This Master's thesis proposes to map the current situation of Czech boys' choirs in the marketing sphere and to compare it with boys' choirs from Central Europe. The parts of the comparing are the choirs Boni pueri (Hradec Králové) Bonifantes (Pardubice), Pueri gaudentes (Prague), Bratislavský chlapčenský zbor (Bratislava, Slovakia), Wiener Sängerknaben (Vienna, Austria) and Thomanerchor Leipzig (Leipzig, Germany). The comparison is based on the web presentations, the repertoire, concert and recording activities and cooperation with the media and organizations and institutions of the choirs. Based on the realized facts follows a chapter, that presents proposals and options how to give support to marketing activities of boys choirs. First at all in the Master's Thesis there were used comparative and analytical methods of scientific research.

Thesis (M.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Esta dissertação enfoca a demanda por novas habilidades e competências requeridas aos regentes de corais infantis de projetos sociais, a partir de pesquisa realizada junto a profissionais que atuam nesse segmento, com recorte na cidade de São Paulo. Tais competências diferenciam-se conforme demandado pelos atores sociais que estabelecem e financiam os corais. O perfil de um regente de coro infantil de um projeto social já se distancia das demais modalidades de coro devido às características particulares das crianças e às especificidades do contexto em que ele deve atuar. Esses fatores aumentam a gama de competências exigidas desse profissional. A partir da análise sócio-histórica da configuração da atividade de canto coral infantil no Brasil em três momentos determinados: o coro infantil do Período Colonial, regido pelo mestre-de-capela, o coro de crianças do Canto Orfeônico, regido pelo professor na época da República Velha e o coro infantil contemporâneo, no período da Nova República, surgido do esforço da Sociedade Civil, através de projetos sociais de Organizações Não-Governamentais, que demanda um novo tipo de regente, far-se-á a contextualização de conceitos como Palco Global, ator social, Sociedade Civil, Terceiro Setor e competências. Esta pesquisa se propõe a refletir sobre essas novas demandas que moldarão o perfil desse novo profissional regente de canto coral infantil. / This works aims at focusing the new skills and competencies demanded for children\'s choir conductors in social projects. It was based on a research developed in São Paulo with professionals of this area. Such skills and competencies vary according to the social actors who support the choirs. The profile of a social project children\'s choir conductor has proved to be different from other chorus modalities due to the peculiarity of its children features and the specific context in which the conductor must act. These factors increase the range of skills required for this job. It was analysed the socio-historical arise of children\'s choir in Brazil in three specific periods: The children\'s choir of the Colonial Period, ran by mestre-de-capela; the children\'s choir of Canto Orfeônico, conducted by teachers at República Velha time and the contemporary children\'s choir, from Nova República, considered a civil society action implemented in social projects of Nongovernmental Organizations, which consequently order a different performance of this professional. Then, it will be contextualized the emerging concepts of \"Global Stage\", \"social actor\", \"Civil Society\", \"Third Sector\" and \"competencies\" in order to reflect on those current demands which are shaping the profile of this new professional childrens choir conductor.

In the United States, school music groups perform in some sort of music festival every year. Most festivals are competitive in some way, but non-competitive festivals exist as well—even if they are not as well known. The purpose of this study is to observe an elementary school choir as they prepare for and participate in the “America Sings!” festival—a non-competitive music festival—in Washington, D.C. on May 4–5, 2014. This investigation sought to answer the following research questions: 1) What guides the decision to participate in the “America Sings!” festival?; 2) For the choral director, what personal experiences and past musical backgrounds shape the teacher’s feelings and attitudes about participating in an “America Sings!” festival?; 3) What are the benefits and challenges of attending an “America Sings!” festival?; 4) Does the service component of the “America Sings!” festival affect the participants?; 5) Does attending a non-competitive festival affect the self-reported attitudes of students and their teacher?; and 6) What range of student behaviors can be observed during their preparation for and performance in the “America Sings!” festival? Using qualitative case study, this study employed direct observation of the entire choir as well as recorded interviews with six students and their teacher. After data analysis, open coding, and theme construction, common themes began to emerge into two groups: pre-trip (performing, comparing types of festivals, preparation, service projects, and John Jacobson) and post-trip (benefits and challenges, performing, learning, John Jacobson, the “America Sings Effect”, and comparing types of festivals). These themes are presented, the research questions are answered, and recommendations are made for future researchers as well for those in the profession.

Made available in DSpace on 2016-04-27T18:12:03Z (GMT). No. of bitstreams: 1 Fernanda Salvatico de Aquino.pdf: 487458 bytes, checksum: 140a5614e6266087eb973d935b013e5c (MD5) Previous issue date: 2013-12-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Purpose: To analyze the spoken voice characteristics of elderly women with choir singing practice. Methods: The subjects of this study were 75 elderly women aged in between 63 and 82 years, 50 of which participated in senior choirs (choir group CG) and 25 participated in activities that did not involve singing (non-choir group NCG). The groups were paired according to age, with a mean age of 71 (standard deviation of 5.22). A questionnaire with questions on sociodemographic data (age, past and present professional activity), daily life habits and vocal well-being (hydration, physical activities alcohol intake, cough, phlegm, speaking loudly and yelling) and vocal aspects (difficulties, tiredness and changes throughout time) was used in order to characterize the subjects, who were also asked to define their own voices in one word. In addition, the CG answered questions regarding for how long they had been singing, hours of weekly practice and difficulties perceived. Then, both groups had speech samples collected (sustained vowel /a/, sentence repetition and spontaneous speech), that were evaluated by three Speech- Language Pathologists, experienced in the field of voice using the CAPE-V auditory perceptive analysis tool. The assessment results considered were those from the judge that had the greatest agreement among the answers. Results: 90% of the choir singing subjects and 88% of the non-singing subjects reported having worked in the past, and 24% in both groups still work. Specifically for the CG, the time of choir participation varied between five years and eight months and 58 years (sd=8.7), with mean weekly practice of three and a half hours, varying between two and tem hours (sd = 1.9) and 16% of them reported difficulties in their singing practices. As far as habits, there was a significant difference in the comparison of the groups in regard to water intake and physical activity practice, both in greater numbers in the CG. There were no differences in the vocal aspects and perception of changes over time. In the definition of their own voice in one word, the term low-pitched was significantly more reported by the group of choir singers. In the auditory perceptive analysis, the NCG had significant differences in the scores related to the general grade and presence of roughness and tension. Conclusion: The analysis of the spoken voice characteristics of elderly women with choir singing practice, when compared to those who do not have it, showed better voice quality in general due to lower degrees of roughness and tension. In subject characteristics, the reports of higher water intake and physical activity practices differentiated the groups, in favor of the choir singing elderly women / Objetivo: Analisar as características da voz falada de mulheres idosas com prática de canto coral. Métodos: Fizeram parte deste estudo 75 idosas de 63 a 82 anos, sendo 50 participantes de corais de terceira idade (grupo de coristas GC) e 25 participantes de atividades que não envolvessem o uso da voz cantada (grupo de não coristas GNC). Os grupos foram pareados quanto à idade, com média de 71 anos (desvio padrão de 5,22). Para caracterização das idosas, foi aplicado um questionário com perguntas sobre dados sociodemográficos (idade, atividade profissional realizada anteriormente e atualmente), hábitos de vida e referentes ao bem estar vocal (hidratação, prática de atividades físicas, etilismo, tossir, pigarrear, falar alto e gritar) e aspectos vocais (dificuldades, cansaço e modificação ao longo do tempo), além da solicitação para definir a própria voz em uma palavra. Em especial para o GC, foram apresentadas ainda perguntas referentes ao tempo que canta, às horas de prática semanal e às dificuldades percebidas. A seguir, foi coletada dos dois grupos a amostra de fala (emissão da vogal /a/ sustentada, repetições de sentenças e um trecho de fala espontânea), que foram avaliadas por três fonoaudiólogas com experiência na área de voz pelo instrumento de análise perceptivo-auditiva denominado CAPE-V. Foram utilizados os resultados apontados pela juíza que apresentou maior concordância entre as respostas. Resultados: 90% das idosas coristas e 88% das não coristas relataram ter exercido profissões no passado e 24% de ambos os grupos ainda as realizam. Especificamente para o GC, o tempo de participação em coros variou entre cinco anos e oito meses a 58 anos (dp=8,7), com média de prática semanal de três horas e meia, variando entre duas e dez horas (dp=1,9) e 16% delas referiram dificuldades em relação à prática do canto. Quanto aos hábitos, apresentaram diferença significativa na comparação dos grupos a ingestão de água e a prática de atividades físicas, em maior número para o GC. Não foram observadas diferenças nos aspectos vocais e na percepção de modificação ao longo do tempo. Na definição da própria voz em uma palavra o termo grave foi significativamente mais referido pelo grupo de coristas. Na análise perceptivo-auditiva, o GNC apresentou diferenças significativas nos escores relacionados a alteração do grau geral e presença de rugosidade e tensão. Conclusão: A análise das características da voz falada de idosas com prática de canto coral, quando comparada àquelas que não a realizam, apontou para melhor qualidade vocal no aspecto geral, em decorrência de menor grau de rugosidade e tensão. Na caracterização dos sujeitos, o registro de hábitos de maior consumo de água e prática de atividade física diferenciou os grupos, a favor das idosas coristas. Descritores: Envelhecimento; Voz; Idoso

No ponto de intersecção entre música e literatura na construção da unidade de uma obra musical que faz uso de texto canção, música coral etc. reside um artesanato cuja abordagem do processo criativo é tão antigo quanto a própria expressão verbal da qual podese hipoteticamente afirmar como originária da música quanto arte: observa-se a forte presença da voz na música antiga (ars antiqua, ars nova). Tal aproximação racional com os formantes sígnicos do texto semantizado pela música levou a um senso comum entre os compositores na teoria (ou doutrina) dos afetos em voga desde o período barroco e nos posteriores. A música de Gilberto Mendes em seu itinerário pode nos mostrar como as ferramentas da composição musical podem ir além das configurações elementares da música (melodia, harmonia, ritmo, timbre, dinâmica) como forma de semantizar o texto. Compositor em estreito relacionamento com a literatura, cinema, com a arte de um modo geral, Gilberto Mendes nos oferece uma ampla gama de exemplos que extrapola a uma criação restrita e se abre a uma pluralidade cultural, servindo assim, como reflexo criativo da arte do século XX XXI. Através da análise do texto literário e da análise musical, tanto no seu âmbito formal quanto estética, foi possível detectar os elementos que conjugam a unidade da obra. / At the intersection point between music and literature in creation of the unity of a musical work with text song, choral etc. resides a craft whose approach to a creative process as old as original verbal expression of music as art: there is a strong presence of the voice in early music (ars antiqua, ars nova). Such a rational approach to the formants signic text signified for music led to a common sense among composers in theory of the affects in vogue since the Baroque period and in subsequent. The music of Gilberto Mendes on your itinerary can show us how the tools of musical composition can go beyond the basic settings of music (melody, harmony, rhythm, tone-color, dynamic) as a way to create a semantic field of the text. A close composer to literature, cinema, to the art generally, Gilberto Mendes offers us a wide range of examples which extrapolates to a restricted setting and opens to the cultural plurality, thus serving as a reflection of the creative art of the twentieth and twenty-first centuries. Through the literary and musical analysis, both in the formal and aesthetic scope, it was possible to detect elements that conjugate the works unity.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Na realidade Fortalezense as escolas pÃblicas nÃo oferecem prÃticas musicais coletivas na sua grade curricular, fazendo do Canto Coral um espaÃo informal de educaÃÃo humana musical atravÃs da vivencia estÃtica proporcionada pelo canto coletivo, inclusive para pessoas com problemas de afinaÃÃo. Por isso a presente pesquisa visa identificar as prÃticas educativas musicais e humanas desenvolvidas pelo regente educador dentro da prÃtica coral. Pesquisou-se em Moraes (1993, 2007), Zander (2008), Mathias (1986), Matos (2008), Garretson (1998), Amato (2007), Figueiredo (1999,2006), Kerr (2006), Sobreira (2002,2003), Bellochio (2008), Forcussi (1985) dentre outros, a fundamentaÃÃo teÃrica para esse trabalho. Com interesse no estudo do processo de preparaÃÃo vocal e musical desenvolveremos uma pesquisa qualitativa focada num estudo de caso no Coral da ADUFC que detÃm as caracterÃsticas relevantes para a atual pesquisa. Identificou-se prÃticas de formaÃÃo humana que acontecem em conjunto com prÃticas de formaÃÃo musical perpassando momentos de preparaÃÃo vocal e corporal com utilizaÃÃo de instrumento harmÃnico (violÃo e teclado), ensino de mÃsica vinculado à memorizaÃÃo de um repertÃrio selecionado a partir de uma proposta didÃtica e prÃticas metodolÃgicas visando a superaÃÃo de problemas de afinaÃÃo. Foi observado que o ensaio, assim como a performance no coral estudado, foi utilizado como um ambiente de ensino musical e exercÃcio de valores humanos por meio de intensa interaÃÃo interpessoal e superaÃÃes pessoais / The reality of Fortalezaâs public schools do not offer collective musical practices in their curriculum, making the Choral an informal space of human and musical education through aesthetic experiences provided by the collective singing, even for people with adjustment singing problems. Therefore this research aims to identify the musical and human educational practices developed by educator conductor within the choir practice. Researched Moraes (1993, 2007), Zander (2008), Mathias (1986), Matos (2008), Garretson (1998), Amato (2007), Figueiredo (1999.2006), Kerr (2006), Sobreira (2002, 2003), Bellochio (2008), Forcussi (1985) among others, the theoretical foundation for this work. With interest in the study of vocal and musical preparation process will develop a qualitative research focused on a case study in ADUFCâs Choral which holds the relevant characteristics for the current research. It was identified practices of human development taking place in conjunction with musical training practices permeating moments of vocal and body preparation with the use of harmonic instrument (guitar and keyboard), music education linked to the memory of a selected repertoire from a didactic proposal and methodological practices to overcome tuning problems. It was noted that the test, as well as in the studied choral performance, was used as a music teaching environment and exercise human values through personal and interpersonal interaction intense overshoot

The overall aim of this portfolio was to develop an understanding of how music fits socially, historically, and technically into the landscape of 21st century culture. The aims of the portfolio were to explore static harmony (resonance), statistically similar melodic sequences, electronic drones, rhythmic development (cycles), melodic development, and non-linear textures. A compositional process turned personal journey became the driving energy for these works, and one can see a clear development, as each piece is built on the findings of previous ones. The musical language became more sophisticated as a result of both these new techniques as well as interactions with other collaborators (including musicians, dancers, scientists, visual artists, and programmers). Each of the technical aims was developed throughout the creation of the portfolio. These are among the techniques which helped shape late 20th century music, with the goal of joining some of them together in new and aesthetically pleasing ways. Early on, there was a shift in the way they were applied, especially creating resonance, which was first done with acoustic instruments and then electronic drones. The repetition and rhythmic cycles also developed by using transition matrices from a Markov Chain process to create 'melody rhythms' (discussed more in Sequence). Pieces like Lost in Space and Smoke of Freedom were written by combining all of these techniques together in a fusion of static harmony, rhythmic cycles, and expressive melodies. I also had a social motivation when writing these works. For example, Wind Gust 42058 uses the trend of 'data is the new gold' by giving the audience a meaningful way to 'experience the data'. Also, Smoke of Freedom tells the story from the perspective of a man who is oppressed in China, not dissimilar from the four Hong Kong book sellers who were taken away by Chinese authorities for 'selling restricted books'. When this occurred in 2015, a lot of people were thinking of leaving the city in search of a more open society, and Smoke of Freedom follows the story of a man who does exactly that, leaving everything behind in search of a better life. The Answered Hymn is a unique piece in that it was performed at Westminster Abbey and St. Martin-in-the-Fields for special services celebrating the 500th anniversary of Lutheranism. The performances brought together 12 different choirs from around the world, each singing in their own language, and, in a 'Post-Brexit' United Kingdom, aimed to bring together themes of multi-nationalism and peace. The musical language developed during the course of this portfolio shows how musical technique can fit into and comment on the social, technological, and historical landscape of 21st century culture.

<p>In this thesis you will meet people that are members of a “health-choir”. This people are singing together once a week and the purpose is to get a better health. You will also see if choir-singing can be seen as A rites of Passage. You will get a direct link to the informants. The choir singers who participate will speak to you.</p>

Syftet med detta examensarbete är att undersöka vilka lärprocesser som sätts igång hos körsångare i ett sceniskt projekt. Vilka är de möjliga lärprocesserna? Hur skiftar de från individ till individ? Vilka faktorer anser körsångarna bidrar till upplevelse av egen utveckling? Jag har använt mig av den litteratur och de uppsatser som publicerats inom närliggande område i första hand på svenska. Det huvudsakliga materialet är de kurssvar som 30-talet körsångare i Damkören Söt Likör vid Karlstad Universitet lämnade in som tentamensuppgift vid Kursen Sceniskt körprojekt med publik inriktning i vilket merparten av körmedlemmarna deltog. Kursen bestod i att instudera det för kören specialskrivna körverket Snorvipas Saga och tillsammans iscensätta och marknadsföra detta i en timslång föreställning inför betalande publik som en del av körens 20–års jubileum hösten 2007. För att utvärdera svaren använder jag en narrativ metod där jag utgår från Judit Bells beskrivning i Introduktion till Forskningsmetodik. Jag låter dem passera genom ett filter där jag söker efter lärprocesser på en konstruktiv, kontextuell och funktionell nivå. Jag har också sökt efter det som Anne Bamford kallar för Wow! – faktorn i en kulturbaserad lärmiljö för att se vilka olika aspekter av meningskapande processer som finns i berättelserna. I sammanfattningen konstaterar jag att det finns en tydlig skillnad mellan typ och mängden av lärprocesser i ett sådant här projekt i jämförelse med traditionellt körverksamhet där sjungandet är det huvudsakliga gemensamma målet. / The main purpose of this investigation is to identify learning processes according to competence and the experience of meaningfulness in a scenic project for a choir. The background of this project is a university course at the University of Karlstad which involved most of the members of the University Women Choir, Söt Likör, during the autumn 2007. The performance of Snorvipas Saga took place in the University main hall, as part of the choir’s twentieth anniversary. As part of the examination all the participants of the course wrote a paper reflecting their individual learning process. Out of 30 papers eight were selected, the ones which were written more as a personal story rather than and point by point answer. To evaluate the answers I have chosen to read them as personal stories with a narrative reading, as understood by Judit Bell in Introduction to Methods for Research (my translation of the Swedish title),. I let them pass through a filter in which I tried to detect the learning process on a constructive, contextual and functional level. I also looked for what Anne Bamford calls the Wow! - factor in culturally rich learning situations to see what levels of meaningfulness one could find in the answers. I found that there is a difference between the type of and the multitude of learning processes in this kind of project in comparison with traditional choir work where singing is the exclusive aim.  Here I used the results from Ragnhild Sandberg Jurströms, Master thesis, Song in Teamwork, to compare the difference in learning processes according to participating in the gradual process of socialising, collective knowledge, action and activities and the variety of experiencing. After that I also looked at the differences in the experience of meaningfulness. The main result of is that in a scenic project which involve the choir singers in a multitude of tasks, as project workers, in acting together, as singers, and friends the learning processes expand and create a high rate of new experiences for everyone involved. Even the experience of meaning grows.