No description available.

Academisch proefschrift--Utrecht. / "Literatuur": p. 141-144.

The purpose of this study was to investigate constructions of choir identity among high school choir students in the United States public school classroom setting. The research questions were (a) what are the processes involved in construction of choir identity and (b) how are the processes related to the group identity of the choir. The data were collected through participant observations in one selected choir classroom and semi-structured interviews with students from the choir class. The results included six processes of identity construction as well as identification of the ways in which each process was related to the choir group’s identity. The processes and their links to the overall choir group identity provided further insight into the ways in which high school choir students construct their identities, and they also supported methods of teaching commonly used in high school choir settings.

The choral music of Abbie Betinis is being widely performed and commissioned by prominent high school, university, and civic choruses. This study examines From Behind the Caravan: Songs of Hâfez, a five-movement work by Betinis for women’s chorus, vielle, oud, and Persian percussion. Four ghazals by Hâfez of Shiraz, a fourteenth century Sufi poet, are used as the text for Betinis’s Caravan. When considering a performance of this work, a conductor must understand proper treatment of the text, available translation options, Hâfez’s vast world of imagery, vocal demands inherent to the work, alternate instrumentations available and the benefits of each, how to approach improvisatory passages, how to engage heterophonic elements, and how to prepare a Western choir and audience with very little to no understanding of the philosophies of Sufism that heavily influence the work. This study addresses the body of practical knowledge gained after a year of examining, researching, teaching, and performing this work.

Master of Music / Department of Music / Julie Yu / University choral music education programs commonly focus on training music educators in the Western Classical tradition, however, the evolving landscape of popular music requires an additional set of skills and experiences that are not a part of the standard curriculum. A cappella groups with vocal percussion and show choirs are increasing in demand due to the popularity of modern vocal music entertainment with television shows such as “Glee” and “The Sing-off” and performing groups such as “Pentatonix” and “Straight No Chaser.” With limited available literature and training, current and future musical educators face the problem of having to acquire these skills on their own. While ensembles dedicated to singing popular music are nothing new, the technical aspects of developing an ensemble that meets the high performance expectations of modern audiences can be intimidating. This report intends to cover the requisite techniques, skills, and resources that modern a cappella pop choirs and show choirs utilize to be successful. The report covers these topics: 1) a brief survey of the historical origins of choral vocal pop and show choir ensembles 2) defining the purpose, intent, and nature of such ensembles 3) show choirs, pop a cappella choirs, and hybrids 4) roles, responsibilities, and personnel assignment 5) music selection, arrangement, and programming 6) the decision to perform live, with a pre-recorded track, or a combination 7) use of audio and recording equipment in performance 8) rehearsal techniques 9) artistic and stylistic decisions

As choir masters, many organists have the responsibility of hiring and working with paid singers as well as a dedicated group of volunteer singers ranging in experience from novice to advanced. The similarities of the human voice to the pipe-organ are numerous. Using these similarities and scientific analysis of the two instruments, organists can familiarize themselves with the tuning system of the human voice. Like the pipe organ, the human voice is capable of wide variety of sounds, qualities, textures, pitches and levels of volume. Unlike an organ pipe, the voice is not a fixed resonator. The voice is the most flexible of all musical instruments. Instructing an ensemble of singers to shape their sound simultaneously is the beginning of “tuning your choral pipes.” It will be important to establish terminology with your singers in order to successfully communicate with them despite their varying levels of ability and pronunciation differences. Becoming familiar with the mechanics of the voice and an alphabet of pure vowel sounds can help organist-choir masters achieve a greater degree of success when working with singers. The stops, pipes and expression pedal of the human voice are defined by the laryngeal muscles as they relate to registration, the vocal tract shape as defined by the vowel, and the amount of volume created by the air pressure. This guide for organists covers these topics and contains exercises for the reader to apply during choral rehearsals.

The choral music experience was one of the countless areas of daily life upended by the COVID-19 pandemic. The St. Paul’s Episcopal Church Choir , primarily comprised of volunteer congregation singers, transitioned to a fully virtual choir format from March 2020 to May 2021. During this time, the choir members recorded their voices from home to create over 200 virtual choir performances. The purpose of this instrumental case study was to investigate participant perspectives of an established church choir program’s transition into and out of a virtual format during the COVID-19 pandemic. The goal of this study was to answer the following questions: (1) What do participants cite as influences on their choice to participate or not participate in the Virtual Choir? (2) How do participants describe their perceived benefits of their Virtual Choir participation? (3) What do choir members value most in their church choir participation?Data were collected in fall 2021 as the choir returned to in-person singing. Thirteen volunteer choir members participated in the data collection which consisted of a written statement, one-on-one interview, and focus group discussion. Participants reflected on their experiences in the choir prior to, during, and after the COVID-19 quarantine. The participants’ perspectives were compared to existing studies on community choral music participation. Data revealed that participants described the Virtual Choir recording process as musically unsatisfying when compared to in-person singing. Some participants struggled with hearing their own recorded voice and missed the experience of sharing music-making in the moment with their fellow choir members. Despite their frustrations, participants found motivation in supporting the church community and the continued virtual social interactions with the choir. Participants benefited from a virtual social outlet through weekly Zoom choir rehearsals which allowed for continued contact and check-ins with fellow singers. Some participants stated that they benefited from musical gains as the Virtual Choir provided a reason to sing when in-person opportunities became unavailable. Others cited how the weekly recorded process prevented musical skill deterioration as they could practice and monitor their vocal progress through their isolated recordings. Data also revealed that participants valued the church choir community more than the music itself. Participants care for their fellow choir members and their choir participation led to a choir family dynamic described as special and unique compared to other areas of their lives. Findings were compared with existing community choral music participation research to identify many consistencies between the motivations, benefits, and values of the Virtual Choir participation. Despite the similarities, key differences highlighted how the Virtual Choir led to stress and frustration for many participants. Music-making with the Virtual Choir was described as unsatisfying and more challenging than the in-person format. Findings demonstrate that continuing adult music education should not be overlooked by music educators, directors, and teacher educators. Adult music education provides opportunities for choir members to pursue a lifelong love of music and music learning. While the virtual format increased accessibility for choir members during the quarantine, educators must consider supporting singers’ vocal self-efficacy as to not exclude potential ensemble members. As virtual music-making continues to evolve, educators, directors, and teacher educators should consider professional development and training to be prepared for virtual music-making opportunities within their programs. / Music Education

No description available.

Thesis (M.A.)--York University, 2007. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 219-222). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR31991

No description available.