This study investigated the effect familiarity with a teacher had on student interpretations of teacher verbal praise in seventh and eighth grade choral ensembles. A stimulus tape was constructed of 16, 30-second videotaped clips containing verbal praise of four teachers. Teachers identified their intent in the use of praise in each example. Students (n = 80) from the four choirs responded to the tape by labeling the praise in each clip as deserved or as one of three types of instructional praise (i.e., praise to encourage, to send a message to other students, or to seek student cooperation). Comparisons were made between choirs in labeling the praise. Comparisons were made also between each teacher's stated purpose in praising and the interpretations of choirs familiar and unfamiliar with the teacher. Choirs who were unfamiliar with the teacher differed from the teachers' own students in interpreting the praise: Students who knew a teacher labeled the praise as deserved in five clips, but unfamiliar choirs thought the praise served an instructional purpose. In four clips, choirs differed in their interpretations of the type of instructional praise. Students familiar with a teacher recognized their teacher's intent in praising in 12 of 16 clips. In some situations, familiarity with a teacher and context made a difference in detecting the teacher's purpose for praising. In five clips where teachers identified the praise as deserved, students unfamiliar with the teacher and context thought the praise was intended to encourage students. Students across choirs were particularly sensitive to a teacher's use of praise to send a message to other students. Students are keen observers of teacher praise. Findings suggest students discriminate between praise directed at the performance and praise used for instructional purposes, suggesting that observation instruments that rely on a single label for praise might miss important information. Findings support the importance of determining how teachers intend praise to serve and how students interpret the behavior.

This study investigated the repertoire selection experiences that undergraduate choral music education majors are given at two different universities in Indiana. The lives of the instructors who teach undergraduate choral music majors how to select repertoire were examined with the goal of getting a better understanding of what life experiences may have influenced their decisions about the types of repertoire selection activities they would require of their students. Both instructors give their students repertoire selection experiences; however, their life experiences and current teaching situations have influenced the types of repertoire selection experiences they choose to offer to their students. The type of education the professors had influences the types of repertoire selection assignments they give. The size and design of the music curriculum affects the amount of time professors can devote to teaching repertoire selection. / Introduction to the study -- Literature review -- Method -- Dr. Green and Jefferson University -- Dr. Asher and Kerr University -- Comparison of Dr. Asher and Dr. Green -- Discussion. / School of Music

The purpose of this study was to document the compositional process of the American composer, Rene Clausen (b. 1953). The writer conducted three days of interviews with Dr. Clausen to discuss his compositional process in selected choral works. The discussion included Clausen's "creative impetus," and "compositional approach" to the elements of text, harmony, rhythm, melody and texture.The writer examined Clausen's thirty-three published choral works. Three works representative of his choral output were selected: "All That Hath Life and Breath Praise Ye the Lord" (1981); "0 Vos Omnes" (1986); and "Whispers of Heavenly Death" (1993). These works were selected upon the composer's recommendation as pieces which are representative of his choral style.Clausen's "creative impetus," his musical influences and motivation, form what he terms "deep background." This material, some learned, but most absorbed through various musical experiences and influences, is placed into a "big bin" from which Clausen draws when making compositional decisions.The text is the genesis of Clausen's process. When selecting texts, Clausen looks for ones that will evoke certain colors, nuances, or images.Clausen's second step is to absorb the meaning of that text. During this important absorption process Clausen develops an idea of what the character of the piece will be.The third step is the emergent process: generating thoughts about thematic material, intermittent ideas, textures, and transitional material which will be presented. Clausen manipulates the elements of harmony, rhythm, melody and texture to express the forms and images present in the text.An examination of Clausen's compositional approach to the following elements was conducted: HarmonyClausen's approach is extended diatonicism with traditional harmonic movement leading toward goal oriented harmony.RhythmClausen uses a variety of rhythmic approaches to express the text: mixed and asymmetrical meter, free unmeasured rhythm, and dove-tailing sections rhythm and metered music. MelodyClausen's approach is based upon the parameters within which he is writing and on the imagery present in the text. TextureClausen's approach is based on two aspects: the level of difficulty or level for which the piece is written and the images expressed in the text. / School of Music

The experimental choral psalm settings of Charles Ives (1874-1954) show rhythmic, melodic, and harmonic innovations that pre-date many of his composing contemporaries such as Schonberg and Stravinsky. Of these works, only Psalm 67 is performed regularly. Regardless of their historical significance, the remaining experimental settings; Psalms 14, 24, 25, 54, 100, 135, and 150 are rarely performed due in part to their level of difficulty.This study presents a series of learning sequences for these psalm settings that can be implemented into typical rehearsal periods for advanced or auditioned choral ensembles. The sequences includes choral exercises and drills that introduce pertinent scalar and tonal structures, harmonic considerations, and varying rhythmic patterns. Various techniques are applied including musical chunking and octave displacement.A preliminary study was performed for the learning sequences designed for portions of Psalm 25. Participants and observers found the learning sequences to be effective in fostering an efficient use of rehearsal time. Revisions to the sequences were made according to suggestions from choral music faculty observers and completed participant questionnaires. Upon completion of the revisions for the method for Psalm 25, similar learning sequences were developed for the remaining psalm settings. Gregg Smith, conductor of the Gregg Smith Singers and editor of the psalm settings, was also interviewed regarding his editing, rehearsing, and performing experiences with these works. / School of Music

Examined in this hermeneutic phenomenological study is a transformation in the researcher's choral music teaching in which students' abilities to construct self emerged organically from interactions, or dialogues, that took place among and between the students, the teacher, and the music being studied. To allow for such interaction to emerge organically and meaningfully, students and teacher both shared in the power needed to construct a classroom environment in which the localized issues of the classroom and the specific contexts of students' lived histories were maintained and encouraged. This process of interaction, based upon dialogue among and between equal agents in the classroom, is described in the study as dialogic interactionism. In order to examine the concept of dialogic interactionism, three constructs upon which dialogic interactionism is based were developed and philosophically analyzed. They include the construction of self through the construction of self-knowledge; the localized reference system of the classroom, and the issue of power. Each construct is considered within the context of extant writings both in general education and music education philosophy. Following the analysis, a theoretical description of the dialogic interactive choral classroom is given as well a description of how such ideas might be realized in practice. The study concludes with issues for further study.

It is the purpose of this study to set forth facts, substantiated by investigation of authoritative sources, proving that all selections used on the concert program of a high school chorus should serve a permanently constructive purpose toward the musical growth of the students. The first part of the thesis concerns those elements which have to be taken into consideration in teaeching any high school music group These are: 1. The psychological make-up of the group in regard to age and physical development. 2. The psychological make-up of its audience. 3. The existing level of musical skill of the group as a whole. 4. The existing degree of aesthetic appreciation of the chorus and its audience. The latter part of the work specifies the aims in vocal instruction of the high school choral course. These include sight reading, breathing, tone, pitch, diction, phrasing, and interpretation. It also attempts to demonstrate how the preparation of a concert program serves to accomplish these aims. This involves a critical evaluation of each number on a proposed program in reference to the following points: 1. Psychological reception by the group and its audience. 2. Its contribution toward improved aesthetic discrimination on the part of singers and listeners. 3. The opportunity afforded for specific vocal and musical training.

These eight were selected as typical lyrics to meet the diverse interests of students in the intermediate grades and to aid the teachers of those students in transmitting desired precepts and ideals. The poems are short and varied in verse form. The subject matter ranges from pirates and fairies to one's own conscience and Christmas; the moods, from whimsicality and nonsense to patriotism and reverence. The marked poetic devices influencing the choice of these particular lyrics are their rhythmical and alliterative quality; their rich, lively, yet correct language; their vivid imagery; their emotional appeal; and in a few cases their narrative quality.

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)