This qualitative mini-treatise explores how South African choral identity is perceived by three regional children’s choirs, facing challenges of representing cultural diversity against the background of an ongoing process of social transformation. The study proposes that choirs from South Africa project a distinctly South African “choral” identity which they themselves have constructed by fabricating a mental representation of themselves, and which they project outwardly by means of a range of musical and extra-musical elements observable in the cultural product and artifacts generated over time. The researcher has analyzed a selection of cultural products and artifacts of the Eastern Cape Children’s Choir, the Cantare Children’s Choir and the Tygerberg Children’s Choir, in order to identify common practices among three subject choirs which sustain their continuity, in terms of Richard’s definition of identity (in Torres 2008: 3): “to name a set of practices which subjects may adopt in sustaining both the individual and, to varying degrees, collective continuity”. Research findings indicate that subject choirs are perceived, and project their choral identities, according to their musical ability to communicate and interact with other world-class choirs. Recurring practices undertaken by each subject choir, in order to maintain their international perspective, are identified as key to sustaining their continuity. Choral identity is furthermore strongly influenced by the choral tradition of the choir and the role of the conductor in developing their choral tone. This study is significant to regional children’s choirs seeking to overcome challenges of renegotiating cultural identity, as well as sustaining and expanding choral singing as an art form in South Africa.

Thesis (D.Mus)-University of Pretoria, 2005. / Abstract in Afrikaans and English. Includes bibliographical references. Available on the Internet via the World Wide Web.

Thesis (M.A.)--Florida Atlantic University, 2003. / Includes bibliographical references (p. 87-88). Also available on the Internet.

Thesis (M.M.)--University of Texas at El Paso, 2008. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 176-199). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--Michigan State University. Dept. of Music Education, 2008. / Title from PDF t.p. (viewed Sept. 9, 2009). Includes bibliographical references (p. 317-334). Also issued in print.

This diploma thesis is addressing the "National Performance of the Children's Choirs" in former Czechoslovakia and Czech Republic. It aims to map its beginnings in the early 1990s and follows its subsequent course and changes, primarily from an administrative viewpoint. Special chapters focus on propositions and repertoire of the attending choirs; index of the repertoire is attached as a supplement. Key words children's choirs, parade, festival, choirmaster, children's choir compositions

Firstly, the matter of constituting a choir is discussed. This involves auditioning, with its attendant problems of nervousness and self-consciousness on the part of the children, and assessment on that of the trainer. In the final analysis, after enthusiastically advertising the rewards to be gained from choral singing, and after trying to create an environment which is seen to be conducive to this philosophy, the trainer has to make the best of the willing forces available. Rehearsals are probably more important than performances, since the time devoted to preparation is much longer. Moreover, the educational value of carefully preparing the music and of becoming acquainted with the techniques of singing and with the aesthetic niceties of style and interpretation should by no means be underestimated. The choir and trainer get to know not only the music but also each other, and the trainer has to use his skills wisely in developing the human and musical resources available to him, in order to realize their greatest potential (Introduction, p. ii-iii)

The intent of this study was to observe four at-risk adolescent females participating in a community youth choir. Their self-concept and behavior were monitored for sixteen weeks to see if this music experience had any impact on them.The four girls were institutionalized at a treatment facility for troubled juveniles and wards of the state of Indiana.The girls participated in the White River Youth Choir.Qualitative data were gathered via rehearsal observations, weekly cottage dinner visits, journal entries, formal and informal dialogues. telephone calls, written correspondence. and miscellaneous materials.Two standardized inventories were used as supplementary data.The Child Behavior Checklist/4-18 (CBCL/4-18) was filled out by a counselor. The Tennessee Self-Concept Scale: Second Edition (TSCS: 2) was completed by the girls.Data management and analysis were aided by QRS NUD*IST software (Non-Numerical Unstructured Data Indexing. Searching, and Theory-Building).The naturalistic inquiry technique of triangulation was emphasized when discovering patterns among various interrelationships.Emerging themes were:music plays a role in these girls lives, a three versus one division separates the girls, the girls segregate themselves from others, a community choir may not be the panacea, and indications that the girls have been or are at-risk sexually.Behavior and self-concept changes occurred but could not be attributed specifically to choir involvement.Findings of the study suggest that uncontrolled factors (i.e. staff turnover. communication problems, absenteeism, and anti-social behavior) must be addressed before at-risk teenage girls could successfully assimilate themselves into a community youth choir.An on-campus music experience is recommended for institutionalized female adolescents. Organizing a music ensemble having support of institutional staff, emphasizing short-term commitment, using a staff member as director, allowing ownership by using familiar music as well as letting the girls have a say in its choice. providing reasonable challenges. and giving girls individualized attention is suggested. / School of Music