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The composition is in four movements and requires approximately fifteen minutes for performance. Characteristic features of the work include fugal imitation, modified arch form, sound mass and special brass effects, and quintal harmony in each movement, respectively. The purpose of the composition is to expand literature for brass choir and prepared tape.

This essay examines women's choir music from a musical perspective, to give contrast to the several previous cultural and sociological studies. The method used was a combination of literature study, an interview with former women’s choir founder and conductor Robert Sund and a music analysis of five different women’s choir pieces. The analysis showed that the sound and compositional practices in the genre stems from the challenges of the genre historically, and the uniqueness of the woman’s voice and the woman itself. Examples of these are compositional techniques like close voicings, challenging the range of the singers, or music put to lyrical themes of, for example, feminism. The challenges to the genre are something that has evolved it in the last 40 years, and in some cases things that will possibly evolve both women’s choir music further and choir music in general in the future.

Syftet med denna studie är att undersöka fyra respondenters syn på hur körsång har påverkat deras välbefinnande. För att uppnå syftet har vi valt följande forskningsfrågor: Hur beskriver respondenterna att de mår före, under och efter en körrepetition? och Hur beskrivs körsång påverka respondenterna på kortare, eller längre sikt?   Vi har valt att använda oss av en kvalitativ intervjuform. Ett kriterium för att delta i studien var att respondenterna skulle vara aktiva körsångare på icke-professionell nivå. Fyra kvalitativa intervjuer har legat till grund för undersökningen och den teoretiska utgångspunkten för studien har varit det sociokulturella perspektivet. Studiens resultat belyser främst sex kategorier som utkristalliserade sig under våra forskningsintervjuer. Vi tar upp socialt samspel, vilket är både en kort- och långsiktig effekt som av respondenterna upplevs leda till bättre samarbetsförmåga. I vår diskussionsdel tar vi också upp självförtroende, KASAM (Känsla av Sammanhang), körsång som copingstrategi, glädje och förväntan inför och under körrepetitioner, samt fysiologiska aspekter som hälsovanor, kroppshållning och andning. Som en del av diskussionen drar vi även paralleller till pedagogik samt gör pedagogiska reflektioner. / The purpose of this study is to investigate the effects of choir singing. To reach this aim we have chosen the following research questions: ”How does the respondents describe their feelings before, during and after a choir rehearsal?” and ”How is choir singing described to effect the respondents in a shorter, or longer period of time?” The perspective is sociocultural and the method is qualitative interviews. Four interviews were conducted and one criterion for participation was that the respondents were active choir singers on a non-professional level. The result highlights mainly six categories based on social interaction, which is a both short- and long-term effect that the participants of the study associate with better collaborative skills. In the discussion self-confidence, KASAM (sense of coherence), choir singing as a coping strategy, joy and excitement during and before a choir rehearsal, as well as physical effects such as health habits, body posture and breathing, are discussed. As a part of the discussion we also draw parallels to the science of education and make pedagogical observations.

In this qualitative study the researcher investigates how school choir competitions in South Africa contribute to creating platforms for social cohesion. The study examines the experiences of conductors and adjudicators in two main South African school choir competitions, namely the ATKV-Applous and ABC Motsepe (previously known as SASCE). This study was inspired by the contribution of the rising choral music platform in post-apartheid South Africa to national regeneration from tensions created by past disparities and how choral music contributes to social cohesion in society. Phenomenology is used to investigate the experiences of conductors and adjudicators and whether participation in choral competitions contributed to advancing social cohesion in a transforming South Africa. Data were collected through semi-structured face-to-face interviews, the review of documents and the analysis of journal notes taken during the study. The Transformative Learning Theory (TLT) was applied as framework to contextualise deliberate reflection involving increased social knowledge and openness among respondents. In this study, choir conductors and adjudicators reflected on their experiences in choir competitions and how cohesion could be achieved through choir competitions. From the study the researcher concluded that competitive platforms such as choir competitions provide an opportunity for role players to test their strength as individuals and as part of a team. The study found that, regardless of many challenges hindering social cohesion, choral music competitions offer an environment for bringing people closer and establishing harmonious collaboration. Learning from others, sharing and reciprocating experiences lead to new partnerships that promote social cohesion. However, the conditions set out in the rules and policy requirements of the competitions could inhibit social cohesion by exclusion and conditions that may hinder interest. Although many studies focus on the value of choral activities and its contribution to social cohesion, this study fills the gap of exploring the role of choir competitions in fostering social cohesion. Recommendations include the need to foster an awareness of the role of school choir activities, which includes the selection of music, in encouraging nation-building. Furthermore, school choir competition policy should include clearer guidelines on social cohesion. It is recommended that training opportunities for conductors and adjudicators should be expanded and implemented to include musical development, but also focus on fostering a sensitivity to the complexity of cultural diversity and the power of choral activities to enhance nation-building and social cohesion in South Africa. / Thesis (PhD)--University of Pretoria, 2020. / pt2021 / Humanities Education / PhD / Unrestricted

v anglickém jazyce The work focuses on the spectrum of choirmaster activities. Its main goal is to describe and characterize the way the choirmaster works with the choir, in all branches and areas of choral singing. Another goal is to compare the work of a choirmaster in different types of choirs - children's, women's, mixed; in the case of adult churches, the differences between amateur and professional work are then affected. The theoretical part deals with the organizational structure of choirs in the Czech Republic, the content of the study plan of the field of choral conducting at the Faculty of Education, Charles University, what the student should go through in their studies, what the student of choral subjects should learn and what knowledge and skills should be available in his choirmaster practice. It describes in detail conducting, singing and instrumental skills, the gradual development of the student from the role of a singer to the role of assistant choirmaster in choral practice and mastering the methodology of rehearsing compositions of various types and genres. In addition to leading the choir, the work focuses on knowledge and skills, both in the field of conducting and singing. It also describes how important the choir practice is, how one feels in the position of conductor /...

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In hierdie studie word gepoog om ’n historiese oorsig te gee oor die bydrae van die Drakensberg Seunskoor tot die musieklewe in Suid-Afrika. So ’n studie is nog nie voorheen onderneem nie. As agtergrond tot die geskiedkundige navorsing is ʼn algemene oorsig van die koortradisies in Suid-Afrika, en hoe wedersydse beïnvloeding met die Drakensberg Seunskoor plaasgevind het, in hierdie studie uiteengesit. Daar is verder gekyk na die ontstaan en algemene agtergrond van die skool, die musiekopvoeding, kooraktiwiteite, konserte, repertorium, opnames, oudleerlinge en dirigente. ’n Algemene historiese weergawe van die Drakensberg Seunskoor vorm die grootste komponent van die studie. Persoonlike gesprekke, direkte observasie, deelnemende observasie, versameling van inligting deur dokumente en argiefrekords en die studie van kulturele artefakte is die metodes wat gebruik is om inligting te versamel. As gevolg van die feit dat die koor ʼn groot hoeveelheid repertorium van verskillende genres sing, word die toonkunstenaarskap van die koorlede en dirigente uitsonderlik ontwikkel, veral wat betref verskillende uitvoeringspraktyke, wat ook ’n praktiese toepassing is van die musiekkurrikulum by die skool. Die aantal optredes, toere, repertorium en opnames, asook die aantal hoëprofielkontrakte wat die Drakensberg Seunskoor sedert sy ontstaan ontvang het, is ’n duidelike bewys dat hierdie koor nie slegs ’n baie groot invloed op die Suid-Afrikaanse musieklewe het nie, maar ook internasionaal uitstekend vaar. Die sukses van alumni en oud-dirigente se verdere musiekloopbane onderskryf ook hierdie stelling. Die genoemde intense opvoeding deur middel van musiek het tot gevolg dat van die oud-leerlinge die internasionale musiekwêreld met sukses betree, en daardeur die skool se invloed ver buite die landsgrense uitdra. Curricula vitae van alumni van die skool, waaronder Barry Coleman, Jacques Imbrailo, Colin Lee, Mark Nixon, Clint van der Linde en Deon van der Walt, staaf hierdie stelling. Curricula vitae van dirigente wat betrokke was by die koorskool sedert die ontstaan van die skool (in 1967) tot 2006 toon dat die koor nie slegs musici van formaat lok nie, maar ook aan hierdie afrigters die geleentheid bied om hulle toonkunstenaarskap te ontwikkel wat hulle in staat stel om later ’n groot rol in die musieklewe van Suid-Afrika, asook soms internasionaal, te speel. Hierdie studie lewer ’n bydrae tot die erkenning wat die Drakensberg Seunskoor verdien. Dit gee terselfdertyd aan uitvoerders, studente en historici ’n breër agtergrond, insig en waardering vir die koorskool. English This study aims to give a historic overview of the contribution of the Drakensberg Boys’ Choir to music in South Africa. Such a study has not yet been undertaken up to date. As background to the historic research, a general overview of choral traditions in South Africa and the mutual influence with the Drakensberg Boys’ Choir is set out in this study. Other aspects explored include the origin and general background of the school, the musical education, choir activities, concerts, repertoire, recordings, past students and conductors. A historic account of the choir forms the greatest part of the study. The methods used to gather information include interviews, personal conversations, direct observation, participatory observation, the collection of information from documents and archive records and the study of cultural artefacts. Because the choir sings a large repertoire from different genres, the musicianship of the choir members and conductors is developed particularly well, especially regarding different performance practices, which is also a practical application of the music curriculum at the school. The number of performances, tours, repertoire and recordings, as well as the high profile contracts that the Drakensberg Boys’ Choir has received since its origin, are clear indications that the choir not only has a significant influence on South African music, but also does exceptionally well internationally. The success of the further music careers of alumni and past conductors supports this statement. The school’s intense education through music means that past students enter the international music world successfully, and in this way carry the school’s influence far beyond the country’s borders. Curricula vitae of alumni of the school, which include Barry Coleman, Jacques Imbrailo, Colin Lee, Mark Nixon, Clint van der Linde and Deon van der Walt, are proof of this. Curricula vitae of conductors that have been involved with the choir school since its origin (in 1967) to 2006, show that the choir not only attracts noted musicians, but also offers them the opportunity to develop their musicianship, which allows them to later play a great role in music in South Africa, often also internationally. This study contributes to the recognition that the Drakensberg Boys’ Choir deserves. It gives performers, students and historians a broad background, and at the same time insight into and appreciation for the choir school. / Thesis (DMus)--University of Pretoria, 2008. / Music / unrestricted

Syftet med studien är att få ökad insikt i körledares förhållningssätt till och hantering av sångtekniska övningar i kör. Bakgrundskapitlet beskriver sångrösten som instrument, och olika – i sångsammanhang – vanligt förekommande begrepp samt ger en presentation av tidigare litteratur och forskning som anknyter till studiens syfte. Vidare presenteras ett sociokulturellt perspektiv i egenskap av teoretisk utgångspunkt. Undersökningen är genomförd med hjälp av den kvalitativa intervjun som metod. Fyra i nuläget aktiva körledare intervjuades och i resultatet beskrivs deras syn på vad röst- och sångteknik innebär och hur de går tillväga för att förmedla detta till sina korister samt vilka redskap som används för ändamålet. I diskussionen förs ett resonemang kring kunskapsförmedling och hur den sker via olika kommunikationsvägar samt vilka olika roller som ryms i körledarrollen. / The purpose of this study is to gain further insight into choir conductors' approach to and manage-ment of technical vocal exercises in the choir. The background chapter describes the singing voice as an instrument, different common concepts in song contexts, and gives a presentation of earlier literature and research related to the purpose. Furthermore the study presents a socio-cultural perspective as a theoretical basis. The survey is carried out using the qualitative interview method. Four currently active choir directors were interviewed. The results describes their view of what the voice-singing technique entails, how they convey this to their choir and which tools they use for this purpose. The discussion reflects on the knowledge transmission and communication between choir and choir director.

Singing con bocca chiusa, with closed mouth, is a phenomenon that appears both in solo and choral literature. This thesis would like to shed more light on the phenomenon and explain its occurrence by using literature examples. In addition to its special timbre, bocca chiusa also offers numerous pedagogical advantages and can be used both in individual work with voices and in choir practise. This thesis also tries to illustrate that bocca chiusa is a multifaceted register and wants to show its different extended possibilities.