Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 154-164). Also available on the Internet.

Thesis (Ph. D.)--University of Iowa, 1942. / Without thesis note. "Sources": p. 202-209. "List of published compositions": p. 210-216.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 154-164). Also available on the Internet.

abstract: Dr. Jerold D. Ottley's twenty-five years leading the Mormon Tabernacle Choir resulted in many distinguished awards and recognitions for the ensemble. Included among these are two Platinum and three Gold records from the Recording Industry Association of America, an Emmy from the Academy of Television Arts and Sciences, and two Freedom Foundation Awards for service to the country. He conducted the Choir at two presidential inaugurations, Ronald Reagan's in 1981 and George H. W. Bush's in 1989, as well as performances at the 1984 Los Angeles Olympics Gala. He presided over eleven international tours to twenty-six countries and crisscrossed the United States for engagements in nearly every region of the country. Despite the awards, commendations, and increased recognition of the Choir, Ottley's greatest contributions were largely internal to the organization. Jerold Ottley is a skilled music educator, administrator, and emissary. Application of these proficiencies while at the helm of the Choir, led to what are, arguably, his three largest contributions: 1) as educator, he instituted in-service training for choir members, raising the level of their individual musicianship, thereby improving the technical level of the entire Choir; 2) as administrator, Ottley created policies and procedures that resulted in a more disciplined, refined ensemble; and 3) as emissary, he raised the ensemble's reputation among the general public and with music professionals. For the general public, he significantly broadened the Choir's repertoire and traveled frequently thereby reaching a wider audience. He secured greater respect among music professionals by inviting many of them to work directly with the Choir. The results were unparalleled. Ottley's twenty-five year tenure with the Choir is reflected in broader audiences, increased professional acceptance, added organizational discipline, and unprecedented musical proficiency. It is a notable legacy for a man who reportedly never felt comfortable as director of the Mormon Tabernacle Choir. / Dissertation/Thesis / D.M.A. Music 2011

The use of imagery and movement to affect vocal tone has long been a part of choral pedagogy. These often used, yet little explored tools, are employed by choral directors on all levels. The present study sought to determine if the use of imagery, metaphor, motion, and a combination of the three, as pedagogic tools to affect vocal tone, could be perceived by outline listeners. Three singers - an untrained singer, an undergraduate in choral music education, and a graduate student in vocal performance - were asked to perform a melody under a control and three research conditions: metaphoric-image, motion, and dual modality (a combination of metaphoric-image and motion). Participants were randomly assigned to listen to one of the three singers. Participants were asked to rate each condition on tone color, tension, and preference and were directed to ascribe a color to the tone they heard for each condition. Results indicated that respondents could indeed perceive a difference in tone over the different conditions. For the metaphoric-image condition, the singers were asked to "sing the line as if it were yellow." Overall, respondents rated this tone brighter than any others across singers and conditions. The majority of respondents also ascribed the color yellow to the metaphoric-image tone across singers and conditions. Overall data indicated that respondents rated the dual modality condition as darkest and most relaxed while the metaphoric-image condition was rated as brightest and most tense. These results were consistent with the expected pedagogic intent of the conditions as well as the researcher's hypothesis. A chi-square test performed on the color ascription data revealed statistical significance in the expectation of response. The data seem to indicate that specific color ascription to vocal tone is consistent across respondents and conditions.

Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2006Bitstream added on 2014-06-13T19:35:36Z : No. of bitstreams: 1 vertamatti_lrg_me_ia_parcial.pdf: 78081 bytes, checksum: 71bcdda6e98f0db2e35f53d803cad44f (MD5) Bitstreams deleted on 2015-07-02T12:36:03Z: vertamatti_lrg_me_ia_parcial.pdf,. Added 1 bitstream(s) on 2015-07-02T12:37:28Z : No. of bitstreams: 1 000467891_20201231.pdf: 68760 bytes, checksum: 11100cb5fd96ec6dbdaa358d0e3e7fe3 (MD5) / Universidade Estadual Paulista (UNESP) / Nesta pesquisa pretendeu-se introduzir repertório vocal, que envolva parâmetros musicais não vivenciados pelos grupos corais infantis ou infanto-juvenis. Hoje na cidade de São Paulo, a maior parte desses coros dedica-se a um repertório mais ou menos restrito. A comprovação dessa hipótese foi feita pela análise de programas de concerto e por informações fornecidas por alguns regentes a respeito do trabalho coral realizado em seus coros. Mediante a comprovação da restrição, acredita-se que as produção musical vivenciada por esses grupos fornece uma visão unilateral da música. O objetivo desse estudo é aproximar a prática coral do sujeito da pesquisa, a um tipo de repertório musical que utiliza organições harmônico-melódicas até então desconhecidas pelo grupo. Esperou-se com isso que a forma e escuta fossem modificadas e a lacuna existente entre compositor e prática educativa, minimizada. Como fundamentação, partiu-se da idéia de música como linguagem, seguindo os pressupostos teóricos de Gadamer e Merleau-Ponty em que a linguagem é vista pelo prisma de seu uso pelo falante. O suporte pedagógico foi encontrado no compositor Guy Reibel que aponta para a lacuna existente entre a prática musical estudantil e profissional e a produção de música contemporânea. Na área vocal, a pesquisa foi amparada pelos trabalhos de Sharon Mabry e Brigitte Rose. A pesquisa é qualitativa participativa de caráter intervencionista e previlegiou a descrição, a análise e a interpretação de dados. Dessa reflexão e de sua aplicação no trabalho prático, percebeu-se que há envolvimento e comprometimento do coro com o repertório selecionado e que já se notam mudanças na atitude de escuta do grupo, necessárias à sua execução / In this research it was intended to introduce vocal repertoire that contain musical parameters not familiar to the children and youthful choir. Today, most of the São Paulo city choirs dedicate themselves to a restricted repertoire. The evidence of this hypotheses was made by analyzing concert programs and information given by some conductors, regarding to their choral work. With the evidence of the repertoire restriction, it is believed that this kind of practice gives a unilateral vision of music to the choirs'singers. The goal of this study was to bring the choir near to musical repertoire that uses a harmonic-melodic organization until them unknown for the group. It was expected by this approach, that the way of listerning would be modified and the existing gap between composers and pedagogical practice would be minimized. The basis of this research is the concept of music as a language, pursuing the thoughts of the theoreticians Gadamer and Merleau-Ponty, that see the language by the prism of its use by the speaker. The pedagical support was found in the composer Guy Reibel that points to the existing gap between the students and professional musical practice and the contemporary music production. In the vocal area, the research was supported by Sharon Marby and Brititte Rose's works. The investigation is qualitative participative of interventionist aspect and privileged the description, the analysis and the interpretation of the facts. From this reflection and its practical application, it was perceived that the choir was involved to the selected repertoire and already changes in choir's listening attitude, necessary to the repertoire perfomance are noticed

The diploma thesis is focused on dealing with young learners in children choirs, it targets on problems that can appear within the work with choirs and how to solve these problems. The first chapter offers historical overview for reader's idea of what did the chorister look like from Middle Ages to present. I deal with the causes why children don't sing in the second part nowadays. The third chapter is aimed at chorister of České Budějovice. The inteviews with choirmasters of the most famous children choir of this city are added to this part. The fourth, wide chapter is dedicated to the work in choir and is divided into couple of parts, which bears on the contents of the thesis. I allude to necessities the child has to pass if wants to devote to chorister, and I addict on problems connected with chorister. I analyse the factors which from my point of view affects basic and other activities of choirs in the final part.

abstract: Imitation is the genesis of change. One basic principle of human nature is that people imitate what they see and hear. In the professional choral arena, musicians extend the high art of imitation through fine-tuning, and creative reinterpretation. Stimulated by this cycle, the color of the twenty-first-century professional choir shifted compared to that of professional choirs from the 1950s through 1970s, causing an evolution in choral sound. In a series of interviews with iconic composers and conductors of professional choirs, the subjects involved in the study conveyed comprehensive and personal accounts outlining how professional choirs have refined the standard of choral sound. The paper is organized into three sections: (1) where have we been, (2) where are we now and (3) where are we going? It explores various conductors' perceptions of how and why choirs are unique when compared to earlier generations and what they believe caused the shift in choral tone. Paired with this perspective is the role of modern composers, whose progressive compositional techniques helped shape the modern choral sound. The subjects involved in the study further theorize how current inclinations may potentially shape the future of professional choral music. Although the subjects expressed differing opinions about the quality of the twenty-first-century choral tone, many agree that there have been specific transformations since the 1970s. The shift in choral tone occurred due to developments in vocal technique, exploration of contemporary compositional extended techniques, an adherence to historically informed performance practice, imitation of vocal colors from numerous cultures, incorporation of technology and emulation of sound perceived on recordings. Additionally, choral music subtly became prominent in film scores, and innovative conductors created progressive concert programming, and developed novel approaches to entertain audiences. Samplings of contributors involved in this study include: John Rutter, Harry Christophers, Charles Bruffy, Nigel Short, Craig Hella Johnson, Alice Parker, Michael McGlynn, Phillip Brunelle, Craig Jessop, Libby Larsen, Ola Gjeilo, Cecilia McDowall, Jaakko Mäntyjärvi and Stephen Paulus. / Dissertation/Thesis / D.M.A. Music 2013

The aim of this study, is to describe and analyse the sense making processes that are supposed to lead to music understanding among students at an upper secondary school with a fine arts program in music. In focus for my study is the teachers and the students’ lifeworld inside this program. I want to find out more about their thoughts in words and action, and in what different ways the interaction between the teachers and students takes place. Of interest is also the interaction between the students themselves. The method I have chosen for this qualitative study is based on observations of some music lessons. As a complementary to the observations, I have also performed interviews with two teachers and six of the students that are studying their last year at this music program. The selection of the informants is limited to only this group of students and their teachers. The observations and the interviews took place during autumn 2017. My idea to choose this group of student informants at the age of 19, is that they probably have a greater experience of music education compared to younger students. And that they more easily can describe their music understanding and development. Some conclusions I have made from this study, is that many of the students I interviewed connects music learning to a musical instrument. It seems that they don’t value knowledge in singing as a tool to develop music skills. Through the diversity of music topics, the students are studying during their three years in this music program, it seems every individual acquires a good general knowledge of music.

Knowledge of motivation factors can assist conductors and music educators at all levels in planning and implementation of musical goals. The purpose of this study was to identify motivational factors to join the choir and maintain membership in the choir as well as the role of stress/anxiety in maintaining choral membership. In addition, the role of musicianship was evaluated in terms of music aptitude and vocal ability. Participants (N=135) from four adult, auditioned community choirs participated in this study. Data was collected using Advanced Measures of Music Audiation, Singing Coach, measure of vocal ability and a questionnaire relating to topics of motivation, retention and stress and anxiety contained within the sub-constructs of Cusp Catastrophe Theory. The results of this study identified aesthetic motivation as the primary construct as to why members elect to join the choir. In direct relationship to this motivation, lack of aesthetic beauty and truth was identified as why members would not retain their membership in the choir. Members did not experience stress and anxiety while learning or performing choral music. However, they did agree that some level of stress is beneficial to singing. In this study, no participant suggested that stress and anxiety related to vocal ability would prevent them from achieving their performance goal. Implications from this research may include determining program literature to be presented that is perceived as having aesthetic qualities which will be beneficial for membership and retention of choir members.