Theme of diploma thesis is „Music scene“ - a concert hall for city of Brno. Thesis consists of architectural study of concert hall including foyer, functional and service spaces. Capacity of Hall is 724 spectators divided in three floors of auditorium and can host up to 85 of orchestral musicians and 50 members of choir. Concept makes architectural study, which respect surrounding buildings but creates interesting space.

The assignment of this diploma thesis followed previous analysis of the regions of Valašsko and Haná. The outcome of this analysis showed several problems. One of the most serious problems is a lack of spiritual and liturgical sites in the area of Zlín. The analysis and synthesis preceding this diploma thesis are enclosed. The analysis of sites of pilgrimage in the area of Zlín was one of the studied subjects. The assignment of the diploma thesis was created using a combination of discovered data – design of the site of pilgrimage including a church and spiritual centre. This building is to support local community, christian religion and rehabilitation of the present site of pilgrimage Svatá voda – Kaménka. This diploma thesis deals with the design of a church as a site of pilgrimage, with facilities and café for the public. It also deals with the design of a spiritual centre with weekly spiritual programme. There are also four flats designed as accommodation for clergymen. The designed buildings are located 250 metres away form the present site of pilgrimage Svatá voda.

Die Dissertation widmet sich der Frage, was Menschen motiviert, in evangelischen Kirchenchören mitzuwirken, wobei sich die Forschung auf die Sängerinnen und Sänger des Kirchenchorwerkes der Ev.-Luth. Landeskirche Sachsens fokussiert. Als erster Schritt wird anhand relevanter vorliegender Kenntnisse u. a. der Motivations-, Sozial-, Musik- und Religionspsychologie, der Soziologie und Musikpräferenzforschung ein wissenschaftliches Verständnis der Motivation für die Mitwirkung in Kirchenchören entwickelt, dieses mit dem theoretischen Wissen der Praxis von Kirchenchören in Beziehung gesetzt und ein Kategoriensystem potentieller Anreize bzw. Motive der Kirchenchorpraxis erarbeitet. Anschließend erfolgt die Überprüfung und Erweiterung der gewonnenen Erkenntnisse anhand zweier aufeinander aufbauender empirischer Studien: Einer qualitativen exploratorischen Studie anhand von Leitfadeninterviews, aus deren Ergebnissen sechs Hypothesen zur sozialen, musikalischen und religiösen Motivation, zur Erlebnisqualität in der Chorpraxis, zu Zweckzentrierung und Routineaspekten der Chormitwirkung und zur musikalischen bzw. religiösen Sozialisation der Sänger abgeleitet wurden sowie einer quantitative Studie in Form einer Online-Befragung. Die Stichprobengröße hierfür beträgt 544. Die Ergebnisse der Studien bestätigen im Wesentlichen die Aussagen der Hypothesen, die eine große Bedeutung von musikalischen und sozialen Anreizen der Kirchenchorpraxis, Differenzen der religiösen Motivation bei Mitgliedern für alle offener Chöre im Vergleich zu spezialisierten Chören, das überragende Potential für Flow-Erleben bei der Mitwirkung in Konzerten im Vergleich zu Proben, geselligen Veranstaltungen und Gottesdiensten sowie eine bereits in der Kindheit bzw. Jugend erfolgte religiöse und/ oder überdurchschnittlich musikalische Sozialisation der Chormitglieder postulieren. Als Fazit werden Anregungen für die praktische Kirchenchorarbeit abgeleitet und die Ergebnisse aus theologisch-liturgischer Perspektive reflektiert.

This thesis is focused on choral traditions in the city of Karlovy Vary. It maps music and social life in the city from the 19th century to the present, including some of the major personalities in music. It also concentrates on all the important choir bodies that were or still are active and which were important for the cultural life of the city. Emphasis is placed primarily on the Karlovy Vary Choir, the longest-performing choir in the city, including all choirmasters who participated in the running and artistic leadership of the choir. Memories of the oldest members of the choir, emeritus or still active, are also incorporated. At the end of the thesis, the repertoire of the choir and the pictorial attachment are presented.

The purpose of the lecture was to investigate the historical and musical heritage of the Moravian Church, with a particular interest in the works and players of the American Moravian Trombone Choir. The historical overview of people, customs, and practices is traced from its beginnings with the Unitas Fratrum in Bohemia through the Northern Germany settlement of Herrenhut and the establishment of the American Moravian colony at Bethlehem, Pennsylvania. The musical life of the church is represented by a discussion of the early hymns of the founding fathers in Bohemia and the subsequent instrumental music of the Moravian trombone choir in America. The trombone choir played chorales that were used to call the congregation to order, announce important visitors to the town, and provide music at special occasions. Anthems were played by trombones (when players were available) in regular church services, or outside when it was necessary to double voice parts. Concerted music was played in the Bethlehem Collegium Musicum. Biographies of the players of the 18th and 19th century trombone choirs provide information attesting to the proficiency and dedication of these musicians. A list of players who contributed to the trombone choir movement since the 19th century is included, as well as information about the popularity and function of the Moravian Trombone Choir today.

No description available.

This thesis focuses on a media image of children's choirs influenced by the so-called "Kulínský Case". The aim of this thesis is to find out how and how often the Czech press informs about children's choirs and if the aforementioned case somehow changed the presentation of this content. The term "Kulínský Case" refers to the controversial case when choirmaster Bohumil Kulínský was found guilty of sexually abusing underage girls. First part of this thesis covers the media theories such as the news values and also describes the concepts linked with choir singing. In the research part, the results of quantitative and qualitative content analysis of three Czech daily newspapers Mladá fronta DNES, Lidové noviny and Právo are presented and interpreted. The analysis is focused on the content published in Prague editions of these three newspapers in two selected time frames. These time frames had been selected in accordance with the development of the "Kulínský Case". The research focuses on the frequency of the published texts, on used genres, newspaper sections and on the meaning and quality of the texts. Afterwards ensues the comparison of the two selected time frames. Furthermore, the last part of this research is focused on the media coverage of the death of Bohumil Kulínský by the online news...

The Choral Music of Elaine Hagenberg explores the oeuvre of composer Elaine Hagenberg through a musicological, qualitative, and performance-based analysis of her compositional style that has led to her increasing acclaim. This study serves as the first primary source of scholarly output on her. Through an examination of her musical background as a pianist and choral educator, one can identify her principal sources of musical inspiration: text, nature, and her faith. Shaped by these experiences, her compositional philosophy encapsulates five elements of text, form, rhythm, melody, and harmony as she strives to produce singer-centric, authentic, and socially relevant compositions that unite people together. What begins as a consideration of her background and compositional process culminates in practical musical analysis and conducting and vocal considerations to aid future conductors in creating compelling performances of her works. The compositions discussed are As The Rain Hides The Stars (2015), O Love (2016), Song of Miriam (2019), My Companion (2019), and Alleluia (2020).

Studiens syfte var att undersöka och utvärdera hur dirigenten på effektivast möjliga sätt kommunicerar information till koristerna genom sitt gestiska språk utifrån hur koristerna fördelar sin uppmärksamhet och tolkar positioneringen av dirigentens händer. Studien utredde även om och i så fall hur uppmärksamhetsfördelningen och tolkningen av en dirigents gestik skiljer sig mellan korister med varierande körerfarenhet och musikalisk utbildning. Dirigering är ett uråldrigt icke-verbalt kommunikationssätt och tidigare forskning visar att vi människor speglar varandras kroppsspråk, den så kallade kameleonteffekten. Tillsammans med vetskap om hur sångarens röstapparat fungerar ges en övergripande bild av vilken information koristen behöver från dirigenten för att sången ska nå önskat resultat. Studien genomfördes genom experiment på fyra körgrupper med skilda erfarenheter av körsång samt utbildningsnivå i musik, där ett antal övningar konstruerades för att kunna analysera hur sångarna fördelade sin uppmärksamhet mellan dirigentens händer, ansikte och det egna lyssnandet. Som komplement till experimentet genomfördes även en intervju med en erfaren professionell kördirigent. Resultatet visade att det fanns både likheter och skillnader i försöksgruppernas tolkning av gestiken. Enklare gester som tydligt ger psykologiska associationer till kända känslor eller beteenden, såsom att lyfta något tungt, tolkades intuitivt på likvärdigt sätt av samtliga sångare, medan mer köridiomatiska gester såsom att placera en konsonant på ett synkoperat slag skiljde sig mellan grupperna. Detta innebär inte att mindre erfarna sångare med nödvändighet inte kan avläsa eller förstå vissa gester. Skillnaderna mellan gruppernas tolkning av gestiken berodde sannolikt i hög utsträckning på andra faktorer, såsom att det i repetitionssammanhang kan ta längre tid för den oerfarne koristen att lära sig läsa noterna, hitta rätt i röst och andning och intonera rent. Detta gör att denne inte har lika mycket utrymme att koncentrera sig på dirigentens gestik jämfört med en korist som tränat upp körsjungandets elementa till automatik. / The purpose of the study was to examine and evaluate how the conductor most efficiently communicates information to the choristers through gestural language based on how the choristers distribute their attention and interpret the position of the conductor’s hands. The study also investigated if and how the distribution of attention and interpretation of a conductor’s gesticulation differs between choristers with different levels of experience in choral singing and musical education. Conducting is an ancient non-verbal mode of communication, and previous research shows that people mirror each other’s body language, the so-called chameleon effect. Coupled with knowledge of the function of the singers’ vocal apparatus, an overall picture of what information the choristers need from the conductor in order for the music to achieve the desired result is provided. The study was conducted through experiments on four choir groups with different levels of experience in choral singing and musical education, where a number of exercises were constructed to analyze how the singers distributed their attention between the conductor's hands, face and their own listening. To complement the experiment, an interview with an experienced professional choir conductor was made. The results showed both similarities and differences in the experimental groups' interpretation of gestures. Simpler gestures that clearly gives psychological associations of known emotions or behaviors, such as lifting something heavy, were intuitively interpreted in a similar way by all singers, while more choreographic gestures such as placing a consonant on a syncopated beat differed between the groups. This does not necessarily mean that less experienced singers are unable to read or understand certain gestures. The differences between the groups' interpretation of gestures were probably largely due to other factors, such as the fact that in a rehearsal context it may take longer for the inexperienced chorister to decipher the notes, find the right voice and breathing and intonate just. This means that they have less opportunity to concentrate on the conductor's gestures, in comparison with a chorister who has trained the basic elements of choral singing to automaticity. / <p>Information om examenskonserten</p><p>Repertoar:</p><p>Lux Aeterna (Rebecka Ryd)</p><p>I detta vita, outsagda (text Cecilia Lindemalm, musik Rebecka Ryd)</p><p>Hör på mig, ni fjärran länder (text Jesaja 49:1-2, musik Rebecka Ryd)</p><p>Visa vid vindens ängar (text och musik Mats Paulson, arr Rebecka Ryd)</p><p>Den blida vår är inne (text J O Wallin, A Frostenson, arr Rebecka Ryd)</p><p></p><p>Medverkande:</p><p>Rebecka Ryds Diskantensemble</p><p>Dante Fritzell, flöjt</p><p>Lisa Herlitz, oboe</p><p>Patricia Träff, klarinett</p><p>Zacharias Frato, horn</p><p>Fritz Fembro, fagott</p><p>Rebecka Ryd, dirigent och kompositör</p>

Architecture of Resonance looks at acoustics and resonance within spaces as a relational thinking, defining listening as an act of care. The project is inspired by the collaborative work of architect Céline Condorelli and artist-curator Gavin Wade called Support Structures. It is a work on community gatherings, on how to create an ability to be heard, to listen, and by small design interventions contribute to a larger change. This project is created in collaboration with the non-profit organization and integration choir Voices Without Borders in Stockholm, 2022. The choir started during the Syrian war in 2016. The method used in the collaborative part of the project is called Graphic Notations, a process of painting notes of music as it intuitively feels in your body. Architecture of Resonance is a bodily and spatial investigation of ways to vocalize the poetic and political aspects of a space, by developing a support structure for the choir Voices Without Borders. The project proposes a spatial supporting act, called the Resonance Structure, specifically made for the choir’s rehearsal room. It is a tool for listening, to support the resound of the voices in the choir, and to give voice to new stories.