This study investigated the criteria conductors use to select repertoire for beginner secondary school choirs and is based on a qualitative research design. The research was guided by a social constructivist worldview and is an explanatory case study. Data were collected through interviewing five experienced and established choir conductors who conduct secondary school choirs. Five themes crystallised through the data analyses, which are Education, Vocal ability, Type of choir, Programme choice and Audience preference and development. This study leads to further recommendations about possible research on repertoire that is best suited for beginner secondary school choirs and choir singing as experienced by the choristers and the audiences themselves. / MA (Musicology), North-West University, Potchefstroom Campus, 2015

This study investigated the criteria conductors use to select repertoire for beginner secondary school choirs and is based on a qualitative research design. The research was guided by a social constructivist worldview and is an explanatory case study. Data were collected through interviewing five experienced and established choir conductors who conduct secondary school choirs. Five themes crystallised through the data analyses, which are Education, Vocal ability, Type of choir, Programme choice and Audience preference and development. This study leads to further recommendations about possible research on repertoire that is best suited for beginner secondary school choirs and choir singing as experienced by the choristers and the audiences themselves. / MA (Musicology), North-West University, Potchefstroom Campus, 2015

For an untold number of years the vocalise has had an integral place in many of the methods used for the training and development of singers. Commonly referred to and used as "warm-ups" in the choral rehearsal, vocalises are considered by many conductors to have a usefulness that surpasses that of simply preparing voices for the singing which is immediately at hand. It remains a tendency in many cases, however, for vocalises to be used in an indiscriminate fashion without a clear understanding of the purposes of the vocalises used and/or using a method of presentation of vocal exercises that can diminish their usefulness or perhaps even have detrimental effects on the singers. A common additional plight facing many choral conductors seems to be the lack of availability of practical, printed resources for choral vocalization. Conductors can feel forced to rely only on exercises passed onto them by colleagues or by their own teachers. Either because of this lack of understanding of purpose or because of a lack of knowledge of vocalise repertoire, or both, a conductor might choose to limit or avoid entirely the use of vocal exercises in the choral rehearsal, depriving the conductor and the singers of what is perhaps one of the best tools for vocal development and conditioning. This study attempts to contribute toward the alleviation of the problems mentioned above. The study provides an extended collection of vocalises arranged with optional piano accompaniments by the author for use in the choral rehearsal, including original exercises, as well as those borrowed from colleagues in the solo and choral music fields and from selected printed sources. In addition, through a review of the writings of noted authorities in the field of voice education, the study discusses the usefulness of vocalises in the development of specific elements of good singing, with reference to the vocalises contained in the collection. Included in this discussion is a determination, based on these writings, of certain principles for the effective use of vocalises in the choral rehearsal. Finally, this study provides a selected list of known, available resource material that specifically contains vocalises for choir.

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Thesis (M.S.)--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

Thesis (M.S.)--Brigham Young University. Dept. of Audiology and Speech-Language Pathology, 2006. / Includes bibliographical references (p. 79-84).

Thesis (M. Mus. (Mus. Ed.)) -- University of Sydney, 1998. / Title from title screen (viewed November 11, 2009) Submitted in fulfilment of the requirements for the degree of Master of Music (Music Education) to the Music Education Unit of Sydney Conservatorium of Music. Includes bibliographical references. Also available in print form.

System requirements: Adobe Acrobat Reader. Accompanied by 2 recitals, recorded Oct. 5, 2006, and Apr. 1, 2009. Includes bibliographical references (p. 46-50).

Accuracy in pitch production is fundamental to both singing and language. Since accurate control of pitch is a complicated motor control process, no conclusions can be drawn yet for the reasons why some individuals have trouble producing accurate pitches in singing, although different possible causes have been proposed in the literature such as deficits in pitch perception, pitch memory and mismatch of pitch range. Additionally, since auditory feedback plays a crucial role in the pitch control, some behavioral experiments have been conducted in the literature that involve manipulation of auditory feedback so as to remedy those with inaccurate pitch during singing but the effects varied. However, those studies in the literature had various limitations and mostly recruited participants who were speakers of non-tonal languages. The present study investigated the effect of augmented auditory feedback (AAF) as a method of feedback manipulation on pitch accuracy as well as its relationship with the three possible causes for pitch inaccuracy mentioned above. A total of 43 tonal-language-speaking adult participants who had no formal training of singing were recruited to participant in two tasks to measure their pitch accuracy: single-tone pitch matching and singing a familiar song. All participants were native speakers of tonal languages: Mandarin or Cantonese. The results showed that pitch accuracy was not significantly improved by AAF although moderately inaccurate singers seemed to benefit consistently in pitch matching task. The post-hoc analysis revealed that the intertrial consistency of the singer’s performance was significantly improved for inaccurate singers in both tasks. As for the causes for pitch inaccuracy, both pitch perception and pitch memory were found to have moderate correlation with pitch inaccuracy while mismatch of vocal range of the participants and the pitch targets seemed to be a major cause for most of the inaccurate participants. / published_or_final_version / Speech and Hearing Sciences / Master / Master of Philosophy