Dissertations / Theses: 'Four chords'

1

Nilsson, Simon. "Four Chords : Förutsägbart eller genialiskt?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-66945.

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I det här arbetet har jag undersökt melodiernas kvalitet och vilka byggstenar som ligger till grund för melodins intresse. Därför begränsade jag mig till att skriva sex ”four chords”-låtar där jag sedan bedömde och analyserade resultatet. Jag kom fram till att melodins samverkan med rytmen samt användandet av pauser är av största vikt för att melodin ska finna mitt intresse.

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2

Callaghan, Thomas F. "The utility of a technique for testing the difference in ease of chords on the Ternary Chord Keyboard." Thesis, Virginia Polytechnic Institute and State University, 1989. http://hdl.handle.net/10919/53207.

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In a pilot study, response times of 64 possible chords on the Ternary Chord Keyboard (TCK) were compared in order to establish a basis for assigning characters to chords. It was found that subjects had faster response times for some chords than others. Upon close inspection of the experimental procedure, it appeared that the way in which the chords were cued caused part of the differences in response time, which had been expected to depend only on chord motor differences. The present study was designed to examine the hypotheses that chord cueing caused part of the differences in chord response times, and that this effect of cueing is consistent over practice; and also the hypothesis that the results of the pilot study reflected the motor (movement time) difference between chords, and that the difference itself is consistent over practice. This was done in the framework of Sternbcrg's Additive Factors Method. lt was found that the cueing scheme used in the pilot study did not cause the differences in chord response times. However, the differences in chord movement time was not reflected by the use of the pilot study paradigm. This technique should therefore not be used in ordering chords according to chord case.
Master of Science

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3

Canfield, Jennifer Leigh Kirkland Walls Kimberly C. "Middle and junior high school choral repertoire directors' criteria for selection, quality, and appropriateness /." Auburn, Ala, 2009. http://hdl.handle.net/10415/1814.

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Pan, Yu-Wen. "Analysis and rehearsal strategies for selected renaissance choral music suitable for secondary school mixed choirs." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228838498.

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5

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

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

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Kasler, Ariel. "Giant Steps: Chord Substitutions and Chord-Scales for Improvisation." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395256969.

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7

Roush, Dean K. "On chords generating scales ; Three compositions for orchestra /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487260135356248.

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8

Barber, Holly. "Women in the Spotlight| A Survey of Female Choral Composers for Middle and High School Choirs." Thesis, California State University, Los Angeles, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10618445.

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This project report presents a set of criteria for choosing a balanced program of repertoire for choirs, specifically focusing on increasing the representation of female composers in programming for middle and high school choirs. The recital given in conjunction with this report represents these criteria in action.

In addition to providing a biography of each composer and analyzing the text and musical structure of each song, the author includes her rationale for choosing each piece based on the criteria, as well as teaching strategies and conducting techniques employed. The project report also includes an appendix with an annotated bibliography to provide an updated resource for conductors at the middle and high school level who want to be deliberate in programming a more diverse representation of composers.

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9

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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Underwood, Catherine Richardson. "Permanent Bracing Design for MPC Wood Roof Truss Webs and Chords." Thesis, Virginia Tech, 2000. http://hdl.handle.net/10919/31581.

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The objectives of this research were to determine the required net lateral restraining force to brace j-webs or j-chords braced by one or more continuous lateral braces (CLB's), and to develop a methodology for permanent bracing design using a combination of lateral and diagonal braces. SAP2000 (CSI, 1995), a finite element analysis program, was used to analyze structural analogs for three sets of truss chords braced by n-CLB's and one or two diagonals, one web braced by one and two CLB's, and j-truss chords braced by n-CLB's. System analogs used to model five eight-foot truss chords braced by three CLB's and one diagonal, six twenty-foot truss chords braced by nine CLB's and two diagonals, and eleven twenty-foot truss chords braced by nine CLB's and two diagonals were analyzed. For each of the three cases analyzed, the chord lumber was assumed to be 2x4 No. 2 Southern Pine (S. Pine) braced by 2x4 STUD Spruce-Pine-Fir (SPF). Chord load levels of 10% to 50% of the allowable compression load parallel-to-grain assuming le/d of 16 were studied. All wood-to-wood brace connections were assumed to be made with 2-16d Common nails. A nonlinear load-displacement function was used to model the behavior of the nail connections. Single member analogs were analyzed that represented web members varying in length from four-feet to twelve-feet braced by one and two CLB's. The web and CLB's were assumed to be 2x4 STUD SPF. The web members were also analyzed assuming 2x6 STUD SPF. Single member analogs were analyzed that represented chord members varying in length from four-feet to forty-feet braced by n-CLB's spaced twenty-four inches on-center. The truss chord was assumed to be No. 2 Southern Pine and the CLB's were assumed to be STUD SPF. The chord size was varied from 2x4 to 2x12 and connections were assumed to consist of 2-16d Common nails. The system analog analysis results were compared to the single member chord analysis results based on the number of truss chords and the diagonal brace configuration. For the three cases studied involving multiple 2x4 chords braced as a unit (and believed to be representative of typical truss construction), the bracing force from the single member analog analysis was a conservative estimate for bracing design purposes. It was concluded that the single member analysis analog yields approximate bracing forces for chords larger than 2x4 and for typical constructions beyond the three cases studied in this research. For analysis and design purposes, a ratio R was defined as the net lateral restraining force per web or chord divided by the axial compressive load in the web or chord. For both 2x4 and 2x6 webs braced with one CLB, the R-value was 2.3% for all web lengths studied. For both 2x4 and 2x6 webs braced with two CLB's, the R-value was 2.8% for all web lengths studied. The web and CLB lumber species did not affect the R-values for the braced webs. Calculated R-values for truss chords, 2x4 up to 2x12, braced by n-CLB's assumed to be spaced two feet on-center for chords four to twelve feet in length ranged from 2.2% to 3.0%, respectively. For chords from sixteen to forty feet in length, R ranged from 3.1% to 2.6%, respectively. The lumber species and grade assumed for the chord and CLB did not affect the R-values for the truss chords. Step-by-step design procedure was developed for determining the net lateral restraining force required for bracing j-chords based on the results of the single member analogs studied. The required total lateral restraining force for j-compression members in a row can be calculated based on the R-value for or the number of CLB's installed at 2 feet on-center, the design axial compression load in the chord, and number of trusses to be braced.
Master of Science

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11

Hampton, Ryan. "Mass for chorus, chamber orchestra, and soloists." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5739.

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Thesis (M.M.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 3, 2008) Includes bibliographical references.

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Theis, Charles W. "Moment variations: for orchestra and choir." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc332702/.

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Moment Variations is a three-movement composition for chamber orchestra and chamber choir of approximately 21 minutes duration. The basis of this piece is compositional unity through variations technique, where the retained element of the theme is its structure or fixed-structure variations.The fixed-structure is a succession of six musical events, called moments, in the order: I II III II IV V III V VI, where moments II, III, and V are internally repeated and I, IV, and VI occur only once.

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

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

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Pew, Douglas. "Missa 'Musica Sacra' for Mixed Chorus and Orchestra." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336763001.

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Devous, Donald Michael. "A financial resource guide for the beginning secondary choral music director." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Aug2006/devous%5Fdonald%5Fmichael/index.htm.

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Kernan, Thomas J. "Sounding `The Mystic Chords of Memory’: Musical Memorials for Abraham Lincoln, 1865–2009." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1416234184.

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Larner, Andrew Robert. "Composing for young choirs." Thesis, University of Kent, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.587568.

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This submission is comprised of a variety of compositions for young choirs. Composing for such groups is distinct from composing for other ensembles.because the nature of the voice.is not static: it changes markedly during childhood and adolescence. General patterns of vocal development in childhood and adolescence are reflected in these compositions, with the aim of utilising young voices fully but avoiding making potentially damaging demands on them. The range of styles and some significant characteristics of the compositions are informed by other developmental factors: changes in listening preferences and the evidence of developing musical understanding demonstrated in young people's compositions. When young people listen to music, their openness to style first narrows and later broadens; when they compose music, different musical characteristics appear to be primary focal points of different stages in learning. These psychological factors can be compared with (variable) formants - the composer's task is to create music that can "resonate" with groups of young singers.

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Schnipke, Richard L. "Gwyneth Walker an annotated bio-bibliography of selected works for mixed chorus /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228139768.

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Hiney, Aoife. "Pedagogy through performance: a Kodály-based musical literacy programme for communitarian choirs." Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/23379.

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Doutoramento em Música
The primary objective of this research was to develop a musical literacy programme – with correlated repertoire written specifically for the programme –that was implemented during choral rehearsals, creating a bridge between pedagogy and performance. Data from the Música no Meio project’s survey of choral conductors in Portugal shows that although 80% of the surveyed choirs use scores, only 15% of the singers have developed the musical literacy skills required to autonomously read the score. Previous research (Hiney, 2012) has also shown that in the absence of musical literacy, rote-learning (imitating the conductor until the music is memorised) is the most common technique used to transmit repertoire. This thesis addressed two main problems associated with a lack of musical literacy skills; firstly the impact of rote-learning on repertoire selection, rehearsal efficiency and hence standards of performance and secondly the implications for artistic creativity, as the singers confined to the oral as opposed to the literate area (Williams, 1981) may be considered artisans, making art without any involvement in creative or artistic processes (Reimer, 1970). The musical literacy programme, based on Kodály’s Concept of Music Education, was developed with the members of the communitarian choir, Voz Nua in Aveiro, Portugal. Six composers participated in this project, writing pieces with progressive levels of difficulty that corresponded to each of the three phases of the literacy programme. Qualitative data produced through interviews and focus groups with the singers of Voz Nua and the composers was analysed in order to gain an understanding of their experience of participating in the musical literacy programme. This data showed that the development of musical literacy skills increased the efficiency with which the choir learns new repertoire, allowing more time for interpretation and impacting positively on the choir’s quality of performance.
O objectivo principal deste trabalho foi o desenvolvimento de um programa de literacia musical, recorrendo a repertório expressamente escrito para este programa, que foi implementado no contexto de ensaios corais, construindo uma ligação entre a pedagogia e a performance. Em anteriores pesquisas, nomeadamente no projecto ‘Música no Meio’, foi realizado um inquérito nacional com maestros de coros em Portugal que demonstrou que, apesar de cerca de 80% dos coros usarem partituras, apenas 15% dos cantores conseguem ler essas mesmas partituras de um modo autónomo. Num dos estudos presentes neste projeto (Hiney, 2015) foi possível ainda perceber que, na ausência de literacia musical, a aprendizagem por memorização (rote-learning) é a técnica mais frequentemente utilizada na transmissão do repertório. Esta tese concentra-se em dois dos problemas ligados à escassez de literacia musical, sendo o primeiro o impacto da aprendizagem por memorização na seleção de repertório, na eficiência do ensaio, e portanto, no nível de performance de um coro, e o segundo nas implicações para a criatividade artística, uma vez que os cantores que pertencem à zona da oralidade ao invés da zona da literacia (Williams, 1981) poderiam ser considerados artesãos, ao ‘fazer’ arte sem participar nos processos criativos ou artísticos (Reimer, 1970). Foi assim concebido um programa de literacia musical, baseado em Kodály, que foi realizado com os cantores do coro comunitário Voz Nua em Aveiro, Portugal. Participaram ainda neste projecto seis compositores que escreveram obras com graus de dificuldade e objectivos específicos para cada uma das três fases do programa. Os dados qualitativos produzidos através de entrevistas e focus groups com os cantores de Voz Nua e com os compositores, foram analisados tendo em vista uma melhor compreensão das experiências vividas pelos participantes no decorrer programa. Estes dados permitiram perceber que, após a desenvolvimento do programa de literacia musical, se verificou um aumento da eficiência nos ensaios e na aprendizagem de novo repertório, libertando mais tempo de ensaios para a componente interpretativa, com impacto positivo na qualidade da performance do coro.

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20

Lokken, Fredrick. "The music for unaccompanied mixed chorus of Einojuhani Rautavaara /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11425.

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Magin, Carrie. "Catulli Carmina Quinque for Mixed Chorus (SATB), a cappella." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1380612972.

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22

Nabors, Brian R. "Concerto for Hammond Organ, Orchestra, Vocal Quartet, and Chorus." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1554212818814569.

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23

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

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

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Makela, Steven L. "Reconstructions: Nine Movements for Solo Soprano, Chorus, and Wind Ensemble." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2435/.

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Reconstructions is a nine-movement composition for solo soprano, chorus, and wind ensemble using texts from several of Emily Dickinson's poems. The soloist represents the main character in this dramatic work, and the narrative structure portrays abstract moments in this character's life. While the narrative structure of the reconstructed fragments is important to the form of the composition, other elements are also significant. Pitch structures generated from set theoretical systems, in addition to cyclic and palindromic structures are utilized throughout. Timbre also delineates the form, as various combinations of instruments and chorus create an evolving environment in which the soloist resides.

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25

Spillane, James D. "All-state choral music: A comprehensive study of the musicselected for the high school all-state choirs of the fifty states from 1995-2000." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/298794.

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This document is a comprehensive study of the music selected for the high school All-state choruses of the fifty United States for the years 1995-2000. Each of the nearly 3000 choral works was evaluated as to how many times it was programmed, which conductor programmed it, how often each conductor was selected, how often each composer's works were programmed, the style period/genre of each work, which of the 50 states the work was performed in, and which of the seven ADCA Divisions each state is affiliated with to allow comparisons of trends in programming throughout different areas of the United States. The 100 most programmed choral works were then examined further in regards to ten, more specific, musical aspects. These aspects included: texture, language, rhythmic complexity, metric complexity, length, dynamic range, harmonic complexity, vocal range, accompaniment, and whether the work had a dramatic ending or not. An annotated listing of these 100 works was also created that includes exact voicing, text, composer (including composer dates), publisher (including octavo # where available), specific accompaniment, duration, and a short description. Findings concluded that composer G. F. Handel was the most selected composer and Dirait-on, by American composer Morton Lauridsen, was the single most-programmed choral work. The differences in the music selected for the seven ACDA Divisions were slight and deemed not significant. Andre Thomas of Florida State University was the most selected conductor during this period. The typical All-state choral work from this period is a choral work with piano accompaniment, a large dynamic range, a dramatic ending, and is sung in English or Latin.

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

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

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Dreyer, Julia Diane. "Escribo con gusanos: I Write With Worms For women's chorus." Marietta College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1335804948.

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Cho, Sung Don. "Parameter estimation for transformer modeling /." Available online. Click here, 2002. http://sunshine.lib.mtu.edu/ETD/DISS/chosd/SungCho.pdf.

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Gibbons, Patrick Joseph. "Interaction equation values for wood truss compression chords considering the effects of partial composite action." Thesis, Springfield, Virginia: Available from National Technical Information Service, 1991. http://hdl.handle.net/10945/28301.

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30

Power, Jane Elizabeth. "New NMR tools for impurity analysis." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/new-nmr-tools-for-impurity-analysis(f6814907-cb3b-4c67-9702-dda58fbc726c).html.

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New NMR Tools for Impurity Analysis was written by Jane Power and submitted for the degree of Doctor of Philosophy in the Faculty of Engineering and Physical Sciences at the University of Manchester, on 31st March 2016.NMR spectroscopy is rich in structural information and is a widely used technique for structure elucidation and characterization of organic molecules; however, for impurity analysis it is not generally the tool of choice. While 1H NMR is quite sensitive, due to its narrow chemical shift range (0 - 10 ppm) and the high abundance of hydrogen atoms in most drugs, its resolution is often poor, with much signal overlap. Therefore, impurity signals, especially for chemically cognate species, are frequently obscured. 19F NMR on the other hand offers extremely high resolution for pharmaceutical applications. It exhibits far wider chemical shift ranges (± 300 ppm) than 1H NMR, and typical fluorinated drugs, of which there are many on the market, have only one or two fluorine atoms. In view of this, 19F NMR is being considered as an alternative for low-level impurity analysis and quantification, using a chosen example drug, rosuvastatin. Before 19F NMR can be effectively used for such analysis, the significant technical problem of pulse imperfections, such as sensitivity to B1 inhomogeneity and resonance-offset effects, has to be overcome. At present, due to the limited power of the radiofrequency amplifiers, only a fraction of the very wide frequency ranges encountered with nuclei such as fluorine can be excited uniformly at any one time. In this thesis, some of the limitations imposed by pulse imperfections are addressed and overcome. Two new pulse sequences are developed and presented, CHORUS and CHORUS Oneshot, which use tailored, ultra-broadband swept-frequency chirp pulses to achieve uniform constant amplitude and constant phase excitation and refocusing over very wide bandwidths (approximately 250 kHz), with no undue B1 sensitivity and no significant loss in sensitivity. CHORUS, for use in quantitative NMR, is demonstrated to give accuracies better than 0.1%. CHORUS Oneshot, a diffusion-ordered spectroscopic technique, exploits the exquisite sensitivity of the 19F chemical shift to its local environment, giving excellent resolution, which allows for accurate discrimination between diffusion coefficients with high dynamic range and over very wide bandwidths. Sulfur hexafluoride (SF6) is investigated and shown to be a suitable reference material for use in 19F NMR. The bandshape of the fluorine signal and its satellites is simple, without complex splitting patterns, and therefore good for reference deconvolution; in addition, it is sufficiently soluble in the solvent of choice, DMSO-d6.To demonstrate the functionality of the CHORUS sequences for low-level impurity analysis, 470 MHz 1H decoupled 19F spectra were acquired on a 500 MHz Bruker system, using a degraded sample of rosuvastatin, to reveal two low-level impurities. Using a standard Varian probe with a single high frequency channel, simultaneous 1H irradiation and 19F acquisition was made possible by time-sharing. Simultaneous 19F{1H} and 19F{13C} double decoupling was then performed using degraded and fresh samples of rosuvastatin, to reveal three low-level impurities (in the degraded sample) and low-level 1H and 13C modulation artefacts.

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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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Lee, Kyogu. "A system for acoustic chord transcription and key extraction from audio using hidden Markov models trained on synthesized audio /." May be available electronically:, 2008. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Martin, Michael G. "A Study of the Original Composition "Land of Our Birth" for Male Chorus, Brass, Percussion, Woodwinds, and Piano." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1376500829.

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Sarsany, Timothy David. "Robert Schumann’s Part-Songs for Men’s Chorus and a Detailed Analysis of Fünf Gesänge (Jagdlieder), opus 137." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275078671.

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35

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

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

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Messoloras, Irene Rose. "East meets West arranging traditional Greek folk songs for modern chorus /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1666907321&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (D.M.A.)--UCLA, 2008.
Vita. Part II consists of six traditional Greek folk songs transcribed and arranged for mixed chorus and women's chorus. Includes bibliographical references (leaves 81-83) and discography (leaves 84-85).

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Schindler, Karl W. (Karl Wayne). "The War Poems: An Intermedia Composition for Chamber Orchestra and Chorus." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278847/.

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Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.

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Fayyaz, Muhammad-Hamid, and Usman Idrees. "Usability Testing & Evaluation of Chores in GNU/Linux for Novice." Thesis, Blekinge Tekniska Högskola, Avdelningen för för interaktion och systemdesign, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5100.

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A challenging issue of GNU/Linux: usability has been studied in this report. Usability is considered as one of the core component in any system software. System software should be efficient, effective and satisfying for users. Different studies on usability issue have been conducted in different distros but there is no specific study on Ubuntu 8.10. Ubuntu 8.10 is considered for usability evaluation of GNU/Linux system software and a multi-phased research approach is adopted. Participants (students) from different disciplines and level are taken to conduct the usability test. The system software is evaluated on the basis of usability test results and user’s opinion. An interview is designed and conducted to validate the tested findings of the system. GNU/Linux is serving the whole community as being used by different distros. The current set of interface guidelines and default softwares used by Ubuntu does not provide efficiency, effectiveness and satisfaction for novice users. It is very important aspect that software should have uniformity and complete control in applications. There is need to improve or redesign the default softwares for better usability in terms of interface, message windows, bugs and help etc for novice users.

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Whiteley, Danette F. "Online enhancement for the choral classroom." Kansas State University, 2010. http://hdl.handle.net/2097/4630.

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Master of Music
Department of Music
Julie Yu
John Dewey once said, “If we teach today as we taught yesterday, we rob our children of tomorrow.” I believe this to be true even in the choral classroom. This paper discusses my philosophy of music education along with ways to incorporate technology into a choral music classroom through the use of web-based resources. As with any educational discipline, technology must be used in the right context to be the most effective. It must be filled with activities, instruction, and guided practice that can pass through the filter of your own philosophy of education and disseminated throughout the Nation Standards in Arts Education.

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Bray, Michael Robert. "The liturgical canticle settings for chorus and organ of Ralph Vaughan Williams." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186253.

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Within the sacred choral music of composer Ralph Vaughan Williams, little is known regarding his subset of works intended for liturgical use. This study focuses on the canticle settings for choir and organ, written by Ralph Vaughan Williams for use in Anglican Worship. The compositions in this study include: Magnificat and Nunc dimittis (Village Service), Te Deum in G, Service in D Minor and Te Deum and Benedictus. This study provides a discussion of the structure and history of the Anglican service and a description of how canticle settings traditionally function in liturgical worship. Each work in this study is analyzed with particular attention given to form and structure, harmonic language, text derivation and declamation, melodic tendencies and the role of the organ accompaniment. Evidence gathered from this study demonstrates that, although the liturgical canticle settings for choir and organ are diverse in function and style, they contain many common characteristics in such compositional areas as: structural form, voicings, consistent use of thematic material, and the effective application of text to music. Suggestions for performance options of the settings are also included in the results of this study. It is hoped that, through differentiating between these works with regard to function and style, this study will help close the lacuna in the choral literature concerning Vaughan Williams' smaller liturgical works and serve as an introduction to modern choral conductors.

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Au, Siu-ming Stefan. "Jonah's Prayer: a Composition for Solo Tenor, Mixed Chorus and Two Pianos." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277770/.

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Jonah's Prayer is a choral work for solo tenor, a mixed choir of not fewer than 30 members, two pianos and a few percussion instruments to be played by choir members. The piece lasts about 13 minutes; it is a work intended for church choir use but could be performed in other venues as well.

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Annis, Patrio. "Contribution to the search for Vu -- Vt oscillation in the chorus experiment." Doctoral thesis, Universite Libre de Bruxelles, 2001. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211668.

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Qureshi, Adnan Karim. "Effective length factors for solid round chord members of guyed towers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0015/MQ52643.pdf.

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Schmits, Brice. "Design considerations for parallel chord one-way long-span steel trusses." Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/1139.

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Mishra, Vikash R. "Design and implementation of a neural piano-chord analyzer for Matlab." Thesis, Boston University, 2001. https://hdl.handle.net/2144/27724.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02

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Ibarra, Louis Walter. "Dynamic algorithms for chordal and interval graphs." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ58573.pdf.

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

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

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Dodd, Raymond H. "Four musical compositions (with accompanying notes) : Prezzo Concertante for symphony orchestra; Concerto for bassoon and chamber orchestra; Sea Gods for 8-part chorus; Improvisation for wind quintet." Thesis, University of Aberdeen, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262477.

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The grouping of these four compositions is intended to create a balanced portfolio, illustrating the management of a variety of forms, media and compositional problems. The submission divides into two parts: Part I - The Compositions: (i) Pezzo Concertante A single-movement orchestral piece for double woodwind; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; 4 percussionists; harp; strings. Duration c 11' This piece is a single-movement structure, compact and complete in itself, with some display elements for each section of the orchestra. It aims to provide both an interesting challenge for professional orchestral players and a strong and direct audience appeal. (ii) Concerto for Bassoon and Chamber Orchestra. In addition to the solo part it is scored for flute; clarinet; oboe; 2 horns; trumpet; trombone; strings. Duration c 15' This work plays continuously but is subdivisible into five sections of which the first three are virtually separate movements. It is designed to have an almost chamber-musical intimacy, while at the same time giving the soloist an opportunity to display many of the possibilities of the instrument. (iii) Sea Gods This is a setting for 8-part choir of a poem by H.D. (Hilda Doolittle). Duration c 7'30'' The setting was planned for a professional choir of not fewer than 16 singers, but could be very effective sung by a large chorus. It attempts to match the vivid imagery and intense feeling of H.D.'s powerful poem. (iv) Improvisation for Wind Quintet A single-movement work. Duration c 5' This short piece was written in 1991 for the Albany Wind Quintet who gave its first performance. Part II - The Notes: These explain some of the motivations and aims which inspired each piece. A short description of each work is given, together with a brief account of some of the underlying compositional techniques and considerations.

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Gruwe, Magali. "Design and tests of the optoelectronic chains for the CHORUS neutrino oscillation experiment." Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212671.

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Ortiz-Morgado, Ramon. "Structural Analysis of an Aluminum Pedestrian Bridge in conformity to AASHTO Specifications for Highway Bridges & The Aluminum Association Design Manual." University of Akron / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=akron1153794118.

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Dissertations / Theses on the topic 'Four chords'

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