Relevant bibliographies by topics / Mixed singing

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Mixed singing'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Mixed singing"

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Czajkowski, Anne-Marie Louise, Alinka Elizabeth Greasley, and Michael Allis. "Mindfulness for Singers: A Mixed Methods Replication Study." Music & Science 4 (January 1, 2021): 205920432110448. http://dx.doi.org/10.1177/20592043211044816.

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Objectives: Mindfulness has been explored in the clinical and educational fields but has rarely been studied in the music domain. This study investigated the effects of teaching eight-week Mindfulness for Singers courses on vocalists’ music education and performance. Methods: A mixed methods approach was utilized, which included controlled and randomized controlled trials using standardized and novel mindfulness measures pre- and post-intervention, interviews post-intervention and three months later, concurrent diaries, and a blinded teacher study. Participants included singing students (total n=52) and their teachers ( n=11) from a university and a music college over a period of two years. Results: Levels of mindfulness increased over the intervention for experimental participants in comparison to controls. Considering their total student cohort, teachers identified 61% of eligible mindfulness singing participants as having completed the mindfulness intervention. Experimental participants reported that learning mindfulness had positive effects in lessons, solo and group instrumental practices, and when performing on stage. They described more focus and attention, positive effects of increased body awareness on singing technique, enhanced socio-collaborative relationships, reductions in performance anxiety, and beneficial effects whilst performing, such as more expressivity and enjoyment. Conclusions: Learning mindfulness had positive holistic effects on vocal students and was well received by their mindfulness-naïve singing teachers. Findings suggest that it would be highly beneficial for mindfulness to be made available in music conservatoires and university music departments alongside singing lessons for singers to enhance their present experience as vocal students and their futures as performers and teachers.
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Helb, Hans-Wolfgang, Françoise Dowsett-Lemaire, Hans-Heiner Bergmann, and Klaus Conrads. "Mixed Singing in European Songbirds - a Review." Zeitschrift für Tierpsychologie 69, no. 1 (April 26, 2010): 27–41. http://dx.doi.org/10.1111/j.1439-0310.1985.tb00754.x.

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Buryak, Marina K. "Creative Work of Novgorod Original Singers as a Reference for Modern Folk-Singing Education." Musical Art and Education 8, no. 3 (2020): 159–74. http://dx.doi.org/10.31862/2309-1428-2020-8-3-159-174.

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The article presents the theoretical grounding of the folk-singing technologies of Novgorod original singers (authentic performers) as fundamental to the developed author’s methods: intonational-formulaic, vocal-phonatory, polyphonic-specific, local-style. The identified features of authentic intonation-formulaic education and the study resulted singing fund of children’s song folklore became “key” and end-to-end mechanisms in the author’s method of forming and developing skills of sustainable singing intonation with each participant in the educational process aimed at preserving and further developing the traditions of Novgorod folk-song creation. Based on the study of the general-style singing specifics, vocal-phonation and polyphonic texture of ensemble singing of Novgorod authentic singers developed local-style singing classification, which, according to the terminology of the author of the article, Novgorod folk-singing styles are: old Slavic, Old Russian, part singing, as well as four mixed folk-singing styles. The differentiating mechanism of classification is the potential of the applied types of folk vocal phonation, polyphony in the ensemble singing and the type of singing articulation. On this local-style foundation, the author formed a specific Novgorod mixed folk-singing style, combining locally-style folk-singing technologies of Novgorod authentic performers and the academic school of Russian folk singing. This style is used in the singing of teachers and students of the Novgorod Children’s Music School of Russian Folklore. The implementation of the technologies developed by the author in pedagogical practice helps children achieve a high level of singing training and become ethno performer, a future ethnophore and a bearer of Russian local / regional folk song traditions.
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Thompson, Andrew D., R. Haven Wiley, and Renée Godard. "Use of Two Singing Modes By Hooded Warblers as Adaptations for Signalling." Behaviour 129, no. 3-4 (1994): 243–78. http://dx.doi.org/10.1163/156853994x00631.

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AbstractHooded warblers Wilsonia citrina use two modes of singing, repeat mode (one pattern sung repeatedly) and mixed mode (2-4 other patterns sung in irregular sequence). Intensive focal-individual sampling of 14 males documented the use of these modes of singing throughout the nesting cycle. Males of different ages (first breeding season or later) did not differ in use of the two modes. Time spent singing in repeat mode decreased markedly after acquiring a mate, but time spent singing mixed mode did not change significantly across stages of the nesting cycle. Males sang more when their neighbors sang at a distance of 25 m or more. Repeat mode increased in this situation before a male acquired a mate, while mixed mode increased afterwards. Near a neighbor (within 25 m), males avoided use of repeat mode. Nearby females before the onset of incubation evoked increased use of repeat mode. More distant, calling females elicited little response before incubation, but thereafter calling females tended to suppress all singing. Males used mixed mode proportionately more in locations nearer neighbors. There were no indications that variation in singing influenced the dates on which males acquired mates. Unmated males late in the breeding season sang persistently in repeat mode, even more than eventually mated males had early in the season before they acquired mates. These results provide support, with some reservations, for three hypotheses for the evolution of distinct modes of singing: (1) specializations for male and female listeners; (2) specializations for indicating conditional behavioral tendencies; and (3) specializations for communication in low- and high-noise situations. These hypotheses are not mutually exclusive, and all three in combination might offer the strongest explanation for the evolution of distinct singing modes in this species and other paruline warblers.
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Gallo, Donna J. "Formative assessment practices and children’s singing accuracy: A mixed methods inquiry." International Journal of Music Education 37, no. 4 (August 2, 2019): 593–607. http://dx.doi.org/10.1177/0255761419852172.

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The purpose of this mixed methods study was to determine the effect of formative assessment strategies on second grade students’ singing accuracy and to examine how music educators planned for and enacted these practices. Student participants ( n = 63) were divided into three groups over a six-week period: (a) a partial treatment group where the teacher used data from the pretest to improve areas of singing weakness; (b) a full treatment group where the teacher used data to improve areas of weakness and engaged students in self- and peer-assessment techniques; and (c) a control group who received no formalized treatment. Linear regression analysis indicates that the “partial treatment” group had the largest gains in singing accuracy, but the case study analysis revealed that the teachers’ knowledge and values mediated their enactment of these practices as they adopted and adapted them in varied ways. The “partial treatment” teacher’s motivation and proclivity for creating new assessment practices indicates that gains in this group’s singing accuracy may have been due to teacher effects and not the strategies themselves. Implications for teacher professional development and practical considerations for embedding meaningful formative assessment in music contexts are provided.
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Moss, Hilary, Julie Lynch, and Jessica O’Donoghue. "Exploring the perceived health benefits of singing in a choir: an international cross-sectional mixed-methods study." Perspectives in Public Health 138, no. 3 (November 15, 2017): 160–68. http://dx.doi.org/10.1177/1757913917739652.

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Aim: This mixed-methods exploratory study investigates the perceived health benefits of singing in a choir from an international sample of choristers. Method: An online questionnaire including demographic information, 28 quantitative statements and two qualitative questions relating to the perceived health benefits of singing in a choir was distributed via email and social media over a period of 4 months to a sample of 1,779 choristers. Basic descriptives and comparisons between subgroups of the sample are presented along with thematic analysis of qualitative comments. Results: Basic descriptives suggest an overwhelmingly positive response. Females scored significantly higher than males on physical benefits, social benefits and emotional benefits. Professional singers reported significantly more physical, social and spiritual benefits than amateur singers. Bias may be present in these findings as the results were entirely self-reported by people who already sing in choirs. Qualitative thematic analysis identified six key themes which may counter this bias by providing deeper understanding of the perceived benefits for choir singers. These include social connection, physical and physiological benefits (specifically respiratory health), cognitive stimulation, mental health, enjoyment and transcendence. Conclusion: Choral singing elicits a positive response in the chorister across a plethora of domains. This research confirms previous findings on the health benefits of singing but offers evidence from the largest sample of singers to date. However, results are based on self-perceptions of choristers, and findings are, therefore, limited. Results may be used as a base on which to develop further research in this area. It also provides confirmatory evidence to support choral singing as a means of improving wellbeing in many populations, including but not limited to workplaces, schools, nursing homes, communities and churches.
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Souriau, Abel, Hana Kohoutová, Jiří Reif, Jana Vokurková, Adam Petrusek, Radka Reifová, and Tereza Petrusková. "Can mixed singing facilitate coexistence of closely related nightingale species?" Behavioral Ecology 29, no. 4 (April 18, 2018): 925–32. http://dx.doi.org/10.1093/beheco/ary053.

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Giroux, Monique. "Singing For Frog Plain." Ethnologies 37, no. 1 (May 3, 2017): 43–64. http://dx.doi.org/10.7202/1039655ar.

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Pierre Falcon is the earliest known Metis composer. Born in 1793 in Fort La Coude (Elbow Fort) in what is now west-central Manitoba, his adult life spanned the “Golden Years” (Shore 2001) of the western Metis nation. Known as the Bard of the Prairies, Falcon’s songs drew on events of local importance during this period, providing a means to remember and share Metis history, and to solidify a sense of Metis nationalism. Beginning in the late-1800s historians, novelists, folklorists, journalists, and musicians began turning their attention to Falcon, resulting in a strikingly large number of popular and academic references to his life and songs. While these references are varied, together they tell a story about the relationship between Canada and the Metis Nation. On the one hand, references to Falcon often draw from, and in fact help create, images of the Imaginary Indian (Francis 1992). Yet on the other hand, many references to Falcon erase his Indigeneity, or blend his Metis identity seamlessly into a Franco-Manitoban, or western Canadian identity. These seemingly contradictory representations, as I will argue in this paper, ultimately point to the ambiguous positioning of Metis people as Indigenous peoples, and speak to an obsession with mixed-ness that denies the Metis their full and authentic Indigeneity.
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Pongan, Elodie, Floriane Delphin-Combe, Pierre Krolak-Salmon, Yohana Leveque, Barbara Tillmann, Romain Bachelet, Jean-Claude Getenet, et al. "Immediate Benefit of Art on Pain and Well-Being in Community-Dwelling Patients with Mild Alzheimer's." American Journal of Alzheimer's Disease & Other Dementias® 35 (July 9, 2019): 153331751985920. http://dx.doi.org/10.1177/1533317519859202.

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Objective: The present report aims to evaluate whether singing intervention can bring an immediate benefit that is greater than the one provided by painting intervention on pain and well-being. Methods: Fifty-nine mild patients with Alzheimer disease were randomized to a 12-week singing (n = 31) or painting group (n = 28). In the present analysis, the immediate evolution of pain and well-being was compared across sessions between the 2 groups using mixed-effects models. Results: We observed a significant improvement in well-being for both singing and painting groups immediately after sessions, compared to the assessment before the sessions. We did not observe this improvement across the sessions for pain intensity measurement. Discussion: Our results revealed that both painting and singing interventions provide an immediate benefit on the patients’ well-being.
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Gao, Yongwei, Xulong Zhang, and Wei Li. "Vocal Melody Extraction via HRNet-Based Singing Voice Separation and Encoder-Decoder-Based F0 Estimation." Electronics 10, no. 3 (January 26, 2021): 298. http://dx.doi.org/10.3390/electronics10030298.

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Vocal melody extraction is an important and challenging task in music information retrieval. One main difficulty is that, most of the time, various instruments and singing voices are mixed according to harmonic structure, making it hard to identify the fundamental frequency (F0) of a singing voice. Therefore, reducing the interference of accompaniment is beneficial to pitch estimation of the singing voice. In this paper, we first adopted a high-resolution network (HRNet) to separate vocals from polyphonic music, then designed an encoder-decoder network to estimate the vocal F0 values. Experiment results demonstrate that the effectiveness of the HRNet-based singing voice separation method in reducing the interference of accompaniment on the extraction of vocal melody, and the proposed vocal melody extraction (VME) system outperforms other state-of-the-art algorithms in most cases.
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Dissertations / Theses on the topic "Mixed singing"

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Wang, Wei-Chun. "The effect of seating arrangements on the mixed choral ensemble /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1331405851&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 153-160). Also available for download via the World Wide Web; free to University of Oregon users.
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Legg, Robert John. "Delightful to nature : a mixed methods exploration of adolescent singing participation in the United Kingdom." Thesis, University of Bristol, 2012. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.556735.

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Within the world of music education, adolescent singing participation is fiercely debated and widely acknowledged as a problematic area. Writers have shown considerable interest in exploring this field, but much of the resulting scholarly activity has been narrow in its scope or has resulted in unclear findings. Despite the lack of unambiguous information about adolescents' engagement in singing activities, both at and beyond school, the last decade has seen a significant increase in the publication of government initiatives and policies aimed at effecting change in this very area. This tendency was evident throughout the New Labour administration and has continued under the current Tory-Liberal alliance. This research contributes to the existing literature using both quantitative and qualitative methods. The first part uses a large-scale social survey to establish a reliable evidence base for the rates of participation in singing activities amongst a sample of male and female adolescents (n = 1,770). In the second part, qualitative group interviews with a much smaller sample (n = 50) are employed to interrogate the factors underlying the patterns of participation that emerge from the results of the social survey. I conclude that, across a range of contexts, overall rates of participation in singing activities are low, thus confirming the anecdotal suspicions of many practitioners and writers but challenging the predominant discourse amongst both policy makers and the media, which has implied far greater rates of participation than I was able to observe. These low levels of engagement lead me to the conclusion that pupils are being unfairly denied access to the singing activities that are mandated in the current National Curriculum document. Statistically significant differences between boys' and girls' experiences of singing are found at every stage of the quantitative analysis, and gendered discourses are highly prevalent amongst the themes coming forward from the qualitative group interviews. I suggest that music educators are insufficiently mindful of the need to present equal opportunities where singing is concerned, and that, at present, they inadequately challenge beliefs and practices which emphasise the 'femaleness' of singing, to the detriment of boys' involvement. I recommend a number of ways in which practice could be changed in order to facilitate greater involvement in singing amongst both boys and girls. Foremost amongst these is the need to address adolescents' feeling that they are inadequately prepared - technically and socially - for singing. I also suggest that music educators should be more active in addressing unhelpful myths around singing participation such as those concerning the different abilities of girls and boys.
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Nannen, Briana E. ""Choir is for Girls"| Intersectional Mixed Methods Perspectives on Adolescent Gender Identity, Singing Interest, and Choral Music Participation." Thesis, The University of Nebraska - Lincoln, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271929.

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As students progress through adolescent development, researchers have observed a lack of male participation in choral music activities. This male to female imbalance is often attributed to a perception that singing is a feminine activity and results in a lack of balance in choral music ensembles. The purpose of this mixed methods study was to explore adolescent gender identity as it relates to singing interest and choral music participation. An explanatory sequential mixed methods design was used, in which quantitative data were collected and analyzed followed by in-depth qualitative interviews. A group of 9th grade students (n=174) completed the Children’s Sex Role Inventory and the Singing Interest Inventory to gauge their self-perceived levels of masculinity and femininity along with their level of singing interest. Information from the quantitative portion of this study indicated that girls had both a higher interest in singing and a higher rate of participation in choral music ensembles than their male peers. A significant contribution of this study was that although singing is often perceived as feminine, no significant differences were found between categorized gender groups and singing interest.

Qualitative interviews were conducted with two groups of male students who were not enrolled in choir: low singing interest scores (n=4) and high singing interest scores (n=4). Transcribed and coded interviews resulted in the following themes: low singing interest, Guys are physical, Girls are feminine, Shared perceptions, Guys don’t sing, and Calling them names; high singing interest, Men want muscles, Girls are expressive, Shared perceptions, Choir is for girls, Get made fun of, and No labels. The shared theme Shared perceptions suggests that participant perceptions are the same as their parents and friends. The theme No labels was unique to the high singing interest group. Participants in that group demonstrated a higher level of acceptance for atypical gender behavior.

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Bazzy, Zadda M. "Upper Elementary Boys’ Participation During Group Singing Activities in Single-sex and Coeducational Classes." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1572.

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As boys in the upper elementary grades become increasingly influenced by peer pressure, many are less likely to participate in singing activities because singing is considered a "feminine" activity. The purpose of this research was to explore if there was an effect on upper elementary boys' level of participation during group singing activities when they attended music classes in a single-sex setting. This study employed a true experimental design and a mixed method. Boys (N = 186) were videotaped during their regular coeducational music classes on two occasions to establish baseline data. Then the students were randomly assigned to attend music classes in either a single-sex or coeducational group. Boys were videotaped again after seven music classes (approximately 9 weeks later). The videos were scored using the author-designed Singing Participation Measure, and the scores (N = 123) were analyzed using an analysis of variance (ANOVA). In addition, qualitative data were collected in the form of music teacher interviews and journal entries. The ANOVA showed no statistically significant differences between groups (single-sex or coeducational) or within groups (baseline scores versus post-treatment scores). In contrast, the qualitative data showed substantial differences in most of the boys' participation in single-sex classes. The teachers reported a sudden increase in the boys' singing participation and described numerous advantages of single-sex music education. Further research is needed. Implications for music educators suggest teachers could create single-sex singing opportunities, choose repertoire mindfully, and establish a "singing culture" at the school to increase boys' participation during singing activities. In addition, music educators are encouraged to know their students' strengths, weaknesses, interests, and needs, and to remember that "one size" does not "fit all" when it comes to what is best for developing young musicians.
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St, Jean Donald. "A mixed methods portait of the perceived benefits of unaccompanied ensemble singing on the development of the musical skills of undergraduate skills." Thesis, Boston University, 2014. https://hdl.handle.net/2144/11055.

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Thesis (D.M.A.)--Boston University
The purpose of this investigation was to establish an understanding of the role that a cappella ensemble singing plays in the musical development of undergraduate ensemble singers based on the perspective of students, music teachers of three to five years experience, and faculty directors from four-year colleges and universities geographically located within the American Choral Directors Association (ACDA) Eastern Division, including the six New England states plus Delaware, Maryland, New Jersey, New York, and Pennsylvania. Research questions asked: In what ways is a cappella ensemble singing perceived to contribute to the musical development of college student musicians? Are there measureable differences in the perceived benefits of traditional and contemporary genres of a cappella ensemble singing between undergraduate students and faculty directors? Findings suggested that benefit exists in both traditional and contemporary a cappella ensemble singing. Descriptive research was employed in an exploratory, mixed-methods design as described by Creswell and Plano (2007). Phase one consisted of 18 face-to-face, open-ended, semi-structured interviews, five observations, and three student focus-groups. Broad themes emerged, including ensemble experience, genre, hearing and precision, personal attributes, promotion and support, vocal technique, reflecting increased proficiency in intonation, sight singing, tonal memory, rhythmic precision, musical expressivity, vocal range and flexibility, and increased confidence and sense of responsibility. A Web-based survey, consisting of questions informed by the qualitative research, comprised the second phase, comparing the perceptions of students (n = 59) and faculty directors (n = 11) on the benefits of both traditional and contemporary a cappella ensemble singing. Mann-Whitney U and Wilcoxon Signed Ranks Tests were employed to test ordinal data for statistical differences between and within groups relative to traditional and contemporary a cappella ensemble singing. Statistical differences (p < .05) were found between the responses of students and faculty directors in musical expressivity, vocal range and flexibility (contemporary), and in attitudes regarding the importance of contemporary a cappella ensemble singing for music education students. Statistical differences emerged among student responses regarding intonation, sight singing, musical expressivity, rhythmic precision, independence, level of challenge, commitment, and among faculty directors regarding the importance of the contemporary genre for music education majors.
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Lamb, Christina G. "A study of the collegiate non-auditioned, mixed choral ensemble : its purpose, its peculiarities, and its potential." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063300.

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This research project was a study of the non-auditioned, mixed collegiate choral ensemble. The investigation focused on successful ensembles of this type at five universities in the midwestern United States. The purpose of the study was to investigate the ensemble's need for existence and its function within the university's choral program, to research teaching strategies that work with such a unique ensemble, and to discover tactics which help this type of group reach its full potential. Information for the study was garnered through observations of the five choirs, through surveys of the group participants, and through interviews with the conductors.A total of 372 participants completed surveys. The surveys contained a variety of questions regarding group demographics, reasons for participating, rehearsal techniques, repertoire, and benefits of participating. Responses were compiled and then analyzed for similarities and differences. Three types of statistical tests were utilized to discover if significant differences existed. For those responses which were of a nominal nature, a chisquare test was used to determine if there was any significant interaction between the responses and the various ensembles. For those responses which were of a numerical nature, an Analysis of Variance (ANOVA) test was performed to determine if there were any significant differences among the choirs. If significant differences were detected (p<.05), a Tukey HSD post hoc test was utilized to determine where the differences occurred. For those questions which were of a qualitative nature, responses were simply compiled and compared for similarities and differences.The five conductors were interviewed and questioned regarding the purpose of their ensemble, the type of teaching strategies they incorporate, the structure of their rehearsals, any methods of motivation and reinforcement they use, and what techniques they use to help the ensemble reach its full potential.Some similarities were discovered among the five choirs, with the most striking one being the high level of satisfaction among the participants. Significant differences were also discovered between the choirs in a variety of areas, including reasons for participating, group perception, evaluation of the conductor's rehearsal techniques, and productivity of the rehearsal.
School of Music
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Triantafyllidou, Maria. "The limits of species recognition: heterospecific song learning in pied flycatchers." Thesis, Uppsala universitet, Institutionen för biologisk grundutbildning, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-303531.

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The closely related species pied flycatcher (Ficedula hypoleuca) and collared flycatcher (F. albicollis) co-occur on the Swedish island of Öland, where they compete over similar resources. The majority of male pied flycatchers have been found to incorporate elements of the collared flycatcher song in their repertoire. Given that birdsong is partly inherited and partly learned, the relative contribution of genetic predispositions versus acoustic stimuli varies across different species. The results show that in pied flycatchers, song acquisition is tightly correlated with imprinting, and can therefore be greatly influenced by heterospecific tutors in their surroundings, i.e. male collared flycatchers. I found that pied males are capable of not only memorizing collared song elements, but also producing them with high fidelity. Thus, I infer that pied flycatchers are characterized by a high degree of vocal plasticity.
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Kohoutová, Hana. "Evoluční význam smíšených zpěvů v kontaktní zóně dvou druhů slavíků." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-356334.

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Singing is important for communication in birds. Some species of birds copy singing from other species. This heterospecific copying of singing is common especially in closely related bird species, and is usually called mixed singing in such cases. Mixed singing is often asymmetric, when only one species of the pair copies a song of the congener. The meaning of mixed singing is not well explained yet. The most common mechanism is probably an error during the learning phase of singing, but in some cases mixed singing can be adaptive. In my master's thesis I deal with the evolutionary meaning of mixed singing in two closely related passerine species - Common nightingale (Luscinia megarhynchos) and Thrush nightingale (Luscinia luscinia). These species co-occur in secondary contact zone in central and eastern part of Europe. Only Thrush nightingale which is larger and probably a more dominant species, exhibits mixed singing. In playback experiments in Common nightingale I studied a possible adaptive meaning of mixed singing in relation to interspecific communication. I tested the differences in behavioural and vocal response of Common nightingales to three types of stimuli: pure singing of Common nightingale, pure singing of Thrush nightingale and mixed singing of Thrush nightingale. The tested males...
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Wood, Callie. "Portfolio of compositions and exegesis: composing for a choral spectrum." 2008. http://hdl.handle.net/2440/54229.

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This portfolio of compositions and exegesis submitted for the degree of Master of Music in Composition, at the Elder Conservatorium of Music, comprises original creative works supported by a detailed commentary. The creative investigation has focused on ‘Composing for a Choral Spectrum.’ This was investigated through practical experiments in choral composition, designed to test the compositional limitations of the choral spectrum, and resulted in a portfolio of choral works. The portfolio includes: simple choral works for young children in one part; choral works for children in two parts; choral works for children in three parts; a choral work for teenage treble voices; a multimedia choral work for boys with changing voices with a moving image DVD; a choral work for male voices; choral works for adult female voices; a complex choral work for adult choirs of a professional standard; and a larger scale choral and orchestral work. The exegesis provides a commentary on the genesis, composition processes, limitations and solutions, for each original work included in the portfolio.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1345050
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2008
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Books on the topic "Mixed singing"

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Somebody always singing you. Jackson, Miss: University Press of Mississippi, 1997.

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Popp, Mary Beth. Singing saints songbook: A songbook for youth retreats, servant events, gatherings, workshops, campfires and wherever saints may sing! 4th ed. St. Louis, MO: Department of Youth Ministry, Board for Congregational Services, 1996.

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Powers, Richard. The Time of Our Singing. New York: Farrar, Straus and Giroux, 2003.

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Powers, Richard. The time of our singing. New York, NY: Farrar, Straus and Giroux, 2002.

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The Time of Our Singing. New York: Farrar, Straus, and Giroux, 2003.

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He chang yu zhi hui jiao cheng. 3rd ed. Guangzhou: Huanan li gong da xue chu ban she, 2005.

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Curry, Jane Louise. The Black Canary. New York: Margaret K. McElderry Books, 2005.

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Experiencing Choral Music: Proficient Mixed. Glencoe/Mcgraw-Hill, 2005.

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Experiencing Choral Music: Intermediate Mixed Voices. Glencoe/Mcgraw-Hill, 2004.

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Jothan. Experiencing Choral Music: Intermediate Mixed Voices. Glencoe/Mcgraw-Hill, 2004.

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Book chapters on the topic "Mixed singing"

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Gac, Scott. "Exposition: American Antislavery Abroad, Racially Mixed Audiences at Home." In Singing for Freedom, 209–15. Yale University Press, 2007. http://dx.doi.org/10.12987/yale/9780300111989.003.0017.

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Whyte, William. "Building Corpus Christi." In History of Universities, 160–82. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848523.003.0010.

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This chapter describes musical participation in Corpus Christi College. Richard Fox’s apparently modest provision for liturgical music at Corpus is intelligible once the chapel ministers are viewed within their wider collegiate community. The musical capabilities of this mixed community can in turn be mapped onto the genres and repertoires cultivated in Henrician England. Plainsong formed the bedrock of the liturgy: all members of college except the domestic staff were to be proficient in cantus planus, which would have constituted most of what was sung in chapel. Indeed, all members of college should, at least in theory, have been able to participate in the singing of chant. Ultimately, Fox’s economy of means at Corpus arguably represents neither a repudiation of more demonstrative forms of ritual expression, nor an ascetic disavowal of the spiritual worth of church music; instead, it can be read as a serious attempt to engage the whole community as active participants in worship.
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Barbashova, Iryna. "MASS PEDAGOGICAL EXPERIENCE OF SENSORY DEVELOPMENT OF PRIMARY SCHOOL STUDENTS." In Integration of traditional and innovation processes of development of modern science. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-021-6-4.

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A condition for the effectiveness of sensory development of primary school students is a critical study of the pedagogical experience of its organization. The importance of solving this problem is caused by the fact that school practice lays the foundation of pedagogical science and must take into account both modern scientific achievements and requirements of regulatory state documents. The purpose of the study is to highlight the mass pedagogical experience of sensory development of primary school students. To achieve this goal, written and oral interviews with teachers (questionnaires, interviews, talks) and observation of professional activities were used. It has been revealed that teachers are aware of the meaning of sensory development and distinguish its leading areas – the forming of vision, hearing and touch of schoolchildren; identify students’ typical difficulties in distinguishing mixed colors, complex shapes of objects, sonorous, hissing and whistling consonants, as well as in reproducing the nuances of coloring of objects, the relationship between size and spatial arrangement, inclined and rounded elements of letters, sequence of sounds in an audible word. At the same time, teachers are poorly oriented in the program material of perceptual development, admit insufficient awareness of the laws of sensory processes, and want to know more about the latest techniques and technologies of their forming. Observation of the real educational process allowed to establish a wide range of didactic influences used by educators in order to form different types of students’ perception. Teachers organize studies of colored objects, correcting children's verbal designations of colors and their shades; suggest exercises for superimposing objects of different shapes and sizes (arranging by size, placing figures in given proportions, etc.); form students' ideas about speech sounds (observation of the work of speech organs, modeling the properties of sounds with conditional chips, analysis of the phonetic structure of words, etc.); provide perception of musical works, demonstrate sounds of musical instruments and singing voices, use symbols to record the gradations of sounds in pitch, duration and volume, encourage students to reproduce the properties of musical sounds in singing and rhythmic movements; create conditions for touching objects made of different materials. However, teachers do not pay enough attention to distinguishing and naming color nuances, three-dimensional geometric shapes, symbols of voicedness and voicelessness of consonants, comparison of musical sounds by timbre qualities, and verbal characteristics of tactile sensory impressions. The conducted research proves that the mass pedagogical experience ensures the implementation of program requirements for improving the sensory sphere of primary school students, but shows a lack of teachers’ awareness of children's sensory processes and unstable motivation to solve problems of developing students’ perception. The prospect for further scientific research is to study the program, educational and methodological resources of forming the processes of perception in primary school students.
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Conference papers on the topic "Mixed singing"

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Ren, Yi, Xu Tan, Tao Qin, Jian Luan, Zhou Zhao, and Tie-Yan Liu. "DeepSinger: Singing Voice Synthesis with Data Mined From the Web." In KDD '20: The 26th ACM SIGKDD Conference on Knowledge Discovery and Data Mining. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3394486.3403249.

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