Skolkören har länge funnits som en naturlig del av skolans verksamhet, men den har haft olika betydelse genom läroplanerna det senaste århundradet. Tidigare studier kring skolkörens funktion visar att den sociala aspekten är den som är mest framträdande. Studien har hämtat inspiration från Juvas Liljas (2001). Syftet med föreliggande studie var att undersöka skolkörens funktion och förutsättningar i årskurs 1-6 så som den uppfattas av rektorer och körledare. Följande frågeställningar har använts för att ta reda på detta: 1. Hur uppfattar rektorer och körledare skolkörens funktion i årskurs 1-6? 2. Framträder det ett socialt och/eller pedagogiskt perspektiv i rektorers och körledares syn på skolkörens funktion? 3. Vad är förutsättningarna för en fungerande skolkör i årskurs 1-6, enligt rektorer och körledare? För att få svar på detta har en kvalitativ studie genomförts genom intervjuer på fyra skolor. Rektorerna och körledarna på dessa skolor har svarat på frågor som var strukturerade, och av låg standardiserad art. De förberedda frågorna var formulerade i olika frågeområden. Av resultatet framkommer att skolkörens funktion är att främja en social gemenskap som i sin tur leder till en ökad självkänsla. Skolkören ska även fungera som reklam för skolan. Den agerar som skolans identitet i samband med skolavslutningar, FN-dagen och vid lucia, för att nämna några exempel. Skolkören kan även agera som verktyg vid språkinlärning. En vilja till att bryta ner de sociala och identitetsutvecklande funktionerna och att kunna använda dessa i skolans övriga verksamhet är något som också framkommer i resultatet. / The school choir has long existed as a natural part of the school's activities, but it has had different meanings by curriculum in the last century. Previous studies on the function of the school choir show that the social aspect is the most prominent. The study was inspired by Juvas Liljas (2001). The purpose of this study was to examine school choir’s performance and prospects in grades 1-6 as perceived by head teachers and choir leaders. The following questions have been used to study this: 1. How do head teachers and choir leaders perceive the function of the school choir in grades 1-6? 2. Does a social and/or educational perspective of head teachers and choir leaders on the function of the school choir emerge? 3. What are the prerequisites for a functional school choir in grades 1-6, according to the head teachers and choir leaders? To get answers to this, a qualitative study was conducted through interviews in four schools’. Head teachers and choir leaders in those schools’ answered questions that were structured, and of a low standardized type. The prepared questions were phrased in different question areas. The result proves that the function of the school choir is to promote a social community which in turn leads to increased self-esteem. School choir will also serve as PR for the school. It acts as the school's identity in connection with graduation day, U.N. day and lucia, to name a few. School choir can also act as a tool for language learning. A willingness to transfer the social and identity development and to be able to use these in the school's other business is something that also emerge from the study.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Includes abstract. Vita. Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0433. Adviser: Chester L. Alwes. Includes bibliographical references (leaves 137-144) and discography (leaves 127-130). Available on microfilm from Pro Quest Information and Learning.

In musikklasser in the Swedish compulsory school a special musical training focusing on choral singing is offered students from the age of ten to sixteen. Regarding singing with children, choir teaching in these classes represents conventions developed in accordance with the Swedish choral tradition. Students are trained in large groups of (30-60); in parallel, they receive individual singing voice training in order for the choir to perform with a communal musical expression. This complexity places high demands on the choir teachers' ability to foster the specific musical skills required in a choir. Starting out from a cultural-psychological theoretical perspective, this study explores two choral teachers' interaction with their choir classes, respectively, by means of a method inspired by ethnography. Participating students were aged 10 and 11. Observation data of four lessons was collected, two with each teacher. Lessons were documented by field notes, one lesson of each teacher was video-documented. Analysis included three methods of data transcription: First of all, by writing thick descriptions. After that all events during the lesson were written down in a timetable and finally, a short representative sequence from each lesson was transcribed into a music score. Thus, the variety of methods enabled a deep analysis of data. The results show, on the one hand, that the teachers use a similar overall pattern for interaction. On the other hand, within this overall pattern they interact with their students in different ways that are being described as personal designs of interaction according to which each teacher uses the available cultural tools in individually different combinations when distributing knowledge to the students. In spite of this, differences in quality between the performances of the two choir classes were not recognised during the observed lessons. Accordingly, one conclusion of this study is that the overall music cultural context has a larger impact on students' ability to perform choral music than teachers' personal design of interaction.

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.

Joseph Gould was an important figure in the musical life of late nineteenth-century Montreal. His activities as a church musician, piano and organ dealer, and journalist made a considerable impact on artistic life in the city. But it was as the founder and conductor of the Montreal Mendelssohn Choir that Gould's influence was most keenly felt. Founded in 1864, the Mendelssohn Choir enjoyed a thirty-year lifespan and became famous for its high standard of performance. The library of the Choir, housed at the Marvin Duchow Music Library of McGill University, is an important collection, not only because of the presence of a number of interesting pieces of Canadiana within it, but as a basis for further study of nineteenth-century choral music. Included in this thesis is a catalogue of this collection as well as a list of Gould's known compositions.

Choro vadovo darbo profesionalumą atspindi tinkamas mokymo metodų parinkimas, mokėjimas juos derinti su menine, muzikine veikla ir tuo būdu pasiekti norimų ugdymo rezultatų. Todėl ugdant daugiabalsį dainavimą jaunių chore būtinas kryptingas bei sistemingas vadovo darbas. Paskelbti Lietuvoje tyrimai, dainavimo problematiką analizuojantys metodiniai leidiniai bei straipsniai iš esmės nesuformuluoja išsamaus ir esminio daugiabalsumo ugdymo metodų taikymo chore galimybių. Nefiksuojama, kokie pagrindiniai būdai turėtų būti taikomi šiam tikslui pasiekti. Vadovaujant jaunių chorui, tokia literatūra, kurioje nurodomi daugiabalsumo lavinimo pratimai be metodinių paaiškinimų, pedagoginiame darbe sukelia tik painiavos, o ne rezultatyvumo. / The managerial professionalism of the choir leader is reflected by the selection of appropriate teaching methods, the ability of combining them with the artistic and musical activities and thereby achieving the desired educational outcomes. Therefore, training polyphonic singing in the youth choir requires a systematic and purposeful leadership. Researches published in Lithuania, methodical publications and articles, analyzing singing problems practically do not formulate the opportunities of complete and essential polyphonic training techniques of the choir.

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One of the most important problems of a chorus director is how to select suitable materials which will be effectively used with a particular group. This problem is worthy of careful consideration. It is the purpose of this thesis to determine the factors necessary in choosing good material for the high school chorus and to offer a list of the best available selections as an aid to the director in choosing the most appropriate music.

This essay is written in the context of a master exam project at Konstfack university of arts, crafts and design. I have explored what I, in the capacity of a designer, can do to raise awareness about ageism. The proposal, called “the generations choir”, is an interactive installation that will see the light of day during the spring exhibition at Konstfack in May 2018. It aims to give space to reflect upon our own actions and standpoint in relation to the topic of ageism. The structures of the choir system, often with age divided groups, stands as a metaphor for our age-segregated society. The human voice is the material I have used to work with in my quest to promote change, the idea of new ways of living: enabling interaction with different generations in a meaningful way. Apart from the recording of singing voices of all ages, I have worked with sensors and programming to create a functioning interactive sound installation. I have focused on making an installation that invites visitors independent of age or disabilities (except the hearing impaired) to move freely and explore harmonies. My aim is to show that together with our differences, whether it’s a new voice, a broken voice or a frail voice, we can create something strong, lasting and beautiful. I want to remind us not to fall into the trap of age segregation and forget about all the good things that come with sharing references, experiences, stories and knowledge. Let us harmonies more! With whom do you sing?

Esta dissertação estuda o canto coral dentro da comunidade cristã. Como atitude metodológica, parte da análise da realidade de um coro comunitário, compara os resultados aí obtidos com bibliografia específica, e retorna à realidade com sugestões para o trabalho coral. O primeiro capítulo apresenta o resultado da pesquisa social realizada junto a uma comunidade, organizando o conteúdo em papéis e funções do coro comunitário e em elementos relevantes para o trabalho coral em geral. O segundo capítulo parte desse conteúdo para aprofundá-lo em três perspectivas claras: a da liturgia, da edificação de comunidade e da música. Para isso, lança-se mão de outras ciências consideradas afins: sociologia, antropologia, musicoterapia e fonoaudiologia. O terceiro capítulo, a partir dos impulsos recolhidos no primeiro e estudados no segundo, apresenta, ainda que de maneira ora considerada utópica, conclusões práticas para o trabalho coral em comunidades cristãs. O trabalho com coro comunitário precisa dar conta da dimensão musical, por tratar-se de um coro e, da dimensão comunitária, por tratar-se de um coro vinculado à comunidade cristã. Para isso, dentro da noção de corpo que orienta a comunidade, conta com a cooperação de todas as pessoas que dela fazem parte. / This dissertation studies choral singing within the Christian congregation. In terms of methodology, it analyzes the reality of a congregational choir, compares the results obtained from this study with specific bibliography and returns to the reality with suggestions for working with choirs. The first chapter presents the results of the social research carried out within a congregation, organizing the contents into roles and functions of the congregational choir and into relevant elements for choral work in general. The second chapter starts with this content and develops it into three clear perspectives: that of liturgy, another of the edification of the congregation and the other of music. To do this it makes use of other sciences that are considered related: sociology, anthropology, musical therapy and phonoaudiology. The third chapter, using the impulses gathered from the first chapter and studied in the second chapter, presents, albeit in a way at the present time considered utopic, practical conclusions for choral work in Christian congregations. Work with congregational choirs needs to take into account the musical dimension, being it is dealing with a choir, and the congregational dimension because of the tie with the Christian congregation. For this to happen, within the notion of the body that orients the congregation, it counts on the cooperation of all the people who are part of the congregation.