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Contemporary practices in the performance of Handel's MessiahRoberson, Ammon Demetrius, January 1963 (has links)
Thesis (D. Mus. Ed.)--Indiana University, 1963. / Includes bibliographical references.
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The development of choral music in higher educationRegier, Bernard Wayne, January 1963 (has links)
Thesis--University of Southern California. / Includes bibliographical references.
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The part-song in England, 1837-1914Silantien, John Joseph, January 1980 (has links)
Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 1980. / Typescript. Vita. Includes bibliographical references (leaves 348-361).
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Criteria for selecting appropriate choral literature to meet the needs and assist in the development of the boy's changing voiceRussell, Teresa Pamela. January 1980 (has links)
Thesis (M.M.)--University of Wisconsin-Madison, 1980. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 82-84).
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Roberto Sierra's Missa Latina Musical analysis and historical perspecitves /Rivera, Jose. Thomas, André J. Sierra, Roberto. January 2006 (has links)
Dissertation (PhD) Florida State University, 2006. / Advisor: André Thomas, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-11-07). Document formatted into pages; contains 132 pages. Includes biographical sketch. Includes bibliographical references.
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Choral music in Canterbury Cathedral, 1873-1988 : the role of service settings and anthems in the regeneration, preservation and sustenance of cathedral worshipSaint, L. January 2011 (has links)
'What service settings and anthems were sung in Canterbury Cathedral during 1873- 1988' is a straightforward question to answer. The significance of the practice of choral music making in Canterbury Cathedral in the restoration and growth of Cathedral worship and early music repertoire deserves close examination through the information discovered in that first answer. The implication is that reinstatement of the worship and development of early music, following a period of impoverishment, was necessary. Investigation of the nature of changes made in Canterbury Cathedral, together with the progress of expansion of that worship, through music, becomes a challenging essential. Regeneration describes the breathing of new life, as in recovery from serious illness, which was shown to be necessary in the music and worship of the early 19th century, following the vicissitudes of disagreement, war and apathy regarding style of worship in general and the role and compositional characteristics of music in particular. Preservation implies maintenance and safeguarding something of value, which had been hard won, in the battle for wellcrafted music that conveyed and supported the meaning of the words that the music carried. Sustenance speaks of active feeding and nurture of something that has been made healthy, on a daily basis, so that it will have future life. The churchmanship evident in regular choral services in Canterbury Cathedral is middle to high, as is that of the writer, (akin to the Via Media recommended by John Henry Newman, between 'the superstitions of Rome ... and the errors of Protestantism'). The Cathedral building, its people and its musical life were historically damaged by those of excessive Puritanism. A teenage exposure to The Wilderness: John Goss, made a deep and life-changing impression on the writer; in later years serving as Organist and Choir Master of an Anglo-Catholic church choir, together with singing in a national chamber choir in Cathedral services made a significant contrast to the crushing puritanism experienced in childhood and also to some extent the low Anglican church services of early adulthood. However, a respect for those with different approaches to spirituality and worship remains an essential component of the Cathedral ethos and the views of the writer. The knowledge of the Real Presence of Christ in the Eucharist has given purpose to the writer's life, especially when combined with well-crafted music, and in its original language wherever possible. One of the chief roles of this study is to demonstrate the way in which Canterbury Cathedral's music has been an essential part of the movement towards reconciliation of the differing tenets of Roman Catholicism and Protestantism.
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Aspects of the theory and practice of choral training in South African schoolsRadue, Robin R January 1980 (has links)
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)
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SynergismGustavus, Duane L. (Duane Livingston) 08 1900 (has links)
Synergism is an art presentation designed to use multimedia concepts to heighten audience involvement in the work. Although primarily sound oriented, its skeletal structure is literary. The music expands upon the text to communicate the inexplicable or irrational element of its meaning to those faculties which determine emotional response. This process is aided by a modicum of environmental control achieved through stage lighting effects.
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Te DeumVan Stryland, Robert G. (Robert Gerrit) 08 1900 (has links)
Te Deum is a concert work for orchestra (woodwinds in pairs plus contrabassoon, four horns, two trumpets, two trombones, tuba, percussion, and strings) and a large mixed chorus. The text is derived from The Book of Common Prayer of the Church of England. In the interest of intelligibility, the text setting is mostly syllabic. The single through-composed movement, lasting about eleven minutes, is divided into three principal sections. Section two contains the primary climax of the work. The basic musical material of the piece is a set of motives which are altered and combined in various ways.
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Texas Middle School Choral Directors’ Beliefs About Repertoire SelectionWilliams, Scott Michael, Jr. 12 1900 (has links)
Secondary choral directors often demonstrate a wide variety of organizational, instructional, and musical skills to promote and nurture thriving programs. Among the many tasks executed, choosing repertoire might be viewed as one of the most important duties performed. Material chosen for study is often the vehicle through which curricular concepts are taught. Multiple factors might influence middle school choral directors’ beliefs about repertoire choices. Ironically, repertoire choices might or might not reflect educators’ actual teaching philosophies; nevertheless, these decisions could influence student learning. This study surveyed a stratified random sampling of Texas middle school choral directors who participated in the 2010 University Interscholastic League Concert and Sight-reading competition (n = 209). Seventy middle school choral directors participated in the study. Each director took an online survey and indicated the degree to which they agreed or disagreed with 14 statements concerning repertoire choice. Many of the belief statements showed teachers were overwhelmingly in concordance with their beliefs (92.9%). Results indicated that beliefs were similar, regardless of who chose the curriculum or the amount of discussion perceived in undergraduate training. The only belief statement that continually showed differences between teachers concerned students’ ability to vote on repertoire.
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