Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 87-96). Also available on the Internet.

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.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Includes bibliographical references (leaves [41]-42).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Includes bibliographical references (leaves [41]-42).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Description based on microfiche version record. Includes bibliographical references (leaves [41]-42).

This thesis explores connections between British amateur singers and black South African choral music that, over the past fifty years, have grown in strength and significance. By concentrating on a set of representative case studies, it investigates how and why this music is learned, performed and rehearsed within a variety of choirs and ensembles of different styles and experiences. In addition, the thesis focuses on certain songs that have become popular within specific choral contexts, and discusses the reasoning behind their enthusiastic reception and attractive power. My approach is ethnographical, and the material I present is taken from my own participant-observations of choir rehearsals, workshops and performances, as well as from interviews I conducted with choir members and leaders. On a theoretical level, this thesis engages critically with ethnomusicological and anthropological debates surrounding cultural appropriation. Particularly pertinent to each chapter are discussions concerning authenticity, cultural authority and power relations, and I explore the politics and logistics that are associated with British singers’ encounters with black South African choral music. By discussing critically these different levels of encounter and engagement, I offer some new and intriguing standpoints from which to consider existing debates surrounding cultural appropriation and, in so doing, suggest approaches for theorising cross-cultural encounters through a more nuanced postcolonial lens.

Esta pesquisa busca investigar o sujeito cantante, tecendo reflexões sobre o canto coral em uma abordagem psicanalítica. Para tanto, foram estudados alguns aspectos da música, da educação musical, do canto coral e da Psicanálise, relacionando as áreas e suas possíveis articulações. Após um breve levantamento conceitual e bibliográfico, foi escolhido o Coral Universidade de São Paulo (CoralUSP) para a pesquisa de campo, do qual, foram entrevistados cinco de seus regentes e três cantores. Essa pesquisa abriu reflexões sobre o canto coral por um viés psicanalítico, depois de acompanhar ensaios de dois dos doze grupos que constituem o CoralUSP e de abrir a discussão sobre a educação musical atual, mediante entrevista com uma educadora musical que atua pela via do canto coral. Os motivos que originaram o projeto desta dissertação remetem à promulgação da Lei Federal nº 11.769/08, que institui a obrigatoriedade do ensino de música nas escolas, embora não em caráter exclusivo. Essa nova legislação reacendeu algumas reflexões: por que a música é importante para a formação do sujeito? De que maneira ela pode ser trabalhada? Como o canto coral pode se articular às novas práticas? De que forma o canto se inscreve no sujeito? E, por fim, quem é o sujeito que canta? A discussão deste estudo é voltada tanto para coralistas ou ex-coralistas que compreendem a importância do canto coral em sua formação, mas que gostariam de se aprofundar nessa investigação sob um enfoque psicanalítico, quanto para educadores (formais, informais, polivalentes ou de formação musical específica), a fim de que percebam o impacto das influências musicais e, mais precisamente, corais no campo da educação e da constituição do sujeito. Pedagoga, coralista de longa data e atual professora de canto coral, motivada pela musicalização da escola e seus impactos, esta autora estabeleceu o compromisso com sua dissertação e com a pesquisa educacional, aceitando o desafio de uma leitura psicanalítica da educação musical por meio do canto coral. Em suma, o que se pretende com esse estudo é investigar as marcas deixadas pela voz, pelo canto coral, na formação do sujeito cantante, o que está menos ligado a métodos do que às paixões que movem o desejo e que constitui um novo semblante para o sujeito psicanalítico. / This research aims to investigate the singing subject, weaving thoughts on choral singing in a psychoanalytic approach. For this, some aspects of music, musical education, choral singing and psychoanalysis were studied by relating the areas and their possible connections. After a brief conceptual and bibliographical survey, the University of São Paulo Choir (CoralUSP) was chosen for the field research, from which five of its regents and three singers were interviewed. This research opened reflections on choral singing by a psychoanalytical view, after accompanying rehearsals from two of the twelve groups that constitute the CoralUSP and opening discussion about the current musical education, during an interview with a music educator who operates by means of choral singing. The reasons that led to the project of this dissertation refer to the enactment of Federal Law No. 11,769/08, establishing the compulsory teaching of music in schools, although not on an exclusive basis. This new legislation has rekindled some thoughts: why music is important to the formation of the subject? How can it be worked on? How the choir can be linked to new practices? How the song fits the subject? And finally, who is the subject who sings? The discussion of this study is turned for both choristers or former choristers who understand the importance of choral singing in their training, but would like to go deeper in this research under a psychoanalytic approach, as for educators (formal, informal, polyvalent or from specific musical training) in order to realize the impact of musical influences - and, more precisely, choral - in the field of education and formation of the subject. Pedagogue, longtime choir member and current teacher of choral singing, motivated by school musicalization and its impacts, this author established the commitment to her dissertation and to educational research, accepting the challenge of a psychoanalytic reading of musical education through choral singing. In short, the intention with this study is to investigate the \"marks\" left by voice, by choral singing, in the formation of the singing subject, which is less connected to methods than to passions that move the desire and which constitutes a new semblant to the psychoanalytic subject.

No description available.

The purpose of this research is to program cycles or units of study which may be used with the Cyclo-Teacher Learning Aid, a commercial teaching machine produced by the Field Enterprises Educational Corporation of Chicago. The program will consist of the mechanics of music and will be designed for use with the seven- and eight-year-old child in primary choirs of the graded choir program of Southern Baptist churches.

Zugl.: Heidelberg, Univ., Diss., 2006 u.d.T.: Mecke, Ann-Christine: Der Stimmwechsel und die deutsche Chorpraxis im 18. und 19. Jahrhundert