The purpose of this research was to investigate factors affecting choral music preferences of adolescents. The rationale for this research comes from the importance of teaching culturally diverse music in 21st-century music classrooms and the possibility that curricular content and ethnic identity may affect preferences for this music. Six research questions guided the study: (1) How are middle school students' preferences for choral arrangements of folk music grouped? (2) Is there a significant main effect of type of curriculum content instruction on middle school choral students' choral music preference scores? (3) Is there a significant main effect of time on middle school choral students' choral music preference scores? (4) Is there a significant type of curriculum content by time interaction? (5) Descriptively, within each ethnic group, does strength of identity relate differently to growth in scores in different interventions? (6) How do middle school students describe their reasons for their preference? One hundred and thirty-two sixth, seventh, and eighth grade chorus members (11 to 15 years old) participated in the study. Subjects were randomly assigned to one of three intervention groups receiving different curricular content: music concept-based, sociocultural-based, or discussion-based. At the outset of the study, all subjects took a measure of ethnic identity. Two weeks later, all subjects took a preference pretest of eight music excerpts from choral arrangements of folk songs originating from the following cultures: African, American, Asian, and Latin American/Caribbean. One week after their pretest session, subjects took a posttest while simultaneously receiving one of three interventions based on one of three approaches to curricular content. Two factors emerged from principal axis factor analysis of pretest scores. The first factor (simple texture subscale) included arrangements of folk songs with simple unison or predominantly homophonic vocal textures. The second factor (complex texture subscale) included arrangements of folk songs with complex polyphonic vocal textures. A split-plot ANOVA analysis revealed no statistically significant main effects of intervention or time, and no statistically significant interaction of intervention and time for the simple texture subscale. A second split-plot ANOVA revealed no statistically significant main effects, but a statistically significant interaction of intervention and time for the complex texture subscale. A regression analysis revealed that adding ethnic identity scores to preference pretest scores did not help predict to a significantly better extent posttest scores for any of the three intervention groups. Subjects' open-ended responses were placed into one of four categories: musical, sociocultural/linguistic, affect, or perception of performance. Subjects in the sociocultural-based group wrote more sociocultural/linguistic comments than subjects in the other two groups, and subjects in the discussion-based group wrote more affect comments than subjects in the other two groups. Subjects in all three groups seemed to lack the musical vocabulary to describe why they liked or disliked the selections. Comments about perception of performance most often referred to subjects' perceptions that singing songs with complex textures or songs in a foreign language would be too difficult for their chorus. Numerous factors interact to affect music preferences. By continuing to study their students' music preferences, general music teachers and choral directors can gain further insights into how to best approach culturally unfamiliar music. Using a combination of music concept-based, sociocultural-based, and discussion-based curricular content may be an answer to ways to foster positive preferences for culturally unfamiliar choral music. Focusing on curricular content is important; however, general music teachers and choral directors may find success by initially introducing students to culturally unfamiliar choral music with simple vocal textures before songs with complex vocal textures. / Music Education

This study examines the incorporation of kinesthetic pedagogy in secondary choral rehearsals and its impact on student engagement and learning. Three experienced high school choral teachers and their students from Northern California participated in the study. Each teacher conducted four consecutive rehearsal sessions, recording themselves instructing on two pieces of music using teacher-modeled and student-imitated kinesthetic gestures. Students completed daily surveys assessing their enjoyment and engagement levels, and teachers provided a final reflection on their usual kinesthetic practices. Video footage of twelve rehearsals and teachers’ final reflections were analyzed to identify patterns in kinesthetic usage, revealing that these teachers’ kinesthetic instruction was primarily centered on 1) Rhythmic Pulse/Accuracy, 2) Vowel Shape, and 3) Technical Knowledge. Teachers used almost twice as many kinesthetic prompts when rehearsing with student-imitated kinesthetics compared to kinesthetics modeled only by the teacher. Data from student surveys were analyzed to categorize reasons for enjoyment and identify alignment between students' perceptions of learning and kinesthetic practices. The incorporation of kinesthetic pedagogy in secondary choral rehearsals enhanced student engagement, enjoyment, and learning outcomes.

Adolescence is a time of rapid and sometimes widely varying changes in the voice (Cooksey & Welch, 1998; Gebhardt, 2016; Harries et al., 1998; Killian, 1999; Sweet, 2015). As such, content and pedagogical knowledge of the voice is particularly important for educators when supporting adolescent singers. Shulman’s (1986) framework, Pedagogical Content Knowledge (PCK), is a tool to examine the ways in which educators integrate their content and pedagogical knowledge with their knowledge of individual learners to best support student learning outcomes. The purpose of this study was to explore the preparation of secondary choral educator candidates in Wisconsin with specific regard to supporting adolescent voices. This study was completed using qualitative methods through a collective case study design to gather personal knowledge and experiences of student teacher candidates serving in two separate educational settings and attending different teacher preparation programs in Wisconsin. Methods of data collection included interviews with student teacher candidates and their cooperating teachers, syllabi from choral methods courses, and a video teaching sample from each student teacher. This study found that student teachers felt confident in their abilities to teach in several topics related to the adolescent voice, however there were also areas that they identified as emerging skills in need of additional support. State licensure boards and teacher preparation programs may use these findings to guide future curriculum and licensure requirements in ways that may better support the identified areas for growth.

Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works. My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana. Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity. The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda). / Art history, Visual Ars and Musicology / D. Mus

This document represents an initial endeavor in a long-lasting aspiration to pursue the study and collection of Latin American choral literature. This essay compiles the most complete and current catalogue possible of choral works written by nine Venezuelan composers born in the twentieth century and presents it in a simple and accessible format so it can be used by a variety of school teachers, choral conductors, church musicians, college directors, and professional musicians. Each composer entry presents a brief biographical note and a list of works organized in alphabetical order. The annotation for each composition includes information in eighteen categories. It also includes an extensive list of biographical resources. In addition, a list of terms and definitions of folkloric and traditional genres will help the reader understand the diversity of Venezuelan musical styles and dances; there is some additional information with regard to performance practice.

This study explores the choral cycle as a genre and analyzes in depth four representative choral cycles, all of them American, and all composed in the twentieth century. Choral cycles are multi-movement choral works intended by their composers to be performed as sets. The term “choral cycle” has been used for only about a hundred years; similar genres include song cycles, for solo voice, and cantatas, usually for soloists and choir. Choral cycles, however, typically use several poetic texts unified by common theme or common author, and do not typically contain solo movements. The evolution of the use of the term by some composers and publishers has been inconsistent, but it seems to have been an effort to describe compositions that were inadequately described by other genre names. This study shows that composers and musicologists have used the term with increasing frequency. The four choral cycles analyzed in this study are The Hour-Glass by Irving Fine, American Madrigals by Kirke Mechem, Voices by Stephen Paulus, and Five Hebrew Love Songs by Eric Whitacre. These four cycles demonstrate widely divergent compositional techniques, performing force requirements, and uses of text. As such, they illustrate the wide range of possibilities within this genre. In addition to the detailed analysis of the aforementioned choral cycles, this study also provides background into the historical predecessors of choral cycles. An appendix offers a list of numerous other choral cycles for consideration. / Choral cycles in historical context -- The hour glass by Irving Fine -- American madrigals by Kirke Mechem -- Voices by Stephen Paulus -- Five Hebrew love songs by Eric Whitacre -- Summary and conclusions. / School of Music

Die Tabelle bietet eine Übersicht aller bekannten Auftritte der Leipziger Singakademie(n). Zu jedem Auftritt sind Datum, Ort, Anlass, Mitwirkende, Werke und Quellen angegeben. Das Dokument ist ein Anhang zu folgendem Buch: Stephan Wünsche: Die Leipziger Singakademie – Mitglieder, Repertoire und Geschichte. Studien zur Chormusik in Leipzig, besonders am Gewandhaus, Leipzig 2014 (ISBN 978-3-86583-906-0). Wichtige Hinweise zum Zustandekommen des Verzeichnisses, den Darstellungsprinzipien und Grenzen dieser Übersicht sind dem gedruckten Buch zu entnehmen. Die verwendeten Abkürzungen sind ebenfalls dort aufgeschlüsselt.

Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works. My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana. Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity. The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda). / Art history, Visual Ars and Musicology / D. Mus

Beyond the Binary explores the intersection of gender with cross-cultural identity in composer Reena Esmail's professional life and choral music. This intersection manifests in her musical style, which accesses the resonant spaces between Western and Indian classical music. I argue that it is through the convergence of Esmail's gender identity with her cross-cultural identity that her compositions challenge gender norms and break down perceived barriers between East and West, inviting her listeners into an intersectional feminist space. This project synthesizes musicological, theoretical, and ethnographic methods, and is meant as a starting point for choral musicians and scholars to consider cultural difference and its impact on choral music. What begins as a consideration of social themes within Esmail's life and work culminates in a practical musical analysis and performance practice guide to aid conductors in preparation of Esmail's music. The compositions discussed are I Rise: Women in Song (2016), Take What You Need (2016), TaReKiTa (2016), Tuttarana (2014), and This Love Between Us: Prayers for Unity (2016).

Craig Hella Johnson (b. 1963) has emerged as a leader in choral music over the last 20 years. As the conductor of the Austin, TX based chorus Conspirare Johnson implemented the European model of bringing singers together from all over the country to assemble for concerts and recordings over a short period of time. He is known for his collage programs which bring together many styles of music bound by a central theme. Through these programs he has written and arranged many pieces which are now published and being performed by choirs across the globe. Johnson's most significant work to date is a 90 minute passion oratorio which details the story of Matthew Shepard, a college student murdered in a hate crime in 1998. Considering Matthew Shepard (2016) is a wonderful example of Johnson's composition and programming style. Though not a traditional passion story, it is part of the evolution of the genre in the 20th and 21st centuries. The passion oratorio has seen a resurgence in the past 50 years and has undergone a transformation in that time. These new works pay homage to the history of the genre but have begun to stretch it in terms of form and content. This study will highlight the evolution of the passion oratorio focusing on Johnson's Considering Matthew Shepard and offer some insight into the composers style and how this work represents a modern treatment of the passion oratorio.