The purpose of this study was to explore adolescent self-views of singing ability through both implicit theories and self-concept meaning systems. A secondary purpose of this study was to examine these self-views specifically in the context of a choral hierarchy. Using a researcher-designed survey instrument, I gathered data from middle- and high-school students currently enrolled in a choir program organized in a hierarchical structure. I analyzed descriptive statistics of survey responses to items designed to measure implicit theories of singing ability, singing self-concept, and goal orientation. I also examined differences among participants by ensemble placement in implicit theory and self-concept scores, correlation between implicit theory and self-concept, and whether implicit theory, self-concept, goal orientation, or current enrollment could predict future enrollment decisions. In addition to these quantitative measures, I coded open-ended responses to two failure scenarios and examined participant responses by ensemble and gender. Both implicit theory and self-concept scores were higher for participants at the top of the choral hierarchy than at the bottom. Open-ended responses, however, did not align with the implicit theory scale and a number of students presented a false growth mindset. Open-ended responses also indicated that failure scenarios were likely to result in an altered view of the self and shame in placement in an ensemble at the bottom of the choral hierarchy. The means scores for participants in the middle- and high-school ensembles in both implicit theory and self-concept were significantly different, with participants in the high-school ensembles having higher scores in both constructs. Implicit theory and self-concept were significantly related, and self-concept, goal orientation, and current enrollment significantly predicted future enrollment decisions.

Syftet med denna uppsats är att undersöka hur sångpedagoger inom genren ”svensk folklig sång” använder trall i sin undervisning och om de eventuellt använder den som ett redskap för att förbättra sångteknik. Tre kvalitativa intervjuer med sångpedagoger ligger till grund för undersökningen och ett sociokulturellt perspektiv har varit teoretisk utgångspunkt. Studiens resultat visar att alla informanter använder sig mycket av trall i undervisningen och att de dessutom använder den som ett sångtekniskt redskap. Informanterna anser att trallen har en mängd egenskaper som gör den till ett praktiskt verktyg när de vill öva sångteknik och exempel på områden i vilka trallen kan tjäna som övning är rytm- och puls, andning, artikulation och röströrlighet. Informanterna anser också att trallen har vissa sociala parametrar som gör den till ett bra hjälpmedel för att bli en del av den folkmusikaliska diskursen. / The purpose of this essay is to examine how singing-teachers, within the Swedish folk music-genre, use trall when they teach and if they eventually use it as a tool to improve singing technique. The foundation of the research is three qualitative interviews. The socio-cultural perspective has served as the study´s theoretical basis. The result of the study shows that all of the interviewees use trall a lot in their teaching and that they also use it as a tool. The interviewees think that trall has a lot of qualities that makes it a practical tool for practicing singing-technique. Examples of areas where trall can be used as practise is rhythm and pulse, breathing, articulation and movability within the voice. The interviewees also think that trall has social parameters which makes it a good tool for becoming a part of the folk-music discourse.

The purpose of this study was to identify certain aspects related to sight singing which tend to cause difficulty in teaching junior high school students and to suggest exercises that might be used to aid in overcoming these difficulties, Data included a questionnaire to junior high school teachers in three states. Subjects researched and discussed were the physical, intellectual, and emotional development of the adolescent; the changing voice and the range and vocal limitations of junior high singers; and rhythmic, melodic, harmonic, and other aspects of sight singing. Included were vocal procedures to be used with young voices, suggestions for choosing and/or arranging appropriate music, and original compositions designed to meet the needs and interests of junior high school students.

O presente trabalho considera o conceito percepção vocal, incluindo suas funções e recursos, como uma capacidade de ouvir, conscientizar e fazer, através dos seguintes tipos de recepção sensorial: controle auditivo, sensação muscular, sensibilidade vibracional e visão. Este trabalho tem por objetivos a divulgação do referido conceito e a apresentação de métodos para o seu desenvolvimento para o cantor e regente coral, nas áreas disciplinares de canto, percepção e regência coral. A discussão é alicerçada na pesquisa da literatura russa e ucraniana sobre o assunto e tem o foco central baseado no trabalho de Vladimir Morozov. Ainda em comparação com as literaturas estadunidense e brasileira, busca refletir sobre os conteúdos relativos às áreas supracitadas e explora os meios de aprimoramento dessa habilidade na prática, com foco específico no ensino da regência coral e canto coral. Propõe assim um método de ensino que oferece uma série de exercícios de desenvolvimento da percepção vocal, que abrangem o trabalho do aluno, tanto dentro da sala de aula, quanto na sua prática com o coro, podendo tais exercícios ser aproveitados no trabalho individual. Para o trabalho de pesquisa e formulação da proposta de ensino, a metodologia escolhida foi de busca, comparação, reflexão e análise da literatura, paralelamente ao desenvolvimento de exercícios específicos. / The concept of vocal perception (including its functions and resources) is, in this dissertation, considered to be the ability of hearing, understanding and performing through the following kinds of sensorial reception: auditory control, muscular and vibrational sensitivity, as well as vision. The aims of this work are: A) divulgating the formerly mentioned concept; B) introducing methods that allow both singers and choral conductors to improve their acting. The discussion is based on the Russian and Ukrainian literature on this matter and focuses mainly on the work of Vladimir Morozov. In comparing these to the Brazilian and American literature, the dissertation also ponders over the contents that relate to the areas mentioned above, and explores the possible ways of improving this ability in practical situations, with an specific focus on choral conducting and choral singing, thus proposing a method of teaching that offers a series of exercises that will encourage the development of a vocal perception for the student, which can be applied in conducting classes, individual studying and general choral practice. When researching and creating the teaching method, the methodology of choice was to search, compare, ponder and analyze literature, while developing specific exercises.

The purpose of this study was to analyze and understand experienced choral directors' perceptions and beliefs on a variety of topics surrounding the teaching and learning of secondary choral music sight singing or sight reading. A focus group of eight highly successful college, high school and middle school choral music educators addressed seven questions. The investigation gathered qualitative data that covered the purposes of teaching sight singing, the positive or negative attributes of movable Do, fixed Do and numbers, and a review of sight-singing curricula. Further, the investigation gathered data on the effect, if any, of an instrumental student's sight-singing ability and the use and effectiveness of Curwen or Kodály hand signs and sight-singing assessment for students. Additional data was gathered concerning how secondary music educators were evaluated. Results suggested that the focus group's purpose in teaching sight singing was to produce independent, self-reliant musicians. Individual sight-singing assessment was deemed important and should focus on how singers progressed. Music composed specifically for sight-singing contests or festivals should contain challenging notes and rhythms, dynamic changes, phrase markings and at least one tempo or meter change. Further, music teacher evaluations were discussed, coded and analyzed. Twenty-nine recommendations are offered that are designed to make sight singing more efficient and more effective in today's choral music classrooms. While there are some very good sight-singing materials in print, music publishers who contemplate printing new instructional material should offer a holistic approach to musicianship. Adjudicators for choral sight-singing festivals and contests should be trained. Choirs entering a sight-singing performance should be adjudicated on musical elements such as meter changes, correct tempi, phrasing, tone, articulation and dynamics, not merely on performing the correct notes and rhythms. Many more recommendations were offered to secondary and college choir teachers, supervisors, contest chairmen, adjudicators, composers, music publishers and students. The investigation was not intended to determine a recommended method for sight-singing instruction nor assessment. The purpose of this study was to understand and analyze experienced choral directors' perceptions and beliefs concerning sight singing on secondary campuses.

Elever i musikklasser med körinriktning i grundskolan ingår i en lokalt situerad musikkultur som är formad av traditioner med rötter i förra seklets första hälft. I denna tradition har konventioner om sång med barn utvecklats. Undervisning i musikklasser sker i stora grupper men den enskilda eleven internaliserar kunskapen om att sjunga individuellt. Varje elev bidrar med sitt individuella kunnande i musicerande tillsammans med andra. Studiens syfte var därför att belysa enskilda elevers lärande om att sjunga. Deltagarna i studien var musiklärare och elever i en årskurs fyra och en årskurs fem i musikklasser med körinriktning. Data samlades in genom observation och videodokumentation av en körlektion i respektive klass och genom enskilda intervjuer med åtta elever. Data analyserades ur ett kulturpsykologiskt perspektiv med fokus på kulturella redskap. Betydelsen av den individuella musikkulturella inramningens synliggjordes liksom elevernas strävan efter kvalitet. Samstämmighet visade sig mellan elevernas beskrivningar av förutsättningar för lärande, där den viktigaste faktorn som eleverna lyfte fram var möjligheten att få sjunga i ett, för eleven, bekvämt sångläge. Ett övergripande mönster i resultaten var att elever uppmärksammar de kulturella verktyg som distribueras i undervisningen med stor variation. / Students, who attend a special musical training which focus on choral singing and is offered in the Swedish compulsory school (i.e. musikklass in Swedish), are included in a locally situated music culture, which is shaped by traditions from the early twentieth century. In this tradition, conventions relating to singing with children have developed. Teaching choral singing in large groups is common in these music classes. However, students internalize knowledge about singing individually. Therefore, each student contributes his or her expertise about singing in music making together with other singers. Consequently, the purpose of this study was to highlight individual student learning about singing in a large choir group. The participants in this study were two music teachers and 8 students aged 10 an 11 years old who attended music classes with a focus on choral singing. Data were collected by observations and video documentations of one choir lesson in each grade and by interviews with the students. Data were analysed from a culture psychology perspective with a focus on cultural tools. The results showed the importance of the individual music cultural framing as well as the students’ pursuit of quality. Furthermore, the results showed consistency between the students descriptions of prerequisites for learning. The most important prerequisite, according to the students, was the opportunity for them to sing in a comfortable singing mode. Finally, an overall pattern in the results was the variation in how students pay attention to cultural tools distributed to them in choral teaching.

Syftet med denna studie är att beskriva tillvägagångssätt för att lära personer som sjunger ”falskt” att sjunga mer ”rent”. I bakgrundskapitlet presenteras olika teorier kring orsaker till tondövhet och falsksång utifrån forskning och litteratur, samt metoder som rekommenderas för det praktiska arbetet med detsamma. Vidare redogörs för det didaktiska perspektiv som studien har som teoretisk utgångspunkt. I metodkapitlet beskrivs den kvalitativa intervjun, vilken är den metod som använts för att genomföra resultatet. I resultatet sammanfattas fyra intervjupersoners beskrivningar av sina teorier kring orsakerna till tondövhet och falsksång, samt även deras metoder för arbete med personer som är tondöva/sjunger falskt. Resultatet diskuteras i relation till bakgrundskapitlet i diskussionskapitlet, där informanternas synsätt på ämnet, samt deras metoder jämförs med forskares och författares synsätt och metoder. / The purpose of this study is to describe procedures of teaching persons who sing “out of tune” to sing more “in tune”. In the background chapter different theories from research and literature for reasons behind tone deafness and poor pitch singing is presented, along with methods that are recommended for the practical work with it. Furthermore the didactic perspective that the study has as its theoretical basis is described. In the method chapter the qualitative interview method, which has been used to carry out the result, is presented. The result summarises four interviewed persons´ descriptions of their theories around the reasons behind tone deafness and poor pitch singing, along with their methods for working with persons who are tone deaf/sing out of tune. The result is discussed in relation to the background chapter in the discussion chapter, where the interviewing persons’ views on the subject, along with their methods are compared to the researchers' and authors’ views and methods.

Made available in DSpace on 2016-12-08T17:06:49Z (GMT). No. of bitstreams: 1 RobertoRossbach.pdf: 3579379 bytes, checksum: e5cda1ba92c0ddbcc926af8f2f1aa8db (MD5) Previous issue date: 2009-12-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / At the beginning of the German colonization in the region of Blumenau (SC), one of the main cultural manifestations of the immigrants were the singing societies, consisting of male choirs which sang secular repertoires. The activity of these societies was intense since the first years of the foundation of the Blumenau Colony until the prohibition of the cultural manifestations of the Germans in Brazil, with the Campaign of Nationalization instituted by the Brazilian Federal Government in 1937. Based on textual documents, both manuscripts and printed, such as statutes, proceedings, correspondences, reports, periodicals, as well as photographs and songbooks, the purpose of this work is to clarify the role of these groups in the diffusion of the local cultural movement and its contributions to the perpetuity of this tradition, which still exists today. Despite the process of acculturation and assimilation of new cultural values which emerged from the contact of German immigrants with the Brazilian culture, some elements were maintained, such as the associative spirit of the immigrants and the preservation of the German language in the songs. This contributed to a current tendency of the descendants of German immigrants in the region to preserve the culture of the first colonists, reflected in the associative, cultural activities and in the promotion of several events connected to the German culture / No início da colonização alemã na região de Blumenau (SC), uma das principais manifestações culturais dos imigrantes foram as sociedades de canto, que eram coros masculinos que cantavam repertório secular. A atividade destas sociedades foi intensa desde os primeiros anos da fundação da Colônia Blumenau até a proibição das manifestações culturais dos alemães no Brasil, com a Campanha de Nacionalização, instituída pelo Governo Federal Brasileiro, a partir de 1937. Baseado em documentos textuais manuscritos e impressos como estatutos, atas, correspondências, relatórios, jornais, além de fotografias e livros de canções, buscou-se neste trabalho esclarecer o papel desses grupos na difusão do movimento cultural local e suas contribuições para a continuação desta tradição que se mantém viva até os dias de hoje. Apesar do processo de aculturação e assimilação de novos valores culturais ocorrido com o contato dos imigrantes alemães com a cultura brasileira, alguns elementos mantiveram-se intactos, como o espírito associativo do imigrante e a preservação do idioma alemão nas canções. Isso contribuiu para uma tendência atual dos descendentes de imigrantes alemães na região de preservar a cultura dos primeiros colonizadores, refletida nas atividades associativas, culturais e nas diversas promoções ligadas à cultura alemã

O presente trabalho considera o conceito percepção vocal, incluindo suas funções e recursos, como uma capacidade de ouvir, conscientizar e fazer, através dos seguintes tipos de recepção sensorial: controle auditivo, sensação muscular, sensibilidade vibracional e visão. Este trabalho tem por objetivos a divulgação do referido conceito e a apresentação de métodos para o seu desenvolvimento para o cantor e regente coral, nas áreas disciplinares de canto, percepção e regência coral. A discussão é alicerçada na pesquisa da literatura russa e ucraniana sobre o assunto e tem o foco central baseado no trabalho de Vladimir Morozov. Ainda em comparação com as literaturas estadunidense e brasileira, busca refletir sobre os conteúdos relativos às áreas supracitadas e explora os meios de aprimoramento dessa habilidade na prática, com foco específico no ensino da regência coral e canto coral. Propõe assim um método de ensino que oferece uma série de exercícios de desenvolvimento da percepção vocal, que abrangem o trabalho do aluno, tanto dentro da sala de aula, quanto na sua prática com o coro, podendo tais exercícios ser aproveitados no trabalho individual. Para o trabalho de pesquisa e formulação da proposta de ensino, a metodologia escolhida foi de busca, comparação, reflexão e análise da literatura, paralelamente ao desenvolvimento de exercícios específicos. / The concept of vocal perception (including its functions and resources) is, in this dissertation, considered to be the ability of hearing, understanding and performing through the following kinds of sensorial reception: auditory control, muscular and vibrational sensitivity, as well as vision. The aims of this work are: A) divulgating the formerly mentioned concept; B) introducing methods that allow both singers and choral conductors to improve their acting. The discussion is based on the Russian and Ukrainian literature on this matter and focuses mainly on the work of Vladimir Morozov. In comparing these to the Brazilian and American literature, the dissertation also ponders over the contents that relate to the areas mentioned above, and explores the possible ways of improving this ability in practical situations, with an specific focus on choral conducting and choral singing, thus proposing a method of teaching that offers a series of exercises that will encourage the development of a vocal perception for the student, which can be applied in conducting classes, individual studying and general choral practice. When researching and creating the teaching method, the methodology of choice was to search, compare, ponder and analyze literature, while developing specific exercises.

Orientadores: Angelo José Fernandes, Adriana do Nascimento Araújo Mendes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T01:26:11Z (GMT). No. of bitstreams: 1 Rheinboldt_JulianaMelleiro_M.pdf: 59530188 bytes, checksum: 397231451c0292e604327e4d1e95519d (MD5) Previous issue date: 2014 / Resumo: No Brasil, poucos materiais têm sido produzidos a respeito do preparo vocal para coros, especialmente, infantis. Visando suprir tal carência, a presente pesquisa aborda de forma ampla a proposta do maestro americano Henry Leck e relata sua aplicabilidade na realidade brasileira do "Coral da Gente" do Instituto Baccarelli, grupo regido pela autora. No primeiro capítulo, detalhamos os pressupostos pedagógicos e de preparo vocal do maestro Henry Leck, segundo o manual "Vocal techniques for the young singer: an approach to teaching vocal technique utilizing visualization, movement, and aural modeling", o livro "Creating artistry through choral excellence" ¿ ambos de autoria do maestro ¿ e bibliografias vigentes sobre voz infantil, preparo vocal e pedagogia coral. No segundo capítulo, analisamos e descrevemos os aspectos musicais e técnico-vocais dos exercícios que compõem o manual e também relatamos como os vocalizes foram aplicados no decorrer da pesquisa com o "Coral da Gente" e na prática docente da pesquisadora. Os processos de aprendizagem, estratégias didáticas e adaptações da proposta feitas na pesquisa de campo, encontram-se em um DVD anexo. Por fim, refletimos sobre a relevância da proposta de Leck e como ela pode ser mais bem aproveitada em nosso país, respeitando as especificidades de nossa realidade e priorizando um preparo vocal para coro infantil que seja efetivo, consistente e artístico. Este trabalho destina-se a regentes, preparadores vocais, educadores musicais e demais interessados nos assuntos abordados / Abstract: In Brazil, few materials specifically geared towards developing vocal techniques for children¿s choirs are being produced. Aiming to fill this need, this research conducts a wide-ranging analysis of the North American director Henry Leck¿s vocal pedagogy and how it was applied within a Brazilian reality with the "Coral da Gente" of the Baccarelli Institute, where the researcher is choral director. In the first chapter, we detail the pedagogical and vocal basis of Leck¿s methodology, based on the materials "Vocal techniques for the young singer: an approach to teaching vocal technique utilizing visualization, movement, and aural modeling", the book "Creating artistry through choral excellence", and other current literature about children¿s voices, vocal techniques and choral pedagogy. In the second chapter, we describe and analyze the vocal exercise techniques from Leck¿s materials musically, vocally and pedagogically and we also describe how this methodology was used with the "Coral da Gente" of the Baccarelli Institute and in the teaching practices of the researcher, highlighting the learning processes, successes and adaptations necessary. The finding results are available in the accompanying DVD. Finally, we reflect on the relevance of this proposal and how it might best be taken advantage of in Brazil, respecting the particular characteristics of local reality and practicing effective, consistent and artistic vocal techniques for children¿s choir. This research is addressed to choral directors, singing teachers and musical educators / Mestrado / Fundamentos Teoricos / Mestra em Música