<p> This project report will provide a description and analysis of the original musical score, as composed and arranged by the author, for the short animated film <i>Ma&lstrok;y Tre&cedil;bacz,</i> which was produced in collaboration with the film's director, Monica Kozlowski. It will detail the process of the music's composition, including those decisions which were made whilst scoring the picture, the reasons and justifications for so doing, a scene-by-scene analysis of the film and accompanying music, background information concerning the film's origins and influences (including the historical origins of the narrative), the role of the film's score in communicating the story of the film to the audience, how certain choices in scoring impacted the direction of the film's narrative, and a short discussion of the major themes and musical motifs heard within the score (including its incorporation of the <i>Hejnal mariacki</i>).</p>

<p> The purpose of this study was to investigate the effects of projected film visuals on singers' expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (<i>N</i> = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments.</p><p> In Phase Two, a different group of university choir singers (<i> N</i> = 116) rehearsed and prepared both of the selected choral etudes referred to as "Doh" and "Noo." Subsequently, these singers were organized into smaller chamber ensembles (<i>n</i> = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (<i>N</i> = 8) rated performance expressivity and reported personal preference for each audio-recorded performance. </p><p> A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants' expressivity ratings (<i>p</i> &lt; .001). Additionally, a significant etude x film visual performance condition interaction was discovered (<i>p </i> = .001). Participants rated self-expression significantly higher when singing with a congruent film compared with other conditions for both etudes (<i>p</i> &lt; .001). Chi-square tests found most preferred experiences during congruent performances, and least preferred experiences during incongruent performances for both etudes (<i>p</i> &lt; .001). Expressivity ratings for audio-recorded performances indicated significantly higher expressivity ratings for the performances influenced by the congruent film visual of etude "Doh" (<i>p</i> &lt; .05), while no significant differences were found for etude "Noo" (<i>p</i> > .05). Implications of these findings are discussed in relation to filmmaking techniques, music education curriculum, choral rehearsal pedagogy, and composition/performance practice, with recommendations for future research.</p>