Thesis (MMus (Music))--Stellenbosch University, 2008. / The Libertas Choir occupies an exceptional place in the history of choral music in South Africa, especially in the Western Cape. The research on this choir is presented here in the form of a historical study, tracing the details chronologically from a politically inspired mass choir in 1986 to the founding of the Libertas Choir in 1989, and then following its history until the end of 2006. The first three chapters contain highlights of the first 17 years (1989-2006) while the subsequent chapters contain compositions specifically composed or arranged for the choir, a profile of the conductor, issues that the choir faced as well as an insight into the choir as “ambassador” for South Africa. Documenting the history of this multiracial choir in South Africa, the thesis includes an account of the contribution the choir has made to the development of music in a multicultural society as well as how it has fostered the belief that music sets no social or cultural boundaries. This study also documents the choir’s contribution to the development of multicultural choir performances. The research covers indigenous South African music that has been performed by the choir, as well as new compositions and choral arrangements that were instigated and disseminated by the choir. A selection of programmes sung by the choir during this time is included.

The purpose of this study was to determine and describe ways in which music education can be used in Protestant churches. During the last twenty years, participation in church music has grown very rapidly. The increase is a result of the growth of music in general. Music has become an important part of home, school, church, and community functions. This is evidenced by many facts: symphony orchestras, as well as community instrumental and choral groups have increased in number to the extent that there are more today than at any time in history; school music has taken tremendous strides since 19257 and church music programs have been developed to such a degree that they attract large numbers of people. In spite of the tremendous advance of music in general, and in the field of church music in particular, there is still much that needs to be done in church music. For example, when "Sacred Music" is mentioned to an average group of Americans, some will respond with blank and uninterested stares. Others will mention some of the well-worn sentimentalized, semi-religious songs such as "He," "The Man Upstairs," "You'll Never Walk Alone," or other examples of commercialized religion, Those people, and the environment in which they live, need to be reached with the music of the church that can speak to them with real meaning and truth.

This qualitative case study approach was designed to examine choral and applied voice pedagogue’s similarities and differences of teaching healthy singing in the choral rehearsal and applied studio lesson while observing how their students respond and interpret the techniques used. The participants included six pedagogues (three choral, three applied voice) at the university level and one student of each pedagogue. Data were collected through pedagogue and student interviews. To support the interviews, demographic surveys, and observations of the choral rehearsal and applied studio lessons were completed. Data were coded and organized based on the four research questions. Analysis and findings were organized based on the four categories found in the study’s conceptual framework: (a) how they develop; (b) conceptualization and strategies of healthy singing; (c) other factors; and (d) student’s perspective. This research revealed that while both choral and applied voice pedagogues’ methods may vary there is consistency among the description of healthy singing and strategies that are appropriate for both settings. The study also shows that the pedagogue's background and training play a major role in the way that they currently teach. Additionally, pedagogues should remain thoughtful of the student’s abilities, repertoire choices, the rapport between them and the student, and the structure of the lesson/rehearsal. Recommendations are offered for choral and applied voice pedagogues, their students, and for future research in the field of healthy singing.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-09-27T12:27:29Z No. of bitstreams: 1 Ana Paula Guimarães Silva.pdf: 985455 bytes, checksum: f7ec26beeb5bd429ba54e6b04df23b3c (MD5) / Made available in DSpace on 2018-09-27T12:27:29Z (GMT). No. of bitstreams: 1 Ana Paula Guimarães Silva.pdf: 985455 bytes, checksum: f7ec26beeb5bd429ba54e6b04df23b3c (MD5) Previous issue date: 2018-08-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Introduction: in considering that 90% of the choirs in the world are amateurs and that most of the time they do not receive guidance from a vocal coach, in most cases, only the conductor is responsible for the vocal preparation of the choristers and the attribution of a collective sound. Objective: to verify the strategies used by a group of amateur choir conductors to construct the sonorities of their choirs. Method: This is a descriptive cross-sectional observational study. A survey was prepared for the study based on the literature and the experience of the researchers, divided into three parts: identification and characterization of the sample, characterization of the analyzed amateur choir and investigation on the choral sonority. The selection of the subjects was given by the snowball technique and the inclusion criteria was to be at least 18 years older, to be regent of amateur choir with minimum experience of two years and to be ruling the group for at least six months. For the answers on the form of work with the sonority were created five categories with the most recurrent terms. A descriptive statistical analysis was performed using absolute and relative frequencies. Results: the sample was finalized with 65 regents, 58.5% male and 41.5% female, with a mean age of 42.2 years and 64.6% of them had ten or more years of career. About the characteristic of the amateur choir, the majority were popular music (70.8%), with 10 to 20 members (38.5%) and age group between 31 to 40 years old (30.8%). In the construction of the sonority, the category of technical aspects was highlighted, with 42.4%, followed by tunes with 19.2% aspects related to the interpretation and aspects of musical perception, and lastly, aspects related to body / breathing with 10.1%. The majority (70.8%) of the regents reported difficulties to achieve the desired sonority. Conclusion: the group of regents analyzed used as strategies to work sound mainly technical aspects: vocalizes; vocal technique; warm-ups and resonance / Introdução: ao considerar que 90% dos coros no mundo são amadores e que na maioria das vezes esses não recebem orientação de um professor de canto, cabe, na maioria dos casos, apenas ao regente a conduta do preparo vocal dos coralistas e a atribuição de uma sonoridade coletiva. Objetivo: verificar as estratégias utilizadas por um grupo de regentes de coro amador para a construção da sonoridade de seus coros. Método: trata-se de uma pesquisa observacional transversal descritiva. Foi elaborado um questionário para o estudo com base na literatura e na experiência das pesquisadoras, dividido em três partes: identificação da amostra, caracterização do coro amador analisado e investigação a respeito da sonoridade. A seleção dos sujeitos aconteceu por meio da técnica snowball e o critério de inclusão foi: ter mais de 18 anos, ser regente de coro amador com experiência mínima de dois anos e estar em atividade de regência no grupo escolhido por no mínimo seis meses. Para as respostas sobre a forma de trabalho com a sonoridade foram criadas cinco categorias com os termos mais recorrentes. Foi realizada análise estatística descritiva dos dados por meio de frequências absolutas e relativas. Resultados: a amostra foi finalizada com 65 regentes, 58.5% do sexo masculino e 41.5% do feminino, com a média de idade de 42.2 anos e desses 64.6% possuíam dez ou mais anos de carreira. Sobre a característica do coro amador, a maioria eram de música popular (70.8%), com 10 a 20 integrantes (38.5%) e faixa etária entre 31 a 40 anos (30.8%). Na construção da sonoridade destacou-se a categoria de aspectos técnicos com 42.4%, na sequência empatadas com 19.2% aspectos relacionados a intepretação e aspectos de percepção musical, e por último, aspectos relacionados ao corpo/ respiração com 10.1%. A maioria (70.8%) dos regentes relataram dificuldades para conseguir a sonoridade desejada. Conclusão: o grupo de regentes analisados utilizou como estratégias para trabalhar sonoridade majoritariamente aspectos técnicos: vocalizes; técnica vocal; aquecimento e ressonância

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2014-08-21T11:50:15Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação CRISTINA PASSOSCORAL_MENINAS_CANTORAS_DE_P.pdf: 617739 bytes, checksum: 6fc0de610636605cfd28855578febef1 (MD5) / Made available in DSpace on 2014-08-21T11:50:15Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação CRISTINA PASSOSCORAL_MENINAS_CANTORAS_DE_P.pdf: 617739 bytes, checksum: 6fc0de610636605cfd28855578febef1 (MD5) Previous issue date: 2013-04-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research aims at the investigation of the timbre in the interrelation of Cultural Identities with the Society, in a case study of Choir Meninas Cantoras de Porto Murtinho. Located at the border between Paraguay and Mato Grosso do Sul, Porto Murtinho is characterized by the contact of three cultures of different origins, which is materialized in the use of three languages. With an interdisciplinary approach, based on the cultural history of social sciences, of the voice and the singing, this research relates Music, Culture and Society. This work is founded on participant observation, with qualitative approach, comparing and presenting the singing of the girls before and after the vocal work as well as questionnaires and interviews with professionals, choir participants and community members. During the analysis it remains clear the feedback between the objects studied, tone, identities, culture, choir and society, and their representations, that promote changes in the lives of the girls. Out of this study emerges the importance of the relationship between tone and cultural identities. / A presente pesquisa tem como objetivo investigar o timbre nas inter-relações das Identidades Culturais com a Sociedade, num estudo de caso do Coral Meninas Cantoras de Porto Murtinho. Situada na fronteira entre o Paraguai e o Mato Grosso do Sul, Porto Murtinho é marcada pelo contato entre três culturas de origens distintas, o que se manifesta no uso de três idiomas na região. Com abordagem interdisciplinar, a partir da história cultural, das ciências sociais, da voz e do canto, a pesquisa relaciona Música, Cultura e Sociedade. Este trabalho fundamenta-se na observação participante, com abordagem qualitativa, utilizando a comparação e apresentando o canto das meninas antes e depois do trabalho vocal, além de questionários e entrevistas com profissionais, participantes do coral e membros da comunidade. No decorrer da análise fica evidente o processo retroalimentar existente entre os objetos estudados, timbre, identidades, cultura, coral e sociedade, e suas representações, que promovem transformações nas vidas das meninas cantoras. Deste estudo emerge a importância da relação entre timbre e identidades culturais.

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.

In musikklasser in the Swedish compulsory school a special musical training focusing on choral singing is offered students from the age of ten to sixteen. Regarding singing with children, choir teaching in these classes represents conventions developed in accordance with the Swedish choral tradition. Students are trained in large groups of (30-60); in parallel, they receive individual singing voice training in order for the choir to perform with a communal musical expression. This complexity places high demands on the choir teachers' ability to foster the specific musical skills required in a choir. Starting out from a cultural-psychological theoretical perspective, this study explores two choral teachers' interaction with their choir classes, respectively, by means of a method inspired by ethnography. Participating students were aged 10 and 11. Observation data of four lessons was collected, two with each teacher. Lessons were documented by field notes, one lesson of each teacher was video-documented. Analysis included three methods of data transcription: First of all, by writing thick descriptions. After that all events during the lesson were written down in a timetable and finally, a short representative sequence from each lesson was transcribed into a music score. Thus, the variety of methods enabled a deep analysis of data. The results show, on the one hand, that the teachers use a similar overall pattern for interaction. On the other hand, within this overall pattern they interact with their students in different ways that are being described as personal designs of interaction according to which each teacher uses the available cultural tools in individually different combinations when distributing knowledge to the students. In spite of this, differences in quality between the performances of the two choir classes were not recognised during the observed lessons. Accordingly, one conclusion of this study is that the overall music cultural context has a larger impact on students' ability to perform choral music than teachers' personal design of interaction.

Dr. Eph Ehly is one of the most sought after choral conductors in the United States today. Ehly has conducted over seventy All-State choirs. However, no previous source outlines the fundamental principles of his philosophy and rehearsal techniques.This study was designed to capsulize Ehly's contributions. The writer produced a videotape entitled, "Eph Ehly: A Source of True Inspiration." This video captures Dr. Ehly's philosophy regarding the All-State choir experience and demonstrates his rehearsal techniques. The author attended three All-State festivals where Ehly was the guest conductor (Indiana, New York, and Oklahoma). The video contains rehearsals and performances and videotaped interviews with Dr. Ehly.The cornerstone of Ehly's approach is this: using music to express. There are three components to Ehly's philosophy: 1) the physical component, 2) the emotional component, and 3) the spiritual component. The writer identified four forms of the physical component: 1) handshake, 2) hug, 3) clapping, and 4) other spontaneous physical gestures. The writer identified eight aspects of the emotional component: 1) expressivity, 2) sensitivity to the world, themselves, and their own emotions, 3) sympathy, 4) reality of emotions, 5) creating mood, 6) building ensemble, 7) music as a reflection of life, and 8) awareness of a "sixth sense." In describing the spiritual component, two divisions were identified: 1) the development of character, and 2) reaching a level of spirit-awareness.The study also summarizes Ehly's rehearsal techniques by outlining his idiosyncratic approach to the treatment of traditional musical elements. The video presentation highlights nine technical concerns and demonstrates Ehly's approach to these common problems. The areas addressed are: 1) tone quality, 2) diction, 3) rhythm, 4) dynamics, 5) phrasing, 6) articulation, 7) breathing, 8) vowel modification, and 9) vibrato. The videotape is supported by a written document containing background information, a script of the video, a summary by the author, a representative list of programs from AllState choirs conducted by Dr. Ehly, and transcripts of the interviews with Dr. Ehly. Church musicians, professional conductors, educators, and students of conducting can all benefit from the opportunity to view and evaluate Ehly's approach. / School of Music

The purpose of this study was to examine the continuum of choral singing from secondary choral organizations to choral organizations at selected higher education institutions in Indiana. Examined were two large state institutions and two private, liberal arts colleges. Two groups of college students who had high school choral experience were surveyed: 1. non-participants, and 2. participants. Participants in choral ensembles made up 1.33% of the total enrollments of the institutions studied. Thirty four percent of the selected students had high school choral experience. Choral ensemble participants' responses to a questionnaire were compared with non-participants' responses. The state institutions' student responses were compared to the liberal arts institutions' student responses.There do not appear to be universal reasons for students to continue or not continue singing in choral ensembles. The reasons appear to vary with the individual student and institution. However, there were trends observed. Students perceived themselves as being well enough prepared to participate in higher education choral ensembles. There is a discrepancy between the expectations of the college conductors and the students' evaluation of their preparedness. Literature appears to be a highly significant factor in the interest of all respondents. Students preferred to sing all types of music. Neither participants nor non-participants reported that classical literature was the focus of their high school choral programs. Participants perceive that the university is interested in them, while non-participants reported negative responses. Private respondents felt that the university was interested in their participation in choral ensembles more than public respondents. Many students decide before arriving on the higher education campus whether or not they will participate in college choral ensembles. The amount of credit given for singing in ensembles or academic loads seem to be a minor factor. It appears that parents do influence choral participation.Private institutions have a larger percentage of their populations participating in choral ensembles than do public institutions. The higher involvement of liberal arts college students in choral ensembles may be explained by the department's need for adequate manpower and the personalized recruiting policies. The personality of the conductor was important to the students surveyed. / School of Music

This research project was a study of the non-auditioned, mixed collegiate choral ensemble. The investigation focused on successful ensembles of this type at five universities in the midwestern United States. The purpose of the study was to investigate the ensemble's need for existence and its function within the university's choral program, to research teaching strategies that work with such a unique ensemble, and to discover tactics which help this type of group reach its full potential. Information for the study was garnered through observations of the five choirs, through surveys of the group participants, and through interviews with the conductors.A total of 372 participants completed surveys. The surveys contained a variety of questions regarding group demographics, reasons for participating, rehearsal techniques, repertoire, and benefits of participating. Responses were compiled and then analyzed for similarities and differences. Three types of statistical tests were utilized to discover if significant differences existed. For those responses which were of a nominal nature, a chisquare test was used to determine if there was any significant interaction between the responses and the various ensembles. For those responses which were of a numerical nature, an Analysis of Variance (ANOVA) test was performed to determine if there were any significant differences among the choirs. If significant differences were detected (p<.05), a Tukey HSD post hoc test was utilized to determine where the differences occurred. For those questions which were of a qualitative nature, responses were simply compiled and compared for similarities and differences.The five conductors were interviewed and questioned regarding the purpose of their ensemble, the type of teaching strategies they incorporate, the structure of their rehearsals, any methods of motivation and reinforcement they use, and what techniques they use to help the ensemble reach its full potential.Some similarities were discovered among the five choirs, with the most striking one being the high level of satisfaction among the participants. Significant differences were also discovered between the choirs in a variety of areas, including reasons for participating, group perception, evaluation of the conductor's rehearsal techniques, and productivity of the rehearsal. / School of Music