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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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Grimland, Fredna H. "Characteristics of teacher directed modeling evidenced in the practices of three experienced high school choral directors." Thesis, connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/grimland%5Ffredna/index.htm.
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Rudd, Philip Christopher. "Countess, conductor, pioneer: Lady Radnor and the phenomenon of the Victorian Ladies’ Orchestra." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5616.
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Helen Pleydell-Bouverie, the Countess of Radnor, who conducted an amateur ladies' orchestra from 1881 until 1896, was a critical early pioneer in the development of female orchestral performance in England. Lady Radnor's orchestra was widely praised, and she herself was highly regarded by British royalty, artistic elite, and lower-class audiences alike. While her probable status as the first British woman to regularly and publicly conduct an orchestra merits recognition on its own, her work is of yet further interest as an important step in the advancement of women musicians from the salon to the professional concert hall. In a time when professional musicianship was not accessible to upper-class women, Lady Radnor became a significant influence in musical culture through patronage, pedagogy, entrepreneurship, and especially philanthropy. Indeed, charitable activity was the main structure that enabled aristocratic women to have public performance careers. Her example shows that the professional female conductors who emerged in the twentieth century were not rogue anomalies, but rather built upon the cultural foundation laid in part by the work of aristocratic amateurs.
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Marshall, Eldred. "Conducting from the Piano? A Tradition Worth Reviving?" Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157619/.
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Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer.
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McKendrick, Ryan P. "A conductor's analysis of Gabriel Fauré's Requiem, Op. 48." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04242007-120029/.
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Thesis (M. Mu.)--Georgia State University, 2007.Title from file title page. John B. Haberlen, committee chair; N. Lee Orr, Duncan Couch, committee members. Electronic text (47 p. : music) : digital, PDF file. Description based on contents viewed Dec. 14, 2007. Includes bibliographical references (p. 47).
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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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Rolf, Kathryn Anita. "A Choral Conductor's Analysis and Performance Practice Recommendations for Selected Psalm Settings by German Baroque Composers." Diss., North Dakota State University, 2019. https://hdl.handle.net/10365/29897.
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Psalm settings by German Baroque composers are comprised of meaningful texts illuminated by expressive music and have much to offer today’s choir. The composers of these settings were inspired by the Old Testament psalm texts and wrote choral works that incorporated both historical techniques adapted from types of psalmody and the expressive techniques of their day. Despite the significance of psalm settings, no detailed study exists on this music as a body of work. Additionally, Baroque music provides challenges to the conductor regarding performance practice choices. Both of these problems are addressed in this study. First, I establish a lineage of compositional development from Medieval chanted psalms to Baroque psalm settings and analyze the techniques composers used to express the text in specific examples. Then, I use the insights gleaned to make performance practice recommendations for each piece.
By drawing on primary sources by Michael Praetorius (ca. 1571-1621) and Heinrich Schütz (1585-1672) and secondary sources by contemporary scholars Dennis Schrock, Helmuth Rilling, and Robert Donington, I provide an overview of German Baroque performance practices that includes instrumentation, tempo, dynamics, articulation, and ornamentation. Special emphasis is given to performance principles that are applicable to the psalm settings explored in subsequent chapters. I also draw on dissertations, books, and articles by Baroque scholars to provide highlights of the composers’ careers and details about the pieces studied. The six pieces included in this disquisition are “Wie lieblich sind deine Wohnungen,” SWV 29 from Psalmen Davids (1619) by Heinrich Schütz (1585-1672), Alleluja! Lobet den Herrn in seinem Heiligtum (1620) by Johann Hermann Schein (1586-1630), “Schaffe in mir Gott ein reines Herz” from Fest- und Zeit-Andachten (1671) by Andreas Hammerschmidt (1611-1675), Der Herr ist mit mir, BuxWV 15 (ca. 1687) by Dieterich Buxtehude (ca. 1637-1707), Gott, sei mir gnädig (1705) by Johann Kuhnau (1660-1722), and Lobet den Herrn, alle Heiden (n.d.), BWV 230 by Johann Sebastian Bach (1685-1750).
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Varvarigou, Maria. "Modelling effective choral conducting education through an exploration of example teaching and learning in England." Thesis, University College London (University of London), 2009. http://discovery.ucl.ac.uk/10019884/.
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A growing corpus of research provides evidence of the musical and non-musical benefits from choral participation, yet the preparation of individuals for their role as choral leaders and conductors within educational environments has not been given similar attention. Whilst choral leaders within schools, community or church contexts may emphasise the inadequate support mechanisms for choral education, there seem to be very few courses in the United Kingdom (UK) that deal with the preparation of choral conductors. A new socially-located, heuristic framework has been developed, influenced by the theoretical constructs of Cognitive Apprenticeship, Situated Learning, and theories of expertise, as well as educational research on effective teaching and learning within higher education and the workplace. The framework encompasses five interconnected parameters, as part of an investigation into effective choral conducting education within several educational environments in the UK. These parameters relate to biographies, expectations, values and behaviours connected with (i) the tutor, (ii) the learner, (iii) the sequence and amount of training (process of preparation), (iv) the learning outcomes and (v) the socio-cultural contexts, including the teaching contexts, where choral practice takes place. A predominantly qualitative approach has been used for the collection and analysis of the data, concentrating on the participants' written self-reflective narratives, interviews and questionnaire responses. Five choral conducting education courses have been observed; three offered within higher education and two by independent bodies. Although data analyses suggest that none of the observed courses encompassed all the ingredients suggested by the framework, the framework itself offers insights and related methods of examining choral conducting education contexts.
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Reneau, April Christine. "Determining basic voice classification of high school choir students." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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Hinton, Eric Leonard. "The art and craft of conducting the wind orchestra : realising expressive potential through physical gestures." Thesis, Birmingham City University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414796.
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Fiocca, Pamela Dayle Hopton. "A descriptive analysis of the rehearsal behaviors of selected exemplary junior high and middle school choir directors." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1332880693.
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Glass, Jr Wayne Allen. "The Renaissance Italian Madrigal Comedy: A Handbook for Performance." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/195880.
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The Italian madrigal comedy experienced a relatively short, but exceedingly popular life during the late Renaissance. The works that may be called madrigal comedies, numbering less than two dozen in total, represent a type of musical entertainment that delighted audiences at courts and within the cultural academies of Renaissance Italy. The small subset of works within the genre, designated in this research project as "theatrical" madrigal comedies, showed an increasing focus on dramatic representation of text with music. These works, the plots of which derive from the commedia dell'arte tradition, may be seen as early forms of musical comedy and musical theater. Arguments concerning the manner in which the works were performed have centered on a debate for and against the staging of them.Because madrigal comedies have been largely neglected as concert and theatrical literature, there is little published to assist a director in finding the repertoire or to offer a guide to performance. The research project on which this document is based, along with the associated lecture-recital, resulted in the compilation of means to a successful madrigal comedy production. This was done by advocating historically informed performance decisions that are given a practical spin. In this manner, a director may put together a madrigal comedy production that is accessible to professionals and non-professionals, as well as secondary- and higher-education communities.
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Durrant, Colin. "Towards a model of effective choral conducting : implications for music education, musical communication and curriculum development." Thesis, Roehampton University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336745.
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Fuchs, Michael C. "A Conductor’s Guide to the Incorporation of Bel Canto Methodology in the Choral Rehearsal." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396530409.
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Olesen, Bradley Christian. "The Impact of Musical Background, Choral Conducting Training and Music Teaching Style on the Choral Warm-up Philosophy and Practices of Successful High School Choral Directors." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/425.
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The purpose of this study was twofold: (a) Examine successful choral director beliefs about warm-ups and their successful practices in conducting warm-ups, and (b) examine the relationship of musical background, choral training and music teaching style of high school choral directors upon these beliefs and practices. Subjects were 365 high school choral directors from 28 states. Data were analyzed using descriptive analysis, correlation analysis, multivariate analysis of variance and multiple regression. Results indicated choral director's beliefs and practices differ as a function of musical back-ground, demographic characteristics, choral conducting training, and music teaching styles. Specifically, warm-up beliefs were predicted by knowledge of vocal health and variety of warm-ups. Conversely, those who relied on the warm-up time for discipline and focusing attention showed a significant negative relationship with their philosophy. From multiple regression analysis, doing choral warm-ups accounted for one-third of a director's overall success, predicted by 10 variables: (a) experience, (b) education, (c) teaching style teacher-directed performance, (d) teaching style deep-student learning, (e) warm-up literature and procedure, (f) planning warm-ups (g) warm-up content, (h) prior choral experience and piano background, (i) a foundation in music, and (j) a developed philosophy of choral warm-ups. However, having a philosophy about warm-ups did not predict successful teaching practices.
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Frizzell, John David. "A CONDUCTOR’S ANALYSIS OF VELJO TORMIS’ LOODUSPILDID." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/93.
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Estonian composer Veljo Tormis (1930-2017) is one of the most prolific in his country’s history. A significant portion of his writing has been for choirs. Tormis composed most of his works under Soviet rule. During this communist reign of Estonia, Tormis turned to using traditional music. The source material for a large portion of Tormis’ choral output is regilaul, a type of ancient Estonian folk song. In 1991, Estonia gained their independence, thereby allowing Tormis’ compositions to be more easily seen, heard, and performed around the world.
This dissertation presents a conductor’s analysis of a set of choral cycles composed by Tormis between 1964 and 1969, Looduspildid, or Nature Pictures. A set of cycles representing all of the seasons and incorporating prominent Estonian poetry, Loodispuldid represents one of Tormis’ most important works. It illustrates Tormis’ maturing style as he utilized a variety of 20th Century techniques like extended tertian harmonies, modal scales, pandiatonicism, clusters, and mixed meters. Tormis also employs his own orchestrally-derived techniques of carefully constructed simultaneous articulations along with cumulative chording.
Each cycle contains its own unique style and feel. Sügismaastikud is perhaps the most tonal of the four. Most movements are pandiatonic and one uses the whole tone scale. On a macro level, Sügismaastikud moves from soft in the earlier movements to a fff climax on the final chord of the last movement. Talvemustrid also begins at a very soft dynamic level on a unison D4, grows to multiple ff dynamics throughout, and ends back at a soft dynamic on Db. The cycle is more harmonically adventurous than Sügismaastikud, with consistent chromaticism, octatonic scale, and marked dissonance.
Suvenmotiivid only contains three movements, but continues the harmonic and rhythmic complexity of Sügismaastikud. The first movement, Põualim, immediately begins on a tritone with octatonic scale. Different meters occur simultaneously during the second movement, which also moves quickly through 4 keys. The final movement ends with orchestral voicing and a 10-note chord cluster. Kevadkillud contains six very short movements, most of which are pandiatonic like Sügismaastikud. There is far less chromaticism and harmonic complexity than the middle two cycles, almost as if Tormis is bringing the set full circle. Moreover, the final movement of this cycle (and the entire set) is really just one major chord with embellishments.
As a set, Loodispuldid represents a thorough perspective of Tormis’ mature style. The analyses done as a part of this paper reveal an incredible efficiency in his writing. Motives have purpose and context. Each movement possesses a well-defined harmonic language and rhythmic identity. A variety of formal structures exist, from binary to rondo. Even the many through-composed movements are expertly crafted with clear direction.
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Luomala, Markus. "The conductor as part of a creative process : Case: Students composing for a student orchestra." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2092.
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Medley, Susan Annette. "THE CHORAL MUSIC OF NORMAN DELLO JOIO." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin962990468.
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McKendrick, Ryan Parker. "A Conductor's Analysis of Gabriel Faure's Requiem, Op. 48." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/music_theses/2.
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Gabriel Fauré’s Requiem, Op. 48 was an evolving work, which he continued to revise from its inception in 1887 until the published version of 1900. The focus and intent of this paper is to present a detailed analysis of Requiem, Op. 48 as well as historical background to aid conductors in the preparation and performance of this work. Discussions include the history of the requiem mass as a liturgical form, the evolution of Requiem, Op. 48, the John Rutter edition (1984) and his research, and a conductor’s analysis addressing issues of harmony, form, and style.
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Howell, Matthew Clayton. "A Conductor's Introduction to the Performance of Modern Japanese Choral Music." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/196096.
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Currently in Japan there are 5,202 choirs registered as part of the Japan Choral Association. The majority of these choirs are amateur or professional choirs. This situation contrasts with that in the United States where colleges and universities are the primary entities perpetuating the advancement of the choral art. Most likely because of this, there is little if any academic investigation of modern Japanese choral music. Even in Japan, there is not a substantial body of academic study of this literature. As a result, this repertoire is seldom, if ever, performed outside of Japan.Numerous problems confront Western choral conductors interested in programming modern Japanese choral music that is based on traditional Japanese musical idioms. In this document, I have provided information that will allow Japanese choral literature to be accessible to non-Japanese speaking conductors. This information is divided into four areas. First, an overview of Japanese music history is provided. Next, a discussion of the elements of traditional Japanese music such as genre types, modes and tonalities provides the necessary background for a conductor to approach modern Japanese choral music. Third, a practical method whereby non-Japanese speaking choral conductors may transcribe the two phonetic Japanese alphabets into readable English phonetics is proposed. Fourth, a practical approach to the performance of modern Japanese choral music, inclusive of various musical genres, voicing, and instrumental complements is suggested. Discussion of representative choral works by three native composers including a work based on a folk tune, a work for women's chorus, a work for men's chorus, and a composition for mixed chorus and traditional Japanese instrumental complement provides concrete application of the aforementioned discussions.Lastly, in this document I will provide information on several contemporary native Japanese composers, their compositions, and their publishing companies to facilitate the acquisition and performance of this rich choral repertory.
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Miller, Samuel James. "AN ANALYSIS AND CONDUCTOR’S GUIDE TO ZDENĚK LUKÁŠ’ REQUIEM PER CORO MISTO, OP. 252." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/114.
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Zdeněk Lukáš (1928-2007) was one of the most prolific Czech composers of the 20th century having composed over 300 pieces. His works include a wide array of genres including symphonies, operas, chamber music, and a large amount of choral and vocal music. He was influenced by Czech folklore and music and was self-taught until he was nearly 40 years old. Lukáš began his career as a teacher but later began working for the Czechoslovak Radio Studio in Plzeň where he founded the mixed choir, Česká Píseň (Czech Song), which became quite famous and still enjoys great fame.
Requiem per coro misto, op. 252 is considered by many to be Lukáš’s most famous choral work. It was written in 1992 for a cappella SSATB chorus. The piece is divided into seven movements; “Requiem aeternam,” “Dies irae,” “Lacrymosa,” “Offertorium,” “Hostias,” “Sanctus,” and “Agnus Dei.”
This document presents an analysis and conductor’s guide of Requiem. The analysis includes an examination of Latin pronunciation employing Germanic Latin when possible and an IPA pronunciation guide and translation of the text. Also included in the analysis is discussion on form, tonality, and development of melody, harmony, and rhythm all of which reveal that Lukáš wrote this piece in a very traditional style.
The conductor’s guide points out many of the issues that a choir may face in preparing Requiem. Some of the issues include intonation, range, and dynamics. One specific issue is that although the piece is tonal, there is considerable use of modes and scales that many singers would consider exotic. One such scale is the Hungarian Gypsy which is essentially a harmonic minor scale, but includes a raised fourth degree. Many of the intonation issues that could arise stem from the frequent parallel motion.
Lukáš believed that a cappella singing is one of the purest forms of music and that singers should be allowed to sing without regard to any instrumental influence whether it be from the composer or some other source. Requiem exhibits this belief through its challenges and its beauty. The work or its individual movements can be challenging yet accessible to singers of all levels.
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Bygdéus, Pia. "Uttryck genom handling : Medierande verktyg i körledararbete med barn och unga." Licentiate thesis, Lund University, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-71031.
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The role of the choir leader is a complex one. When working with a choir, choir leaders often use several aspects of their professional role. The aim of this qualitative study is to describe, verbalise and make visible the mediating tools that choir directors working with children and youth choirs use. In a longitude study, four choir leaders were observed closely while working with their choirs. They also took part in semi-structured interviews. The empirical data material consists of observation notes, reflective writing, individualinterviews, focus conversations and videotapes. Analysed from a sociocultural perspective, the result points to eight groups of mediating tools: a) a listening attitude towards the choir, with the music in focus; b) a variation in ways of working with the choir, where a variety of physical tools are used; c) the use of musical routines; d) the choir director acting as a role model in shaping musicalexpression with the group; e) a concentrated cooperation with the choir through short and expressive instructions; f) reflection in practice by planning and self-evaluation; g) storytelling, which results in memory training, stimulation of the imagination and the sharing of common experience, and h) the use of target images expressed as visions, small/big goals or jointly stated, communicated targets. The choir directors who participated in the study use a variety of approaches and ways of working as a strategy for communicating and working with child and youth choirs.
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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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Gomes, Hermes Coelho. "O regente orquestral contemporâneo por uma visão contextualizada." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284573.
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Orientador: Eduardo Augusto OstergrenTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho tem como proposta uma reflexão sobre a atuação do regente orquestral neste início do século XXI. Podemos observar que, no exercício da função, sob o ponto de vista pragmático, há uma série de atributos que são pré-requisitos essenciais para quem deseja ter domínio sobre esta arte e exercê-la com conhecimento e seriedade. O estudo aponta uma direção construtiva no sentido de conduzir o regente a refletir tanto no aspecto técnico da sua arte, na busca da sonoridade orquestral, quanto nos aspectos do seu cotidiano inerentes no desempenhar de sua função. No primeiro capitulo apresentamos uma visão histórica das atividades próprias ao cargo e sua evolução ao longo do tempo. No segundo, um estudo direcionado ao aspecto técnico da regência e de sonoridade de uma orquestra. No terceiro são abordadas questões relativas à sua contribuição para o desenvolvimento progressivo e aprimoramento da plateia ao levar conhecimento e estimular reflexões que conduzam o público a uma apreciação mais atenta e aprofundada da música sinfônica. Por último são abordados aspectos relacionados à parte administrativa enquanto na direção da orquestra, especificando problemáticas ligadas à gestão de pessoal, à produção de concertos, à captação de recursos e à sua contribuição para a melhora da qualidade de vida da comunidade em que a orquestra está inserida
Abstract: It is the aim of the present work to propose a reflection on the role of the orchestral conductor at the beginning of this XXI Century. One can observe that, from a pragmatic standpoint there are a series of attributes and pre-requisites for the exercise of this activity much essential for those that wish to learn the practice of this form of art with knowledge and seriousness. This study points the way in a constructive direction so to lead the conductor to reflect on the many different aspects of this art be it technical, the search for the orchestral sonority, or elements of his daily routine, all inherent in the exercise of his job. In the first chapter the author presents a historical perspective and its evolution throughout time of the many activities involved in the position of the conductor. The second discusses the technical elements of conducting and the orchestral sound palette. In the third the author elaborates on the many questions related to the conductor's role in audience development, the sharing of his knowledge to stimulate people's participation leading to a more attentive and a deeper appreciation for symphonic music. Finally items pertaining to the artistic administrative area are discussed, more specifically personnel management, concert production, fundraising and the conductor's involvement in social and artistic affairs and his contribution toward a better quality of life in the community in which the orchestra is inserted
Doutorado
Praticas Interpretativas
Doutor em Música
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Caldwell, Rodney Hildred. "Rhythmic and metrical groupings of chant notation as an influence upon the conducting for the "Quatre motets sur des themes gregoriens", Op. 10, of Maurice Durufle." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187189.
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This project focuses on the relationship between plainchant notation and the conducting gesture in the Quatre Motets Sur Des Themes Gregoriens, Op. 10 of Maurice Durufle. Durufle's intimate knowledge of the chant practices of the Solesmes school of chant interpretation is a major influence in the compositional style of the four motets. This project explores the relevance of the Solesmes interpretational practices and their influence on Durufle's compositional technique. The conducting gesture employed in the realization of the motets must demonstrate an active knowledge of the compositional techniques employed and the Solesmes interpretational practices. As such the incorporation of traditional Gregorian Chironomy into a working gesture for use in the rehearsal and performance of the motets is the essence of this project.
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Rasmussen, Jonas. "E-learning for choral conductors : a study of how e-learning can be used to change the way we teach and learn conducting." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2081.
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Clarke, Steven Douglas. "Eph Ehly, all-state choir conductor : a video presentation of his philosophy and rehearsal techniques." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063298.
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Dr. Eph Ehly is one of the most sought after choral conductors in the United States today. Ehly has conducted over seventy All-State choirs. However, no previous source outlines the fundamental principles of his philosophy and rehearsal techniques.This study was designed to capsulize Ehly's contributions. The writer produced a videotape entitled, "Eph Ehly: A Source of True Inspiration." This video captures Dr. Ehly's philosophy regarding the All-State choir experience and demonstrates his rehearsal techniques. The author attended three All-State festivals where Ehly was the guest conductor (Indiana, New York, and Oklahoma). The video contains rehearsals and performances and videotaped interviews with Dr. Ehly.The cornerstone of Ehly's approach is this: using music to express. There are three components to Ehly's philosophy: 1) the physical component, 2) the emotional component, and 3) the spiritual component. The writer identified four forms of the physical component: 1) handshake, 2) hug, 3) clapping, and 4) other spontaneous physical gestures. The writer identified eight aspects of the emotional component: 1) expressivity, 2) sensitivity to the world, themselves, and their own emotions, 3) sympathy, 4) reality of emotions, 5) creating mood, 6) building ensemble, 7) music as a reflection of life, and 8) awareness of a "sixth sense." In describing the spiritual component, two divisions were identified: 1) the development of character, and 2) reaching a level of spirit-awareness.The study also summarizes Ehly's rehearsal techniques by outlining his idiosyncratic approach to the treatment of traditional musical elements. The video presentation highlights nine technical concerns and demonstrates Ehly's approach to these common problems. The areas addressed are: 1) tone quality, 2) diction, 3) rhythm, 4) dynamics, 5) phrasing, 6) articulation, 7) breathing, 8) vowel modification, and 9) vibrato. The videotape is supported by a written document containing background information, a script of the video, a summary by the author, a representative list of programs from AllState choirs conducted by Dr. Ehly, and transcripts of the interviews with Dr. Ehly. Church musicians, professional conductors, educators, and students of conducting can all benefit from the opportunity to view and evaluate Ehly's approach.School of Music
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Strauser, Matthew Lynn. "The classification of language of high school choral directors." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8335.
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Thesis (D.M.A.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 128-132). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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Jennings, Claudia 1986. "Um estudo de preparação e execução sobre o Stabat Mater op. 53 de Karol Szymanowski." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284492.
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Orientador: Carlos Fernando FioriniDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O Stabat Mater op. 53 do polonês Karol Szymanowski é uma peça representativa da fase de maturidade do compositor, na qual ele emprega elementos da música tradicional polonesa estilizados e técnicas modernas de composição. Este trabalho é dirigido ao regente que planeja executar o Stabat Mater. Nele são apresentadas sugestões de preparação e interpretação da obra a partir da análise dos elementos estruturais e textuais dirigida para sua performance. Discute-se também a escolha do coro e da orquestra, bem como composições do programa de concerto. Por se tratar da execução da obra em sua língua original, também é apresentado um guia da pronúncia da língua polonesa voltado aos cantores falantes do português, incluindo a transcrição fonética do texto
Abstract: The Stabat Mater op. 53 from the Polish composer Karol Szymanowski is a representative work from his mature phase, in which he uses elements from the traditional Polish music and modern compositional techniques. This study is directed toward the conductor who plans to perform the Stabat Mater. The paper presents a background of the work from the analysis of structural and textual elements regarding the performance. The choice of the choir and orchestra is discussed, as well as the possibilities of concert programming. Because of the fact that the work will be performed in the original language, a pronunciation guide of the Polish language is presented and directed to Portuguese-speaking singers, including the phonetic transcription of the text
Mestrado
Praticas Interpretativas
Mestra em Música
39
Kashima, Rafael Keidi 1986. "A função e o desenvolvimento do jogo didático nos ensaios de coros infantis." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285265.
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Orientador: Adriana do Nascimento Araújo MendesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: No Brasil, ainda são escassos estudos que analisem e discutam propostas pedagógicas direcionadas às práticas do ensino para coros infantis. Este trabalho, de natureza qualitativa, buscou estudar a função e o desenvolvimento de jogos didáticos utilizados nos ensaios de coros infantis estimulando habilidades necessárias para a prática coral. Por meio da análise das bibliografias vigentes relacionadas a jogos, educação musical, pedagogia coral, bem como de pesquisa de campo, procurou-se compreender a possibilidade e função do jogo didático como proposta de ensino significativo e dinâmico que procure desenvolver a construção da perfomance do grupo. Foram realizadas entrevistas semiestruturadas, buscando compreender as necessidades, as possibilidades e a formação pedagógica que favoreçam a utilização dos jogos a serem incluídos nos ensaios. Os sujeitos entrevistados foram regentes atuantes em coros infantis em escolas vinculadas à Diretoria Leste de Ensino do município de Campinas. Os dados foram analisados por categorização e discutidos a partir da literatura dos autores Laville e Dionne (1999). Por meio das análises, observamos que existe pouca compreensão, por parte dos regentes, das amplas possibilidades do uso pedagógico do jogo, sendo que os jogos são utilizados principalmente para entreter e motivar, desarticulados das necessidades do repertório musical desenvolvido. Nesta pesquisa, são descritas propostas de jogos desenvolvidos pelo próprio autor buscando contribuir com a prática do canto coral infantil. As considerações finais apontam que, por meio dos jogos, o regente pode estimular: percepção rítmica e melódica, socialização, expressão corporal, técnica vocal, entre outras habilidades que favorecem o desenvolvimento do canto coral infantil
Abstract: Brazil is a country that still few studies to analyse and discuss pedagogical proposals of teaching practices for children's choirs. This qualitative research aimed to study the function and development of didactic games used during children's choirs rehearsals, estimulating necessary skills to the choral practices. Analyzing the existing bibliographies related to games, music education, choral pedagogy and field research, we intend to understand the possibility and function of the didactic game as a proposal of meaningful and dynamic teaching to develop the group performance. We used semi structured interviews, intending to understand needs, possibilities and pedagogical training to encourage the inclusion of games at the rehearsals. The interviewees were children's choir conductors who work at the schools linked to the Eastern Board of Education at Campinas city. All the data were analyzed by categorization and discussed from the literature of Laville and Dionne (1999). From this analysis, we discovered that conductors have little understanding about the vast possibilities of using the games pedagogically. They are used but only to entertain and motivate, disjointed of the repertoires' musical needs that are being developed. At this work, we describe proposals of games developed by the author in order to contribute to the practice of children's choir singing. We suggest that conductors may use games to stimulate the rhythmic and melodic perception, the socialization, body language, the vocal technique and other skills that foster the development of children's choir singing
Mestrado
Fundamentos Teoricos
Mestre em Música
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Fernandes, Angelo José 1973. "O regente e a construção da sonoridade coral : uma metodologia de preparo vocal para coros." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284707.
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Orientador: Adriana Giarola KayamaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Com o objetivo de prover material de pesquisa capaz de auxiliar o regente coral em sua função de preparador vocal, o presente trabalho é um amplo estudo sobre técnica vocal e práticas interpretativas no âmbito da música coral. Trata-se de um trabalho direcionado a regentes que atuam à frente de coros mistos adultos, de natureza amadora e formação de câmara cujo número de cantores varia de 16 a 45 vozes. Após uma reflexão introdutória, são apresentadas características históricas, técnicas e estilísticas de diversos estilos de música vocal e coral. Entre esses estilos estão a Renascença, o Barroco, o Classicismo, o Romantismo, a música do século XX e, por fim, a música coral brasileira do período colonial à atualidade. Em cada um dos estilos são abordados aspectos como a qualidade sonora das vozes, as técnicas de produção vocal, a natureza da prática coral, bem como sugestões para a construção da sonoridade desses vários estilos nos dias atuais. Na sequência, partindo de uma reflexão sobre a função do regente de preparador vocal, são definidos e descritos diferentes aspectos técnicos envolvidos na construção da sonoridade coral. Entre esses aspectos estão a administração da respiração, ressonância vocal, dicção, registração vocal, timbre, vibrato, homogeneidade, equilíbrio, afinação e precisão rítmica. Em seguida, é apresentado, como estudo de caso, um relato sobre a elaboração e a aplicação de um programa experimental de preparo vocal para coros com o Madrigal Musicanto de Itajubá, coro regido pelo autor deste trabalho. Por fim, como conclusão de toda a pesquisa realizada, apresenta-se uma linha metodológica para o preparo vocal de cantores corais que aborda aspectos como postura, respiração, ataque vocal, ressonância, dicção, registração vocal, legato, staccato, agilidade vocal, extensão vocal, dinâmica, homogeneidade e afinação
Abstract: With the objective of providing useful research material for choral conductors who are also responsible for the vocal preparation of their singers, the present work is an ample study on vocal technique and performance practice in choral music. It is a work for choral conductors of mixed chamber choirs of adult amateurs singers whose number of members varies from 16 to 45 voices. After introductory considerations, historical, technical and stylistic peculiarities of various styles of vocal and choral music are presented. Among these styles are the Renaissance, the Baroque, the Classicism, the Romanticism, the Modernism, and finally, the Brazilian choral music from the Colonial period to the present time. For each of these styles, aspects like tone color, vocal techniques, the essence of choral practice as well as suggestions for sonority building are approached. In the sequence, based on the role of the conductor as a vocal coach, different technical aspects related to the construction of the choral tone - breath management, vocal resonance, diction, vocal registration, timbre, vibrato, blend, balance, intonation, and rhythmic precision - are defined and described. Afterwards, the author presents a case study that describes the elaboration and application of an experimental program of vocal preparation with the Madrigal Musicanto of Itajubá, a choir conducted by this author. Finally, to conclude this research, methodological guidelines for the vocal preparation of choral singers - dealing with the various technical aspects discussed in this work - are presented
Doutorado
Praticas Interpretativas
Doutor em Música
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Teixeira, Paulo Frederico de Andrade. "Performance da obra coral de Osvaldo Lacerda: rigor de escrita e o espaço do intérprete." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-18092018-164248/.
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Esta tese é parte integrante do trabalho de doutorado em Performance Musical com especialização em Regência Coral do Programa de Pós-graduação em Música da Escola de Comunicações e Artes da Universidade de São Paulo. Durante os quatro anos de doutorado foram realizados concertos, ensaios e atividades práticas desenvolvidas simultaneamente à escrita deste texto que discute questões referentes à prática de um performer. Nosso objeto central é a relação entre a escrita musical e a interpretação. Buscamos compreender, como intérpretes, quais são os espaços criativos e seus limites dentro de uma obra musical. Para isso, utilizamos a obra coral do compositor brasileiro Osvaldo Lacerda, conhecido por sua escrita rigorosa e bastante indicativa. Após uma reflexão sobre os conflitos existentes entre composição e interpretação, fizemos uma análise geral da escrita composicional de Lacerda buscando encontrar os espaços para a criatividade do intérprete. Em seguida, analisamos com profundidade quatro composições de Osvaldo Lacerda: Automação, Romaria, A Primeira Missa e o Papagaio e o movimento Uníssono da obra Quatro Estudos para Coro. As obras analisadas foram performatizadas durante o período de doutorado junto ao Coro de Câmara Comunicantus e pudemos formar, experimentar e consolidar nossas concepções interpretativas, as quais comentamos e justificamos ao longo do texto. Por fim, apontamos para algumas respostas sobre o espaço criativo na performance de uma obra extremamente indicativa e sobre a responsabilidade do intérprete diante da partitura.This thesis is part of the doctoral work in Musical Performance with specialization in Choral Conducting for the Post-Graduation Program in Music of the Escola de Comunicações e Artes da Universidade de São Paulo. During the four doctoral years, concerts, rehearsals and practices were undertaken simultaneously with the writing of this text which discusses questions regarding the practice of a performer. Our main object is the relationship between musical writing and performance. As interpreters, we seek to understand what the creative spaces and their limits within a work of music are. In order to do this, the choral work of the Brazilian composer Osvaldo Lacerda - known for his rigorous and rather indicative writing - was used. After a reflection on the conflicts between composition and interpretation, a general critical analysis of the compositional writing of Lacerda was carried out to identify the spaces for the creativity of the interpreter. Next, an in-depth analysis was carried out on four compositions by Osvaldo Lacerda: Automação, Romaria, and O Papagaio and the movement Uníssono of the work Quatro Estudos para Coro. The analyzed works were presented during the doctoral period together with the Chamber Choir Comunicantus and we could form, test and consolidate our interpretative conceptualizations, as is commented and justified throughout the text. Lastly, we point to some answers regarding the creative space in the performance of an extremely indicative piece and about the responsibility of the interpreter to the sheet music.
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MacNay, Regan Arlene. "A CHORAL CONDUCTOR’S APPROACH TO CHRISTOPHER THEOFANIDIS’S THE HERE AND NOW." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/124.
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American composer Christopher Theofanidis’s choral-orchestral work The Here and Now (2005) is a setting of Jalal ad-Din Rumi’s thirteenth-century poetry as translated by Coleman Barks. Theofanidis employs a cappella sonic contrasts, silence, rhythmic text setting, and a libretto based on fragments of Rumi’s poems to tell a story about the search for love, longing, joy, and gratitude. While rooted in traditional Western composition methods, this twenty-first-century work uses musical elements like color chords (bichords), cluster chords, changing meters, and modality, as well as imitative polyphony and unifying motifs within a new, tonal American aesthetic espoused by the Atlanta School of Composers, of which Theofanidis is a founding member. This DMA project presents warmups, rehearsal strategies, and teaching methods to guide the choir and conductor through the challenges of rhythmic text setting and dense harmonic language so that learning and performing The Here and Now is a rewarding endeavor.
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Brown, Carlos Bernard. "GOD, Give Us Men! An Examination and Introduction to the Life, TTBB Choral Music, and Scholarship of Uzee Brown, Jr." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1571061468306883.
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Driscoll, Michael T. "A machine vision system for capture and interpretation of an orchestra conductor's gestures." Link to electronic version, 1999. http://www.wpi.edu/Pubs/ETD/Available/etd-051199-142455/unrestricted/thesis.pdf.
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Thesis (M.S.)--Worcester Polytechnic Institute.Keywords: color thresholding; video for Windows; center of mass calculation; contour extraction; area calculation; virtual orchestra; Broadway. Includes bibliographical references (leaves 62-63).
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Branco, Heloiza de Castello. "Empatia no ensaio coral = aspectos dessa interação não-verbal dos cantores com o regente durante a execução musical." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284004.
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Orientador: Carlos Fernando FioriniTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este estudo objetivou apontar a presença de empatia dos cantores com o regente durante a execução musical, através da identificação de episódios de empatia em filmagens de ensaios corais. A empatia, nesta pesquisa, denomina o fenômeno em que o cantor, ao olhar com atenção o regente fazendo movimentos durante a execução musical, realiza de forma inconsciente os mesmos movimentos. Dividiu-se a revisão de literatura em duas partes. Na primeira, buscou-se compreender o processo de empatia entre duas pessoas: como acontece, porque acontece e que fatores o afetam. Na segunda, transferiu-se o foco da pesquisa para as condições características das atividades de regentes e cantores durante a execução musical, de forma a identificar fatores que propiciam a empatia dos cantores com o regente. A seção intermediária tratou da metodologia e dos procedimentos utilizados para o preparo da filmagem dos dois corais participantes. Os resultados da análise dos movimentos corporais e faciais dos cantores em relação aos movimentos do regente deram origem à seção seguinte. Como corolário desses resultados, o trabalho se encerra com as considerações possíveis a respeito da empatia observada dos cantores com o regente, fazendo uma síntese das informações colhidas sobre empatia e aplicando-as ao contexto da execução musical no ensaio coral.
Abstract: The objective of this study is to point out the existence of singer empathy for the conductor during musical performance, identifying episodes of empathy in video recordings of choir rehearsals. Empathy, for the purposes of this study, is a phenomenon in which the singer, while looking attentively at the movements of the conductor during musical execution, makes the same movements unconsciously. Literature research was divided into two parts. In the first, an attempt was made to understand the empathy process between two people: how it happens, why it happens, and which factors affect it. After that, the research focused on characteristic conditions in the activities of conductors and singers during musical execution, in order to identify factors that may promote empathy between singer and conductor. A further section detailed the methodology and the procedures used to prepare the video recordings of the two choirs that took part in the study. The results from the analysis of corporal and facial movements of the singers and the conductors originated the next section, the discussion. As a corollary of the results, this study concludes with possible considerations about the empathy observed between singers and conductor, presenting a synthesis of the information obtained about empathy, and applying this information to the context of musical performance in choir rehearsal.
Doutorado
Doutor em Música
46
Anderberg, Elisabet. "Hierarkin i orkestern : en kvalitativ studie i upplevelsen av hierarkisk och icke-hierarkisk orkestersteuktur." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2419.
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From a hermeneutic perspective, a qualitative study based on interviews of six musicians has been conducted. The informants work or have worked in orchestras with hierarchical or non- hierarchical structure. The asked questions concerned the informants’ experiences of equality, interaction, motivation, their personal musical development and the quality of the orchestra’s performance. The biggest differences that were noticed concerned the perceived degree of equality, which was higher in the non-hierarchical orchestra. Furthermore, the psychosocial environment correlates with equality in the orchestra and is thus a structural issue. All the informants stated that the best musical performance can be achieved in a hierarchical orchestra, in which all musicians play the part they auditioned to. Contrary to the results from the interviews, the literature used in this study states that the best musical quality is achieved in orchestras with a non-hierarchical structure.Med utgångspunkt i ett hermeneutiskt perspektiv har en kvalitativ studie genomförts, med intervjuer av sex musiker. Dessa arbetar eller har arbetat i hierarkisk eller icke- hierarkisk orkesterstruktur. Frågorna som ställts har handlat om informanternas upplevelse av jämlikhet, samspel, motivation, den egna musikaliska utvecklingen samt det musikaliska resultatet i orkestern. De skillnader som var störst framkom i upplevelsen av jämlikhet, som upplevdes starkast i den icke-hierarkiska orkestern. Den psykosociala miljön relateras till jämlikheten i orkestern och är således en strukturell fråga. En gemensam åsikt som framkom i undersökningen var att det bästa musikaliska resultatet uppnås i den hierarkiska orkesterstrukturen där alla spelar den stämma de har provspelat sig till och således spelar med högsta möjliga nivå. De exemplen från litteraturen som tas upp visar dock en annan bild av hög musikalisk nivå, som uppnås i orkestrar med icke-hierarkisk struktur.
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Oliveira, Cleodiceles Branco Nogueira de. "A prática do canto coral infantil como processo de musicalização." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284386.
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Orientador: Carlos Fernando FioriniDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação tem por finalidade apresentar uma proposta de musicalização infantil através de canto coral nas escolas e os benefícios que essa prática traz para a criança. Com base na pesquisa bibliográfica como referencial teórico e em parceria com o Instituto Cultural Canarinhos da Terra através de seu programa O Coral na Escola, foi realizado um trabalho onde cerca de 25 crianças de uma Escola Municipal de Ensino Básico, situada na região de Campinas tiveram a oportunidade de participar de aulas de Canto Coral ao longo do ano de 2010. Através da pesquisa de campo pode-se destacar a importância de ter uma equipe qualificada para a realização de um trabalho de coro infantil bem como os benefícios que tal prática traz para a formação da criança
Abstract: This dissertation aims to present a proposal for Music Education to children through Choral Singing in Schools, and discuss the benefits that this practice brings to the child. Based on a bibliographic research as a theoretical reference, and in partnership with Instituto Cultural Canarinhos da Terra through its program "O Coral na Escola", 25 children from the Escola Municipal de Ensino Basico, located in the region of Campinas, had the opportunity to participate in choral singing lessons throughout the year 2010. Through this research, it was possible to highlight not only the importance of having a qualified staff working with a children's choir, but also the benefits that this practice can bring to the child's education
Mestrado
Praticas Interpretativas
Mestre em Música
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Hagsten, Stina. "Orkester i blåsväder : Utmaningar och lösningar i arbetet med blåsorkesterverksamhet." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-81550.
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Arbetets syfte är att identifiera och förstå de utmaningar som ledare för blåsorkestrar på musik- eller kulturskolor upplever, samt hur de går tillväga för att hantera eventuella problem och nå framgång i sin verksamhet. Tidigare forskning visar att dirigenten som person och ledare har stor betydelse för orkesterns utveckling, men att den sociala miljön som bildas i orkestern också påverkar hur orkestern utvecklas och hur orkestermedlemmarna trivs i orkestermiljön. Det betyder att blåsorkestern kan blir en viktig plats dit eleverna går för att träffa sina vänner och ha det trevligt. Studien bygger på kvalitativa semistrukturerade intervjuer med fem musiklärare som arbetar med blåsorkesterverksamhet. Resultatet överensstämmer i stora delar med tidigare forskning som visar att det dirigenten gör före, under och efter repetitionerna spelar roll för orkesterns och orkesterelevernas utveckling. Dessutom visar resultatet i denna studie att den sociala aspekten av att spela i blåsorkester är viktigare än vad som skulle kunna förväntas. I diskussionen lyfts den sociala aspekten fram tillsammans med andra viktiga motivationsfaktorer för elever.The purpose of the work is to identify and understand the challenges that leaders of wind orchestras at music schools experience, and how they cope with the problems and achieve success in their organization. Previous research shows that the conductor is of great importance for the development of the orchestra, but the social environment is also essential, so that the wind orchestra becomes a place where you pupils can socialize and have a good time. The study is based on qualitative semi-structured interviews of five selected music teachers who works with wind orchestra activities. The result shows much of what the previous research also does, that what the conductor does before, during and after rehearsals affects the progression of the orchestra. In addition, the results show that the social aspect of playing in the wind orchestra is more important than could be expected. In the discussion, the social aspect is highlighted together with other important motivational factors for pupils.
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Rheinboldt, Juliana Melleiro 1990. "Preparo vocal para coro infantil : análise, descrição e relato da proposta do maestro Henry Leck aplicada ao "Coral da Gente" do Instituto Baccarell." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285244.
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Orientadores: Angelo José Fernandes, Adriana do Nascimento Araújo MendesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: No Brasil, poucos materiais têm sido produzidos a respeito do preparo vocal para coros, especialmente, infantis. Visando suprir tal carência, a presente pesquisa aborda de forma ampla a proposta do maestro americano Henry Leck e relata sua aplicabilidade na realidade brasileira do "Coral da Gente" do Instituto Baccarelli, grupo regido pela autora. No primeiro capítulo, detalhamos os pressupostos pedagógicos e de preparo vocal do maestro Henry Leck, segundo o manual "Vocal techniques for the young singer: an approach to teaching vocal technique utilizing visualization, movement, and aural modeling", o livro "Creating artistry through choral excellence" ¿ ambos de autoria do maestro ¿ e bibliografias vigentes sobre voz infantil, preparo vocal e pedagogia coral. No segundo capítulo, analisamos e descrevemos os aspectos musicais e técnico-vocais dos exercícios que compõem o manual e também relatamos como os vocalizes foram aplicados no decorrer da pesquisa com o "Coral da Gente" e na prática docente da pesquisadora. Os processos de aprendizagem, estratégias didáticas e adaptações da proposta feitas na pesquisa de campo, encontram-se em um DVD anexo. Por fim, refletimos sobre a relevância da proposta de Leck e como ela pode ser mais bem aproveitada em nosso país, respeitando as especificidades de nossa realidade e priorizando um preparo vocal para coro infantil que seja efetivo, consistente e artístico. Este trabalho destina-se a regentes, preparadores vocais, educadores musicais e demais interessados nos assuntos abordados
Abstract: In Brazil, few materials specifically geared towards developing vocal techniques for children¿s choirs are being produced. Aiming to fill this need, this research conducts a wide-ranging analysis of the North American director Henry Leck¿s vocal pedagogy and how it was applied within a Brazilian reality with the "Coral da Gente" of the Baccarelli Institute, where the researcher is choral director. In the first chapter, we detail the pedagogical and vocal basis of Leck¿s methodology, based on the materials "Vocal techniques for the young singer: an approach to teaching vocal technique utilizing visualization, movement, and aural modeling", the book "Creating artistry through choral excellence", and other current literature about children¿s voices, vocal techniques and choral pedagogy. In the second chapter, we describe and analyze the vocal exercise techniques from Leck¿s materials musically, vocally and pedagogically and we also describe how this methodology was used with the "Coral da Gente" of the Baccarelli Institute and in the teaching practices of the researcher, highlighting the learning processes, successes and adaptations necessary. The finding results are available in the accompanying DVD. Finally, we reflect on the relevance of this proposal and how it might best be taken advantage of in Brazil, respecting the particular characteristics of local reality and practicing effective, consistent and artistic vocal techniques for children¿s choir. This research is addressed to choral directors, singing teachers and musical educators
Mestrado
Fundamentos Teoricos
Mestra em Música
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Drahan, Snizhana. "Ouvir a voz: a percepção da produção vocal pelo Regente Coral - método e formação." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27140/tde-05072009-212521/.
Full textAbstract:
O presente trabalho considera o conceito percepção vocal, incluindo suas funções e recursos, como uma capacidade de ouvir, conscientizar e fazer, através dos seguintes tipos de recepção sensorial: controle auditivo, sensação muscular, sensibilidade vibracional e visão. Este trabalho tem por objetivos a divulgação do referido conceito e a apresentação de métodos para o seu desenvolvimento para o cantor e regente coral, nas áreas disciplinares de canto, percepção e regência coral. A discussão é alicerçada na pesquisa da literatura russa e ucraniana sobre o assunto e tem o foco central baseado no trabalho de Vladimir Morozov. Ainda em comparação com as literaturas estadunidense e brasileira, busca refletir sobre os conteúdos relativos às áreas supracitadas e explora os meios de aprimoramento dessa habilidade na prática, com foco específico no ensino da regência coral e canto coral. Propõe assim um método de ensino que oferece uma série de exercícios de desenvolvimento da percepção vocal, que abrangem o trabalho do aluno, tanto dentro da sala de aula, quanto na sua prática com o coro, podendo tais exercícios ser aproveitados no trabalho individual. Para o trabalho de pesquisa e formulação da proposta de ensino, a metodologia escolhida foi de busca, comparação, reflexão e análise da literatura, paralelamente ao desenvolvimento de exercícios específicos.The concept of vocal perception (including its functions and resources) is, in this dissertation, considered to be the ability of hearing, understanding and performing through the following kinds of sensorial reception: auditory control, muscular and vibrational sensitivity, as well as vision. The aims of this work are: A) divulgating the formerly mentioned concept; B) introducing methods that allow both singers and choral conductors to improve their acting. The discussion is based on the Russian and Ukrainian literature on this matter and focuses mainly on the work of Vladimir Morozov. In comparing these to the Brazilian and American literature, the dissertation also ponders over the contents that relate to the areas mentioned above, and explores the possible ways of improving this ability in practical situations, with an specific focus on choral conducting and choral singing, thus proposing a method of teaching that offers a series of exercises that will encourage the development of a vocal perception for the student, which can be applied in conducting classes, individual studying and general choral practice. When researching and creating the teaching method, the methodology of choice was to search, compare, ponder and analyze literature, while developing specific exercises.