The main purpose of this study was to examine the effects of gesture and movement training for beginner children's choirs with regard to improving intonation and tone quality. A further aim was to determine whether movement training enhances gesture quality. This study also intended to explore the relationship between voice and gesture. Additionally, a series of teaching tools to train children with `effective' gestures and movements was developed. Fifty-three fifth grade students participated in the empirical investigations. They were randomly assigned into three groups: (1) Group 1- students who received no gesture and movement training; (2) Group 2- students who received gesture training, and (3) Group 3- students who received gesture and movement training. The instructional unit, consisting of two 40-minute sessions per week for 24 sessions, focused on vocal development. Each individual was pretested and posttested, and the three groups were pretested, mid-tested, and posttested. Three different groups each comprising of three experts were asked to judge both the children's individual and group performances in singing and gesture. Statistical analyses showed that the children who received gesture and/or movement training significantly performed better than those who did not both in `Intonation' and `Tone Quality'. Children who received movement training gained a significantly higher score on gesture quality. The results also showed that the relationship between voice and gesture was significantly correlated. In addition, the students sang significantly better with gesture. It was concluded that gesture training has a positive effect on improving children's intonation and tone quality. Furthermore, the combination of gesture and movement training could be a powerful teaching strategy in choral rehearsals.

Thesis--Wisconsin. / Vita. Includes bibliographical references (leaves 224-232).

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 19, 2004, Feb. 24, 2005, Apr. 22, 2005, and July 12, 2006. Includes bibliographical references (p. 43-46).

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Thesis (Ph. D.)--Conservatory of Music and School of Education. University of Missouri--Kansas City, 2006. / "A dissertation in music education and curriculum and instruction." Advisor: Charles R. Robinson. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Dec. 20, 2007. Includes bibliographical references (leaves 167-179). Online version of the print edition.

The system known as eurhythmics focuses on developing one¡¦s rhythmic potential through the use of his or her own body. Through experiences with natural movement, eurhythmics offers opportunities for developing keener hearing, concentration, mental alertness to musical elements, rhythmic control, coordination, flexibility, recognition and understanding of musical symbols, and appreciation of expressive qualities of music. There have been some choral educators, conductors and directors engaged in training choirs by eurhythmics. Taking Taiwan¡¦s Protestant Church Choirs as a research sample, this study analyzes the application of eurhythmics concepts during rehearsal. This result could be a guideline for those who direct or train church choirs. There are five chapters in this thesis. Chapter one contains the ideal, worded as a hypothesis, and poses questions to be pursued in this study. Chapter two briefly introduces the performing style, levels of choir members¡¦ education, and directors¡¦ training in Protestant Church Choirs in Taiwan. It then discusses the possibility of rehearsing choirs by eurhythmics. Chapter three cites available research material and commences on its implications for the topic. Chapter four plays the results in tables and then discusses questions that remain to be solved. Chapter five draws conclusions briefly, then make reflections and suggestions.

Thesis (D.M.A.)--University of Oklahoma, 1990. / Includes bibliographical references (leaves 415-436).

This qualitative mini-treatise explores how South African choral identity is perceived by three regional children’s choirs, facing challenges of representing cultural diversity against the background of an ongoing process of social transformation. The study proposes that choirs from South Africa project a distinctly South African “choral” identity which they themselves have constructed by fabricating a mental representation of themselves, and which they project outwardly by means of a range of musical and extra-musical elements observable in the cultural product and artifacts generated over time. The researcher has analyzed a selection of cultural products and artifacts of the Eastern Cape Children’s Choir, the Cantare Children’s Choir and the Tygerberg Children’s Choir, in order to identify common practices among three subject choirs which sustain their continuity, in terms of Richard’s definition of identity (in Torres 2008: 3): “to name a set of practices which subjects may adopt in sustaining both the individual and, to varying degrees, collective continuity”. Research findings indicate that subject choirs are perceived, and project their choral identities, according to their musical ability to communicate and interact with other world-class choirs. Recurring practices undertaken by each subject choir, in order to maintain their international perspective, are identified as key to sustaining their continuity. Choral identity is furthermore strongly influenced by the choral tradition of the choir and the role of the conductor in developing their choral tone. This study is significant to regional children’s choirs seeking to overcome challenges of renegotiating cultural identity, as well as sustaining and expanding choral singing as an art form in South Africa.

This study investigated the criteria conductors use to select repertoire for beginner secondary school choirs and is based on a qualitative research design. The research was guided by a social constructivist worldview and is an explanatory case study. Data were collected through interviewing five experienced and established choir conductors who conduct secondary school choirs. Five themes crystallised through the data analyses, which are Education, Vocal ability, Type of choir, Programme choice and Audience preference and development. This study leads to further recommendations about possible research on repertoire that is best suited for beginner secondary school choirs and choir singing as experienced by the choristers and the audiences themselves. / MA (Musicology), North-West University, Potchefstroom Campus, 2015

This study investigated the criteria conductors use to select repertoire for beginner secondary school choirs and is based on a qualitative research design. The research was guided by a social constructivist worldview and is an explanatory case study. Data were collected through interviewing five experienced and established choir conductors who conduct secondary school choirs. Five themes crystallised through the data analyses, which are Education, Vocal ability, Type of choir, Programme choice and Audience preference and development. This study leads to further recommendations about possible research on repertoire that is best suited for beginner secondary school choirs and choir singing as experienced by the choristers and the audiences themselves. / MA (Musicology), North-West University, Potchefstroom Campus, 2015