Abstract This paper explains that the music teacher is one of the few people in the teaching profession who is able to teach artistic expression and creativity to a whole group of students; the method in which the teacher prepares him or herself for this task makes him or her better at his or her job. The author points out that a common practice among the young singers is an attempt to 'create' clear and brilliant tone by pushing the voice rather instead than resorting to better breathing management to create the vocal sound by regulating the air flow. The paper relates that, with proper discipline and proper rehearsals, students of choral music can give choral music performances in an appreciable manner; the teacher also benefits from the independent and creative thinking of his or her students.
Table of Contents
Introduction
Adolescent Development and Vocal Production
Physiological, Mental and Emotional Processes
Stages of Female Voice Change
Stages of Male Voice Change
Knowledge of Adolescent Vocal Quality (9-12 Grades)
Adolescent and Choral Learning Environment
The Interaction of Choral Teacher with Students
Voice Classification in Senior High School
Integration of "Educational Standards" in the Choral Curriculum
Principles of Choral Pedagogy
Discipline and "Good Choral Habits"
Choral Techniques and Strategies
Rehearsal Procedures
Repertoire
Rehearsal and Concert Performance
Conclusion
The Role of Positive Choral Experience in Senior High School
From the Paper "Most of the children can be taught of singing since it is considered to be a psychomotor skill. However, the children with physical impairments like thickened vocal cords are considered to be exceptions to this. The emotional portion of the teaching caters to the learning of intrinsic hearing that enables the children to hear 'on the inside' and acknowledge and tag that they hear. The motor part of the learning is associated with good pose, breathing and phonetic integration. The recent National Assessment of Educational Progress reveals that most of the children are not desirous of learning even singing a simple melody with exactness. The oral abuses in many children are noticed by the otolaryngologists, more particularly among the boys in their attempt to pushing down their voices with a view to sounding like man. Attempting to speak on cords gives rise to vocal abuse producing vocal nodules and an unhealthy voice. The boys and girls are required to be warned of the noisy and excessive screaming and resulting damage for the vocal cords. The music teachers are to be viewed as the oral teachers for singing as well as speaking."
Abstract "The choral odes in Greek tragedy serve to explain and promote the theme. The overall theme of the "Agamemnon" is a contradictory one, extreme hatred within a context of love. The choral ode analyzed in this paper is pure chorus and is an address to Clytemnestra which had commenced "My lady, no grave man could speak with better grace". The ode is therefore a challenge to male dominance. This choral ode is a continuation of the theme of male-female conflict begun in the first choral ode that also was addressed to Clytemnestra.
Abstract This paper discusses the Chorale Cantata. The chorale cantata is a vocal composition through instrumental accompaniment. The cantata originated in the early 17th century, together with opera and oratorio, and was only religious before it also became secular. Tunder introduced the pure form of the chorale cantata; Buxtehude the mixed and elaborate form; and Bach the paraphrased form at the peak of success of the Baroque music era.
Abstract This paper examines the great impact that Beethoven's Choral Symphony had on the genre of the classical symphony. The paper explains how, despite of all the criticisms of the Choral Symphony that continue to this day, in writing it Beethoven helped the genre of classical symphony evolve, translating it from the Classical to the Romantic.
From the Paper "In addition, recent studies on the sketches have been difficult, as some sketches were lost, sold, or found to be out of their original order (Levy 19). It is evident from what has been found and deciphered that Beethoven's original intention was to write two separate symphonies, and the Ninth is what resulted from his simultaneous work on both. Evidently, he intended his two symphonies to consist of a London symphony, which would be instrumental; and a German symphony, setting Schiller's "An die Freude" to a different tune than the one he finally used in the Ninth (Cook 13-14)."
Abstract This paper presents an examination of the life and times of the American choral composer Randall Thompson. It documents his life story and discusses how Thompson composed many types of music including symphonies, instrumental works and many songs. He also was well known for his composition of various operas, but he was best known for his choral compositions. It shows how he was a lover of learning, a lover of teaching but most of all he was a lover of music, the universal language.
From the Paper "When he first began to compose music his style was varied and not something that had its own voice. By 1922 however he had begun to study at the American Academy located in Rome. It was here that he began to develop his personal musical style. The musical style eventually led him along the path of success until he became one of the famed composers of the world. At the forefront of the American choral composers his name is always listed as one of the best, and it was about his steady study and practice that took him to that position."
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 how the choral odes serve to both bring the gods into the play in terms of prayer and supplication and also to comment on the plot of the play as it progresses from the standpoint of the society represented by Oedipus, its king, who is involved in the horrible tragedy and disaster of his discovery.
From the Paper "The chorus used to be a bigger part of Greek drama, but actors began to take most of the action of the play, and the chorus was relegated to a position that could be compared to the modern role of the reporter. The chorus is also a religious voice in the play, though, so this comparison could be modified to include the modern priest as well. The chorus does not necessarily provide a totally objective voice, since they are as wrapped up in the events of the play as any of the other charcacters."
Abstract This paper discusses the life of the early romantic composer, Felix Mendelssohn. The paper gives a short biography of his life, concluding with his death at age thirty eight. The paper discusses Mendelssohn's Jewish heritage. It then spends some time discussing his musical style, symphonies, piano and choral music. The paper concludes that Mendelssohn artfully combined the older classical style with newer romantic ideas regarding composition, and thereby gracefully bridged these dramatic musical changes.
Table of Contents:
Short Biography
Jewish Heritage
Musical Style
Symphonies
Piano Music
Choral Music
Conclusion
From the Paper "This blending of Classical with Romantic effects is particularly noticeable in "Elijah," the story of a prophet from the Old Testament. The oratorio is full of intensely emotional and potentially disturbing scenes, such as the chorus fervently calling for Baal to accept their pagan offering and set it ablaze. Other sections reassure the despairing Elijah that God will not let him drift off into sleep because he needs Elijah to watch over Israel. In a music soothing and reassuring, the chorus tells the audience that Elijah will "slumber not, nor sleep." He will continue to prophesize and help them to the right path. At the end of the piece, God takes Elijah to Heaven in a fiery chariot. The accompanying music provides images of lightning, with the chorus providing "stormy rhythms and drawn-out cries.""
From the Paper "Witold Lutoslawski was born on January 25, 1913, in Warsaw, Poland. He was one of Poland's most renowned composers, and his life is a story not only of the road to musical excellence followed by other Polish musicians, but also of a nation and a culture that is so rich in artistic expression that great oppression could not silence it. This research is an overview of Lutoslawksi's art in general and his choral music in particular. Although Lutoslawski's choral output is very small, it contains all the elements that make his music distinctive and entirely his own..
Lutoslawski's father and grandfather were very involved in political and intellectual issues so Witold was exposed to art and learning from a very young age.. By 9, he had completed his first fully notated piano piece, and at 11 he heard Karol ... "
Abstract This paper looks at the works and life of Aaron Copland. The direct appeal and irresistible imagination of Aaron Copland's works make him one of the defining voices of American music. His musical works ranged from ballet and orchestral music to choral music and movie scores. For the better part of four decades Aaron Copland was considered the premier American composer.
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 This paper describes the popularity of the Viola Da Gamba as a solo musical instrument in the sixteenth century, its common role in the choral and ensemble music during the renaissance period of the sixteenth century, and its impact on various cultures of the sixteenth century as well as its contribution to music today.
I. Introduction
Topic statement
II. Terms, Structure, and Origins
III. Viola Da Gamba as a Solo Instrument
IV. Decline of the Viola Da Gamba
V. Conclusion
VI. Bibliography
From the Paper "The viola da gamba, a member of the viol family, first appeared in Europe during the late fifteenth century. Its popularity soared during the Renaissance and Baroque periods, and it became one of the one most popular instruments of the time. Primarily heard in ensemble or concert music, the instrument was a favorite of the courts of England, as well as throughout the rest of Europe. However, while the instrument was a beloved choice when blended with other instruments at the time, perhaps the most vital role of the viola da gamba was as a solo instrument in the sixteenth century."
Tags: viol, europe, solo, instrument, sixteenth, century, musical, theory
Abstract This paper discusses how the choral odes in Greek tragedy served a very specific purpose in the promotion and explication of the theme. It explains that close familial bonds are interrelated with the tragedy in Agamemnon, as is observed in the relationship between Helen and her sister, Clytemnestra. It claims that the entire play follows the paradoxical theme of deep hate in a context of love.
From the Paper "The choral odes in Greek tragedy served a very specific purpose in the promotion and explication of the theme. Close familial bonds are interrelated with the tragedy in Agamemnon as is observed in the relationship between Helen and her sister Clytemnestra. Helen instigated the Trojan War as well as Iphigenia's death, and the entire play follows the paradoxical theme of deep hate in a context of love. The choral ode to be examined (ll. 585-651) is not pure chorus but almost amounts to a conversation between the chorus, Clytemnestra, and the herald. "Early drama was choral, and the life of Attic tragedy ..."
Abstract This paper discusses the renaissance period and how it was reflected in the expression of society through music and art in a manner that allowed the world to comprehend the manner in which society was changing. According to the paper, in music there was a need to create beautiful pieces that were filled with rich sound and that required a mastery of the instrument itself. The cornetto was an instrument that was included in composition, but that was often difficult to provide in performance because of the rarity of musicians that had mastered the ability to play it. Yet, when it was used in performance it was noted in choral selections, religious pieces, theatrical performances, and as "waltz" music that served to set the mood for public displays.
