Adolescence is a time of rapid and sometimes widely varying changes in the voice (Cooksey & Welch, 1998; Gebhardt, 2016; Harries et al., 1998; Killian, 1999; Sweet, 2015). As such, content and pedagogical knowledge of the voice is particularly important for educators when supporting adolescent singers. Shulman’s (1986) framework, Pedagogical Content Knowledge (PCK), is a tool to examine the ways in which educators integrate their content and pedagogical knowledge with their knowledge of individual learners to best support student learning outcomes. The purpose of this study was to explore the preparation of secondary choral educator candidates in Wisconsin with specific regard to supporting adolescent voices. This study was completed using qualitative methods through a collective case study design to gather personal knowledge and experiences of student teacher candidates serving in two separate educational settings and attending different teacher preparation programs in Wisconsin. Methods of data collection included interviews with student teacher candidates and their cooperating teachers, syllabi from choral methods courses, and a video teaching sample from each student teacher. This study found that student teachers felt confident in their abilities to teach in several topics related to the adolescent voice, however there were also areas that they identified as emerging skills in need of additional support. State licensure boards and teacher preparation programs may use these findings to guide future curriculum and licensure requirements in ways that may better support the identified areas for growth.

Since the end of World War II many Scandinavians have emerged as important choral music composers. This study focuses on two Norwegian composers, Knut Nystedt and Egil Hovland. Two works by Nystedt, "Thou O Lord," and "Praise to God," and one work by Hovland, Missa Misericordiae, are analyzed to determine the most important features of the compositional styles of Nystedt and Hovland. The analysis reveals that factors such as the Norwegian national romantic movement of the late nineteenth and early twentieth century, ancient music styles such as Gregorian chant, twentieth century techniques such as neoclassicism and dodecaphony, and recent reforms in Norwegian Church music have influenced the compositional style of both men. The evidence suggests that although Nystedt and Hovland have many similarities in compositional style both men have developed a highly individual musical language that is accessible yet challenging to the listener, conductor, and choir.

Esta tese é parte integrante do trabalho de doutorado em Performance Musical com especialização em Regência Coral do Programa de Pós-graduação em Música da Escola de Comunicações e Artes da Universidade de São Paulo. Durante os quatro anos de doutorado foram realizados concertos, ensaios e atividades práticas desenvolvidas simultaneamente à escrita deste texto que discute questões referentes à prática de um performer. Nosso objeto central é a relação entre a escrita musical e a interpretação. Buscamos compreender, como intérpretes, quais são os espaços criativos e seus limites dentro de uma obra musical. Para isso, utilizamos a obra coral do compositor brasileiro Osvaldo Lacerda, conhecido por sua escrita rigorosa e bastante indicativa. Após uma reflexão sobre os conflitos existentes entre composição e interpretação, fizemos uma análise geral da escrita composicional de Lacerda buscando encontrar os espaços para a criatividade do intérprete. Em seguida, analisamos com profundidade quatro composições de Osvaldo Lacerda: Automação, Romaria, A Primeira Missa e o Papagaio e o movimento Uníssono da obra Quatro Estudos para Coro. As obras analisadas foram performatizadas durante o período de doutorado junto ao Coro de Câmara Comunicantus e pudemos formar, experimentar e consolidar nossas concepções interpretativas, as quais comentamos e justificamos ao longo do texto. Por fim, apontamos para algumas respostas sobre o espaço criativo na performance de uma obra extremamente indicativa e sobre a responsabilidade do intérprete diante da partitura. / This thesis is part of the doctoral work in Musical Performance with specialization in Choral Conducting for the Post-Graduation Program in Music of the Escola de Comunicações e Artes da Universidade de São Paulo. During the four doctoral years, concerts, rehearsals and practices were undertaken simultaneously with the writing of this text which discusses questions regarding the practice of a performer. Our main object is the relationship between musical writing and performance. As interpreters, we seek to understand what the creative spaces and their limits within a work of music are. In order to do this, the choral work of the Brazilian composer Osvaldo Lacerda - known for his rigorous and rather indicative writing - was used. After a reflection on the conflicts between composition and interpretation, a general critical analysis of the compositional writing of Lacerda was carried out to identify the spaces for the creativity of the interpreter. Next, an in-depth analysis was carried out on four compositions by Osvaldo Lacerda: Automação, Romaria, and O Papagaio and the movement Uníssono of the work Quatro Estudos para Coro. The analyzed works were presented during the doctoral period together with the Chamber Choir Comunicantus and we could form, test and consolidate our interpretative conceptualizations, as is commented and justified throughout the text. Lastly, we point to some answers regarding the creative space in the performance of an extremely indicative piece and about the responsibility of the interpreter to the sheet music.

Esta tese é parte integrante do trabalho de doutorado em Performance Musical com especialização em Regência Coral do Programa de Pós-graduação em Música da Escola de Comunicações e Artes da Universidade de São Paulo. Durante os quatro anos de doutorado foram realizados concertos, ensaios e atividades práticas desenvolvidas simultaneamente à escrita deste texto que discute questões referentes à prática de um performer. Nosso objeto central é a relação entre a escrita musical e a interpretação. Buscamos compreender, como intérpretes, quais são os espaços criativos e seus limites dentro de uma obra musical. Para isso, utilizamos a obra coral do compositor brasileiro Osvaldo Lacerda, conhecido por sua escrita rigorosa e bastante indicativa. Após uma reflexão sobre os conflitos existentes entre composição e interpretação, fizemos uma análise geral da escrita composicional de Lacerda buscando encontrar os espaços para a criatividade do intérprete. Em seguida, analisamos com profundidade quatro composições de Osvaldo Lacerda: Automação, Romaria, A Primeira Missa e o Papagaio e o movimento Uníssono da obra Quatro Estudos para Coro. As obras analisadas foram performatizadas durante o período de doutorado junto ao Coro de Câmara Comunicantus e pudemos formar, experimentar e consolidar nossas concepções interpretativas, as quais comentamos e justificamos ao longo do texto. Por fim, apontamos para algumas respostas sobre o espaço criativo na performance de uma obra extremamente indicativa e sobre a responsabilidade do intérprete diante da partitura. / This thesis is part of the doctoral work in Musical Performance with specialization in Choral Conducting for the Post-Graduation Program in Music of the Escola de Comunicações e Artes da Universidade de São Paulo. During the four doctoral years, concerts, rehearsals and practices were undertaken simultaneously with the writing of this text which discusses questions regarding the practice of a performer. Our main object is the relationship between musical writing and performance. As interpreters, we seek to understand what the creative spaces and their limits within a work of music are. In order to do this, the choral work of the Brazilian composer Osvaldo Lacerda - known for his rigorous and rather indicative writing - was used. After a reflection on the conflicts between composition and interpretation, a general critical analysis of the compositional writing of Lacerda was carried out to identify the spaces for the creativity of the interpreter. Next, an in-depth analysis was carried out on four compositions by Osvaldo Lacerda: Automação, Romaria, and O Papagaio and the movement Uníssono of the work Quatro Estudos para Coro. The analyzed works were presented during the doctoral period together with the Chamber Choir Comunicantus and we could form, test and consolidate our interpretative conceptualizations, as is commented and justified throughout the text. Lastly, we point to some answers regarding the creative space in the performance of an extremely indicative piece and about the responsibility of the interpreter to the sheet music.

The purpose of this study was twofold: (a) Examine successful choral director beliefs about warm-ups and their successful practices in conducting warm-ups, and (b) examine the relationship of musical background, choral training and music teaching style of high school choral directors upon these beliefs and practices. Subjects were 365 high school choral directors from 28 states. Data were analyzed using descriptive analysis, correlation analysis, multivariate analysis of variance and multiple regression. Results indicated choral director's beliefs and practices differ as a function of musical back-ground, demographic characteristics, choral conducting training, and music teaching styles. Specifically, warm-up beliefs were predicted by knowledge of vocal health and variety of warm-ups. Conversely, those who relied on the warm-up time for discipline and focusing attention showed a significant negative relationship with their philosophy. From multiple regression analysis, doing choral warm-ups accounted for one-third of a director's overall success, predicted by 10 variables: (a) experience, (b) education, (c) teaching style teacher-directed performance, (d) teaching style deep-student learning, (e) warm-up literature and procedure, (f) planning warm-ups (g) warm-up content, (h) prior choral experience and piano background, (i) a foundation in music, and (j) a developed philosophy of choral warm-ups. However, having a philosophy about warm-ups did not predict successful teaching practices.

Made available in DSpace on 2016-12-08T17:06:44Z (GMT). No. of bitstreams: 1 115843.pdf: 1029698 bytes, checksum: b17c9ac17c774191d3c06f2d376414ae (MD5) Previous issue date: 2014-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation goal was to investigate teaching strategies used by conductors in three university choirs in the Vale do Itajaí region, in Santa Catarina state, Brazil. Specific objectives were: to discuss the choir practice from the perspective of music education; reflect on the musical education in the choir practice and more specifically in the university choir; identify the main teaching strategies adopted by the conductors for the development of choral practice and; verify musical content covered in the practice of university choirs participating in the research. The work is situated within the qualitative research on the design of a multi case study and the techniques of data collection used semi-structured interviews, systematic observations and interviews by stimulation of remembrance. Data were divided into six categories initial activities, studying a new piece, rehearsing old pieces, preparing a performance, organizing the time, space and use of material resources and analyzed in the light of the literature of the choir area and also in the field of didactics. The results indicate a number of didactic strategies used by conductors in the development of activities in the respective choirs, evidencing the uniqueness and richness of the investigated contexts. / Essa dissertação teve como objetivo geral investigar estratégias didáticas utilizadas pelos regentes em três coros universitários da região do Vale do Itajaí, no estado de Santa Catarina. Os objetivos específicos foram: discutir a prática coral em uma perspectiva de educação musical; refletir sobre o ensino musical na prática do canto coral e mais especificamente no canto coral universitário; identificar as principais estratégias didáticas adotadas pelos regentes para o desenvolvimento da prática musical dos corais e; verificar conteúdos musicais abordados na prática de corais universitários participantes da pesquisa. O trabalho situou-se no âmbito da pesquisa qualitativa sob o desenho de um estudo multicaso e as técnicas de coleta de dados utilizadas foram entrevistas semiestruturadas, observações sistemáticas e entrevista por estimulação de recordação. Os dados coletados foram divididos em seis categorias atividades iniciais, ensaio de música nova, ensaio de música conhecida, ensaio para apresentação, organização do tempo e do espaço e utilização de recursos materiais e foram analisados à luz da literatura específica da área do canto coral e também do campo da didática. Os resultados da pesquisa apontam uma série de estratégias didáticas utilizadas pelos regentes no desenvolvimento de suas atividades, evidenciando a singularidade e riqueza dos contextos investigados.

Orientador: Adriana Giarola Kayama / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-13T11:36:23Z (GMT). No. of bitstreams: 1 Fernandes_AngeloJose_D.pdf: 15120528 bytes, checksum: 34f7101f7688b07174d8d6f268fdceb2 (MD5) Previous issue date: 2009 / Resumo: Com o objetivo de prover material de pesquisa capaz de auxiliar o regente coral em sua função de preparador vocal, o presente trabalho é um amplo estudo sobre técnica vocal e práticas interpretativas no âmbito da música coral. Trata-se de um trabalho direcionado a regentes que atuam à frente de coros mistos adultos, de natureza amadora e formação de câmara cujo número de cantores varia de 16 a 45 vozes. Após uma reflexão introdutória, são apresentadas características históricas, técnicas e estilísticas de diversos estilos de música vocal e coral. Entre esses estilos estão a Renascença, o Barroco, o Classicismo, o Romantismo, a música do século XX e, por fim, a música coral brasileira do período colonial à atualidade. Em cada um dos estilos são abordados aspectos como a qualidade sonora das vozes, as técnicas de produção vocal, a natureza da prática coral, bem como sugestões para a construção da sonoridade desses vários estilos nos dias atuais. Na sequência, partindo de uma reflexão sobre a função do regente de preparador vocal, são definidos e descritos diferentes aspectos técnicos envolvidos na construção da sonoridade coral. Entre esses aspectos estão a administração da respiração, ressonância vocal, dicção, registração vocal, timbre, vibrato, homogeneidade, equilíbrio, afinação e precisão rítmica. Em seguida, é apresentado, como estudo de caso, um relato sobre a elaboração e a aplicação de um programa experimental de preparo vocal para coros com o Madrigal Musicanto de Itajubá, coro regido pelo autor deste trabalho. Por fim, como conclusão de toda a pesquisa realizada, apresenta-se uma linha metodológica para o preparo vocal de cantores corais que aborda aspectos como postura, respiração, ataque vocal, ressonância, dicção, registração vocal, legato, staccato, agilidade vocal, extensão vocal, dinâmica, homogeneidade e afinação / Abstract: With the objective of providing useful research material for choral conductors who are also responsible for the vocal preparation of their singers, the present work is an ample study on vocal technique and performance practice in choral music. It is a work for choral conductors of mixed chamber choirs of adult amateurs singers whose number of members varies from 16 to 45 voices. After introductory considerations, historical, technical and stylistic peculiarities of various styles of vocal and choral music are presented. Among these styles are the Renaissance, the Baroque, the Classicism, the Romanticism, the Modernism, and finally, the Brazilian choral music from the Colonial period to the present time. For each of these styles, aspects like tone color, vocal techniques, the essence of choral practice as well as suggestions for sonority building are approached. In the sequence, based on the role of the conductor as a vocal coach, different technical aspects related to the construction of the choral tone - breath management, vocal resonance, diction, vocal registration, timbre, vibrato, blend, balance, intonation, and rhythmic precision - are defined and described. Afterwards, the author presents a case study that describes the elaboration and application of an experimental program of vocal preparation with the Madrigal Musicanto of Itajubá, a choir conducted by this author. Finally, to conclude this research, methodological guidelines for the vocal preparation of choral singers - dealing with the various technical aspects discussed in this work - are presented / Doutorado / Praticas Interpretativas / Doutor em Música

According to the American League of Orchestras' most recent report, Michael Daugherty is one of the ten most performed American composers of concert music in modern times. He has received six GRAMMY awards, including awards for Best Contemporary Classical Composition in 2011 and 2017. Characteristics of Daugherty's music are diverse: colliding tonalities and blocks of sound, driving polyrhythmic counterpoint, and jazz and pop elements. His music can be minimalistic at times and at others, stirringly melodic. Amongst this eclecticism, a fascination with American iconography remains a consistent hallmark of his music, exemplified by titles such as American Gothic, Jackie O, or Lost Vegas. Daugherty has stated that his goal is to create sophisticated, abstract music that is also catchy or memorable, with melodies and cultural allusions that audiences can "hang their hat on." Despite widespread success, relatively little scholarly work has been done on Daugherty's music, providing an opportunity for further research. The primary goal of this study is to add to the literature on Michael Daugherty by providing an analysis and conductor's guide of his first choral-orchestral work, Mount Rushmore. It is a genuine show piece, galvanizing and colorful, modestly demanding of the listener, and appreciated by individuals of diverse musical backgrounds. The work also contains multitudes, offering layers of musical complexity and extensive historical symbolism for those who wish to engage further. Daugherty's Mount Rushmore offers immediate appeal and an excellent return on investment. Using interviews with the composer as well as detailed formal, harmonic, and historical-textual analysis, this paper provides in-depth information and guidance to future conductors who wish to present an appealing choral-orchestral work by a prominent, living American composer. Conductors who program Daugherty's Mount Rushmore will find it valuable for their ensemble and community for years to come.

This study examines two of the smaller American choral societies that together existed for just over 30 years, 1888 to 1919: The Gounod and New Haven Oratorio Societies of New Haven, Connecticut. These societies are important because, especially in the case of the New Haven Society, they were closely related to Yale University and the work of Horatio Parker. One must assume from the onset that the two choral groups examined in the following pages did not have the prominence of the many larger New England choral societies. However a more detailed knowledge about the struggles, successes, influence and leadership of two smaller societies illuminates a field of research in the history of American choral music that has been largely ignored.

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