The purpose of this study was to identify and describe the convictions about choral conducting is held and applied by Caro Carapetyan which may have contributed to his superior choral work. The primary source of information was a series of personal interviews with Carapetyan. The report was organized into five sections. The first part supplied background material. Subjects covered in the report include philosophy, the relationship between conductor and singers the conductor's knowledge of music history and literature, rehearsal planning, conducting technique the selection of singers, choral tone, blend and balance, diction, intonation, rhythm, and dynamics. Each of the chapters in Parts II, III and IV includes a summary and some comparisons with other choral music sources. The fifth part is a summary of the findings, conclusions, and recommendations. Recommendations for choral conductors and future researchers are included.

The typical high school choral director of today is expected to know a great deal about the various types of music that exist as well as the appropriate techniques to create those genres in such a way that their student’s performances are realistic and stylistically accurate. What most undergraduate students are taught in pursuit of a choral music education degree misses the mark in that the show choir genre is nearly ignored throughout the curriculum. Yet, the nation’s new teachers are expected to strike out into the world of teaching and often find themselves in very large, competitive programs with the show choir at the very center. This study begins by identifying a number of questions that a first year teacher with no show choir directing experiences might ask, identifying the “how and why” of the daunting task of creating an artistic product in this new American modern choral genre. These questions also served as a guide to formulate a profile of the ideal show choir director. Then utilizing the established profile of the ideal show choir director, several experts – those who have an established reputation for a high level of success – were interviewed and their responses were documented, studied, and organized into categories that correspond with those found in the profile of the ideal show choir director. The correlation of these elements provided an in-­‐depth look into the processes of these successful directors that have proven to be effective over the course of many years, giving the reader a revealing look into how to build a program from the beginning, and to see it through to the end with ultimate success. As young teachers attempt to create musical experiences that are appealing to their students, they often find themselves competing with an idea that singing in choir should be like what can be seen on television in shows such as GLEE or American Idol, and other similar programs. While this is not an entirely real reflection of what choral music education is about, there is some truth to what is shown, and to a degree, what can be done. The focus of this project is to provide our new teachers a knowledge base to draw from that can assist them in their own development toward becoming a truly well balanced musician and educator. This project can assist these young teachers in developing into those who have knowledge of the show choir art form, and know how to teach the various techniques necessary to engage students and keep them interested in singing choral music. / Access to dissertation permanently restricted to Ball State community only / School of Music

Thesis (D. Mus. Arts)--University of Washington, 2001. / Vita. Includes bibliographical references (leaves 290-299).

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Title from PDF t.p. (viewed Aug. 26, 2009). Directed by William Carroll; submitted to the School of Music. Includes bibliographical references (p. 58-62).

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 87-96). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 87-96). Also available on the Internet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1970. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 285-289).

Dissertation (PhD) Florida State University, 2007. / Advisor: Kevin Fenton, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-29-2007). Document formatted into pages; contains 151 pages. Includes biographical sketch. Includes bibliographical references.

This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.

The purpose of this study was to analyze the characteristics of teacher directed modeling evidenced in the practices of three experienced high school choral directors. Research questions were: 1. What modeling activities were exhibited in each teacher's rehearsals? 2. When viewing a 45-minute composite tape of each teacher's instructional activities representative of all rehearsals, what instructional behaviors did each choral director recognize and identify as modeling? 3. What instructional episodes on the composite tape not identified by the teachers contained elements of modeling? 4. What other episodes from the remainder of each choral director's rehearsal practice contributed to an understanding of modeling? Videotapes of three high school choral directors were recorded over the course of one semester. Excerpts from rehearsals were combined to form a 45-minute composite tape of each choral director. A text transcription was made of the composite tape. Participant directors viewed their tape and identified instructional episodes that they recognized as examples of modeling. Identifications were analyzed, and descriptive categories of modeling behaviors were established. Modeling was found to be a teacher generated or delegated act of demonstration. Demonstrations were musical or non-musical and belonging to either of three distinct categories: audible, visible, or process modeling. Subdivisions of each category were found further describing modeling in the high school choral rehearsal. In addition, types of modeling were noted in increasing cognitive complexity required on the part of students beginning with simple imitation and concluding with models as tools for musical problem solving. Research is recommended on a larger sample of participants, including junior high/middle school directors to confirm categories and levels and to develop an observation tool based on results for describing, assessing, and modifying instructional techniques of practicing and pre-service music educators.