Thesis (Ph. D.)--University of Oregon, 2007. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 153-160). Also available for download via the World Wide Web; free to University of Oregon users.

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

The purpose of this study was to examine the repertoire selection practices of collegiate choral conductors at nationally recognized, religiously-affiliated, undergraduate-focused institutions for choral music performance. Participation in the study was determined based on the institution's history of invitational performances at the national conferences of the American Choral Directors Association for the period 1995-2015. The study involved a multiple case study of five Directors of Choral Activities and their five collegiate choral ensemble programs. Descriptive data were gathered from these five directors in the form of both concert programs of ten academic semesters and follow-up personal interviews pertaining to the content of the concert program collected data. The concert programs were analyzed for genre type, secular versus sacred text, language, composer, historical era, number of times performed, and any other appropriate commonalities. An examination of the application of repertoire selection principles (criteria) to varying levels of musicianship proficiency was conducted and an explanation regarding the learning purposes for each ensemble at the institutions was studied. Commonalities in repertoire selection practices for the purposes of vocal and musicianship growth were identified to support the scholarly literature on the subject of repertoire selection. This included the need to engage students in the repertoire selected by providing a balance of variety in historical era or style, genre, modality, key center, language, meter, and tempi. The repertoire selected for performance by all five institutions, as well as the individual conversations with the research participants, are included in the document.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 136-139). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 136-139). Also available on the Internet.

Thesis (Ph. D.)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 154-167).

Submitted to the Faculty of Arts in fulfillment of the requirements for the degree of MASTER OF ARTS in the Department of African Languages at the University of Zululand, South Africa, 2009. / The main concern of this dissertation is an attempt to bring forward the contributions Choral Music has and is still playing in the promotion of Language and Literary aspects. The study commences by laying out the challenges this art form (choral music) is facing, namely that its composers are not taken seriously and are not fully recognised in promoting the economy of the country and the well being of all, through the message it passes on in a form of entertainment. This study further attempts to describe the historical background of choral music by giving its definition, goals, essential elements of music, notation and form including musical instruments that are used in African and Western cultures. The study continues explaining how the different individuals participate either in listening and/or creating music in order to understand the emotional content of the piece, pathos, love, anger - as well as the story itself which is communicated through words, music, movement and technical aspects of the entertainment as an integrated whole. Last but not least, the study rounds up by showing how the linguistic aspect of music is conducted either in a Western or African route by learners in Mpumalanga Province in order to promote social, political and cultural tolerance. The study finally closes by recommending on how the literal aspects of introducing music in Mpumalanga Schools could be introduced. This includes proposed resources in curriculum such as buildings and the type of personnel that could be identified and be supported in order to introduce music as an examination subject in schools.

Submitted in partial fulfilment of the requirements for the Degree Doctor of Philosophy in the Department of African Languages in the Faculty of Arts at the University of Zululand, South Africa, 2003. / The life and work of Doctor Sibiya, Peter Qwabe and Isaac Tlou deals with their life stories and four compositions of each. The three human subjects are used in a symbolic form to depict the struggle of people from disadvantaged communities who despite of all odds, emerged and succeeded to give back to their communities through their compositions and expertise in choral music by running choral music workshops and adjudicating in choral music competitions. The first chapter is the introductory perspective of this research, which includes the explanation of music as common factor among the three oral sources, factors to be born in mind when conducting a research with oral sources, motivation, aims and the role of music in African societies of the study and research methodology. The second chapter deals with the effects of the South African policies before 1994 to Sibiya, Qwabe and Tlou as well as other black South Africans in order to understand and appreciate the full extent of circumstances from which these contributors emerged. A brief historic review of South Africa, and the extent of the educational deprivation of the black people will be looked into. The third chapter deals with the life and work of Doctor Sibiya in which four of his compositions are transcribed in both tonic solfa and staff notation

No description available.

Choral experts have promoted either sectional block or mixed seating formations in choirs for various reasons. Previous research by Lambson indicates that there is no clear advantage to choral sound in either mixed or sectional formations, and, according to Tocheff, mixed formation has no advantage over sectional block formation. This research attempted to relate choral seating arrangements to individual musical growth and sociological dynamics. One hypothesis suggested that a mixed formation promotes individual musical growth in ear-training/sight-singing, vocal freedom, perceived scope of a choral work and also promotes group cohesion. The second and third hypotheses considered the correlation between the percentage of time spent in mixed formation and individual and group trust. Only two relationships were statistically significant: between mixed formation and perceived scope of a choral work, and between the percentage of time spent in mixed formation and group trust. An ancillary finding suggests that individuals who sing in mixed formation, prefer to sing with individuals from different voice parts. These findings suggest that individual musical growth and individual responsibility are enhanced in mixed formation.