Thesis (M.M.)--Baylor University, 2007. / Includes bibliographical references (p. 31-33).

Thesis (Ph. D.)--University of Oregon, 2004. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 102-105). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (D.M.A.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Apr. 22, 2007, Nov. 11, 2007, and Apr. 6, 2008. Includes bibliographical references (p. 48-50).

Thesis (D.M.A.)--University of Houston, 1998. / Includes the author's textbook: Music literacy for singers : a comprehensive and sequential system for building basic sightsinging skills (1 score (iv, 577 leaves)) which contains sight-singing exercises for 1-4 voices. Includes bibliographical references (leaves 54-57).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1994. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 231-235).

Thesis (Ph. D.)--University of North Carolina at Greensboro, 2007. / Title from PDF title page screen. Advisor: Constance L. McKoy; submitted to the School of Music. Includes bibliographical references (p. 98-104).

This qualitative mini-treatise explores Musical expressivity in choral singing with reference to three High School choirs in the Port Elizabeth area. Singing with emotions is not only a facial expression of some sort. There are so many more aspects which could be applied in order for the choral performance to be of an outstanding nature and not merely a performance. The researcher questioned the possibility of introducing expressiveness into rehearsals and performance through the application of more expressive conducting techniques, more detailed musical aspects and a general sense of unity within the group. The choral conductor plays a primary role and should therefore be considered as the most important link between choir and excellence. Focus is put on specific warm up exercises and suggestions are put forward regarding the development of your own, personalized exercises which suits your own unique setup. Data was collected through open-ended interviewees of the three school choir conductors as well as data from current and past studies on various topics. The perceptions of these conductors were noted and the manner in which they apply Musical knowledge during their rehearsals. Research findings indicate that not enough emphasis is put on expressive singing during rehearsals. More research done by the conductors and attending workshops are recommended for personal growth and development.

This study is an initial attempt to identify the most common Afrikaans diction challenges experienced by non-Afrikaans mother tongue speaking choirs, and to explore means of confronting these challenges. No dedicated source exists for choral diction in Afrikaans as a foreign language. This study reviews personal views and literature from various fields that would inform several key elements necessary for the creation of such a source. The primary data for this study was collected through study questionnaires, completed by expert choral conductors who are highly regarded for their success in teaching and performing Afrikaans diction in non-Afrikaans mother tongue speaking choirs, in performance settings such as the ATKV-Applous Choir Competition. Through its proposition of methods for the improvement of Afrikaans diction practices in the non-Afrikaans choral setting, the study promotes the prolific composition of Afrikaans choral literature, and its ubiquitous inclusion in choral repertoire both in South Africa and abroad.

No description available.

The purpose of this study was to investigate the phenomenon of choral blend through acoustical analysis of individual vocal sounds. One aspect of the study involved identifying and comparing the acoustical qualities of sounds produced in the usual solo manner and sounds produced by the same singers attempting to blend with a unison ensemble. Another aspect of the study involved identifying and comparing the acoustical qualities of vocal sounds identified as blending well and poorly with a unison ensemble. Singers attempting to blend adjust their overall intensity not only to affect the perceived loudness of their tones, but also to facilitate other acoustical changes which are helpful for achieving blend. Vocal blend apparently may be achieved more readily on vowels having few upper partials than on vowels having numerous upper partials. Where vibrato is employed, certain vocal sounds can achieve a good blend even though their fundamental frequencies only approximate the theoretically correct frequency. There apparently is an interaction between the vibrato of a vocal tone and its spectral features, making it advantageous for the singer to adopt mutually beneficial approaches to both factors in order to blend. Vowel modification effective for achieving vocal blend- -at least for sopranos-- appears to consist primarily of changes in the intensity relationships between the vowel formants. Singers' variations in frequency extend beyond the boundaries of any system of tuning or temperament.