Prokopov, S. "J. S. Bach and G. F. Handel’s works performed by the choir of the Kharkiv National Kotlyarevsky University of Arts students." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 22–37. http://dx.doi.org/10.34064/khnum1-52.02.

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Background. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortunately, their choral works aren’t often sounded today in the concert halls of musical academies and universities of arts. This music seemed to move from the concert stage to the classrooms. Analysis of publications according the topic. Among the researches that highlight the problems of the style of the sacred works of J. S. Bach and G. F. Handel, it is necessary to point out the fundamental studies of I. Givental and L. Gingold, M. Druskin, T. Livanova, V. Protopopov, A. Schweitzer, articles of modern authors by K. Berdennikova, N. Inutochkina, Y. Lyashenko, V. Semenuk, G. Skobtsova. However, the questions of the specifics of choral vocal technique remain, as a rule, outside the attention of scholars and they constitute the topic’s relevance of the article. Methods. The usage of the historical method contributed to the research of the educational choral performance at the present stage. It is involved structural-functional and intonational methods for establishing dramatic works’ features and concretization of their spiritual content. The comparative method is used to determine the differences between vocal style of J. S. Bach and G. F. Handel’s works and the technique of working with them. Objectives. The main goal is systematization of theoretical and practical observations with the performance of J. S. Bach and G. F. Handel’s choral works by the choir of the Kharkiv National Kotlyarevsky University of Arts students. The article is devoted to highlighting the problems of the performing process and the specifics of the choir practice of students with compositions by J. S. Bach (Cantata No. 140, ‘Wachet auf, ruft uns die Stimme’ and Magnificat) G. F. Handel (Dettingen Te Deum in D major, HWV 283). Results. The holding of the 22nd International Music Festival “Kharkiv Assemblies” devoted to the J. S. Bach and G. F. Handel’s oeuvre in 2015 was a significant event not only for Kharkiv but also the whole Ukraine’s musical life. The choir of the Kharkiv National Kotlyarevsky University of Arts students traditionally participated in it as in previous years (art director – Honored Art Worker of Ukraine, professor S. Prokopov, choirmasters – laureate of the all-Ukrainian competition H. Savelyeva, award winner of the all-Ukrainian competition O. Fartushka). The choir performed Magnificat and Cantata No. 140 by J. S. Bach ‘Wachet auf, ruft uns die Stimme’, fragments from the Dettingen Te Deum in D major, HWV 283 by G. F. Handel (the last two works are Kharkiv premieres). The work with them took place in short order and so it caused of some vocal technique difficulties and the problems of performative concept and performative style. Complaxities were intensified by the lack of necessary acoustic accumulation and the practical experience of performing the music of the Baroque by many young choirmasters, members of the choir group. The importance of studying the musical heritage of composers of genius in order to make a conductor-choirmaster personality is emphasized in the article. The main difficulties of learning choral scores due to the lack of performing experience, certain acoustic accumulation of choral music of the late baroque period which students of choral conducting specialization have. The approximation to the true understanding of the performing style of choral music by J. S. Bach and G. F. Handel may be provided with conditions of a thorough in-depth studying their works. The main tasks of the performative choices are described: appreciation of the entire depth of the spiritual content of J. S. Bach’s and G. F. Handel’s music by young performers, the correlation between vocal and instrumental principles, rational and emotional ones. One of the main tasks of the choir practice of students with J. S. Bach’s cantata No. 140 «Watchet auf, ruft uns die Stimme» was an adequate presentation of composer’s style. The composer treats the human voice as equal to the orchestra. Therefore, the vocal-instrumental nature of Bach’s choral style needs another way of sound-building, a greater unity of voices than our home choral music needs. They consider specific methods and techniques of work on such executive factors as tempo-rhythm, strokes. The questions of choral vocal technique, in particular, vocal intonation (significance of timbre expression, usage of different types of respiration, clear diction, active articulation) are raised. J. S. Bach’s interpretation of voice as an instrument, demands from performers a great deal of its mobility, almost virtuosity, especially in contrapuntal sections. As for the vocal style of G. F. Handel, the influence of the operatic style, which is felt in his oratorios and cantatas is emphasized. Conclusions. The choir practice of students and performing by the student choir of German composers’ genius works, the communication of young performers with outstanding conductors, singers (including foreign ones) became for them the true school of craftsmanship, promoted the professional growth of the choir group, revealed its new performance capabilities. Choral music of J. S. Bach and G. F. Handel should move from the educational audiences of universities and academies to the specific halls. The works of genius need to include in student choral groups’ repertoire.

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Ascenso, Sara, Aaron Williamon, and Rosie Perkins. "Understanding the wellbeing of professional musicians through the lens of Positive Psychology." Psychology of Music 45, no. 1 (July 8, 2016): 65–81. http://dx.doi.org/10.1177/0305735616646864.

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Recognizing the need to include musicians in mainstream wellbeing profiling and to move beyond a focus on debilitating factors of the music profession, this study aimed to understand how professional musicians experience wellbeing in the light of Positive Psychology. Guided by the PERMA model, the goal was to track enhancers and challenges for wellbeing in relation to the model’s five components: positive emotions, engagement, relationships, meaning and accomplishment. Participants included six professional musicians from six activities: solo, orchestral, choral, chamber, conducting and composing. Two interviews were conducted with each participant, separated by two weeks of diary record-keeping. Results point to high wellbeing. A clear sense of self appears as an overarching sustainer of wellbeing and the transition to professional life as the most challenging time regarding musicians’ flourishing. Positive emotions emerged as highly related to musical moments, while varying repertoire and experiencing different ensembles appeared as central sources of engagement. Meaning emerged as linked to the shared nature of music-making, and a sense of accomplishment was built on internal goals and oneness in performance with others. The key processes for positive functioning appeared to involve responses to, and regulation by, relationships. Implications are discussed in relation to the role of holistic training in educational settings.

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Duţică, Luminiţa. "Choose Music! A Consulting and Training Strategy for Admission to Higher Education in Music." Review of Artistic Education 17, no. 1 (March 1, 2019): 40–46. http://dx.doi.org/10.2478/rae-2019-0004.

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Abstract The educational project CHOOSE MUSIC!, subtitled “for counselling and training for admission to higher education in music”, was created many years ago, at the initiative of Prof. Univ. PhD. Luminiţa Duţică, with the main purpose of creating a bridge between the pre-university and academic musical education (through pupils - students, pupils - university professors, etc.). Another special objective was to promote the image and opportunities existing at “George Enescu” National University of Arts of Iași. In this respect, inter-institutional partnerships were established between the Faculty of Interpretation, Composition and Theoretical Music Studies within “George Enescu” National University of Arts of Iași and numerous art high schools/colleges, especially from the regions of Moldavia (Suceava, Botoșani, Bacău, Piatra-Neamț, Iași, Bârlad and Galați). In this study we will go into more detailed aspects related to teaching and art activities made for this purpose, diverse and attractive, evidenced by: demonstration lessons of Music theory, Classical composition / jazz – easy listening, Musicology, Choral/Orchestral Conducting, MasterClass for aspects regarding the perception and graphic representation of the sounds, as well as the specific musical skills training (held by professors Luminiţa and Gheorghe Duţică), to which educational concerts, book launches, special meetings with teachers from the pre-university education, additional training with students for admission to the academic musical education in Iași (especially in the contest subject called Theory - Solfeggio –Melodic Dictation.

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Schertenleib, S., M. Gutierrez, F. Vexo, and D. Thalmann. "Conducting a virtual orchestra." IEEE Multimedia 11, no. 3 (July 2004): 40–49. http://dx.doi.org/10.1109/mmul.2004.5.

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Genes Robles, Carlos Mario, and Frédéric Coin. "Conducting the CTD orchestra." Nature Chemical Biology 15, no. 2 (December 31, 2018): 97–98. http://dx.doi.org/10.1038/s41589-018-0201-6.

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Dissertations / Theses on the topic "Conducting Conducting Orchestra Choral conducting"

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MORGAN, JENNIFER SUSAN. "A CONDUCTOR'S GUIDE TO SELECTED CHORAL-ORCHESTRAL WORKS OF EMMA LOU DIEMER." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115393701.

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Moon, Harry Edward. "Ralph Vaughan Williams' "A sea symphony" for soprano, baritone, chorus and orchestra: a conductor's study and performance." Diss., University of Iowa, 1987. https://ir.uiowa.edu/etd/5893.

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Bucoy-Calavan, Maria L. "The Incomplete Conductor:A Comparative Evaluation of the Separated Subspecialties in Graduate-Level Conducting Pedagogy." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396530297.

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Deignan, Ryan. "Michael Daugherty's Mount Rushmore: Analysis and Conductor's Guide." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538671/.

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According to the American League of Orchestras' most recent report, Michael Daugherty is one of the ten most performed American composers of concert music in modern times. He has received six GRAMMY awards, including awards for Best Contemporary Classical Composition in 2011 and 2017. Characteristics of Daugherty's music are diverse: colliding tonalities and blocks of sound, driving polyrhythmic counterpoint, and jazz and pop elements. His music can be minimalistic at times and at others, stirringly melodic. Amongst this eclecticism, a fascination with American iconography remains a consistent hallmark of his music, exemplified by titles such as American Gothic, Jackie O, or Lost Vegas. Daugherty has stated that his goal is to create sophisticated, abstract music that is also catchy or memorable, with melodies and cultural allusions that audiences can "hang their hat on." Despite widespread success, relatively little scholarly work has been done on Daugherty's music, providing an opportunity for further research. The primary goal of this study is to add to the literature on Michael Daugherty by providing an analysis and conductor's guide of his first choral-orchestral work, Mount Rushmore. It is a genuine show piece, galvanizing and colorful, modestly demanding of the listener, and appreciated by individuals of diverse musical backgrounds. The work also contains multitudes, offering layers of musical complexity and extensive historical symbolism for those who wish to engage further. Daugherty's Mount Rushmore offers immediate appeal and an excellent return on investment. Using interviews with the composer as well as detailed formal, harmonic, and historical-textual analysis, this paper provides in-depth information and guidance to future conductors who wish to present an appealing choral-orchestral work by a prominent, living American composer. Conductors who program Daugherty's Mount Rushmore will find it valuable for their ensemble and community for years to come.

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Oosthuizen, Benjamin William. "Towards a theory of choral conducting gestures." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/589.

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It is an oversimplification to look only at the manner in which a two-dimensional drawing suggests a three-dimensional movement in order to study choral conducting gestures. It must be recognised that there is a myriad of tacit aspects of knowledge surrounding conducting gestures. These aspects of tacit knowledge might be the reason why the teaching of conducting is done mostly in a continuous practicum, where the apprentice learns from the master, because in the practical situation the novice learns not only explicit knowledge, but also tacit knowledge. On the other hand, it is vital that the process of categorising and theorising about gestures continues in order to at least gain a better explicit knowledge of the process. In doing so, a theoretical knowledge base will strengthen the body of knowledge. This explicit knowledge should contain information with regard to the anatomy of the conductor, a basic understanding of a balanced posture, bilateral symmetry and vertical alignment, and a basic knowledge which will help to understand which main muscle groups are responsible for which basic movements involving gestures. The study of gestures from a theoretical point of view is barely more than five decades old. The demands which 20th and 21st century composers make on conductors question the traditional approaches of the functions of the hands. It has become essential for a conductor to develop greater skill of ambidexterity in order to cope with these demands. Despite the notion by some authors that choral conducting gestures employ standard gestures, it has been shown in this study that this is simply not the case. An overview of the work of authors in the field of conducting gestures was presented through a literature study. Concepts and their definitions have been selected and explained through the answering of research questions. Definitions of parameters and functionality of gestures were clarified to decide which gestures were the most appropriate in certain circumstances. This theory aims to be both descriptive and normative. It is descriptive in the sense that the concepts and issues and relationships around the characteristic aspects of gestures are indicated. It is normative in terms of the suggestions offered with regard to issues pertaining to gestures. This thesis sets out to contribute to the formulation of theoretical aspects of choral conducting gestures in an effort to codify and structure knowledge which is often stored in composers minds and experience, in an effort to pass down this knowledge to other apprentices in the field.

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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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Ashby, Bonnie Marie. "Help! : an annotated bibliography of resources for the beginning choral conductor /." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd507.pdf.

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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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Ho, Lian-Ian. "Expressive gestural use : implications for the choral conductor and singer /." St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17853.pdf.

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Sinclair, Robert Louis. "The conducting pedagogy of B.R. Henson : a systematic approach to conductor training /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999315.

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Books on the topic "Conducting Conducting Orchestra Choral conducting"

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W, Demaree Robert, and Ohmes Allen F, eds. Face to face with an orchestra: A handbook for choral conductors performing Handel's Messiah, Bach's Magnificat, Vivaldi's Gloria, and other works. Princeton, N.J: Prestige Publications, 1987.

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A conductor's guide to choral-orchestral works, classical period. Lanham, Md: Scarecrow Press, 2002.

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Castarède, Marie-France. Le miroir sonore: Essai sur le choeur. Lyon: Césura Lyon Édition, 1989.

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Choral conducting. New York, N.Y: W.W. Norton, 1985.

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Choral conducting. New York: Norton, 1985.

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Durrant, Colin. Choral Conducting. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315545424.

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Davis, Leonard. Practical guidelines for orchestral & choral conducting: For those wishing to build on their existing experience rather than for complete beginners. London: Guidelyne, 1992.

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Conducting choral music. 6th ed. Englewood Cliffs, N.J: Prentice Hall, 1988.

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Garretson, Robert L. Conducting choral music. 8th ed. Upper Saddle River, N.J: Prentice Hall, 1998.

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Garretson, Robert L. Conducting choral music. 5th ed. Englewood Cliffs, N.J: Prentice-Hall, 1986.

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Book chapters on the topic "Conducting Conducting Orchestra Choral conducting"

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Durrant, Colin. "Swimming With the Tide." In Choral Conducting, 3–9. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315545424-1.

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Durrant, Colin. "Teaching Choral Conducting." In Choral Conducting, 152–63. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315545424-10.

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Durrant, Colin. "Last Movement." In Choral Conducting, 164–70. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315545424-11.

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Durrant, Colin. "Human Learning and Behavior." In Choral Conducting, 10–31. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315545424-2.

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Durrant, Colin. "Why Do People Sing?" In Choral Conducting, 32–51. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315545424-3.

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Durrant, Colin. "The Role of the Conductor." In Choral Conducting, 52–72. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315545424-4.

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Durrant, Colin. "The Choral Conducting Phenomenon." In Choral Conducting, 73–82. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315545424-5.

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Durrant, Colin. "Toward a Super-Model Choral Conductor." In Choral Conducting, 83–93. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315545424-6.

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Durrant, Colin. "The Conductors’ Craft." In Choral Conducting, 97–123. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315545424-7.

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Durrant, Colin. "Conducting and Vocal Development and Health." In Choral Conducting, 140–51. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315545424-9.

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Conference papers on the topic "Conducting Conducting Orchestra Choral conducting"

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Borchers, Jan O., Wolfgang Samminger, and Max Mühlhäuser. "Conducting a realistic electronic orchestra." In the 14th annual ACM symposium. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/502348.502376.

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Susaki, Misato, Soichiro Sunagawa, Tomoaki Moriya, and Tokiichiro Takahashi. "Conducting and performing virtual orchestra." In ACM SIGGRAPH 2013 Posters. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2503385.2503486.

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Pinar-Adán, Arturo, Elena Romero-Guantes, Cinthya Villaescusa-Sifuentes, Alejandro Romero-Hernandez, and Borja Manero. "CHOVR: A VIRTUAL REALITY TOOL FOR CHORAL CONDUCTING TRAINING." In 12th International Conference on Education and New Learning Technologies. IATED, 2020. http://dx.doi.org/10.21125/edulearn.2020.2158.

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Niemtsova, Liliya. "A Combination of Professional and Personal Qualities in the Choir Conductor." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/21.

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The article outlines the problem of combining professional and personal qualities in the choir conductor. Research gaps in the profession of choir conductor are outlined. We established that the art of conducting, and choral performance as its component, currently requires professionally trained personnel, who have an active life position and are able to provide a creative approach to choral singing. It was found that conducting should be interpreted as a creative process characterized by a step-by-step structure and a combination of analysis and comprehension of the choral score, its artistic interpretation, which allows embodying the formed musical image in the real choral sound. It was found that the conductor’s professional qualities are based on the conductor’s individual style or his “creative method”. It is established that the emotional sphere of the conductor is the result of a combination of qualities that will allow the conductor and the choir to demonstrate a bright and convincing revelation of the originality of texture, expressive timbre colors of numerous choral scores, and a rich palette of nuances.

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Greinke, Berit, Giorgia Petri, Pauline Vierne, Paul Biessmann, Alexandra Börner, Kaspar Schleiser, Emmanuel Baccelli, Claas Krause, Christopher Verworner, and Felix Biessmann. "An Interactive Garment for Orchestra Conducting: IoT-enabled Textile & Machine Learning to Direct Musical Performance." In TEI '21: Fifteenth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3430524.3442451.

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Nakai, Ryo, and Keizo Nagaoka. "Conducting Classroom Discussions in the Manner of an Orchestra Using a Mobile Phone Based Response Analyzing System." In Seventh IEEE International Conference on Advanced Learning Technologies (ICALT 2007). IEEE, 2007. http://dx.doi.org/10.1109/icalt.2007.102.

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Schafer, Lisa-Franziska, Dmitrii Kozlov, Morris Ohrnberger, and Peter Ott. "Two Kalman Models for Chirp-Sequence Radar Data Filtering of a Periodically Moving Hand for Conducting a Virtual Orchestra." In 2020 21st International Conference on Research and Education in Mechatronics (REM). IEEE, 2020. http://dx.doi.org/10.1109/rem49740.2020.9313876.

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Bernāts, Guntars. "Contribution of Orchestra Conductors to Development of Latvian Symphony Orchestra Conducting School Since the Beginning of the 20th Century and Until the End of the World War II." In 76th Annual International Conference of the University of Latvia. University of Latvia, 2019. http://dx.doi.org/10.22364/htqe.2018.15.

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Szedmák, Borbála. "Business Model Innovation and the First Steps of Digitalization in the Case of Symphony Orchestras." In New Horizons in Business and Management Studies. Conference Proceedings. Corvinus University of Budapest, 2021. http://dx.doi.org/10.14267/978-963-503-867-1_15.

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The study highlights the importance of orchestras being able to respond to the changing needs of consumers and adapt to changes in the world. Such a change is, for example, the current coronavirus epidemic, which poses especially great difficulties for organizations of the cultural sector that deal with performing arts, as concerts and performances – providing the basis of their operation – have become impossible. In order to gain “immunity” to the virus, business model innovation and exploiting opportunities offered by digitalization are essential. Furthermore, similar cases can occur at any time for which orchestras have to be prepared. As a result, orchestras (and in a broader sense all kinds of organizations) need to fundamentally rethink their business models. After conducting secondary research and interviews with 10 symphony orchestra managers and 10 symphony orchestra musicians, I have identified some novel aspirations, attempts and projects selected from international and Hungarian symphonic orchestral life to provide excellent examples of how the business model can be redefined and how the expectations of the 21st-century audience can be met. These examples show that there are orchestras which have understood that responding to the changing demands of consumers and utilizing the opportunities given by technology is essential, although it is still a question of how many more “coronavirus waves” are needed to make it clear for all orchestras that fundamental changes are necessary to preserve a market-leading position or become a market leader.

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