The purpose of this study is to describe contemporary plans for training the boy's changing voice and to prescribe ensemble material for these voices. Specific Problems: Analysis of the general problem leads to subordinate questions, or sub-problems, which may be stated as follows: 1. What are the contemporary plans of training the boy's changing voice? 2. What are the most usable musical materials available for use by ensembles which include boys with changing voices?

This thesis discusses the development of Albanian choral music from the early 20th century to the present. It provides a general history of Albanian culture and politics as context for the rapid changes that happened during the 20th century and how that has influenced the musical life of the Albanian people. The significance of this influence is then represented and analyzed through the works of three prominent Albanian choral composers from different generations, whose lives and body of work span the last century. Through these analyses, we explore the evolution of Albanian choral music and how modern composers preserve traditional folk elements, yet are influenced by the cultural and political environment of their respective time.

This diploma paper is focused on the composition work of composer Václav Kálik (1891-1951) in its choral work. The aim of the presented text is to provide analyses of selected choral compositions and subsequently to highlight the development of his composing activities in his work. This diploma thesis contains a list of the personal belongings left behind by Václav Kálik from the Silesian National Museum in Opava. Key words Choral work, Václav Kálik, analysis

Master of Music / School of Music, Theater, and Dance / Julie Yu-Oppenheim / This report is for the beginning choral music educator or music education student who seeks guidance when selecting repertoire for their advanced elementary or beginning middle school choir. I attended the 2011 Kansas Choral Directors Association conference. Conferences such as these are great resources for the novice choral educator and even the veteran teacher. Choral reading sessions are excellent ways to find new and quality repertoire, because the directors that select the music spend a good amount of time researching and selecting songs. In determining what factors directors use to choose repertoire for their choirs, a survey was developed and administered to forty Kansas music educators at one of the reading sessions which asked the following three questions: 1) What is the likelihood that you would use this song in a concert or program? The next two are questions in which I asked (these two were based on a ‘disagree or agree’ scale): ‘This song has good educational value for the students’ and ‘I can teach many elements of music within this song.’ Evidence is shown from other master educators of various levels that choosing appropriate, worthy, and challenging repertoire is crucial to the success of the choral program.

Master of Music / Department of Music / Julie Yu / Matthew and Mark both conclude their Gospel accounts of the first Mass, the last supper, the same way: “while singing a hymn they went out to the Mount of Olives.” Since the beginning of the Christian tradition the Mass has been accompanied by religious song. The structure of the Roman Mass grew, changed, and took its present form over the course of many years from the Ordo romanus I of ad 700 to the modern rite. The movements of the Mass Ordinary were all present in the Roman Mass as early as the 8th century, while the sections of the Mass Proper took longer to develop. Though early settings of the Ordinary were sung to modal chants, the introduction of organum and polyphony in the 14th century gave rise to inventions in compositions that continue to influence music history. Numerous composers have composed Mass settings for liturgical use. Through their work, these composers shaped compositional techniques and paved the way for additional settings of the Mass. Many other composers’ works have outgrown their liturgical use. Composers have used every form from a cappella missa brevis’, large-scale cori spezatti compositions, to orchestral works rarely intended for liturgical use. Following the Second Vatican Council (1962-1965) the liturgy could be spoken and set musically in the vernacular creating a new collection of compositions in a variety of languages. Movements from five compositions are the subject of this paper. Each piece was selected to for its compositional techniques from its respective time period and region of the world. The composers represent England, Brazil, Germany, France, and the United States.

Thesis (D.M.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Este trabalho apresenta uma tradução, seguida de comentários, das seis odes de Baquílides que chegaram aos dias atuais agrupadas sob o rótulo de ditirambos, embora essa classificação seja hoje objeto de debate. O estudo dos poemas tem como foco a sua linguagem, sobretudo a abundante ocorrência de epítetos que nela se nota, traço já reconhecidamente característico na obra de Baquílides. Procura-se por meio da observação detalhada de tais termos delinear traços peculiares do estilo do poeta, os quais contribuem para conferir, no mínimo, unidade estilística a um corpus díspar do ponto de vista da estrutura de cada ode. A partir do mesmo processo, pretende-se ainda analisar o modo como os epítetos em Baquílides dialogam com aqueles das demais tradições poéticas gregas, principalmente os da épica homérica. São considerados, enfim, também como ponto de contato com as tradições aparentemente privilegiadas pelo poeta, o tratamento que ele dispensa aos mitos gregos e as escolhas por ele feitas nesse sentido, questões que podem colaborar para nossa compreensão do gênero poético ao qual seus supostos ditirambos pertencem, a mélica coral grega. / This work presents a translation, followed by comments, from the six odes of Bacchylides which survived under the label of dithyrambs, although this classification is nowadays a disputed issue. The study of the poems focuses on their language, especially on the abundant occurrence of epithets that can be noted, a characteristic feature usually recognized in the work of Bacchylides. Through a detailed observation of such terms, we aim at outlining peculiar traces of the poet\'s style, which contribute to give, at least, a stylistic unity to a diverse corpus regarding the structure of each ode. Using the same process, we intend also to examine how the epithets in Bacchylides dialogue with the ones from other Greek poetic traditions, especially the ones from Homeric epic. We take under consideration, finally, as a point of contact with the traditions apparently privileged by the poet, the way he treats Greek myths and the choices he makes in this regard, things that may help our understanding of the poetic genre to which his alleged dithyrambs belong, the Greek choral melic.

O objetivo principal deste trabalho é estudar os processos de desenvolvimento da escuta melódica de adultos, sem formação musical, integrados a coros vocacionais, com o intuito de poder melhorar a performance vocal do grupo. Tendo como objeto o processo de formação do Coral Oficina Comunicantus, grupo integrado ao Comunicantus: Laboratório Coral do Departamento de Música da Escola de Comunicações e Artes da Universidade de São Paulo. Nosso método de coleta de dados foi baseado nas observações dos ensaios e nas análises das avaliações (relatórios) feitas pelos monitores integrados ao Comunicantus: Laboratório Coral, através dos quais procuramos vislumbrar as necessidades de aprendizagem dos coralistas do coro supracitado. Por se tratar de uma pesquisa ora de observação ora interativa, atuamos combinando tais ações e orientando o desenvolvimento das habilidades inerentes à escuta melódica em aspectos pré-definidos. Durante o processo investigativo, utilizamos como método referencial de análise, dos conteúdos musicais, os trabalhos do Prof. Dr. Marco Antonio da Silva Ramos e do Prof. Paulo Rubens Morais Costa e, por outro lado, a produção bibliográfica de educadores como César Coll e Teresa Mauri, que atuaram na reforma escolar espanhola, de forma a subsidiar nossas escolhas pedagógicas e didáticas para atuar junto aos coralistas. Como resultado desse processo, pudemos desenvolver algumas atividades que contribuíram para a resolução de certas necessidades de aprendizagem momentâneas deste grupo e também suscitaram a criação de outras que foram utilizadas oportunamente, após o término do prazo definido de observação e interação a que este trabalho se refere. / This dissertation aims mainly at studying the processes of development of melodic hearing by adults who do not have any musical formation and yet join vocational choirs in order to improve the vocal performance of the group. Its object is the process of formation of the Educational Lab-Choir Comunicantus, which belongs to the Comunicantus Choral Office of the Department of Music of the School of Communication and Arts of the University of São Paulo. The method of data collection was based on rehearsal observations and on the analysis of evaluations (reports) made by student trainees integrated in the Comunicantus Choir Office, through which we trie to identify the gaps in learning of the choir singers. As the research is partly made up of observations and partly interactive, action was taken so as to combine these actions and give advice on the development of skills innate to melodic hearing in predefined aspects. Along the process of investigation, the Referencial de Análises of the musical contents by Professor D. Marco Antonio da Silva Ramos and Professor Paulo Rubens Morais Costa were used as a method. On the other hand, the works by educators as César Coll and Teresa Mauri, who worked in the Spanish school reform, were used to provide pedagogical and didactic choices for us to act with the choral singers. As a result of this process, some activities were developed that contributed to offer solution to some specific learning needs of this group and also made possible the creation of others that were used, whenever suitable, after the period of observation and interaction.

Esta pesquisa busca investigar o sujeito cantante, tecendo reflexões sobre o canto coral em uma abordagem psicanalítica. Para tanto, foram estudados alguns aspectos da música, da educação musical, do canto coral e da Psicanálise, relacionando as áreas e suas possíveis articulações. Após um breve levantamento conceitual e bibliográfico, foi escolhido o Coral Universidade de São Paulo (CoralUSP) para a pesquisa de campo, do qual, foram entrevistados cinco de seus regentes e três cantores. Essa pesquisa abriu reflexões sobre o canto coral por um viés psicanalítico, depois de acompanhar ensaios de dois dos doze grupos que constituem o CoralUSP e de abrir a discussão sobre a educação musical atual, mediante entrevista com uma educadora musical que atua pela via do canto coral. Os motivos que originaram o projeto desta dissertação remetem à promulgação da Lei Federal nº 11.769/08, que institui a obrigatoriedade do ensino de música nas escolas, embora não em caráter exclusivo. Essa nova legislação reacendeu algumas reflexões: por que a música é importante para a formação do sujeito? De que maneira ela pode ser trabalhada? Como o canto coral pode se articular às novas práticas? De que forma o canto se inscreve no sujeito? E, por fim, quem é o sujeito que canta? A discussão deste estudo é voltada tanto para coralistas ou ex-coralistas que compreendem a importância do canto coral em sua formação, mas que gostariam de se aprofundar nessa investigação sob um enfoque psicanalítico, quanto para educadores (formais, informais, polivalentes ou de formação musical específica), a fim de que percebam o impacto das influências musicais e, mais precisamente, corais no campo da educação e da constituição do sujeito. Pedagoga, coralista de longa data e atual professora de canto coral, motivada pela musicalização da escola e seus impactos, esta autora estabeleceu o compromisso com sua dissertação e com a pesquisa educacional, aceitando o desafio de uma leitura psicanalítica da educação musical por meio do canto coral. Em suma, o que se pretende com esse estudo é investigar as marcas deixadas pela voz, pelo canto coral, na formação do sujeito cantante, o que está menos ligado a métodos do que às paixões que movem o desejo e que constitui um novo semblante para o sujeito psicanalítico. / This research aims to investigate the singing subject, weaving thoughts on choral singing in a psychoanalytic approach. For this, some aspects of music, musical education, choral singing and psychoanalysis were studied by relating the areas and their possible connections. After a brief conceptual and bibliographical survey, the University of São Paulo Choir (CoralUSP) was chosen for the field research, from which five of its regents and three singers were interviewed. This research opened reflections on choral singing by a psychoanalytical view, after accompanying rehearsals from two of the twelve groups that constitute the CoralUSP and opening discussion about the current musical education, during an interview with a music educator who operates by means of choral singing. The reasons that led to the project of this dissertation refer to the enactment of Federal Law No. 11,769/08, establishing the compulsory teaching of music in schools, although not on an exclusive basis. This new legislation has rekindled some thoughts: why music is important to the formation of the subject? How can it be worked on? How the choir can be linked to new practices? How the song fits the subject? And finally, who is the subject who sings? The discussion of this study is turned for both choristers or former choristers who understand the importance of choral singing in their training, but would like to go deeper in this research under a psychoanalytic approach, as for educators (formal, informal, polyvalent or from specific musical training) in order to realize the impact of musical influences - and, more precisely, choral - in the field of education and formation of the subject. Pedagogue, longtime choir member and current teacher of choral singing, motivated by school musicalization and its impacts, this author established the commitment to her dissertation and to educational research, accepting the challenge of a psychoanalytic reading of musical education through choral singing. In short, the intention with this study is to investigate the \"marks\" left by voice, by choral singing, in the formation of the singing subject, which is less connected to methods than to passions that move the desire and which constitutes a new semblant to the psychoanalytic subject.

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