Amateur Choirs Research Articles

Effects of amateur choir experience on forced-attention dichotic listening in older adults

Effects of amateur choir experience on forced-attention dichotic listening in older adults

Healthy and Efficient Voice Use Awareness in Amateur Group Singers: A Multi-Sensory Self-Assessment Protocol Trial

ABSTRACT Group singing is beneficial for health and well-being but many new clients presenting in the singing teaching studio come from choir backgrounds and with established voice problems. Amateur group singers do not usually receive individual feedback on their singing efforts, so there is a need to establish a self-monitoring procedure. This qualitative inquiry involved purposive sampling of 18 amateur choir singers trialing a self-assessment (SA) protocol for three weeks. A pre-trial and post-trial online questionnaire was completed to assess the impact of the SA protocol on singing behaviors. Three follow up online interviews were conducted to further interrogate the processes experienced by participants. Post-trial results revealed an increased awareness of healthy and unhealthy singing habits evidenced by changes in thinking and mental attitude, and in behavior and practice improvement. Visual and aural self-assessment were easiest for participants to employ with kinesthetic self-assessment being the most difficult. Choir leaders need to continue to educate the singers in their care concerning vocal health and efficiency and encourage self-assessment during singing and speaking acts. Individual singers in an amateur setting must be encouraged to become independent learners, taking responsibility for their vocal health through self-monitoring procedures.

Enhancing Adaptability and Sustainability in Hunan Province Amateur Choirs through Diversity in Repertoire Linguistic

Amateur choirs in mainland China have experienced a steady growth in numbers in recent years, with even two team ranked among the top ten choirs globally in the INTERKULTUR 2023 World Choir Rankings. However, despite the overall development in choral arts, amateur choirs exhibit significant regional disparities in performance quality. To address this issue, the authors investigated three (3) amateur choirs in Loudi City, Hunan Province, aiming to enhance their adaptability and sustainability in the region through the means of diversification in repertoire, balancing the regional disparities. The study employed a qualitative approach, collecting, categorizing and researching the repertoire presented by the three choirs over the past five years (2018-2023). Through further observation and interviews with choir directors, conductors, and choir members, the authors sought insights into their repertoire selection criteria, providing valuable references for developing practical strategies in strengthening the overall adaptability and sustainability of amateur groups in Hunan Providence.

Educational Activity of the Open Opera Ukraine Independent Platform: New Forms of Cooperation with Ukrainian Society

The article examines the educational activities of the Open Opera Ukraine independent platform in terms of new forms of cooperation between artistic organizations and Ukrainian society. Although, before the establishment of Open Opera Ukraine, there were projects that popularized historically informed (authentic) performance in Ukraine, this organization was the first to initiate systematic work in this direction, namely the creation of opera performances, thematic concerts and master classes, the establishment of an amateur choir and a professional baroque orchestra, recording albums of Ukrainian choral heritage, etc. The distinctive feature of the Open Opera Ukraine platform is its openness in the media space and its attempts to involve people from different professional and social groups in its projects. The popularization of early art contributes to a better understanding of it and diversifies the Ukrainian academic music environment. The aim of the article is to identify the strategies and mechanisms of influence of artistic organizations on social transformations using the example of Open Opera Ukraine. The author concludes that artistic activity has a significant impact on social change, and the consistent work of art organizations can change public perception of the essence of cultural processes, views on the art of the past, etc. The projects of the independent platform Open Opera Ukraine affirm contemporary practices of artistic representation, and thus contribute to the full development of contemporary Ukrainian art and its inclusion into the Western European cultural space through common artistic values and practices.

Personality traits in musicians with different types of music performance anxiety.

This study investigated the relationship between personality traits and MPA in the course of a specific performance. For this purpose, symptoms of MPA, functional coping with MPA and performance-related self-efficacy of a sample of 393 musicians including 23% professional, 49% non-professional orchestra musicians and 28% singers in amateur choirs were categorized and then used to analyze differences in the personality traits. The questionnaires used were the NEO-FFI and the PQM. The results showed that professional orchestra musicians had significantly higher openness and conscientiousness than non-professional orchestra musicians and amateur choir singers. Musicians who had few symptoms of MPA, positive coping with MPA and high self-efficacy across a specific performance (Type 1) have low neuroticism in their personality traits. Regarding MPA, the personality traits were correlated with all MPA scales after the performance but less with MPA scales before and during the performance. Results could indicate that personality traits play a particularly important role in the processing of performance experiences after the performance and suggest focusing on the situation after the performance in particular with professional orchestra musicians.

Vocal Self-Perception of Singers During COVID-19 Pandemic.

to compare the self-perception of vocal fatigue and use of singing voice during the COVID-19 pandemic between professional and amateur singers and to relate this self-perception with vocal use characteristics during this period. Participants were 121 singers divided into professional singers group (PSG) (12 men and 20 women) comprising singers who depended exclusively on singing as a profession and an amateur singers group (ASG) (37 men and 52 women) of singers who did not depend exclusively on singing for their livelihood. All answered online questionnaires through Google Forms ®. Sociodemographic and vocal characteristics were investigated before and during the pandemic; symptoms of vocal fatigue were assessed through the vocal fatigue index (VFI); and self-perception of use of singing voice through the evaluation of the ability to sing easily protocol for Brazil (EASE-Br). In the comparison between groups, the PSG presented higher scores of vocal fatigue in fatigue and vocal limitation (P=0.045), vocal restriction (P=0.002), and recovery with vocal rest (P=0.008) domains than did the ASG. There was no difference between the groups regarding the use of singing voice. Based on the relationship between self-perception and vocal use characteristics during the pandemic, it was observed that the presence of vocal complaint was the only factor associated with self-perception of fatigue symptomatology in both groups. Regarding the self-perception of the current status of the singing voice, singing time, the presence of vocal complaints, the need to increase visual concentration, and the perception of vocal worsening during the pandemic were considered predictive for amateur singers. For professional singers, vocal complaints and vocal training were predictors for self-perception of the current status of the singing voice. Professional singers presented with higher scores of vocal fatigue than did amateur singers. The symptomatology of vocal fatigue was associated with the presence of vocal complaints in both groups. However, self-perception of the current status of the singing voice was different between the groups and was associated with vocal training for professional singers and characteristics of vocal demand of singing voice during the pandemic period for amateur singers.

Работы П. Г. Чеснокова 1903 и 1912 годов о церковных хорах и регентской деятельности

The article reveals the main ideas of the early works of the outstanding composer and choir director Pavel Chesnokov on church choirs and practice of the choir directors, which he himself considered the forerunners of his main work in the field of choral science, the book “The Choir and How to Direct It”. The publication of this work in 2023 in its original edition, created for the choir directors, made it possible to trace the evolution of Chesnokov's views on the organization of choral work. The works “Thoughts on the Affairs of an Amateur Choir” (1903) and “Notes of the Choir Director” (1912), whose autographs are stored in the Russian National Museum of Music, have never been published before. They are of great interest as documents depicting not only the process of creating a book, but also, in general, revealing the diverse context of the choir director's practice at the beginning of the 20th century. The article reveals cross-cutting themes that are present to some extent in all of Chesnokov's works, some “parallel places” in the texts are presented. In the work “Thoughts on the affairs of an amateur choir” P. G. Chesnokov defines the principles of organizing the choir, the goals and objectives of the forthcoming work: the need for theoretical studies, the development of a new modern repertoire of church singing, primarily the works of the Moscow Synodal School. In early works, three main qualities of choral sonority have already been formulated: ensemble, structure and nuances, but there is no detailing of working methods. Acquaintance with the early works makes it possible to realize what huge steps Chesnokov took in developing and deepening the problems of choral studies during the preparation of the book “The Choir and How to Direct It”.

THE SIGNIFICANCE OF THE PROFESSOR HRYHORII LEVCHENKO’S CONDUCTING AND CHORAL ACTIVITIES IN UKRAINIAN CULTURE AND EDUCATION

The article reveals the significance of Professor H. S. Levchenko’s conducting and choral activity in Ukrainian culture and education, its main stages are considered. They are the following: the organization and management of the women’s choir of the Poltava Sewing Factory (1957), the amateur choir “Reshetylivka embroiderers,” the women’s song and dance ensemble at The Palace of Culture of Poltava Cotton and Spinning Factory (1960), the “Horlytsia” choral folk group (1961). The significance of H. S. Levchenko’s creative achievements, participation, and victories in many regional, republican, and international festivals and competitions are emphasized. The peculiarities of the artist’s work with the academic choir chapel of Poltava V. G. Korolenko State Pedagogical Institute (1967), the Ukrainian folk choir “Barvinok” of Poltava meat processing plant (1974) are revealed. It has been determined that the apotheosis of H. S. Levchenko’s conducting and choral activity is the constant artistic direction of the Ukrainian folk choir “Kalyna” (1979-2022). It is analyzed in artistic, pedagogical, and organizational aspects. Attention is focused on the achievement of a high professional and performing level of the group. Its creative achievements and awards, choral repertoire, concert activities, and touring trips are characterized. It is noted that “Kalyna” became a creative laboratory of the Department of Music of Poltava V. G. Korolenko Nation Pedagogical University, where the best traditions of future teacher training were preserved and continued, and the pedagogical ideas of the outstanding Ukrainian teacher, musicologist, conductor, ethnographer, choreographer and composer V. M. Verkhovynets were implemented. Based on the Ukrainian folk choir “Kalyna,” students achieved high-performing vocal-choral, instrumental, and stage skills during several years, enriched themselves spiritually, improved their professional and organizational skills, and deepened their knowledge of musical-aesthetic and national education of the young generation.

Research on the Choir's System of Music Education from the Perspective of Communication-Based on 6 amateur elderly choirs

Under the background of the new era, chorus, as one of the central projects of social activities, has accomplished the diversification of the participating groups, in particular the founding of the social choir with the elderly group as its core. Singing, as one of the forms of communication, can not only obtain entertainment, but also improve the experiencer's health. The choir acts as a comprehensive group of musical activities. To achieve a balance between "entertainment" and "healthy aging," the quality of choir music education must be enhanced, and a scientific music education system must be established.Consequently, this paper investigates six amateur choirs in Heilongjiang Province through a questionnaire survey, investigates and analyzes the current situation of music education for amateur choirs in Heilongjiang Province, and offers practical recommendations for the construction of a choral art education system. It is discovered that a comprehensive and scientific system of music education can be created by constructing teaching and research departments, curriculum, and instructional personnel.

Art Management in the Field of Academic Choral Art

Introduction. The choral art of Ukraine has strong age-old traditions that have become a part of the spiritual life of the Ukrainian people. At the same time, the realities of modern life dictate certain requirements regarding the improvement of the organization of choirs in the new conditions of life in society. Purpose and methods. The purpose of the article is to substantiate the theoretical foundations and develop practical recommendations for the formation of an effective system of art management in the organization of modern academic choral art, aimed at increasing the effectiveness of the functioning of choirs and artistic structures in Ukraine. The methodological basis of the research was dialectical, systemic, historical, cultural, interdisciplinary, and empirical approaches. Results. The conceptual foundations of art management are revealed. The state of active choirs in Ukraine is analyzed. An analytical comparison of two choirs was made: chamber choir “Kyiv” and amateur choir “Sine Nomine”. The management strategy of an artistic organization is based on the example of the chamber choir “Sine Nomine”. Conclusions. For the first time, a systematic and interdisciplinary approach to the article topic was applied. This made it possible to carry out a detailed structural, functional, and cultural analysis of choirs in Ukraine and to develop an effective strategy for their management. The significance of the obtained results lies in the addition of cultural and management sciences with new theoretical provisions regarding art management in the field of academic choral art, as well as the development of practical recommendations aimed at improving the management and increasing the efficiency of choirs in Ukraine.

Cultural and Artistic Component of the Camp Leisure of Interned Ukrainian Soldiers in Aleksandrów and Łańcut, Poland (end of 1920 – 1921)

The purpose of the article is to conduct an analysis into the cultural and artistic component of the camp everyday life of interned UPR Army soldiers in the camps Aleksandrów and Łańcut (Poland) at the end of 1920 and in 1921.
 The scientific novelty lies in the multi-faceted study of the essence of cultural and artistic activity conducted by creative groups from among camp residents, whose events helped enrich everyday life in the camps for interned soldiers.
 Conclusions. The cultural and artistic life of interned soldiers was manifested most fully in three categories – songwriting of amateur choirs, performances of camp orchestras, work of camp theaters. At the same time, all amateur theatrical and concert events were national in content and spirit and contributed to the spiritual consolidation of the interned Ukrainian soldiers in the difficult conditions of internment. Thanks to the efforts of members of artistic groups, camp residents had the opportunity to regularly attend theater performances, choir performances, and instrumental music concerts. In addition, with the joint efforts of camp artists, various artistic events (‘concert-parties’) were regularly prepared for the internees, which constituted a harmonic combination of various theatrical, choral and musical numbers. Usually, they were concluded by dance sections, which enjoyed constant popularity among all camp residents. Similarly, camp artists cooperated in their efforts during the preparation of theatrical performances, thanks to which the performances acquired greater artistic value. It was also important that women (mostly officers’ wives), some of whom had undeniable artistic talent, were actively involved in the performances.
 Important cultural and artistic events included the celebration of national and state holidays, days of memory of Taras Shevchenko and Ivan Franko, divisional holidays, a commemoration of the fallen in battles, etc. The joint efforts of camp artists, choristers and musicians significantly contributed to overcoming the threatening tendency towards degradation and dispersal of the interned Ukrainian soldiers. Ukrainian song, music, and dramatic art, to the greatest extent, contributed to the camp residents’ spiritual unification around national values and also allowed them to successfully overcome all the difficulties of the camp’s everyday life.

Amateur choir singers - Does good vocal health matter?

Many amateur singers enjoy singing in choirs. They are likely to lack the training and expertise of professional singers and this may have an impact on their vocal health. To assess the experiences of amateur singers, their use of warm-up and cool-down sessions, their vocal health, their sources of help and advice and their reactions to receiving a diagnosis and treatment. A questionnaire was sent to amateur choir singers. Quantitative data on their use of warm-up and cool-down activities were collected and the singers rated how frequently they experienced adverse voice symptoms after singing. Qualitative data were collected from singers who had sought advice about their voice and from those who had received a diagnosis and treatment. Most choirs used warm-up sessions but few used cool-down. Singers who participated in choir warm-ups experienced significantly less vocal symptoms. Individual warm-ups were ineffective. Singers who had previously had a diagnosis continued to have significantly higher symptom scores. A quarter of the singers who had neither sought help nor had a diagnosis had high scores. Singers appeared uncertain about who to consult for help. Those who saw a speech and language therapist were much more likely to receive a diagnosis and treatment either by the therapist or by referral to an ear, nose and throat specialist. Those receiving treatment were mainly positive about it and likely to complete a course of therapy. Warm-up sessions performed by choirs are helpful in avoiding voice symptoms and are recommended. The presence of singers who are unaware of potential damage to their voices is a concern. A simple rating system, as used in this research, may act to alert them to the dangers. Choir leaders could be more active in advising singers and refer them to professionals where necessary. Speech and language therapists appear more sensitive to their problems and could be a first point of contact. What isalreadyknownonthissubject Poor vocal health may occur in amateur singers and lead to voice disorders which will reduce the demonstrated benefits of regular singing. They may be less aware than professional singers of potential hazards and may not know how to sing in a way that ensures good vocal health. There has been less research on the extent of voice problems in amateurs or of the actions they may take to resolve the vocal difficulties they encounter. What this paper adds to the existing knowledge This survey demonstrates that choir warm-ups were effective in helping to avoid common symptoms associated with voice problems. A large minority of singers who had not sought help for voice problems had high symptom scores on our assessment. Singers frequently turned to a singing teacher for help. Those who consulted a speech and language therapist were much more likely to be referred for further investigation and treatment. What are the potential or actual clinical implications of this work? We present a simple subjective measure of symptom severity which succeeds in distinguishing between singers who warm up their voices and those who do not and between singers who have received a past diagnosis and those who have not. There are a number of indications in this research that amateur singers are unsure if they need help and are uncertain who can offer it. In these circumstances the use of a simple measure of the severity of vocal abuse may be useful.

The Construction of Sociality in Amateur Choirs

Choir singing as a collective singing polyphonic vocal art, compared to the natural sound of nature, choir works in the process of artistic reproduction, in addition to the formation of choir sound in the rate of sound, amplitude and overtone resonance and other material requirements, must be built with the role of human thought and feeling exchange, is organized, demanding, sequential social functions and requirements.

Safely maintaining distance while singing together: Developing synchronous and asynchronous solutions for an amateur choir under the time of social distancing

The social distancing reinforcement under COVID-19 seriously limited the opportunities of practising and performing for arts and music performers. While many activities can be transferred online with minimal effort, the latency obstacle in using live streaming audio software negatively affects the musicians and singers in performing or practising online. The researchers sought to integrate both asynchronous and synchronous solutions to mitigate the demand of rehearsal practices. This action research applied and examined the viability of both low audio latency technology and mobile learning applications with amateur choir members. The researchers and participants field-tested and improved the choir’s online practice by using the JackTrip Audio Device (an audio low-latency device), Sight Singing Studio and Practice Bird (two mobile apps). Using current technology, we found that amateur choir singers have opportunities to keep learning and performing ‘together’ while staying healthy from virus threats.

Expansion of droplets during speaking and singing in Japanese.

During the COVID-19 pandemic, a number of infection clusters associated with choral singing have been reported. Singing generates droplets and carries the risk of spreading infection. However, no reports have explored droplet flight and aerosol production rates by singing and speaking in Japanese. First, we conducted an observation experiment evaluating the maximum flight distance and number of droplets generated by singing in Japanese, using a high-speed camera and particle counter. Twenty amateur choir members, 10 male and 10 female (five members for each of the four voices), participated in the experiment. Subsequently, although the maximum distance that droplets traveled by singing in Japanese was 61 cm for men (median of 46.5, interquartile range, 36–57) and 56 cm for women (median of 27.5, interquartile range, 20–50), droplets were observed anteriorly and laterally to be up to 66.8 cm. At the singer’s mouth, ≥ 5 μm droplets were observed, whereas not observed at 1 meter toward the front of the singers in women and men, respectively. In German singing, droplets were observed up to 111 cm toward the front of the singer, possibly reflecting differences in pronunciation. In Japanese reading aloud, droplets were also observed up to 47 cm toward the front, whereas no droplet dispersion was observed by speaking the Japanese /a/ vowel or singing with wearing surgical mask toward the front. The aerosols produced when reading singing the /u/ vowels were significantly higher than those in other vowels. When singing in a choral group, keeping a sufficient distance at the front and side is recommended in minimizing infectious spread. If distance is not possible, practicing with /a/ vowels and avoiding consonants may be an alternative method. Our observations lasted only 50 seconds per song, and further observational studies are needed to determine the dynamics of aerosols that stay for long periods.

CHORAL PERFORMANCE IN A PANDEMIC: MODERN SOLUTIONS AND PROSPECTS

The article is devoted to the research of new forms of organization of remote work in choirs. With the introduction of quarantine restrictions, the rhythm of life has changed significantly, which has led to the search for new forms and methods of work. Various methods of introduction of the newest technologies in music education of different levels are considered. The experience of using new teaching methods in professional and educational choirs in schools and universities is analyzed. The influence of new forms of choral creativity on Ukrainian culture in general is determined. Eric Whitaker’s experience in organizing the world’s first virtual choir as an international art project has been studied. Professional, amateur and educational choirs in the pandemic were forced to look for new forms of work organization. This was the impetus for the introduction of new forms of work. A characteristic feature of remote choral rehearsal is the shift of emphasis from collective to individual performance. Awareness of oneself as an integral part of the whole characterizes the positive consequences of remote work. Among the negative consequences of remote work, we can identify low efficiency, depression as a result of loneliness, deterioration of the quality of the material. The unification of singers into virtual choirs has become a new wave in the modern cultural process of Ukraine and the world.

Choral Conductors Vocal Loading in Rehearsal Simulation Conditions

Choir conductors represent a profession with an intensive vocal load. The present study aims to investigate the impact of 40 minutes vocal loading tasks on fundamental frequency (F0), jitter (Jitt), shimmer (Shim), median cepstral peak prominence (CPPs), and CPPs standard deviation in specific acoustic conditions. Eighteen amateur choir conductors (13 female, five male) participated in the study. The vocal loading experiment was organized in rooms where each conductor usually had choir rehearsals. The vocal loading experiment included vocal warm-up, singing, and loud reading. The STIPA test signal provided the background noise with 60 dBA @ 1m during the singing and reading tasks. The F0, Jitt, Shim, CPPs, and CPPs SD were extracted before and after vocal loading by the Vocal Holter Med (VHM) device. Additionally, Acoustic Voice Quality Index (AVQI) was estimated for participants, and all of them completed the Voice Handicap Index-30 (VHI-30) and the Singing Voice Handicap Index (SVHI). Finally, reverberation time (T30) was measured in each rehearsal room. A statistically significant decrease of CPPs SD by 0.1 dB was observed in male conductors. Associations between CPPs SD and VHI-30 (r = 0.789, P = 0.001) were found in female conductors, and between Jitt and SVHI (r = 0.9, P = 0.037) in male conductors. Female conductors with higher total score of SVHI demonstrated increase of postloading F0 (r = 0.612, P = 0.026). Forty-minute vocal loading tasks that included warm-up, intensive singing, and loud reading did not significantly impact vocal parameters in female and male conductors. In addition, the rehearsal room volume and length of reverberation time did not affect obtained vocal parameters after vocal loading.

Leading the self‐development cycle in volunteer organizations

AbstractLeaders of volunteers face challenges that are unique to the bond between volunteers and their organization. One of the most difficult challenges is the trade‐off between performance and retention. We use a qualitative study of maestros of amateur choirs to explain how leaders can overcome this trade‐off and improve volunteer performance while ensuring retention. We show that leaders can do so by enacting a virtuous cycle of self‐development where they enforce performance to make their organization an effective context for the self‐development of volunteers, thereby ensuring retention.

TYMOSHENKO'S EDUCATIONAL AND CONDUCTING ACTIVITIES (FROM THE EXPERIENCE OF WORK THE HONORY CHOIR CHAPEL OF UKRAINE OF THE SOUTH-WEST RAILWAY)

The article deals with the phenomenon of Oleg Tymoshenko's creative work in the context of its unique integrity. It proves that the socio-cultural orientation of his activities as a person, leader, choral conductor, patriot, public figure, scientist, teacher. It covers the basic principles of Tymoshenko’s life, his artistic practice and pedagogical activity. Choral culture of Ukraine was formed over the centuries on the best examples of folk heritage and church music. It was significant historical phenomenon not only in national but also world music culture. Oleg Tymoshenko (1932-2010) was prominent personalities, cultural figures of the XX century. The first researches about Tymoshenko appeared at the beginning of the XXI century. This study aims to investigate the role him as rector, who many years headed the Kyiv State Conservatory named by Tchaikovsky. The publications fragmentarily cover the biography and career of the choirmaster. However, these scientific materials do not cover the entire concert, educational, conducting and public activities. The Objective of the study investigated education and conducting activities of creative person and prominent figure in Ukrainian choral art, conductor, choirmaster, teacher Oleg Tymoshenko. The author uses such methods to study the problem: 1) to analyze the evolution of amateur choirs, which created the ground of the professional music; 2) to consider the conducting and choral activities of Oleg Tymoshenko; 3) to reveal the phenomenon of Tymoshenko is an extremely gifted person who managed to bring amateur choral performance to new horizons; 4) to analyze the creative Tymoshenko`s method of working with choristers. Oleg Tymoshenko worked hard to raise the musical and choral life of Ukraine not only in the field of training professional musicians, but also in working with amateur choir, namely with the Honored Choir of the USSR South-Western Railways. Therefore, special attention in the Choir was concentrated to mastering musical literacy, solfeggio, conducting, piano, lectures on the history of music and choreography.. This is an active concert practice, inviting the Chapel to various events organized throughout the Soviet Union and abroad. The concerts of the Railway Choir received positive feedback on the selectivity of the program and the expressiveness of the interpretation. Perfect intonation, dynamics, phrasing, diction were emphasized. It has noted that the conductor disciplined the singers and achieved unusual musicality in the choir. The large and diverse repertoire of the Chapel (more than 50 songs) can be honor to any professional Choir. There are world classics, Ukrainian folk songs and modern works. All of them require from choristers high professional training, titanic work. The choir is a hundred enthusiasts in love with the song. Chapel were often held republican seminars of leaders of amateur choirs. Many conductors called the railway chapel “school of skill”. Oleg Tymoshenko had perfect administrator`s skills. Under his leadership, everything happened on time and at a high level.Conclusion. Oleh Tymoshenko came to the history of Ukrainian culture as the rector of the National Music Academy of Ukrain named after Tchaikovsky. He was creative initiator and artistic director of choral Chapel, conductor, teacher, musicologist. He was a person who combined deep theoretical knowledge, conducting practice and creative passion for educating the younger generation in the national spirit. The master's conducting and pedagogical practices are closely intertwined and complementary. Such artists in the Ukrainian cultural raising the spirit of Ukrainian culture, nurture the traditions of vocal and choral art, raise it to a new, higher level.

Analysis of the singing voice handicap index for elderly choristers.

To analyze the singing voice handicap index in elderly choristers and verify its relationship with the profile, habits and health conditions of the participants. 110 individuals aged 60 years or older, participating in amateur choirs, were included. Choir singers were interviewed in order to verify data such as age, time in choir singing, vocal classification, and the presence of habits and health conditions adverse to voice production. Subsequently, they answered the questionnaire "Singing Voice Handicap Index (SVHI)", which assesses the individual's self-perception in relation to experiences in the use of the singing voice. The SVHI score had a median of 25, with a minimum score of 0 and a maximum score of 86. The most scored items were related to physical aspects in the use of singing voice: "I am unable to use my 'high voice'" (Q10) and "My throat is dry when I sing"(Q13). It was found that older adults over 75 years of age had a greater voice handicap when compared to younger ones (p=0.020). Choir singers classified as contralto also had a higher SVHI score (p=0.023), as well as individuals who reported drinking little water (p=0.007). The choristers in this study presented a singing voice handicap index compatible with healthy singing voices. When verifying the relationship of the SVHI score with the characteristics of the participants and with respect to habits and health conditions, it was found that the elderly choir singers over 75 years old, the contralto choir singers, and those who claimed to drink little water had higher scores for the singing voice handicap.