This project focuses on the relationship between plainchant notation and the conducting gesture in the Quatre Motets Sur Des Themes Gregoriens, Op. 10 of Maurice Durufle. Durufle's intimate knowledge of the chant practices of the Solesmes school of chant interpretation is a major influence in the compositional style of the four motets. This project explores the relevance of the Solesmes interpretational practices and their influence on Durufle's compositional technique. The conducting gesture employed in the realization of the motets must demonstrate an active knowledge of the compositional techniques employed and the Solesmes interpretational practices. As such the incorporation of traditional Gregorian Chironomy into a working gesture for use in the rehearsal and performance of the motets is the essence of this project.

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

Thesis (M.M.)--University of Texas at El Paso, 2008. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

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.

The choral music of Norwegian composer Ola Gjeilo (pronounced “yay-loh”) is gaining international acclaim and is widely performed and commissioned by prominent high school, university, and professional choirs. It represents a philosophical approach and vision of the choral instrument for which the conductor must have a clear understanding in order to prepare a meaningful performance. in particular, his music merges diverse musical influences, which results in a product of unique character among choral compositions in the late 20th and early 21st centuries. Gjeilo draws inspiration from a text but then uses its sonic qualities (the sounds of vowels and consonants) to create an atmosphere of sound instead of following the traditions in choral and vocal music of using musical mechanisms (melody, rhythm, and harmony) to reinforce the text poetically. This study provides an overview of Gjeilo’s background, in Chapter 1, and discusses its influence on his compositional philosophy. Chapter 2 contains musical examples from selected works, which are used to illuminate unique attributes found in Gjeilo’s music. Chapter 3 presents important implications to consider aiding choral conductors in their preparation of future performances of Gjeilo’s music.

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Currently in Japan there are 5,202 choirs registered as part of the Japan Choral Association. The majority of these choirs are amateur or professional choirs. This situation contrasts with that in the United States where colleges and universities are the primary entities perpetuating the advancement of the choral art. Most likely because of this, there is little if any academic investigation of modern Japanese choral music. Even in Japan, there is not a substantial body of academic study of this literature. As a result, this repertoire is seldom, if ever, performed outside of Japan.Numerous problems confront Western choral conductors interested in programming modern Japanese choral music that is based on traditional Japanese musical idioms. In this document, I have provided information that will allow Japanese choral literature to be accessible to non-Japanese speaking conductors. This information is divided into four areas. First, an overview of Japanese music history is provided. Next, a discussion of the elements of traditional Japanese music such as genre types, modes and tonalities provides the necessary background for a conductor to approach modern Japanese choral music. Third, a practical method whereby non-Japanese speaking choral conductors may transcribe the two phonetic Japanese alphabets into readable English phonetics is proposed. Fourth, a practical approach to the performance of modern Japanese choral music, inclusive of various musical genres, voicing, and instrumental complements is suggested. Discussion of representative choral works by three native composers including a work based on a folk tune, a work for women's chorus, a work for men's chorus, and a composition for mixed chorus and traditional Japanese instrumental complement provides concrete application of the aforementioned discussions.Lastly, in this document I will provide information on several contemporary native Japanese composers, their compositions, and their publishing companies to facilitate the acquisition and performance of this rich choral repertory.

Estonian composer Veljo Tormis (1930-2017) is one of the most prolific in his country’s history. A significant portion of his writing has been for choirs. Tormis composed most of his works under Soviet rule. During this communist reign of Estonia, Tormis turned to using traditional music. The source material for a large portion of Tormis’ choral output is regilaul, a type of ancient Estonian folk song. In 1991, Estonia gained their independence, thereby allowing Tormis’ compositions to be more easily seen, heard, and performed around the world. This dissertation presents a conductor’s analysis of a set of choral cycles composed by Tormis between 1964 and 1969, Looduspildid, or Nature Pictures. A set of cycles representing all of the seasons and incorporating prominent Estonian poetry, Loodispuldid represents one of Tormis’ most important works. It illustrates Tormis’ maturing style as he utilized a variety of 20th Century techniques like extended tertian harmonies, modal scales, pandiatonicism, clusters, and mixed meters. Tormis also employs his own orchestrally-derived techniques of carefully constructed simultaneous articulations along with cumulative chording. Each cycle contains its own unique style and feel. Sügismaastikud is perhaps the most tonal of the four. Most movements are pandiatonic and one uses the whole tone scale. On a macro level, Sügismaastikud moves from soft in the earlier movements to a fff climax on the final chord of the last movement. Talvemustrid also begins at a very soft dynamic level on a unison D4, grows to multiple ff dynamics throughout, and ends back at a soft dynamic on Db. The cycle is more harmonically adventurous than Sügismaastikud, with consistent chromaticism, octatonic scale, and marked dissonance. Suvenmotiivid only contains three movements, but continues the harmonic and rhythmic complexity of Sügismaastikud. The first movement, Põualim, immediately begins on a tritone with octatonic scale. Different meters occur simultaneously during the second movement, which also moves quickly through 4 keys. The final movement ends with orchestral voicing and a 10-note chord cluster. Kevadkillud contains six very short movements, most of which are pandiatonic like Sügismaastikud. There is far less chromaticism and harmonic complexity than the middle two cycles, almost as if Tormis is bringing the set full circle. Moreover, the final movement of this cycle (and the entire set) is really just one major chord with embellishments. As a set, Loodispuldid represents a thorough perspective of Tormis’ mature style. The analyses done as a part of this paper reveal an incredible efficiency in his writing. Motives have purpose and context. Each movement possesses a well-defined harmonic language and rhythmic identity. A variety of formal structures exist, from binary to rondo. Even the many through-composed movements are expertly crafted with clear direction.

Zdeněk Lukáš (1928-2007) was one of the most prolific Czech composers of the 20th century having composed over 300 pieces. His works include a wide array of genres including symphonies, operas, chamber music, and a large amount of choral and vocal music. He was influenced by Czech folklore and music and was self-taught until he was nearly 40 years old. Lukáš began his career as a teacher but later began working for the Czechoslovak Radio Studio in Plzeň where he founded the mixed choir, Česká Píseň (Czech Song), which became quite famous and still enjoys great fame. Requiem per coro misto, op. 252 is considered by many to be Lukáš’s most famous choral work. It was written in 1992 for a cappella SSATB chorus. The piece is divided into seven movements; “Requiem aeternam,” “Dies irae,” “Lacrymosa,” “Offertorium,” “Hostias,” “Sanctus,” and “Agnus Dei.” This document presents an analysis and conductor’s guide of Requiem. The analysis includes an examination of Latin pronunciation employing Germanic Latin when possible and an IPA pronunciation guide and translation of the text. Also included in the analysis is discussion on form, tonality, and development of melody, harmony, and rhythm all of which reveal that Lukáš wrote this piece in a very traditional style. The conductor’s guide points out many of the issues that a choir may face in preparing Requiem. Some of the issues include intonation, range, and dynamics. One specific issue is that although the piece is tonal, there is considerable use of modes and scales that many singers would consider exotic. One such scale is the Hungarian Gypsy which is essentially a harmonic minor scale, but includes a raised fourth degree. Many of the intonation issues that could arise stem from the frequent parallel motion. Lukáš believed that a cappella singing is one of the purest forms of music and that singers should be allowed to sing without regard to any instrumental influence whether it be from the composer or some other source. Requiem exhibits this belief through its challenges and its beauty. The work or its individual movements can be challenging yet accessible to singers of all levels.