Abstract There are known problems that are inherent in the management of a high school choral department. Most particularly, the mixed choir due to the status of the "changing voice" of the male adolescent as well as the perception experienced by adolescent males that they may not be "rough enough" and tend to pull back from membership wherein they perceive themselves in view of what others have to say about their membership in the chorus. There are also problems in uniting the group and attainment of the necessary cohesion for excellent performance within the learning environment. This paper examines some of the issues facing the high school choral teacher and briefly examines some of the methods being utilized by teachers in this high school chorus setting to enhance learning.
Table of Contents
Statement of Thesis
Introduction
I. The Methodological Approach
II. Traditional Techniques
III. Tone, Pitch and Sight-reading
Conclusion
From the Paper "In conclusion, theory, technique and performance are all an integral part of teaching music that is not "optional" but are indeed "elemental" in music education. Necessary integration of the male and female gender adolescents must be the focus as well as an environment that is conducive to learning as well as being one that provides a "positive educational experience" for the student. The provision of a positive learning experience is of great value and promises to be successful if implemented and nurtured within a system of education. To accomplish this is requires a networking system among teachers, schools and staff who will all work "as though one" in coordination focused on the preparation of a positive learning base. Beginning with the preschool and carrying the students best interest as priority until commencement of graduation, this method will demand open communication and dedication."
Abstract This paper explains that mainstreaming special children in learning provides them with opportunities to gain knowledge and skills in a method that suits them. The paper claims that it is also a process of allowing them to accept their disabilities and make themselves function at their best. The paper aims to define several ways that a teacher can help and support special children by mainstreaming them in a choir.
From the Paper "Similar to the visual type of learner, a music teacher can provide non-traditional learners with movement activities that may be related to music learning. Research and studies show that if movement activities are helpful to the learning process of individuals without disabilities, it is similarly effective to the learning process of disabled individuals. This is because movements can serve as alternatives in the memorization of information and movements such as dances are easy to remember. For students with physical disabilities, however, it is not necessary that the movement method will involve the whole body of an individual. For instance, hand movement is as effective in learning as with full body movement."
Abstract This paper provides a review and critique of the music presented at a local memorial service held at a Methodist church. The paper presents the case study. It discusses the details of the funeral and a brief history of the deceased and her family. The paper then discusses the hymn that was performed by the choir and harpist. Finally, the paper discusses the appropriateness of the selection and performance of music at this memorial service.
Table of Contents:
Introduction
Piece One: The Processional
Piece Two: The Hymn
Piece Three: The Choir Piece Four: The Harpist
Summary of Musical Performance at the Service
From the Paper "The performance of this piece did not appear to deviate much from the majority of performances of "Amazing Grace." The musician did not appear to add any personal flourishes or provide a distinctive interpretation. This is quite likely due to the decision to perform a song that has plagued music teachers with beginning students since it was first penned nearly two centuries ago. Because of this, it is possible to appreciate this performance of "Amazing Grace" as a bit of humorous irony within the funeral service. However, others could argue that the decision to perform the piece in such a staid manner reduced the decedent's memory as a music teacher who sought to improve the quality of musical performance among her students."
Abstract This paper is a critique on the stained glass windows of the Canterbury Cathedral of England providing an in-depth analysis of the Beckett windows, the Royal windows and the windows of the North Choir Aisles.
Abstract Gabriel Faure's requiem in D minor, Op. 48, is one of the most popular requiems (funeral masses in the Christian tradition) and is a tour de force of 19th Century music. Usually performed by choir and orchestra, it is widely considered to be one of the most beautiful requiems written. This paper gives background information, including dates, edits and Faure's own intent in the work, and then gives a complete movement by movement music-to-text evaluation of the requiem itself.
From the Paper "What is important to note is that the composers of the day tended to write for progressively bigger and bigger orchestras, with thicker, more complicated textures, and phrases which stuck slavishly to the divisions of the bar line. Faure, on the other hand, opted for smaller ensembles and spare orchestrations, omitting violins and winds in the Requiem when he felt they were unnecessary. Faure also thought on a smaller, more intimate "musical" scale than many of his contemporaries. There are none of the larger-than-life statements of Berlioz or Wagner; the entire Requiem has roughly 30 bars of fortissimo singing, and most of it does not rise above mezzoforte."
Abstract In this paper the author examines the works of John Dunstable centering on his compositions that were written specifically for the Church. The author looks at Dunstable as one of the great contrapuntalists working in classical music during the Renaissance pointing out that he is known for his work in the motet form, a product of the fourteenth and fifteenth centuries. The author defines the motet as a composition for unaccompanied choir with sacred text sung in Latin, since it was designed to be performed in Roman Catholic liturgical services. He then goes on to describe the different methods with which Dunstable's work can be performed and the developments in music that occurred as a result of his works. In conclusion the author looks at Dunstable as a standard setter for future Masses that were treble-dominated, as well as the harmonic innovation that resulted in the first form of the modern triads that form popular and symphonic music today.
From the Paper "The mass is a suite that is presented throughout the Latin Mass, a service containing a set series of segments, each addressing a particular aspect of Catholic belief. Dunstable's Missa Rex saeculorum has sometimes been ascribed to Leonel Power, who composed the earliest tenor Mass extant today. In this work, the Kyrie is eliminated, as is common in most cyclic Masses of English origin. There are two long sections in triple and duple meter set against an isorhythmic tenor line. In its compositional structure, the phrasing of the text is ignored and the notes are used as structural support for the piece. Sometimes a phrase breaks off mid-word, taking the chant out of its proper mode The duet sections are written in a form strictly identified with English composers, and the tenor voice provides a unifying factor."
Abstract In this paper the author looks at what Guillaume Dufay's music meant in terms of music history. The author starts with a look at the Gregorian chant from Medieval times which was the main form of sacred music, how it developed and what it gave to modern music. The paper continues with a look at the other forms of music that have developed over the years and contributed to the work of Guillaume Dufay. In particular the author highlights the development of church music in the Renaissance period which, as he points out was the basis for Dufay's music compositions. The author discusses the life and works of Dufay's music as a move towards a clearly defined tonal and functional harmonic structure. The author believes that this helped prepare one of the most important stylistic developments in music of the following century. In conclusion the author reminds us that we are lucky to have the musical pieces that have been curated and restored. A number of Dufay's as well as other composers from that era had masterpieces destroyed because of the political climate.
Outline:
Table of Contents
Introduction
Gregorian Chant
Motet
Troubadour Influence
The Development of Musical Notation
Polyphony
Machaut
Guillaume Dufay a Biography
Dufay's Music
Dufay and Faux-bourdon
Dufay's Motets
Conclusion
From the Paper "Dufay began composing at a time when musical style was in a period of relative stability and changing that style was not readily accepted. Dufay cannot be thought of as one of the great revolutionaries in Western music; the term 'originality' in the classic sense of the word was not familiar to him. This is not to say, however, that Dufay was in any way lacking of originality or he was in any way reactionary. Quite to the contrary, he played an integral role in the development of faux-bourdon and the cyclic mass. He was one of the first composers to handle four-voice texture with any kind of convincing skill before the end of the 15th century. Furthermore, his attempt to move towards a clearly defined tonal and functional harmonic structure helped prepare one of the most important stylistic developments of the following century. Dufay's works and compositions have come to be known as the supremely polished works of a long period of slow and serene stylistic change."
Abstract In this article, the writer notes that Benjamin Britten obtained the plot for the opera, "Midsummer Night's Dream", from Shakespeare's play by the same name. The writer relates that in 1960 Britten, along with his companion, Peter Pears, presented it as a showpiece for friends and for a wide variety of talents. The writer points out that the opera contains a largely spoken, theatrical part, a boy's soprano choir, a large fairy who sings coloratura, a simple country bumpkin named Bottom whose head is turned into an ass' head by Puck and romantic subplots. The writer maintains that the opera is humorous and lyrical and a treat for the musical ear. The writer concludes that in this opera, the audience falls in love with Puck and with the fairies, as if the love-juice had been put on their own eyes.
From the Paper "Britten starts the opera in what was the second act of Shakespeare's play, but refers to what happened, so the audience does not feel anything is missing. The rustic folk, the fairies and the lovers are first presented in the woods around Athens and from there on the action never stops. The lead role of Oberon is sung by a countertenor, which is very rare, as leads are usually sung by tenors or basses. As the fairies appear, the well-known song, "Over hill, over dale" is heard, sung by Tytania's young boys' fairy choir. The strange relationship of Tytania and Bottom is the central romantic story that Britten chose to make the centerpiece of the opera. The dominating female fairy has a very difficult role to play, as she is attracted to Bottom, but is subject to Oberon and his accomplice, Puck, who make her life very difficult and her music hard to sing."
Abstract This paper explains that the author's greatest quality is her ability to communicate by feeling comfortable with people and to make others feel comfortable as well. The author points out that she is a social person with an outgoing and friendly personality that makes her an asset in any group situation. The paper relates that the most outstanding experience in her life over the last four years was volunteering at church to act as translator, bringing people together by translating between Mandarin and English. The author stresses that she is a hard worker, never giving up on improving her English skills, even when people laugh at how she says things. The paper concludes that the author looks forward to sharing her skills and unique knowledge with others at the university and to the opportunity to learn from the others in class.
From the Paper "I have worked in several retail jobs over the past few years. In my first job, I worked as cashier and was eventually given the responsibility of keyholder, a position that is not quite management, but is close to the management track. I am currently employed at Bods Bodyknits, where I have worked for approximately seven months. I enjoy working as a salesperson there, as it makes use of my ability to communicate with people. This ability is reflected by my on-the-job achievements. I was the top salesperson in the store for December, January, and February, which I believe is quite an accomplishment."
Abstract This paper explains that Psalm 62, is found in the second book of the Psalter, is linked with Jeduthun and his sons and was written as a hymn to be sung in his choir after his manner. The author points out that the speaker of Psalm 62 is a person of some prestige or power - most likely, he is a king. Jeduthun himself had been appointed by King David as one of his three music masters, which gives further confirmation as to the Psalm's Davidic authorship. The paper concludes that, with its refrains of "alone" or "only", Psalm 62 is a celebratory affirmation of the power of trust in God.
Table of Contents:
Introduction
Psalm 62 Introduced
The Psalm's Genre and Authorship as Reflected in Text
Psalm 62: Exposition
Translation
Structure
Meanings of Key Words
Themes
Psalm 62: Theological Meaning
Theological Message as Related to the Bible
From the Paper "Here, the speaker is evoking the need to separate oneself from the trappings of the material world in order to affirm one's connection to God and the eternal. As the second of these two verses tells us, riches tend to be acquired in immoral ways. It is also inferred in the last line that the more riches one acquires, the more one will be tempted to commit immoral deeds, feeling oneself to be equal to or independent of God. What is more, the acquisition of riches gives us false hope. After all, wealth will not save one from death."
Abstract The writer discusses the plan for an academic fun day from start to finish. The writer outlines how and what teachers of English, mathematics, science, art, physical education, choir and band would teach. The writer also reflects on the outcome of the day and concludes that, overall, it appears that all were pleased with the day.
From the Paper "First of all, I would meet with other department heads to explain the day to them and ask for their input about the actual activities to use and/or other ways to make the day entertaining for all. I would then ask them to elicit feedback from their department. I would try to include the input of everyone, but if an "issue" came up, we would discuss both sides and then vote. Consensus would be even better depending on the time frame. The question asked for consensus would be "Can everyone live with...?" A basic plan would be drawn up by me and then run by the principal for feedback. The same plan would be distributed to department heads for feedback. Issues that come up will be decided by the principal."
