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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
161

THE AMERICAN COMPOSERS FORUM AND ITS IMPACT ON CHORAL MUSIC IN THE UNITED STATES

Speer, Randall C. 11 October 2001 (has links)
No description available.
162

Evaluation of procedures to develop selected choral rehearsal skills with undergraduate choral methods students /

Petty, Robert Allen January 1987 (has links)
No description available.
163

The development and utilization of guidelines for use as an aid in composing choral music for elementary school age choirs /

Jothen, Michael Jon January 1978 (has links)
No description available.
164

A Psalm Fantasy

McCain, Eula Louise 01 1900 (has links)
A Psalm Fantasy is a cantata in three movements for mezzo-soprano or baritone soloist, chorus of mixed voices and orchestra. The orchestra comprises two flutes, oboe, English horn, two clarinets in B-flat, bass clarinet, two bassoons, four horns in F, three trumpets in B-flat, three trombones, tuba, timpani, cymbals, xylophone, harp and strings.
165

Cross-culture Choral Music Education: Issues for Western Choral Conductors Related to the Performance of Arabic Choral Music

Earnhart, Cari L. 08 1900 (has links)
The concept of choral music as defined by the Western world was foreign to Arab cultures until the colonization of the Arab world began in the seventeenth century when we began to see the Western choral style emerging in the churches of the Arab world. Group singing of traditional music was done in unison or heterophonic textures. Notated part-singing is a product of colonization, Westernization, Christianization, and now globalization. In recent years, singing music in mixed or multiple voicings not of a heterophonic nature has spread beyond the churches to the secular Arab world. As choral singing has increased in the Arab world, a new genre of Arabic choral music has emerged. In order for Western conductors to effectively teach, conduct, or perform these new works, it is important for them to develop a basic understanding of traditional Arabic musical styles and pronunciation of the language, thereby making Arabic choral music more accessible and enabling it to become a part of the larger world’s musical vocabulary. This study serves as an introductory resource for non-Arab choral conductors concerning key elements related to performing Arabic choral music and provides a context for how these elements relate to this evolving choral genre. In addition, through interviews with composers and conductors of Arabic choral music, this project will further inform the reader regarding the performance of this genre.
166

George W. Bragg, Jr. and his techniques for training the preadolescent boy's voice as demonstrated through the Texas Boys Choir : 1946--1975 /

Patterson, Gary Walter. January 2007 (has links)
Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Includes abstract. Vita. Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0433. Adviser: Chester L. Alwes. Includes bibliographical references (leaves 137-144) and discography (leaves 127-130). Available on microfilm from Pro Quest Information and Learning.
167

An analysis of factors related to choral teachers' ability to detect pitch errors while reading the score

Gonzo, Carroll Lee, January 1969 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.
168

An Acoustical Study of Individual Voices in Choral Blend

Goodwin, Allen W. 12 1900 (has links)
The purpose of this study was to investigate the phenomenon of choral blend through acoustical analysis of individual vocal sounds. One aspect of the study involved identifying and comparing the acoustical qualities of sounds produced in the usual solo manner and sounds produced by the same singers attempting to blend with a unison ensemble. Another aspect of the study involved identifying and comparing the acoustical qualities of vocal sounds identified as blending well and poorly with a unison ensemble. Singers attempting to blend adjust their overall intensity not only to affect the perceived loudness of their tones, but also to facilitate other acoustical changes which are helpful for achieving blend. Vocal blend apparently may be achieved more readily on vowels having few upper partials than on vowels having numerous upper partials. Where vibrato is employed, certain vocal sounds can achieve a good blend even though their fundamental frequencies only approximate the theoretically correct frequency. There apparently is an interaction between the vibrato of a vocal tone and its spectral features, making it advantageous for the singer to adopt mutually beneficial approaches to both factors in order to blend. Vowel modification effective for achieving vocal blend- -at least for sopranos-- appears to consist primarily of changes in the intensity relationships between the vowel formants. Singers' variations in frequency extend beyond the boundaries of any system of tuning or temperament.
169

From physics to music: an analysis of the role of overtones in the improvement of choral tone

Starker, Leonard Bonn January 2011 (has links)
Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir‟s intonation.
170

THE CHORAL FUGUE: A COMPARATIVE STUDY OF STYLE AND PROCEDURE IN WORKS BY J.S. BACH AND W.A. MOZART

McGahie, Paul Douglas 03 October 2006 (has links)
No description available.

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