Thesis (Ph. D.)--Michigan State University. Dept. of Music Education, 2008. / Title from PDF t.p. (viewed Sept. 9, 2009). Includes bibliographical references (p. 317-334). Also issued in print.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Includes bibliographical references (leaves [41]-42).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Includes bibliographical references (leaves [41]-42).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Description based on microfiche version record. Includes bibliographical references (leaves [41]-42).

This thesis explores connections between British amateur singers and black South African choral music that, over the past fifty years, have grown in strength and significance. By concentrating on a set of representative case studies, it investigates how and why this music is learned, performed and rehearsed within a variety of choirs and ensembles of different styles and experiences. In addition, the thesis focuses on certain songs that have become popular within specific choral contexts, and discusses the reasoning behind their enthusiastic reception and attractive power. My approach is ethnographical, and the material I present is taken from my own participant-observations of choir rehearsals, workshops and performances, as well as from interviews I conducted with choir members and leaders. On a theoretical level, this thesis engages critically with ethnomusicological and anthropological debates surrounding cultural appropriation. Particularly pertinent to each chapter are discussions concerning authenticity, cultural authority and power relations, and I explore the politics and logistics that are associated with British singers’ encounters with black South African choral music. By discussing critically these different levels of encounter and engagement, I offer some new and intriguing standpoints from which to consider existing debates surrounding cultural appropriation and, in so doing, suggest approaches for theorising cross-cultural encounters through a more nuanced postcolonial lens.

abstract: In this study, I sought to learn how members of college women’s choirs feel about their choir and women’s choirs in general. Singers from 19 institutions in the American Choral Directors Association Southern division participated. From the potential survey population (n=986), 302 respondents participated (response rate = 28%). These research questions guided this study: 1. How do current members of college women’s choirs feel their choir is perceived compared to other types of choirs at their college or university and in their community? 2. How do current members of college women’s choirs feel about singing in this group? About women’s choirs in general? A researcher-developed survey instrument was used to gather demographic information and other data related to the research questions. After a pilot study, the survey was edited for clarity. The director of choral activities and the director of the women’s choir at each institution was contacted via email. The schools that agreed to participate received the link to the survey and an email script to send to students. Two weeks later, a follow-up email was sent with the same materials. Two weeks after that, the survey window closed. The data were collected and analyzed for frequency and percentage. While analysis of variance (ANOVA) tests found no significant differences, the analysis of some of the independent variables, especially those having to do with the age and experience of the singers, were highly suggestive. In this study, women’s choir members responded positively to statements about the value of their choir within their institutions and communities. While respondents often indicate that women’s choirs are seen as inferior to mixed choirs, they nevertheless enjoy the repertoire they sing and like being challenged. Respondents answered affirmatively in Likert-scale questions about their women’s choirs and women’s choirs in general, but answered more critically in open-ended response questions about the same topics. The survey results echo the findings of earlier studies, amplified by the choir members’ own opinions. The data in this study offer clear means to ensure that all students in all choirs are proud of their work and feel equally valued. / Dissertation/Thesis / Doctoral Dissertation Music 2020

Firstly, the matter of constituting a choir is discussed. This involves auditioning, with its attendant problems of nervousness and self-consciousness on the part of the children, and assessment on that of the trainer. In the final analysis, after enthusiastically advertising the rewards to be gained from choral singing, and after trying to create an environment which is seen to be conducive to this philosophy, the trainer has to make the best of the willing forces available. Rehearsals are probably more important than performances, since the time devoted to preparation is much longer. Moreover, the educational value of carefully preparing the music and of becoming acquainted with the techniques of singing and with the aesthetic niceties of style and interpretation should by no means be underestimated. The choir and trainer get to know not only the music but also each other, and the trainer has to use his skills wisely in developing the human and musical resources available to him, in order to realize their greatest potential (Introduction, p. ii-iii)

This document chronicles the history, development, process, and impact of three of the United States' first and most successful professional choirs. Representing the impact of these three choirs demonstrates a need for current professional or community choirs today. Four conductors of current professional and community choirs were interviewed and discussed elements for establishing, maintaining and succeeding in creating of a professional or community choir in the United States today. This document impresses the importance and considerations for a successful endeavor when establishing a professional or community choir.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The goal of this study is to explore three different models that three selected university choirs chose to accommodate diversity: two choirs with different identities existing independently alongside each other on one campus (model A), one choir, implementing diversity (model B) and one choir with a Eurocentric character (model C). Each university was treated separately, collecting qualitative data to provide historical insight into the choir, to determine profiles of the relevant conductor(s) and choristers and to determine the management body’s views regarding the role of the choir(s) within the institution. Information on repertoire indicates preference for musical styles, favouring an African or Western perspective or showing measures of cultural adaptability. Data was collected from choristers, conductors, organisers and university representatives by questionnaires and personal interviews as well as historical data in the form of concert programmes of the selected university choirs. The research findings indicated that the three universities concerned chose to handle their cultural diversities in completely different ways, resulting in creating unique choral identities which are evident in aspects such as repertoire, choristers’ experience and the support from the institution.

The purpose of this study was to determine the relationship between selected personal investment behaviors and the meaning non-select choir members attach to their choral experience.