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The primary purpose of this paper is to document the two-year development of The East-Central Indiana Community Singers, Incorporated. In these two years the goals were to strive for more professional musicianship in performance and to promote the group's becoming a self-sustaining organization. By a clear exposition of the methods utilized in dealing with the major difficulties, the writer hopes to be of assistance to others engaged in such endeavors, and to encourage the development of other community choral organizations. Beginning conductors hope for professional situations that will allow ample time for research of the literature and for the selection, preparation, and rehearsal of music for performance. Such professional opportunities are not only rare but are most often reserved for those with considerable experience. As director of the Community Singers, the writer is fortunate in having had such an opportunity. Many orchestras are able to pay for professional services; the writer feels that it is also possible for choral organizations to achieve a higher-position in the professional music world.The development of a community chorus is a great challenge that can grow into a professional opportunity. It requires musicianship, a commanding rehearsal technique, the belief that what one is doing is really important, and the willingness to do all the little tasks of mobilizing an organization. It is an exercise in the music education of a miscellaneous group of amateur singers and of the members of a community (the audience), the majority of whom are not likely to be musically educated. It involves cultivating the skills of those with minimal proficiency while, at the same time, fulfilling an obligation to provide a quality experience for the more talented singers. It also involves supervision of the growth of the non-musical aspects of an organizations e.g., the development of a sustained funding program and the improvement of public relations in the community.This document speaks, therefore, to the musician whose primary drive is naturally focused on his own musicianship and the musical development of an ensemble. Its message is that in order to achieve these primary goals, the young director must find ways to attract reliable singers and develop greater audience interest. He is forced to divide his energy to encompass virtually all other aspects of a young, developing organization.Paralleling an account of the actual development process is a brief history of the foundation of the East-Central Indiana Community Singers. An analysis of the state of the group at the end of its first season is also given. The document will then proceed with a description of all pertinent methods used to develop stability during the chorus' second season. The methods will cover both rehearsal-performing goals and ancillary organizational activity.The year's experience as director of the East-Central Indiana Community Singers has been invaluable to the author of this paper. At the outset she conceived of her responsibilities as being primarily musical. In fact, as a musician she was invited to assume the position as conductor of the group, and as a musician she accepted that contract. In the body of this document is overwhelming evidence of the fact that such a position in an arts organization in the United States involved many talents and energies not necessarily related to music. This writer feels that her experiences have been typical of the experiences any conductor faces in a similar endeavor. Therefore, although the work of developing a community choral organization has been of great value to her personally, she is convinced that the process described here in detail can be of practical use to others. The description is augmented by appendixes that include copies of financial business papers, correspondence, representative publicity and performance dates. These materials provide the interested reader with procedural models that can be adapted for use by other organizations.Regarding specific documentation of the development of the Community Singers, the writer includes a tape of the performance in English of the Brahma Requiem, as it was recorded on March 30, 1980, in the Masonic Auditorium of Muncie, Indiana, with full orchestra, a chorus of eighty-seven singers, and a generous audience.

Purpose: The purpose of the present study was to examine SLPs' preparation to work with singers by examining their knowledge and training levels regarding vocal hygiene, assessment and treatment for singers, vocal pedagogy and competency in working with singers. Method: A 66-item survey designed to address the research questions was distributed via email to possible participants found through American Speech Language Hearing Association's (ASHA) "Find a Professional" service. Each email contained a password-protected web link to the survey, which was hosted on Survey Monkey. Results: The majority of participants reported low amounts of academic and clinical exposure to singers. The largest percentage demonstrated adequate knowledge of vocal hygiene, but had difficulty with knowledge items regarding assessment and treatment considerations for singers and vocal pedagogy. The majority expressed low levels of competency in working with singers. However, these effects appeared to be mediated by voice specialization. Voice specialists (VS), a subset of the total participants, were found to have received significantly more total hours studying voice and had significantly more voice clients, including singers, than non-voice specialists (NVS). A combination of academic and clinical exposure at the graduate level was found to lead to continued study regarding voice disorders and vocal function for singers. VS also reported higher levels of training in vocal pedagogy and performance and demonstrated significantly higher knowledge levels regarding assessment and treatment considerations for singers and vocal pedagogy than NVS. Similarly, they also reported higher overall competency in working with singers than the NVS. Conclusions: This preliminary data suggests that overall preparation to work with singers is somewhat lacking in most graduate programs. The majority of SLPs appears to retain information regarding vocal hygiene, but does not appear to remember some basic facts about the treatment of voice disorders. Improvements towards education in voice would serve as a worthy goal in improving SLP's service delivery in general to voice clients and singers. Additionally, providing more opportunities to work with voice clients and singers would also help better prepare SLPs as a whole to work with singers. Finally, a structured accreditation process to become a singing voice specialist (SVS) is sorely needed to ensure optimal service delivery to this unique population. / text

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Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains xiv, 81 p. Includes bibliographical references.

Thesis (D.M.A.)--University of Oklahoma, 1988. / Includes bibliographical references (leaves 67-69).

Thesis (M.M.)--Bowling Green State University, 2005. / Document formatted into pages; contains v, 57 p. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph.D.)--Ohio University, March, 2003. / Title from PDF t.p. Includes bibliographical references (leaves 157-169)

abstract: The performance of Charles Ives's art songs can be challenging to even the most experienced singers, but to beginning singers, they may be even more so, due to such twentieth-century aspects as polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter tones. However, Ives used previously existing material, often familiar hymn tunes, as the foundation for many of his art songs. If beginning students first are exposed to this borrowed material, such as a simple hymn tune, which should be well within even the most experienced singer's comfort range, they can then learn this tune first, as a more simplistic reference point, and then focus on how Ives altered the tunes, rather then having to learn what seems like an entirely new melody. In this way, Ives's art songs can become more accessible to less-experienced singers. This paper outlines a method for researching and learning the borrowed materials in Ives's songs that utilize them, and reviews materials already commonly used by voice teachers to help beginning students learn their music. By combining this method, which focuses on the borrowed materials, with standard practices teachers can then help their beginning students more easily learn and perform Ives's art songs. Four songs, from the set "Four Hymn Tune Settings" by Charles Ives are used to illustrate this method. / Dissertation/Thesis / D.M.A. Music 2012