Relevant bibliographies by topics / Music rehearsals

Contents

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

Academic literature on the topic 'Music rehearsals'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Music rehearsals"

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Cavitt, Mary Ellen. "A Descriptive Analysis of Error Correction in Instrumental Music Rehearsals." Journal of Research in Music Education 51, no. 3 (October 2003): 218–30. http://dx.doi.org/10.2307/3345375.

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This study is a description of the error correction process in 40 instrumental music rehearsals taught by 10 teachers, each of whom was observed conducting 4 consecutive rehearsals. A total of 332 rehearsal frames were analyzed. Rather than summing the observation data across complete rehearsals, I analyzed the data using rehearsal frames as a unit of analysis. Perhaps the most important finding was that the error correction process, rate of teacher-student interaction, and pace varied systematically with the type of error addressed.
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Montemayor, Mark, and Emily A. Moss. "Effects of Recorded Models on Novice Teachers’ Rehearsal Verbalizations, Evaluations, and Conducting." Journal of Research in Music Education 57, no. 3 (September 30, 2009): 236–51. http://dx.doi.org/10.1177/0022429409343183.

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In this study, the authors investigated effects of aural model—supported rehearsal preparation on selected behavioral and evaluative elements of novice teachers’ rehearsals. Sixteen preservice music teachers conducted high school bands in four 15-minute rehearsals (two rehearsals on two different pieces).To prepare for their rehearsals on one piece, participants were given only the conductor score, while for the other piece, they were given both a score and a recorded model of the piece on an audio compact disc.Video recordings of all 64 rehearsals were systematically observed for teachers’ verbalizations across several musical and teaching variables. Participants also completed post-rehearsal evaluations of their teaching and of the ensemble’s playing. Differences between conditions were small, with teachers’ verbalizations reflecting a proportionally greater concern for accuracy in the model-supported condition. Evaluations of rehearsals were less self-directed and were more critical of the ensemble, a finding consistent with previous research.There was virtually no difference in responses between conditions for conductor expressiveness.
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Silvey, Brian A., and Mark Montemayor. "Effects of Internal and External Focus of Attention on Novices’ Rehearsal Evaluations." Journal of Research in Music Education 62, no. 2 (May 19, 2014): 161–74. http://dx.doi.org/10.1177/0022429414530434.

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The purpose of this study was to investigate the effects of internal and external focus of attention on novices’ rehearsal evaluations. Thirty-two undergraduate instrumental music education students led bands in a series of three 6-minute rehearsals on their assigned excerpt. Prior to these rehearsals, participants were led in score study and rehearsal preparation activities. Internal group ( n = 16) participants’ preparation related to knowledge of the score, whereas external group ( n = 16) participants focused their preparations on observable rehearsal behaviors with a minimal amount of time devoted to score study. No significant differences were found between conditions for any of several dependent measures, including participants’ self-evaluation of their teaching, participants’ evaluation of ensemble performance, ensemble members’ evaluations of conductor rehearsal effectiveness and of conductor score knowledge, and independent audio evaluation of the final ensemble performance run-through. Results of repeated-measures analyses did indicate significant improvements in participants’ and ensemble members’ evaluations, for both experimental groups, between the first rehearsal and the second and third rehearsals. Both methods may have helped novice conductors prepare to rehearse, but their direct experience in working with ensembles may have been comparatively more informative in preparing them for future rehearsals.
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Montemayor, Mark, Brian A. Silvey, Amy L. Adams, and Kay L. Witt. "Effects of Internal and External Focus of Attention During Novices’ Instructional Preparation on Subsequent Rehearsal Behaviors." Journal of Research in Music Education 63, no. 4 (November 6, 2015): 455–68. http://dx.doi.org/10.1177/0022429415612201.

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The purpose of this study was to investigate the effects of internal versus external focus of attention during novice teachers’ instructional preparation on their subsequent rehearsal behaviors. Thirty-two undergraduate instrumental music education students led bands in a series of three, 6-minute rehearsals on their assigned excerpt. Prior to these rehearsals, participants engaged in condition-specific score study and rehearsal preparation activities. Internal group ( n = 16) participants’ preparation related to knowledge of the score, whereas external group ( n = 16) participants focused their preparations on observable rehearsal behaviors with a minimal amount of time devoted to score study. We systematically analyzed video recordings of these rehearsals, calculating rates per minute of teacher verbalizations across several performance and teaching variables. We found that compared to the internal group, the external group exhibited higher rates of positive/specific feedback, conducted more frequent and briefer performance segments, and more often asked for the ensemble to start without providing a directive. The internal group mentioned ensemble balance in their rehearsals more frequently than did the external group, and their verbalizations reflected greater concern for Tone Quality. A panel of independent evaluators viewed all 96 video recordings of the rehearsals (presented to them without sound) and rated the clarity and the expression of participants’ conducting. We found a significant time by condition interaction for Expression, with scores for the external group increasing over time and scores for the internal group decreasing. We suggest that these results reflect the distinct and complementary benefits of each of these preparation methods for novice music teachers.
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Burman, Douglas D., and James R. Booth. "Music Rehearsal Increases the Perceptual Span for Notation." Music Perception 26, no. 4 (April 1, 2009): 303–20. http://dx.doi.org/10.1525/mp.2009.26.4.303.

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DESPITE EVIDENCE FOR IMPROVED VISUAL PROCESSING of the printed score among skilled musicians, the effect of music rehearsal on the effective visual field ("perceptual span") for a musical score has never been directly examined. Following 1––20 rehearsals, 11 skilled and 10 less skilled adult musicians reported whether a variant note appeared within a melodic sequence of 3––18 notes, presented onscreen for 200 ms in a tachistoscopic task designed to evaluate the perceptual span. Initially, skilled musicians showed a slightly larger perceptual span for challenging passages (5 notes vs. 4 notes for less skilled musicians). Perceptual spans increased incrementally in both groups, but skill differences in span size disappeared by 20 rehearsals (span of 11 notes). A correlation between improvements in visual perceptual span and performance speed suggests that perceptual learning could underlie early improvements in performance during music rehearsals.
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Montemayor, Mark. "Evaluative and Behavioral Correlates to Intrarehearsal Achievement in High School Bands." Journal of Research in Music Education 62, no. 1 (March 20, 2014): 33–51. http://dx.doi.org/10.1177/0022429413520010.

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The purpose of this study was to investigate relationships of teaching effectiveness, ensemble performance quality, and selected rehearsal procedures to various measures of intrarehearsal achievement (i.e., musical improvement exhibited by an ensemble during the course of a single rehearsal). Twenty-nine high school bands were observed in two rehearsals of a common music selection. Separate panels of experts evaluated ensemble performance quality from audio recordings and teacher effectiveness from video recordings. Rehearsal frames were identified in second-day rehearsals, and “before” and “after” rehearsal trials for each target ( N = 404) were extracted and evaluated for achievement. Selected rehearsal procedures within each frame also were measured. Results indicated no significant relationships between rehearsal effectiveness scores and any of five conceptualizations of intrarehearsal achievement. Significant, positive correlations were found between performance quality and three achievement computations, and between performance quality and rehearsal effectiveness. With one exception, none of the selected rehearsal procedures were associated with achievement differences within rehearsal frames. These findings suggest limitations of considering ensemble teacher evaluation in terms of student achievement. An ensemble’s extant skill level may contribute more to short-term rehearsal achievement than does the quality of its conductor’s rehearsing.
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Yuanyuan, Hu. "Historical role of opera rehearsal in improving the artistic quality and performing abilities of music college students in China." OOO "Zhurnal "Voprosy Istorii" 2023, no. 9-1 (September 1, 2023): 280–87. http://dx.doi.org/10.31166/voprosyistorii202309statyi22.

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This article examines the role of opera rehearsal in improving the artistic quality and performing abilities of music college students in China. The main functions of opera rehearsal, development techniques, methods of checking the progress of students, as well as the latest technologies that can be used for opera rehearsals are presented.
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Beck, R. J., T. C. Cesario, A. Yousefi, and H. Enamoto. "Choral Singing, Performance Perception, and Immune System Changes in Salivary Immunoglobulin A and Cortisol." Music Perception 18, no. 1 (2000): 87–106. http://dx.doi.org/10.2307/40285902.

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In a naturalistic pre-post design, samples of saliva were collected from the members of a professional chorale during an early rehearsal (n = 31), a late rehearsal (n = 34) and a public performance (n = 32) of Beethoven's Missa Solemnis. As measures of immune system response, mean levels of secretory immunoglobulin A increased significantly, as a proportion of whole protein, 150% during rehearsals and 240% during the performance. Cortisol concentrations decreased significantly an average of 30% during rehearsals and increased 37% during performance. As measured through performance perception rating scales, a group of emotions and other experiential states that singers associated with professional singing were highly predictive of changes in level of secretory immunoglobulin A during the performance condition, but the results for the rehearsal conditions were not significant. The best multiple regression model for performance level of immunoglobulin A (p < .0015) included seven emotional, cognitive, and evaluative variables generally associated with choral singing, including levels of mood before and during singing, stress, relaxation, feeling "high," detachment/engagement, and specific satisfaction with the immediate performance.
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Garrett, Matthew L. "An Examination of Critical Thinking Skills in High School Choral Rehearsals." Journal of Research in Music Education 61, no. 3 (August 16, 2013): 303–17. http://dx.doi.org/10.1177/0022429413497219.

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The purpose of this study was to examine the relationship between time spent in nonperformance and critical thinking activities in high school choral rehearsals. Eighteen rehearsal observations were collected from public school music programs. Observed rehearsal behaviors were coded into three categories of nonperformance activity: lower-order thinking, critical thinking, and nonspecific activity. Results indicated that the mean rehearsal time spent in all nonperformance activities was 53.89%, with 45.96% focused on lower-order thinking skills, 6.36% in critical thinking skills, and 1.57% in nonspecific activities, including off-task behavior and silence. A significant positive correlation was found between the amount of time spent in nonperformance activities and time spent engaged in critical thinking skills. No significant correlation was found between the level of ensemble in which students were enrolled and percentage of time spent in activities that required the use of critical thinking skills. Findings suggest that amount of time spent using critical thinking skills in high school choral rehearsals may be influenced by a variety of factors, including rehearsal techniques and learning objectives used by master teachers.
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Edelman, Philip B., and Matthew D. Talbert. "An Exploration of the Effect of Instructor Visual Signal on Vague Feedback Statements by Preservice Music Educators." Journal of Music Teacher Education 29, no. 2 (September 26, 2019): 53–63. http://dx.doi.org/10.1177/1057083719878409.

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The purpose of this study was to explore the effect of a visual signal on feedback type and rehearsal time usage by preservice music educators. A secondary aim was to examine the types of ambiguous feedback statements made by preservice music educators during instruction. Study participants rehearsed their university lab ensemble four times over the course of a semester after being randomly assigned to the control group ( n = 9) or the intervention group ( n = 9). The intervention did not produce a statistically significant effect on the frequency of vague feedback statements. Participants assigned to the intervention group, however, demonstrated a significantly increased amount of music making during their rehearsals and decreased the amount of general talking. Finally, the types of vague statements made by participants during their rehearsals were mostly positive, followed by ambiguous, comparative, and negative statements.
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Dissertations / Theses on the topic "Music rehearsals"

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Minut, Bogdan A. "Applying Constantin Stanislavski's acting system to choral rehearsals." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1536752.

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This research explores possible applications in choral rehearsals of techniques, methods, and theories of acting that were established by Russian actor, director, theoretician, and pedagogue Constantin Stanislavski (1863-1938). The parallel between the dramatic art and the art of choral music focuses on the discussion of the Stanislavski ‘system’ as described in detail in his ‘Acting Trilogy’ and other critical literature as well as on the use of psycho-technique by Romanian conductor Marin Constantin (b. 1925) and his Madrigal Choir of Bucharest. The introductory chapter presents the premises of this parallel and the complexity of Stanislavski’s artistic personality, his pivotal role in the history of theater and performing arts. The second chapter reviews existing literature that is pertinent to the topic, explaining all the elements of Stanislavski’s acting theory; this process divides the sources into three categories, namely the body of English translations of Stanislavski’s writings, the authoritative source materials that clarify and confirm the practicality of the ‘system,’ and the references on the use of psycho-technique in choral practice. The third chapter describes possible usage of key artistic elements, principles, and techniques of the acting ‘system’ in choral rehearsals, including concepts such as creative mood, concentration of attention, imagination, given circumstances, ‘magic If,’ inner motive forces, action (as in singing and conducting gestures), units (bits) and objectives (tasks), relaxation of muscles, ensemble work, communion, emotion memory, tempo-rhythm, active analysis, through line of action, and super-objective. The fourth chapter explores concrete applications of psycho-technical elements made by this researcher in a practical study with two student ensembles. Limitations and special circumstances about this collaboration are indicated. The rehearsal process is described in detail and focuses on the work on three choral pieces, namely Kasar mie la gaji by Venezuelan composer Alberto Grau (b. 1937), If Music Be the Food of Love by David C. Dickau (b. 1953), and There Will Be Rest by Franck Ticheli (b. 1958) on a poem by Sara Teasdale (1884-1933). The findings of this research, summarized in the final chapter, reflect not only the possibility of using elements of the Stanislavski ‘system’ of acting in choral rehearsals, but also the necessity to employ psycho-technique in choral practice; the results also recommend further applications of the ‘system’ in areas of formation of individual choristers as true artists, of building ensemble unity of expression of emotions, and of developing an effective and meaningful vocabulary of conducting gestures.
School of Music
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Montemayor, Mark. "Rehearsal achievement in high school bands and its relationship to performance quality, selected rehearsal procedures, and evaluations of teaching effectiveness /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11301.

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

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Pierson, Michael Eldon. "Effects of mental and physical practice on 6th grade beginning band instrumentalists' performance accuracy." Thesis, This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-09122009-040243/.

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Stevens, Harvey Morris. "A teacher/action research study of student reflective thinking in the choral music rehearsal /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008454.

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Younger, Kathryn Gail. "An observational analysis of instructional effectiveness in intermediate level band and orchestra rehearsals /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Zrust, Adam Charles. "A Descriptive Analysis of Concurrent Instruction in Secondary Choral Rehearsals." Thesis, The Florida State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10282805.

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Although many teachers use concurrent instructional strategies, little is known about how or when they function in rehearsal, or how frequently they are employed. The purpose of the present study was to examine pitched and unpitched concurrent instructional behaviors as they occurred naturally in secondary choral rehearsals over time. Three master teachers (two male, one female) with at least 10, 20, and 30 years of teaching experience, respectively, recorded their rehearsals over the course of approximately six weeks, from the introduction of a new piece of literature, through the point in time when it is deemed “performance-ready” by the director. Data were recorded, on average, twice per week, in the form 15–20 minutes of audio footage, and sent to the researcher for analysis. Results indicate that mean concurrent instruction was present for 25.88% of a given rehearsal. The most frequently used pitched behavior was singing and the most frequently used unpitched behavior was the academic hustle. Potential implications for music education practitioners and directions for future research are discussed.

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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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Bishop, Jeffrey Scott. "When the rehearsals stop: the reality of music making after high school orchestra." Diss., Kansas State University, 2015. http://hdl.handle.net/2097/18965.

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Doctor of Philosophy
Curriculum and Instruction Programs
Frederick Burrack
The purpose of this study was to discover the reasons that led high-achieving high school orchestra musicians to discontinue formal participation in collegiate orchestra class. Using narrative analysis, the researcher examined the intrinsic and extrinsic factors that influenced the student’s decision to not participate in orchestra. The researcher also sought to understand if and how these former high school musicians continued to make music on their own. Three current university students and their high school orchestra teachers were purposefully selected for the study. Data were collected through email queries, surveys, and personal interviews. Upon completion of the interview, the researcher summarized each interview into a narrative and shared it with the participant via email for member checking. Each participant was asked to provide feedback for the narrative and return it to the researcher. The researcher used Riessman’s (2008) adaptation of William Labov’s structural coding to analyze the data. Using Robichaux’s (2003) expansion of Labov’s coding, the researcher was able to establish a structural analysis of the narrative that reinforced the thematic analysis. The researcher coded each participant’s narrative along with that of his or her high school orchestra teacher. Coding was supported by NVivo software. Fact-checking of responses from the initial survey along with answers from the participants’ narrative and that of their high school director’s narrative allowed for a more robust and reliable narrative analysis. Definitive answers were not be sought or expected, but rather the collection of data led to a greater understanding and illustration of why the research participants chose to end their participation in orchestra rehearsals on the collegiate level. The participants offered diverse reasons for why they chose not to continue participating in college on the university level. Their reasons are described within six categories of intrinsic and extrinsic factors: (a) persistence; (b) self-concept of musical ability; (c) motivation for music; (d) parental musicianship and support; (e) director influence; and (f) socioeconomic status. Each participant could not name a single, defining factor that led him or her to discontinue participation in orchestra as each of the identified factors weighed differently for each person.
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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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Books on the topic "Music rehearsals"

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Stephenson, Caroline J. A handbook of performance practices and rehearsal techniques for wind bands and wind ensembles. Chichester: Chiltern Music, 1986.

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Kuschmitz, Helga. Herbert Kegel: Legende ohne Tabu : ein Dirigentenleben im 20. Jahrhundert. Altenburg: Kamprad, 2003.

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E, Williamson John, and Neidig Kenneth L, eds. Rehearsing the band. Cloudcroft, NM: Neidig Services, 1998.

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Garben, Cord. Arturo Benedetti Michelangeli: In bilico con un genio. Varese, Italy: Zecchini, 2004.

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Lepschy, Christoph. Proben-Prozesse: Über das Entstehen von Musik und Theater. Freiburg: Rombach Verlag, 2019.

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Lisk, Edward S. The creative director: Alternative rehearsal techniques. 3rd ed. Ft. Lauderdale, Fla: Meredith Music Publications, 1991.

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Lisk, Edward S. The creative director: Alternative rehearsal techniques. 3rd ed. Fort Lauderdale: Meredith Music Publications, 1991.

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Lisk, Edward S. The creative director: "alternative rehearsal techniques". [Oswego, N.Y.] (R.D. #7, Box 334, Oswego 13126): E.S. Lisk, 1987.

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Dalby, Max F. Band rehearsal techniques: A handbook for new directors. Northfield, Ill: Instrumentalist Pub. Co., 1993.

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Fischer, Simon. Practice: 250 step-by-step practice methods for the violin. London ; New York: Edition Peters, 2004.

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Book chapters on the topic "Music rehearsals"

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Feldman, Evan, and Ari Contzius. "Rehearsals." In Instrumental Music Education, 213–60. Third edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-15.

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Feldman, Evan, and Ari Contzius. "Rehearsals." In Instrumental Music Education, 239–88. 4th ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003366157-17.

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Black, Mary T. "“Don't Sing It With the Face of a Dead Fish!” Can Verbalized Imagery Stimulate a Vocal Response in Choral Rehearsals?" In Music and Mental Imagery, 268–78. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429330070-28.

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Barrett, G. Douglas. "Institutions Against Art Music—Curation, Rehearsal, and Contemporary Art." In New Music and Institutional Critique, 29–48. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67131-3_2.

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AbstractThis chapter analyses the work of contemporary artists who use alternative institutions to challenge accepted notions of art music. Kevin Beasley’s 2019 curatorial collaboration with The Kitchen, Assembly, reframes heterogeneous musics as contemporary art through the transformational act of curation. In Rehearsing Philadelphia (2022), Ari Benjamin Meyers displays the process of musical rehearsal within temporary music organisations. The chapter contends that whereas Meyers devalues a range of music by refiguring it as rehearsal, Beasley and The Kitchen transvaluate musical practices historically understood as nonart into contemporary art—and, potentially, into art music—via the powers of the curator. Beyond calls to throw out labels and categories, such projects turn on the concrete determination of what art music is while implicating contemporary art in its potential critical reconstruction.
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Ronsse, Lauren M., Martin Lawless, Shane J. Kanter, and David T. Carreon Bradley. "Music Conservatories, Music Rehearsal Spaces, & Community Centers." In Rooms for the Learned Musician, 247–300. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72054-4_9.

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Nemes, László. "Rehearsal Techniques for Contemporary Choral Music." In Perspectives on Conducting, 169–83. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003299660-18.

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Ronsse, Lauren M., Martin Lawless, Shane J. Kanter, and David T. Carreon Bradley. "The Soundscape of Music Rehearsal and Education Facilities." In Rooms for the Learned Musician, 3–10. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72054-4_1.

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Martin, Charles P., and Henry Gardner. "Free-Improvised Rehearsal-as-Research for Musical HCI." In New Directions in Music and Human-Computer Interaction, 269–84. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-92069-6_17.

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"Rehearsals." In Instrumental Music Education, 199–229. Routledge, 2010. http://dx.doi.org/10.4324/9780203848920-20.

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"Rehearsals." In Sound and Music for the Theatre, 140–62. Routledge, 2013. http://dx.doi.org/10.4324/9780080927732-20.

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Conference papers on the topic "Music rehearsals"

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Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.

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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.
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Simion, Sorin, Angelica Nicoleta Gaman, Alexandru Simion, and Romeo Hriscan. "NOISE LEVEL REDUCTION BY USING SOUND INSULATION / SOUND ABSORBENT MATERIALS." In 22nd SGEM International Multidisciplinary Scientific GeoConference 2022. STEF92 Technology, 2022. http://dx.doi.org/10.5593/sgem2022/4.1/s19.44.

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A known and often used method of insulation is represented by soundproof sponge, having the role of sound absorption and improvement of acoustics. The insulating sponge is used in recording studios, Radio TV studios, music rehearsal rooms, for upholstering acoustic enclosures having the role of acoustic correction. The aim of the study is to improve acoustic characteristics of a room that was originally used as an office and is now used as a music rehearsal room and recording studio, making determinations of noise level during the acoustic set-up of the room. Soundabsorbing materials were used to improve acoustic characteristics of the room, to reduce echo and reverberations and sound-insulating materials to reduce noise penetrating from inside to outside of the room. Determinations performed compare the �efficiency� of traditional materials (polystyrene, mineral wool, etc.) and dedicated materials (soundproofing panels, sound-absorbing sponge, formwork sponge, etc.) used for improving acoustic characteristics of a room. In this sense, sound insulation measures had to be corroborated with the fact that in the vicinity of the music rehearsal room there are offices where the activity is predominantly administrative (IT offices, accounting offices, customer service offices etc.), situation in which the maximum limit allowed by national legislation is 60 dB (GD 493/2006, annex 1).
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DURUP, N., and S. DANCE. "ACOUSTIC MODELLING AND TESTING OF A MUSIC REHEARSAL FACILITY." In Noise in the Built Environment 2010. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/17225.

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Pakprajum, Chakrit, and Pisit Jarumaneeroj. "An integrated MILP for music rehearsal problems with waiting time." In 2017 4th International Conference on Industrial Engineering and Applications (ICIEA). IEEE, 2017. http://dx.doi.org/10.1109/iea.2017.7939209.

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STØFRINGSDAL, B., and E. BOLSTAD. "OPTIMIZING (TOO) SMALL ENSEMBLE REHEARSAL ROOMS FOR ACOUSTIC LOUD MUSIC." In Auditorium Acoustics 2023. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16014.

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LUYKX, MPM. "IN SITU ACOUSTIC EFFICIENCY OF VARIABLE BROADBAND ABSORPTION IN MUSIC REHEARSAL STUDIOS AND MUSIC HALLS." In Auditorium Acoustics 2023. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16015.

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Wang, Jingjing. "Application of opera rehearsal to promote exploration of vocal music teaching." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.92.

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Rosseel, H., and T. Van Waterschoot. "Interactive Perceptual Evaluation of Auralized Acoustics in Rehearsal Spaces for Vocal Music." In 10th Convention of the European Acoustics Association Forum Acusticum 2023. Turin, Italy: European Acoustics Association, 2022. http://dx.doi.org/10.61782/fa.2023.0745.

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DEDOUSIS, G., K. BAKOGIANNIS, A. ANDREOPOULOU, and A. GEORGAKI. "ROOM ACOUSTICS MISMATCHES OF REHEARSAL SPACES AND CONCERT HALLS AND THEIR IMPACT ON MUSIC PERFORMANCE." In Auditorium Acoustics 2023. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/15985.

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Reports on the topic "Music rehearsals"

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Health hazard evaluation report: HETA-2011-0129-3160, noise evaluation of elementary and high school music classes and indoor marching band rehearsals - Alabama. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, May 2012. http://dx.doi.org/10.26616/nioshheta201101293160.

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