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Libri sul tema "Choral rehearsel"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 3 febbraio 2022

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1

Tarik, O'Regan, a cura di. Evoking sound: The choral rehearsal. Chicago: GIA Publications, 2007.

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2

Willetts, Sandra. Beyond the downbeat: Choral rehearsal skills and techniques. Nashville: Abingdon Press, 2000.

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3

Gordon, Lewis. Choral director's rehearsal and performance guide. West Nyack, N.Y: Parker Pub. Co., 1989.

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4

Noble, Robert. The choral workbook series, evaluation copy. Struthers, OH (P.O. Box 161): Bob Noble, 1995.

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5

The use of the international phonetic alphabet in the choral rehearsal. Lanham, Md: Scarecrow Press, 2012.

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6

Matthew, Mehaffey, a cura di. Choral ensemble intonation: Method, procedures & exercises. Chicago: GIA Publications, 2001.

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7

Jothen, Michael Jon. Master strategies for choir: Ready-to-use resource material for the choir rehearsal. Milwaukee, WI: Hal Leonard, 2005.

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8

Telfer, Nancy. Singing high pitches with ease: Strategies & solutions for conductors, conductors-in-training & voice teachers. San Diego, Calif: Kjos Music Press, 2003.

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9

Emmons, Shirlee. Prescriptions for choral excellence: Tone, text, dynamic leadership. Oxford: Oxford University Press, 2006.

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10

Constance, Chase, a cura di. Prescriptions for choral excellence: Tone, text, dynamic leadership. New York: Oxford University Press, 2005.

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11

Evoking sound: Fundamentals of choral conducting and rehearsing. Chicago: GIA Publications, 1996.

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12

Aylen, Sarah. An investigation into the use of movement as a teaching strategy in the choral rehearsal. [Guildford]: [University of Surrey], 1998.

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13

1922-, Noble Weston, a cura di. Building beautiful voices: A concise, yet comprehensive study of vocal technique for the choral rehearsal or private instruction. Dayton, Oh: R. Dean, 1995.

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14

Evoking sound: The choral conductor's aural tutor : training the ear to diagnose vocal problems. Chicago: GIA Publications, 2006.

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15

Paul, Sharon J. Art & Science in the Choral Rehearsal. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.001.0001.

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Abstract (sommario):
In recent decades, cognitive neuroscience research has increased our understanding of how the brain learns, retains, and recalls information. At the same time, social psychology researchers have developed insights into group dynamics, exploring what motivates individuals in a group to give their full effort, or conversely, what might instead inspire them to become freeloaders. This book explores the idea that choral conductors who better understand how the brain learns, and how individuals within groups function, can lead more efficient, productive, and enjoyable rehearsals. Armed with this knowledge, conductors can create rehearsal techniques which take advantage of certain fundamental brain and social psychology principles. Through such approaches, singers will become increasingly engaged physically and mentally in the rehearsal process. This book draws from a range of scientific studies to suggest and encourage effective, evidence-based techniques, and can help serve to reset and inspire new approaches toward teaching. Each chapter outlines exercises and creative ideas for conductors and music teachers, including the importance of embedding problem solving into rehearsal, the use of multiple entry points for newly acquired information, techniques to encourage an emotional connection to the music, and ways to incorporate writing exercises into rehearsal. Additional topics include brain-compatible teaching strategies to complement thorough score study, the science behind motivation, the role imagination plays in teaching, the psychology of rehearsal, and conducting tips and advice. All of these brain-friendly strategies serve to encourage singers’ active participation in rehearsals, with the goal of motivating beautiful, inspired, and memorable performances.
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16

Cottrell, Duane. Vocal Pedagogy in the Choral Rehearsal. A cura di Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.27.

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One of the primary endeavors of choral conductors is the facilitation of good choral tone, which is largely dependent upon the vocal technique of the individual singers. This chapter examines principles of historical vocal pedagogy, discussing their correlation with modern scientific research, and present suggestions for practical implementation of specific techniques in choral rehearsals. The chapter discusses four primary areas of vocal pedagogy in choral rehearsals: first, the significance of laryngeal position in choral singing; second, principles of resonance in singing and their impact on the choral sound; third, a discussion of breath support in choral singing; and fourth, principles of phonation and vocal production for singers in a choral setting. Each of these four discussions contain practical suggestions for the application of specific practices and exercises that will strengthen the vocal technique of choral singers.
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17

Demorest, Steven M. Building Choral Excellence: Teaching Sight-Singing in the Choral Rehearsal. Oxford University Press, USA, 2003.

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18

Demorest, Steven M. Building Choral Excellence: Teaching Sight-Singing in the Choral Rehearsal. Oxford University Press, USA, 2001.

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19

Head, Paul D. The Choral Experience. A cura di Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.3.

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Abstract (sommario):
Much has changed in the choral rehearsal room over the past two generations, particularly in regard to the role the choral conductor assumes—or commands—in the rehearsal process. This chapter discusses the ever-evolving stereotypical roles of the conductor, while examining alternatives to traditional leadership models with particular emphasis on the encouragement of student engagement and peer-based learning. In addition to the facilitation of collaborative learning exercises, the chapter outlines a specific process of written interaction with the choral ensemble. This section is inspired by the renowned “Dear People” letters of Robert Shaw. Finally, in response to the recently revised National Standards for Music Education in the United States, the author discusses possible implementation of the Standards in a performance-based classroom. In the shadow of the relatively recent phenomena of collegiate a cappella groups, these student ensembles have created a new paradigm for peer-led instruction.
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20

Carrington, Simon, e Jason Vodicka. Professional Adult Choirs. A cura di Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.22.

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This chapter provides an overview of the history of professional choruses and offers insight into the structure, choral pedagogy, history of choral music, and current state of professional choral ensembles in the United States. The authors first provide an historical overview of the professional choir, demonstrating that professional choral choruses have been a staple of Western society since the medieval era. They then report on the limited body of research dealing with the rehearsal pedagogy of professional ensembles. Data were gleaned from scholarly publications and from information provided by Chorus America. Additional data comes from personal interviews with conductors of professional choirs, from singers who perform as professional choristers, and from one co-author’s experience as a founding member of The King’s Singers. The authors note the need for further research into this rapidly expanding field.
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21

Paul, Sharon J. Art and Science in the Choral Rehearsal. Oxford University Press, Incorporated, 2020.

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22

Paul, Sharon J. Art and Science in the Choral Rehearsal. Oxford University Press, Incorporated, 2020.

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23

Wolfe-Hill, Nana. Collaboration and Meaning Making in the Women’s Choral Rehearsal. A cura di Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.10.

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Abstract (sommario):
This chapter gives examples of collaborative choral methods that impact female singers positively and holistically as individuals and musicians. A brief overview of the inception and facets of feminist pedagogy reveal its potential influence on singers and lays the groundwork for a qualitative research study of a collegiate women’s choir led by a conductor who has adopted the values of feminist pedagogy. The case study illustrates ways in which feminist pedagogy can be implemented in the choral rehearsal through collaborative methods that give singers the opportunity to make their own decisions within the music-making process. Through these collaborative learning techniques, singers experience an increase in mental engagement, confidence in their abilities, ownership in the music-making process, and improved musicianship. The exploration of multiple meanings and meaning-making via collaborative methods is a catalyst for self-expression, improved performance experiences, and a greater capacity within choral pedagogy to understand and relate with others.
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24

Abrahams, Frank, e Daniel Abrahams. Choral Pedagogy and the Construction of Meaning. A cura di Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.11.

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Abstract (sommario):
In this chapter, the authors focus on pedagogies, such as the theories of Lev Vygotsky and the active learning concepts of John Dewey, that contribute to the making of meaning, and the acquisition of meaningfulness by proposing a sociotransformative approach to choral pedagogy in the teaching of the expert chorister. Based on constructivist learning theories, and applying reciprocal teaching, this perspective centers on the conductor’s influence as they design opportunities for dialogic conversation, authentic activity, metacognition, and reflexivity. When skillfully integrated into the fabric of the choral rehearsal/performance continuum, the pedagogy brokers singers into a community of practice. The rehearsal scaffolds and schema foster competency, personal and musical agency, identity, and critical consciousness among the singers. This ensures that the performance is more than the singing of pitches with accurate rhythms, dynamics, and intonation, and embodies both cognitive and affective responses to the music and the music making.
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25

Jordan, James, e Matthew Mehaffey. Choral Ensemble Intonation. GIA Publications, 2001.

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26

Warner, David L. An investigation of patterns of motivation in rehearsal construction of selected high school choral conductors. s.n.], 1986.

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27

Lakschevitz, Eduardo. Conducting Corporate Choirs in Brazil. A cura di Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.14.

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Abstract (sommario):
Corporate choirs represent a large part of choral music-making in Brazil. Many Brazilian companies hire choral directors to develop group singing activities with their employees, thanks in part to the recent Music Education Bill. These directors face very particular challenges that are rarely considered in their training at colleges and universities. Nonetheless, they are a significant part of the work of choral directors in Brazil. Leading a peripheral activity in relation to the company’s core business, lack of rehearsal time, volunteer singer participation, inappropriate physical conditions, management that is not akin to the arts field, and easy access to contemporary urban activities and gadgets are some factors that create these particular challenges. The corporate choir director must bridge these factors with musical procedures of their work, and approach with a more critical view issues such as repertory choice, conducting techniques, and rehearsal procedures.
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28

Abrahams, Frank. Critical Pedagogy as Choral Pedagogy. A cura di Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.1.

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Abstract (sommario):
In this chapter, the author suggests that choral directors use the tenets of critical pedagogy as the framework for the choral experience, a shift in traditional choral pedagogies. The chapter explores the roots of critical pedagogy. In particular it discusses the ways an approach grounded in critical pedagogy might remedy issues of the inappropriate uses of power, the marginalization of singers, and hegemonic practices in school politics. The text suggests rehearsal strategies and explains techniques of reciprocal teaching to better connect the ways singers engage with music and in the process develop musical agency and hone the 21st-century learning and innovation skills of collaboration, communication, creativity, and critical thinking. Finally the chapter addresses the artistic processes of creating, performing, and responding, which are the cornerstones of the 2014 National Core Arts Standards in the United States.
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29

Goetze, Mary. Repertoire as Pedagogy. A cura di Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.18.

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Abstract (sommario):
Including music from a wide range of cultures calls for choral directors to rethink the common practices employed in most choral rehearsals, and to open themselves to a world of new procedures within rehearsals and performances. Since few directors are also ethnomusicologists, these new practices may also impact the role the director plays in the rehearsals. This chapter challenges directors to define their reasons for including vocal music from outside the western art tradition. Directors should consider alternative processes for finding repertory, presenting it to the ensemble, and sharing it. They need to address challenges singers meet when matching vocal timbres and movement that are concomitant with multicultural musical traditions. Finally they must blend consistent choices with repertory that reflects cultural diversity.
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30

Harrison, Scott, e Anthony Young. Choral Pedagogy and the Construction of Identity. A cura di Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.8.

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Abstract (sommario):
The chapter speaks to the creation of an encouraging environment in which singing is considered a natural part of male identity. The chapter begins by problematizing the issue of boys’ identity, and addresses some of the concerns raised in the literature and recent research regarding a reluctance of males to sing in the choral setting. After a brief overview of the physiological aspects of changing voice, the chapter moves to discuss the practical considerations. The chapter reflects on practitioners and scholars that have had positive experiences of singing, and issues are systematically addressed with reference to repertoire, technical work, rehearsal strategy and other non-musical concerns. The chapter concludes with a manifesto for male singing across the lifespan which seeks to address the critical point at which boys often stop singing in choirs: the moment they begin to reconstruct their identity at adolescence.
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31

Hicks, Michael. A Cultural Necessity. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039089.003.0006.

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This chapter discusses the activities of the Mormon Tabernacle Choir under Richard Condie's conductorship. On August 20, 1957, the First Presidency met to discuss who should replace Spencer Cornwall. They chose Newell Weight, a choral conductor at Brigham Young University, but he was on a two-year leave doing graduate work at the University of Southern California. Condie was appointed initially on a “limited” basis, but ended up directing the Choir for sixteen years. Not long after, Condie was accused of dropping old Choir members and installing in their places his University of Utah students. He was turning the Tabernacle Choir into “a university chorus.” This chapter considers Condie's rehearsal methods for the Choir, the Choir's recordings and its television appearances, domestic tours, and success in the areas of popular music and classical music. It also describes the Choir's identification with conservative Americanism as well as its dwindling reputation.
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32

Hibbard, Therees Tkach. The use of movement as an instructional technique in choral rehearsals. 2002.

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33

Singing High Pitches With Ease. Neil A. Kjos Music Company, 2003.

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34

Bjella, Richard. The Art of Successful Programming. A cura di Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.16.

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Abstract (sommario):
It seems that many concert programs are presented without enough concern for the overall flow, purpose, and direction of the choral performance itself. Often, many wonderful selections are included, but rarely do they truly work together in tandem or with enough significant diversity and color changes to warrant the audiences complete attention. Several unique models for programming at all levels are discussed. Questions are raised concerning choral programming tendencies (from Psalm choral settings to mixed meter music to Carmina Burana) and how the building of varied repertoires and unorthodox pairings can assist true success. In this age of diminishing crowds, fiscal resources, and rehearsal time, our ability to creatively weave the material to capture our singers and our audiences at the same time is extremely critical. Finally, we touch upon engaging the audience from the moment the ensemble takes the stage until the final ovation.
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35

Abrahams, Frank, Anthony Rafaniello, Jason Vodicka, David Westawski e John Wilson. Going Green. A cura di Frank Abrahams e Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.4.

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This chapter describes a collaborative project that studied the applications of Lucy Green’s informal music learning curriculum within the context of high school choral ensembles. For a 12-week period, the conductors of four high school choirs charged students in small groups to copy a Christmas carol of their choice from a recording or to create a new arrangement inspired by the recording without intervention from their conductor. They would perform those carols at a public concert during the December holiday season. The overarching research question addressed the efficacy of informal learning as choral pedagogy to nurture the students’ musicianship in choir. Data consisted of interviews, video recordings, and reflective journals. Results showed a positive impact on group cooperation, peer-directed learning, choral rehearsal strategy, leadership, and personal musical identity. It also served as a catalyst to change perceptions of students and teachers relative to musical skill and ability.
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36

Crowther, Duanes. Teaching Choral Concepts: Simple Lesson Plans And Teaching AIDS for In-rehearsal Choir Instruction. Horizon Pub & Dist Inc, 1993.

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37

Cottrell, Stephen. The creative work of large ensembles. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0013.

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Abstract (sommario):
Preparing large ensembles for performance involves musical, social, logistical and financial challenges of a kind seldom encountered in other forms of collective music-making. The conventional approach to meeting the challenges that arise during rehearsal is to appoint a single musical overseer, usually a conductor, whose ostensible role in musical preparation is to directly influence the musicians while working towards the creation of a musical product to be delivered in later performances. Rehearsal leadership, viewed from this perspective, moves predominantly in one direction, from conductor to ensemble. But such a perspective oversimplifies the conductor’s relationship with the ensemble, the relationships between the musicians, and the strategies that the latter must employ when working in large ensembles. Conceptualizing the ensemble as a complex system of interrelated components, where leadership and creative agency are distributed and developed through rehearsal to achieve what audiences assume to be a unified whole, yields new understanding of the work of large ensembles. This chapter examines these components of the creative process in orchestral and choral rehearsal and performance, the internal and external forces shaping and constraining that process, and the approaches that individual musicians and conductors could adopt in response to the changing contexts in which such creativity might be manifested.
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38

Malone, Thomas. “Singer’s Music”. A cura di Roger Mantie e Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.27.

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Abstract (sommario):
With a turbulent musical fabric of open and parallel fifths, high-decibel vocal production, and a grassroots DIY organizational structure, Sacred Harp singing has been described variously as “Gregorian Chant meets Bluegrass” and “Punk Rock Choral Music.” With historical roots in rural singing schools of New England and the American South, singing from The Sacred Harp tunebook remains a living, growing, and vital musical multinational subculture that operates without auditions, rehearsals, or performances. This chapter discusses participatory and social factors of music outside the presentational frame, the ideas of serious leisure, and philosophical notions of musicking and musical praxis to illuminate ways in which Sacred Harp singing stands apart from the concertizing traditions of Western art music and choral performance.
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39

Gumm, Alan. Making More Sense of How to Sing: Multisensory Techniques for Voice Lessons and Choir Rehearsals. Meredith Music, 2009.

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40

Wis, Ramona M. Gesture and body movement as physical metaphor to facilitate learning and to enhance musical experience in the choral rehearsal. 2002.

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