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Dissertations / Theses on the topic 'Music rehearsals'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Carpenter, Robert Alan. "A descriptive analysis of relationships between verbal behaviors of teacher-conductors and ratings of selected junior high and senior high school band rehearsals." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1302627132.

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12

Black, Mary Teresa. ""Let the music dance!" : the functions and effects of verbal imagery in choral rehearsals." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/13121/.

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The main aim of the research was to determine the context and efficacy of verbal imagery in choral rehearsals. It sought to establish the types of imagery used and whether and how they were understood by singers. The research aimed to define the relationship between imagery and the other rehearsal strategies directors employ. The intention of the research was to establish what role imagery plays in choral directing pedagogy and what implications this has for choral directors’ practice. The investigation was completed over five years and adopted a multi-method approach, using videoed observations, questionnaires and interviews; twenty-one directors and 332 choir members across 15 choirs contributed to the research. Interpretative Phenomenological Analysis (IPA) was the most appropriate analytical approach for this research as it is concerned with how participants make sense of their experiences. The sung responses to imagery were examined in their rehearsal context. The research identified five types of imagery in choral rehearsals: simple, multiple, themed, negative and stock images. It also determined nine functions and effects of imagery: • Imagery is used to transmit clear objectives • Imagery is used effectively to achieve objectives • Imagery is used to change thinking • Imagery is used to create multiple-effects • Imagery is used as a mnemonic • Imagery is used to save rehearsal time • Imagery can replace technical terminology • Imagery is used to illustrate the text • Imagery is associated with a specified musical phrase. Imagery is influential in developing singers’ understanding of the concepts involved in choral singing and in enabling singers to create and modify vocal sounds in response to their director’s requests. Choral directors can employ these findings to inform their thinking and practice, combining imagery with other rehearsal techniques in the knowledge that it is a useful and effective strategy.

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13

Taylor, David Anthony. "Cultural Influences on Decision-Making Preferences in Australian and British Amateur Choir Rehearsals." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/19737.

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Although the precise nature of a conductor’s “authority” remains somewhat obscure and use of the word in various commentaries and studies is rarely defined or standardised, it is largely agreed that the making of musical decisions and the way in which they are made are important aspects of it. Furthermore, existing research outside music research literature has suggested that different cultures respond to authority in different ways. With this in mind, this thesis examines whether different cultures prefer different systems of decision-making during rehearsals: either conductor-only (the conductor makes all the decisions without consultation); or group-input (members of the ensemble can make suggestions, offer input and engage in open discussion), and whether these preferences reflect prevailing cultural attitudes and traits. 509 participants from both the United Kingdom and Australia completed an online survey canvasing their attitude to these two broad decision-making systems. A summated-ratings methodology was employed using a Likert-type scale. Open-ended comments were also invited. Responses more in favour of conductor-only decision-making (autocratic) were given higher values whilst responses more in favour of group-input (democratic) were given lower scores. According to literature, Australian culture differs to British in a number of key areas, including a strong anti-authority sentiment, low levels of obedience, lower Power Distance (the distance between different levels of management or other organisational structures) and most importantly a society shaped by a sense of egalitarianism. Therefore, it was hypothesised that Australians would be more in favour of group-input decision-making – something considered to be itself more egalitarian – as opposed to one person at the front making all the decisions. Findings revealed that this was not the case. In fact, although the level of agreement/disagreement to the statements for the two countries was very similar, the Australian summated scores were generally higher than those of the British, meaning they were more in favour of a conductor-only system. The reasons for this are not immediately clear. But with many of the differences in scores between the countries being significant, there would appear to be an effect present worthy of further investigation. A number of potential reasons for the findings are offered. It is hoped, that in addition to investigating any differences in response to conductor authority between the two countries, valuable insight might also be gained into general preferences and opinions on the successful running of rehearsals. In terms of asking choristers directly about how much, if any, discussion is helpful, what type of discussion and when, how those that persistently call out in rehearsals are viewed, this research, it is believed, is the first to do so with such scope. This is important for the day-to-day running of effective and efficient rehearsals and in the avoiding of ill-feeling and animosity amongst group members. Ultimately it is hoped that this research will result in better performance outcomes and more enjoyable experiences for amateur singers.

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14

Root, Rachel Lorraine. "Choral rehearsal memory techniques /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11251.

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15

Derby, Sandra Elizabeth 1960. "Rehearsal of repertoire in elementary, middle, and high school choirs : how teachers effect change in student performance /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008313.

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16

Van, Zyl Lionel. "A critical investigation of the effectiveness of warm-ups as technical exercises for the improvement of choral tone : a case study of the Eastern Cape Children's Choir." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/634.

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This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.

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17

Beebe, Marla. "Teaching and Rehearsal Behaviors of Instrumental Music Teachers." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1181923968.

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18

Jenkins, Bonnie L. "Beautiful choral tone quality rehearsal techniques of a director." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4126.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2005.
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 (November 8, 2006) Vita. Includes bibliographical references.

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19

Gonzalez, Luis S. "REHEARSAL EFFECTIVENESS: AN ANALYTICAL STUDY OF REHEARSAL PHILOSOPHIES AND PROCEDURES OF SELECTED PUBLIC SCHOOL AND POSTSECONDARY WIND BAND CONDUCTORS." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin990724125.

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20

Erwin, Joanne (Joanne Hall). "Stability of Secondary String Teachers' Rehearsal Behavior." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332546/.

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The purpose was to establish the stability of behavior of secondary string teachers. The research problems were (a) to establish the frequency of selected observable elements of content and instructional strategies; (b) to estimate the stability of observed teaching behaviors within and across rehearsals; and (c) to determine the stability of pacing within and across rehearsals. In conclusion, for the population observed, stability of behavior existed. The variable of multiple conduction, not given much attention in research or pedagogical literature, weighted heavily in frequency of occurrence. Demonstration and verbal imagery, encouraged by strong experts, received less than 3% of rehearsal time. Pacing should be considered an important variable in the instructional process and merits further definition and research.

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21

Arnold, Jermie Steven. ""Country Band" March Historical Perspectives, Stylistic Considerations, And Rehearsal Strategies." Thesis, George Mason University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3624251.

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American composer Charles Ives was first and foremost a bandsman. Having been raised in the band world by his father, his first works were for band. Though only four of Ives's original works for band survive, many of his other works have been transcribed or arranged for band. Among these "Country Band" March is unique. Originally written between 1904-05 for theater orchestra, this work chronicles the events, circumstances, and realities of Ives's experience in the "band world." Ives's use of polymeter, polytonal passages, and multiple layers of rhythm, pitch, texture, distinguishes it as among the first of Ives's instrumental works to do so. Additionally, these characteristics provide considerable performance challenges for conductors and their ensembles. This study provides an overview of "Country Band" March including historical context, stylistic considerations, and rehearsal strategies. An exploration of the historical context will allow the conductor and ensemble member to understand the 19th-century band and thus more accurately perform the nuances Ives uses to portray these "country bands." It will also inform the conductor's ability to make accurate stylistic choices. A discussion of significant performance challenges and possible solutions to these challenges allows a more diverse level of ensembles to perform the work. Thus, "Country Band" March will be appreciated by more conductors and ensembles as among the best works for band.

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22

Whitehead, Jennifer Maxwell. "Perfecting Your Practice: Rehearsal Techniques and Strategies for the Undergraduate Singer." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366319504.

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23

Davidson-Kelly, Kirsteen Mary. "Mental imagery rehearsal strategies for expert pianists." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/14215.

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For pianists working within the western art music tradition, the ability to perform a large and complex repertoire from memory is almost a prerequisite for a successful career. Memorising and maintaining this repertoire requires considerable practice and can lead to physical overuse syndromes. Additionally, automated motor memory developed via physical practice is not always sufficient for secure recall, often leading to performance anxiety. It is important therefore for professionals to identify optimal practice strategies, and mental rehearsal has been widely advocated as a potential means of enhancing memorisation and performance fluency while at the same time avoiding physical overuse. The results of three studies that examined mental imagery rehearsal by expert pianists, adopting a mixed methods approach, are presented in this thesis. The first was a participant observation study of a course at which eleven advanced pianists learned to use a memorisation technique incorporating deliberate imagery; the study aimed to describe the teaching and learning of specific imagery techniques and to examine the potential advantages and drawbacks of this approach. The second study was an online questionnaire survey of thirty six piano students at UK conservatoires designed to investigate the teaching and implementation of mental rehearsal techniques at advanced training levels; the survey found that despite a widespread awareness of imagery rehearsal as a potentially effective strategy, training in specific techniques was not consistently available, and recommended mental practice strategies were adopted much less consistently than strategies involving physical practice. Finally, an fMRI study of fourteen expert pianists aimed to determine the neural correlates of imagery rehearsal and simulated piano playing. Differences observed in brain activation between tasks suggested increased involvement of working memory processes during mental imagery. The thesis concludes that mental imagery rehearsal techniques are acquired skills that can be taught and improved over time and which have specific advantages over motor learning, but that more pedagogical training is needed in order for these techniques to become fully effective and widely adopted.

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24

O'Connor, Alexander J. "A Comparative Analysis of Rehearsal Techniques for Instrumental Ensembles During Group Playing." Wittenberg University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617960102315298.

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25

Chang, Tiffany Hsu Han. "An examination of conductors’ leadership skills." Oberlin College Masters Theses / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=obgrad1272475425.

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26

Banta, Courtney M. "THE PROCESS OF TEACHING VOCAL TECHNIQUES IN THE CHORAL REHEARSAL." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1335829757.

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27

Weiss, John R. "Vocal health in the choral rehearsal: Common ground for operatically trained singers, studio voice teachers and choral conductors." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290591.

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Recent research and experimentation by Johan Sundberg, Ingo R. Titze, Mirano Hirano, William Vennard, and many others have contributed greatly to the understanding of voice physiology and function. Nevertheless, much anecdotal evidence reveals that there are continuing vocal problems experienced by operatically trained singers in the collegiate choral rehearsal. Although previous research has dealt with these problems in various specialized ways, no study has attempted to integrate contemporary voice research with vocal pedagogy and choral methodology. This study will summarize the last thirty years of research in the physiology and function of the singing voice. In addition, it will present relevant vocal health concerns, and discuss possible causes of vocal fatigue. Finally, this study will suggest some choral rehearsal techniques that incorporate basic knowledge of voice function. By utilizing these techniques, operatically trained singers should be able to participate in a collegiate choral ensemble without experiencing vocal fatigue, compromising vocal development, or risking vocal injury.

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28

Ihas, Dijana A. "Teaching Behaviors of Middle and High School Orchestra Directors in the Rehearsal Setting." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12064.

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xv, 166 p. : col. ill.
The purpose of this study was to investigate the frequency and the time that middle and high school orchestra directors engaged in seven specific teaching behaviors in a rehearsal setting. Of particular interest was the amount of time orchestra directors engaged in conceptual teaching behaviors operationally defined as verbal behaviors of orchestra directors in which they attempt to make students aware of, have an understanding of, and/or be able to transfer any musical concept. Participants ( N = 12) were full-time middle and high school orchestra directors teaching in Washington, Oregon, or California. Each participant submitted a video recording of two regular orchestra rehearsals. Video recordings of participants were divided into 20-minute segments and randomly selected for observation of seven specific and operationally defined teaching behaviors: (a) nonmusical behavior, (b) nonverbal instruction (direction), (c) verbal instruction (direction), (d) noninteractive listening, (e) nonverbal feedback, (f) verbal feedback, and (g) conceptual teaching. These seven teaching behaviors were analyzed using the Simple Computer Recording Interface for Behavioral Evaluation (SCRIBE) of Duke and Stammen (2007). The data were reported in the form of the frequency with which each behavior occurred, the average time for each behavior expressed in minutes and seconds, and the percentage of time used on each behavior. Findings on conceptual teaching were reported. The results indicated that, on average, orchestra directors spent slightly more than 5% of the observed rehearsal time on conceptual teaching. Most of the instructional time was used on nonverbal instruction (28.15%) and verbal instruction (27.76%). Orchestra directors observed in this study used the least amount of time (2.42%) on nonverbal feedback. The most concerning finding of the study was the time orchestra directors used on nonmusical behaviors (14.70%), and the most interesting finding of the study was that middle school orchestra directors used twice as much time (7.40%) as high school orchestra directors (3.21%) on conceptual teaching. The findings of this study provided suggestions for future research and implications for music educators.
Committee in charge: Dr. Frank Diaz, Chair; Dr. Phyllis Paul, Member; Dr. Eric Wiltshire, Member; Dr. Leslie Straka, Member; Dr. Julie Hessler, Outside Member

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Williams, Bede. "Preparation, rehearsal, performance and reflection : a conductor's autoethnographical study of the process of interpretation." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15665.

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In this study the author investigates his interpretive practice as a conductor, revealing how interpretive operations occur not as discrete and isolated activities, but rather an intertwined cyclic process. The study was based on an experiment of the author conducting five scores on two different occasions separated in time by between one day and several months. The study design included extensive content analysis of over 30 hours of video in which more than 12,000 codes were applied and collated. The study design also included traditional texted research, autoethnographic writing (a 25,000-word practice journal), semi-structured interviews, the use of Sonic Visualiser, and the documentation of a range of score study methods which the author describes as ‘listening in silence'. Although there are numerous studies that compare different performances of the same piece, and consider the extent to which differences are intentional and/or creative, none has been undertaken by a conductor in the role of artist-researcher. The study develops what the author calls the ‘ethos of multiple interpretability', suggesting that a conductor can be ‘animated by' the belief that there is no single correct way to perform a work specified by a score.

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30

Killingly, Callula. "Exploring the cognitive basis of music that gets stuck in the head." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/203910/1/Callula_Killingly_Thesis.pdf.

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This thesis investigated music that repeats persistently in the mind (an 'earworm'), hypothesising that this phenomenon is characterised by automatic mental singing along via working memory resources. In four experiments, a dual-task paradigm was employed to assess performance on a phonological task while participants were experiencing an earworm episode. Earworms were examined for familiar vocal songs, instrumental music, and novel vocal songs. Findings demonstrated that phonological working memory resources are recruited during vocal and instrumental music earworms. This paradigm can be used to determine the types of music most effective in eliciting earworms, and individuals more susceptible to the experience.

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31

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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32

Gluch, Nicky. "Reconfiguring the Maestro: A study of contemporary conducting in three parts." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18660.

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This thesis explores the way the conducting profession is being fashioned in the modern world. As a portfolio thesis, it is made up of three individual papers which address this issue from a variety of perspectives. These are 1) conducting tuition, 2) female conductors and 3) chamber rehearsal. Each paper makes use of a model, external to the field of music, to investigate the situation for conductors in the modern world. The third paper, building on the previous two, provides an insight crucial to understanding the thesis as a whole. Humans (in this case musicians) ascribe values to various aspects of their day-to-day lives and it is this value weighting that determines what becomes their focus and what may, conversely, be overlooked. In the three papers it is shown that today’s conducting world gives significant utility to 1) video production, 2) quotas of women and 3) social concerns in rehearsal, often at the expense of musical considerations. I argue that that these weightings contribute to the formation of conductors who enact, rather than embody, the role: a concept that is termed performativity. Of concern with performativity is that it may compromise musical thinking, an idea that was crystallised for me at the Audite conducting competition. Audite was a novel experiment as it entailed a screen being placed between the participants and the jury so that competitors were judged “blind”. The paradox of the screen is that it served to reveal as well as conceal, for the framework of contemporary conducting was, in a way, uncovered. This thesis aims to reveal the frameworks in the three case studies and, through this, to turn dichotomies into paradoxes. The Maestro, reconfigured, should be able to be simultaneously musical and performative.

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33

Klabunde, Lawrence Evan. "Comparing the rehearsal techniques utilized by selected successful high school and college concert band conductors: a pilot study." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382552662.

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34

Brayne, Marilyn Patricia. "A rehearsal model for Beethoven's Meeresstille und glückliche Fahrt, opus 112 /." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63130.

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35

Nyman, Joel. "Övning och kreativ process genom Paradise League." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3988.

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In this essay I present my creative input and development as a musician since fall 2020 and the compositions that has come out of it. Furthermore, I reflect on preparing these songs for my exam concert with my band Paradise League, as well as adding a trumpet synth called EVI (Electric Valve Instrument) to the instrumentation. Having experienced embouchure fatigue and a lack of stamina to follow through with longer sets, I am also pursuing a more effective technique. Hence, I analyze my practice methods and discuss my trumpet teachers, their tools and the effects thereof. Through the combination of fundamental, soloistic and flexibility exercises I developed a more effortless playing style with a wider artistic expression. There were vast technical differences between the EVI and the trumpet. Despite some minor challengers when switching between the two instruments, the EVI opened up a different set of improvisational ideas, broadening my soloistic framework.

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Timewell, Alex. "Thinking frames in popular music education : musical objects and identity in rehearsal : learning to psychoanalyse musicianship." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/617331/.

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This thesis is concerned with the teaching and learning of popular music, not as a process that can be defined and extrapolated, but as an interaction between musicians who consciously take on the roles of teacher and learner. The research project reported in this thesis focuses on the thinking that leads people to consider themselves to be musicians and how they frame their music making activities: their musicianship. Thinking takes place in the mind of people - their psyche. This thesis asks what psychoanalysis can contribute to research on music education, what insight can it bring to existing thinking frames that musicians and music teachers use? It explores how a reading of the work of Jacques Lacan may lead to new thinking frames that can help refine understandings of how musicians learn, how they identify with their own musicianship and how they interact with others. Set as an action research project, the researcher uses his own experiences and the discourses that his students, teachers and fellow musicians engage in, to consider how the language we use informs our thinking and to explore methods for overcoming common difficulties encountered in music learning environments. There are the practical considerations of the materials and activities musicians engage in, but significantly Lacan asks us to also consider our motivations to act. Enjoyment, its production and manifestation, lie beneath and motivate the way we use musical materials and how we choose which activities to engage in. Psychoanalysis employs challenging conceptions that have become entangled in anti-foundational philosophies concerning the truth and how we evaluate the world around us. The thesis takes key ideas: the master signifier; the split subject; the role of the Other in the psyche to create meaning; and jouissance, to understand how musicians think by mapping Lacan's framework of the Graph of Desire onto musical language to produce a model of the internal dialogues of a musician's psyche. With the help of Slavoj Žižek's application of psychoanalysis to cultural studies the resulting language is used to analyse the discourse of professional musicians in rehearsal to understand how the ambiguity of language has an impact on the way musicians learn. The thesis then considers how this sits with formal teaching and learning discourses encountered in British educational contexts. It concludes that music teachers need to recognise the important role we play for our students in leading them into ownership of their musical learning and that anxiety has a place in helping us recognise that a fear of uncertainty forces us to provide only a partial knowledge to our students. Music teachers play the role of the 'subject supposed to know' to our students, one that if we are successful our students should eventually reject. Ultimately it is argued that whilst many of the conventions and thinking frames we use to understand music education are valid, there is a need to maintain the joy of music making as central to the motivations of musicians, whether they be acting in the role of performer, composer, producer, teacher or learner.

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Stumbo, Jason A. "Changes in university band members' perceptions of complexity and liking of two concert band pieces as a function of rehearsal over time /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164545.

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Clarke, Steven Douglas. "Eph Ehly, all-state choir conductor : a video presentation of his philosophy and rehearsal techniques." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063298.

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Dr. Eph Ehly is one of the most sought after choral conductors in the United States today. Ehly has conducted over seventy All-State choirs. However, no previous source outlines the fundamental principles of his philosophy and rehearsal techniques.This study was designed to capsulize Ehly's contributions. The writer produced a videotape entitled, "Eph Ehly: A Source of True Inspiration." This video captures Dr. Ehly's philosophy regarding the All-State choir experience and demonstrates his rehearsal techniques. The author attended three All-State festivals where Ehly was the guest conductor (Indiana, New York, and Oklahoma). The video contains rehearsals and performances and videotaped interviews with Dr. Ehly.The cornerstone of Ehly's approach is this: using music to express. There are three components to Ehly's philosophy: 1) the physical component, 2) the emotional component, and 3) the spiritual component. The writer identified four forms of the physical component: 1) handshake, 2) hug, 3) clapping, and 4) other spontaneous physical gestures. The writer identified eight aspects of the emotional component: 1) expressivity, 2) sensitivity to the world, themselves, and their own emotions, 3) sympathy, 4) reality of emotions, 5) creating mood, 6) building ensemble, 7) music as a reflection of life, and 8) awareness of a "sixth sense." In describing the spiritual component, two divisions were identified: 1) the development of character, and 2) reaching a level of spirit-awareness.The study also summarizes Ehly's rehearsal techniques by outlining his idiosyncratic approach to the treatment of traditional musical elements. The video presentation highlights nine technical concerns and demonstrates Ehly's approach to these common problems. The areas addressed are: 1) tone quality, 2) diction, 3) rhythm, 4) dynamics, 5) phrasing, 6) articulation, 7) breathing, 8) vowel modification, and 9) vibrato. The videotape is supported by a written document containing background information, a script of the video, a summary by the author, a representative list of programs from AllState choirs conducted by Dr. Ehly, and transcripts of the interviews with Dr. Ehly. Church musicians, professional conductors, educators, and students of conducting can all benefit from the opportunity to view and evaluate Ehly's approach.
School of Music

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Fashun, Christopher Herbert. "Developing musicianship from the podium : adapting the Theory of multiple intelligences to the instrumental rehearsal." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3291.

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The purpose of this study is to collect a variety of conducting texts and resources and assess which texts, if any, suggested pedagogical techniques that make appropriations for various learning styles of individuals in the ensemble. The term learning styles is derived from Howard Gardner's Theory of Multiple Intelligences wherein he makes the assertion that every person possesses the nine intelligences and that each person has a natural disposition to at least one intelligence (or learning style). After having evaluated numerous conducting texts and resources, there exists a lack of assessing and teaching to learning styles. Most conducting curricula do not give attention to the idea that the musicians and students represent many learning styles and need to be provided with a variety of examples to enhance their understanding of the music. Consequently, enhancing understanding raises the level of their musicianship and elevates the overall quality of the ensemble and music program. The most significant contributor in music education to integrating pedagogical techniques that address a broad range of learning styles is Edward S. Lisk. A former band director and now an internationally renown clinician and conductor, Mr. Lisk has written several books on alternative rehearsal strategies. His most recent book, The Creative Director: Conductor, Teacher, Leader, briefly explains how the Theory of Multiple Intelligences is uniquely suited for both the conductor and the students. Mr. Lisk's claims regarding the benefits of teaching to multiple learning styles focus on individual enhancement and understanding of playing a instrument and to provide compelling evidence to administrators, parents, and the community to show the inherent value of a music program. This study acknowledges and supports Lisk's observations and claims, but sets out to enhance musical understanding and performance levels through rehearsal techniques that address multiple learning styles. Before providing a model for incorporating pedagogical techniques that address multiple learning styles, assessment methods of student's MI (multiple intelligences) will assist the conductor in determining what types of intelligences the students possess. When this information is gathered, a conductor/music educator can begin to infuse examples into the rehearsal. The final goal of this study is to present several rehearsal strategies categorized by each MI as a model as to how conductor/educators can incorporate pedagogical strategies into their rehearsals to draw each student into a deeper understanding of the music, raise the level of musicianship, which promotes more expressive music-making. These rehearsal strategies can be utilized with technical or expressive issues. For example, a director is teaching the string section the difference between playing accompanimental motor rhythms in Mozart to those of Beethoven. For the visual-spatial learner, drawing a diagram on the board showing the trajectory shape of the bow across the string can assist the student by seeing what each bow stroke looks like. For a bodily-kinesthetic learner, showing what each bow stroke looks like, allowing the student to try it, and solidifying understanding with feeling the difference of each stroke and recognizing how each sounds. As an additional strategy to the former, the director could have each section demonstrate each bow stroke and ask the other students for feedback that incorporates a technique for the interpersonal learning style. Further examples with suggestions for expressive aspects of music for various learning styles are also included.

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Fuchs, Michael C. "A Conductor’s Guide to the Incorporation of Bel Canto Methodology in the Choral Rehearsal." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396530409.

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Duffy, Paul. "A balanced orchestra program: analyses and rehearsal techniques for Haydn, Berlioz, Ravel, Bryce Craig, and Casey Cangelosi." Kansas State University, 2014. http://hdl.handle.net/2097/17595.

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Master of Music, Theater, and Dance
Department of Music, Theatre, and Dance.
David Littrell
This report provides detailed analyses of several orchestral works. Current orchestras have striven to rejuvenate their programs by balancing canonical literature with newer or less familiar works; such a practice has become especially important in an age when audiences are dwindling and orchestras are disbanding. The works included in this report follow that balanced blueprint, including staples such as Haydn’s Symphony No. 103 in E-flat Major (the “Drumroll”) and Berlioz’s “Hungarian March” from The Damnation of Faust to new orchestrations of 20th century works, such as Bryce Craig’s arrangement of the toccata from Ravel’s Le Tombeau de Couperin, as well as works composed within the last six years, such as Casey Cangelosi’s Concerto for Marimba and Orchestra No. 2. Each work’s formal design is straightforward, and the technical skills required are not virtuosic. The chapters below explore each work from a historical, theoretical, and performance perspective.

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Compton, Karen R. "AN INVESTIGATION OF THE EFFECTIVENESS OF COOPERATIVE LEARNING AS A REHEARSAL TECHNIQUE FOR IMPROVING HIGH SCHOOL BAND PERFORMANCE." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/38.

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The purpose of the present study was to investigate the effectiveness of cooperative learning as a rehearsal technique on high school full-band performance compared to traditional rehearsal methods. Two intact high school bands from the same Kentucky Music Educators Association District participated in the study. One band served as the treatment group using cooperative learning rehearsal techniques and the other group served as the control group using traditional rehearsal methods in a quasi-experimental non-equivalent control group design. The study spanned six weeks in which both schools prepared the same performance piece, Variants by Jack Bullock. The groups were pre-tested using a recording of their recent Kentucky Music Educators Association (KMEA) concert festival performance to ensure no statistically significant difference existed in performance ability. The bands rehearsed the study piece for 15-20 minutes two times per week for a total of 12 rehearsals. The bands were also asked to play a researcher-composed warm-up prior to each rehearsal of the performance piece. At the end of the study, the groups recorded final performances of the piece and the warm-up. The full-band performances were measured using the Performance Evaluation Form. Recordings of all tests were sent to four independent judges for evaluation. Statistically significant differences were found between the two groups on both post-test recordings, with the treatment group scoring higher than the control group. Additionally, the within-group comparisons resulted in statistically significant differences for both groups. The treatment group scored higher on the study piece than the pre-test while the control group scored lower on the study piece than their pre-test. Descriptive and qualitative data were gathered on student self-assessment of performance and the implementation of cooperative learning into high school band. Results indicate that students in the cooperative learning treatment group varied greatly in ability to self-assess and that those abilities progressed over time. Students also engaged in the learning activities in a variety of ways. Factors that must be taken into consideration when implementing cooperative learning in a high school ensemble include the structure of the cooperative activities, the role of the band director, and the usage of time.

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Tice, Kenneth G. "An Analytical, Rehearsal, and Performance Guide to Ad majorem Dei gloriam by Benjamin Britten." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377874852.

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Goodman, Elaine Claire. "Analysing the ensemble in music rehearsal and performance : the nature and effects of interaction in cello-piano duos." Thesis, Royal Holloway, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.344009.

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Gasslander, Timmy. "Att studera in musik mentalt : Hur långt kan jag komma utan mitt instrument?" Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67216.

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Jag har under projektets gång studerat in fem renässansstycken för klassisk gitarr utan att ta hjälp av instrumentet vid instuderingsprocessen och analyserat resultatet utifrån ett hermaneutiskt perspektiv. Instuderingen av styckena har skett helt mentalt genom en kombination av två olika metoder för mental instudering baserat på Giesking och Liemers (1972) Visualizarion och en metod som Pujol (1983) presenterat som jag i denna studie väljer att kalla för Praktiskt Föreställande. Syftet är att se hur väl jag kan studera in ett stycke helt utan instrument i handen och att utforska hur den mentala instuderingsprocessen utvecklas under projektets gång i takt med att jag lär mig mer om metoderna genom att använda dem. Under den fem veckor långa studien förde jag loggbok där jag reflekterade och redovisade för mina instuderingstillfällen samt spelade in uppspelet av vart stycke med video och ljud. Varje instuderingsperiod á en vecka ledde till en utveckling av metoderna. I resultatet presenterar jag hur min användning av de båda metoderna gradvis utvecklas och hur det klingande resultatet i sin tur förbättras av den mentala förberedelsen. I diskussionskapitlet ställs mitt resultat mot mitt teoretiska perspektiv samt relevant litteratur och tidigare forskning inom området. Nyckelord: gitarr, mental träning, visualisering, observationsstudie, notläsning, prima vista, hermeneutik
I have during this project studied five renaissance pieces for classical guitar without the help of my instrument while studying them and analyzed the results from a hermeneutical point of view. The studying of the pieces has been a completely mental process and a combination of two methods for mental rehearsal that have been used based on Giesking and Liemers (1972) Visualization and a method presented by Pujol (1983) that I during this study will call Practical Imagery. The intention is to explore how the process of mental rehearsal will evolve during the project as I learn more about the methods by using them. During the five-week long study I wrote a journal used for me to reflect and present the process of studying the pieces and recorded each performance with video and audio. Each period lead to me evolving the use of the methods. In the results I present how the use of both methods lead to them both gradually evolved and how the performance was affected by the mental training. In the discussion chapter I compare the results to my theoretical perspective, relevant literature and former research within the subject matter. Keywords: guitar, mental rehearsal, visualization, observational study, reading sheet music, sight reading, hermeneutics

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Janisch, Joseph H. "Felix Mendelssohn-Bartholdy's music for men's voices including a detailed analysis of Festgesang : An die Künstler, opus 68 and Zwei Geistliche Mannerchöre, opus 115 with suggestions for rehearsal and performance /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1302019960.

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Bowes, Patricia Louise. "An Exploratory Study of the Use of Imagery by Vocal Professionals: Applications of a Sport Psychology Framework." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002994.

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Tesch, Amelie. "Meningsfullhet i övning : En självobservation av min livsvärld." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36990.

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Studien utforskar hur min livsvärld påverkades och förändrades då jag undersökte mina strategier för saxofonövning. Utgångspunkten för studien utgår från instuderingen som gjordes av Paul Bonneaus stycke Suiet pour saxophone alto et piano och de loggboksanteckningar som skrevs i samband med varje övningspass. Denna kvalitativa studie genomfördes utifrån ett livsvärldsperspektiv som kommer ur den fenomenologiska filosofin. Analysen av instuderingsprocessen kretsade kring mina reflektioner över hur jag ser på övning utifrån min livsvärld. I resultatet framkommer ett mönster som visar en övergång från negativt tänkande till mer positivt tänkande. Resultatet visar hur min livsvärld förändrades då jag undersökte de strategier som användes under instuderingen. Resultatet visar också hur jag med hjälp av forskning och litteratur har öppnat upp min livsvärld och ändrat mina tankegångar under skrivprocessen. Slutligen diskuterar jag resultatet i förhållande till litteratur och tidigare forskning inom området.
The study explores how my life-world was affected and changed when I examined my strategies for practicing saxophone. The starting point for the study is how I learned to play Paul Bonneaus piece Suiet pour saxophone alto et piano, and the logbook notes connected to each exercise session. This qualitative study is based on a life-world perspective coming from the phenomenological philosophy. The analysis of the rehearsal process revolved around my reflections on how I, in my life-world, perceived the exercises. The result shows a pattern of a transition from negative thinking to more positive thinking, and how my life world changed when I examined the strategies used during my practice. The result also shows how the research and literature opened up my life-world and changed my way of thinking during the writing process. Finally, I discuss the results in relation to literature and previous research within the field.

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Rohwer, Mark Edward. "Talking within music : an ethnographic study of choral instruction, verbal interactions and the resulting ensemble sounds within a high school choral rehearsal /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487947501133792.

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Laney, Ryan Ray. "A master's report in conducting for winds & percussion: analyses and rehearsal strategies for Sonata no. 13 by Giovanni Gabrieli, Serenade no. 12 in C minor by Wolfgang Amadeus Mozart, and Prelude, siciliano and rondo by Malcolm Arnold." Kansas State University, 2012. http://hdl.handle.net/2097/13681.

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Master of Music
Department of Music
Frank Tracz
This document was submitted to the Graduate School of Kansas State University as a partial requirement for the Master's in Music degree. It contains theoretical, historical, and rehearsal analyses for Sonata No. 13 by Giovanni Gabrieli as arranged for brass octet by Glenn Smith, movements II. Andante and III. Minuet & Trio from Serenade No. 12 in c minor by Wolfgang Amadeus Mozart as edited by Frederick Fennell, and Prelude, Siciliano and Rondo by Sir Malcolm Arnold as arranged for full symphonic band by John P. Paynter. Prelude, Siciliano and Rondo was performed by the Kansas State University Wind Ensemble on February 15, 2012 in McCain Auditorium on the Kansas State University campus. Sonata No. 13 was performed by members of the Kansas State University Brass Ensemble on April 18th, 2012 in McCain Auditorium. There was no formal performance or rehearsal for Serenade No. 12 in c minor. The analytical methods employed in this report include the Unit Study approach used in the Teaching Music Through Performance in Band book series and the Tracz method of macro-micro-macro graphical score analysis.

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