Children's Choirs Research Articles

Boys Choirs in the Pandemic: Exploring Qualitative Aspects of Safety Measures

During the Covid-19 pandemic, choirs had to apply safety measures such as distances and wearing masks. For children's choirs, there is no knowledge of their reaction to these measures, regarding their age and experience. This study aimed to investigate boys choir singers' perceptions of the measures, regarding wellbeing and feasibility, as well as the quality of the performance outcomes. Six groups were put together, assembling five singers of the same age (7-16years, before voice change) and experience level. The boys sang one verse of the same song at inter-subject distances of 3, 1.5, 0.5, 0.5m plus wearing a mask and again 3m. Afterward they filled out questionnaires concerning difficulty, irritation, hearing themselves and their neighbors, and if they could imagine singing regularly in the respective setting. Fifteen parents were asked to fill out questionnaires about their opinions about choir safety measures during the pandemic. Six anonymous boys choir experts rated the randomized recordings of all tasks regarding homogenous sound quality, rhythmical precision, and uniform intonation. Even though most of the children preferred smaller distances, they were open to all kinds of settings. The answers given were very specific to the individuals. Masks were voted out by a majority of the subjects. Parents found choir singing very important for their children and did in majority neither fear infection of their children, nor mind precautions. The experts rated the performance outcomes of the largest distance (3m) as best in most of the cases. Different interspatial settings do not harm the children and adolescents and could be introduced as a beneficial approach to give them a broader listening experience and to make them flexible, alert, adaptable, and resilient singers. Singers' masks are only recommended for compelling circumstances.

Žanrovska raznovrsnost muzičkih primera u savremenim udžbenicima Muzička kultura (I-IV razred) u domenu muzičkog opismenjavanja i razvoja multikulturne pismenosti učenika

Starting from the fact that from the onset of formal education students encounter choral singing as an activity successively linked to general music education, the paper emphasizes the importance of using movement as a pedagogical tool for the development of immanent rhythm, vocal technique, and intonation in working with children's choirs. The main purpose of this research is to systematize the experience gained in the transnational project "Vox Mundi" carried out in Temisoara, Romania in 2022 in order to point to potential choices and future approaches to movement at choral rehearsals at general music education level. In the course of a ten-day intensive youth exchange, five multiplicative events, and the elaboration of three intellectual outcomes, a survey was conducted, with the sample including 50 elementary school choir singers, members of choral organizations of five partner countries (Romania, Serbia, Poland, France and Hungary). By reviewing and unifying the exercises from different choral music activities, we modeled an approach to specific general music education resources with the aim of acquiring the skills and competencies necessary for using movement with polyphonic singing. A significant level of advantages of integrating movement and singing was identified, while the correlation between the delibarate use of movement and an increased engagement was also identified as a factor that was consistently present. In addition, it was discovered that movement and music can illustrate emotional meaning of music and improve relationships among choral singers. This article focuses on practical suggestions which can provide new points for discussion on the necessity of using movement in working with members of children's choirs, children who are in the first or second cycle of elementary education.

Transnacionalni projekat "Vox Mundi" - iskustva u oblasti implementacije pokreta kao pedagoškog alata u procesu rada sa dečjim horskim ansamblima

Starting from the fact that from the onset of formal education students encounter choral singing as an activity successively linked to general music education, the paper emphasizes the importance of using movement as a pedagogocal tool for the development of immanent rhythm, vocal technique, and intonation in working with children's choirs. The main purpose of this research is to systematize the experience gained in the transnational project "Vox Mundi" carried out in Temisoara, Romania in 2022 in order to point to potential choices and future approaches to movement at choral rehearsals at general mucis education level. In the course of a ten-day intensive youth exchange, five multiplicative events, and the elaboration of three intellectual outcomes, a survey was conducted, with the sample including 50 elementary school choir singers, members of choral organizations of five partner countries (Romania, Serbia, Poland, France and Hungary). By reviewing and unifying the exercises from different choral music activites, we modeled an approach to specific general music education resources with the aim of acquiring the skills and competencies necessary for using movement with polyphonic singing. A significant level of advantages of integrating movement and singing was identified, while the correlation between the delibarate use of movement and an increased engagement was also identified as a factor that was consistently present. In addition, it was discovered that movement and music can illustrate emotional meaning of music and improve relationships among choral singers. This article focuses on practical suggestions which can provide new points for discussion on the necessity of using movement in working with members of children's choirs, children who are in the first or second cycle of elementary education.

FEATURES OF FORMATION OF FUTURE MUSIC TEACHER’S COMPETENCE IN WORKING WITH CHILDREN'S CHOIR

The article reveals the peculiarities of the formation of future music teachers' competence in working with children's choirs. It is emphasized that the formation of future professionals' competence is an essential condition for the development of the musical culture of the younger generation, children's interest in the traditions of the musical culture of the Ukrainian people's creative music, and vocal and choral work in children's choir promotes musical abilities and emotional sphere. It is proven that the professional training of future music teachers to work with children's school choirs should be creative, taking into account individual capabilities, music theory, and performance training of students. It is revealed that the future music teacher must be prepared for various types and forms of creative vocal and choral work with children of different school ages, in which the future music teacher will perform as an educational institution, accompanist, accompanist, and illustrator.
 It is emphasized that the modern school needs new forms and methods in the organization of musical activity for schoolchildren, which will promote the development of musical culture and interest of pupils in musical creativity.

Organization of choir singing in churches as a means of raising and developing children

The article deals with the study of historical aspects of children's choir singing in church tradition. The author considers characteristic features and origins of children's church choir singing. The reasons for using children's choir singing in Christian churches are investigated. The author characterizes the features of the conditions for utilization of children's choir singing in Christian churches. The distinction between children's church choir singing in the Orthodox East and Catholic West is shown. Children's choirs in Catholic churches were formed mainly from among orphan boys from orphanages at temples or monasteries. In the Catholic society of that time, childhood was not yet considered as a special status. Social assistance to children was included in the general program of care for unprotected segments of the population. However, they were destined for a compulsory religious education. In Orthodoxy, choir singing, along with the ability to read and write, was considered a necessary factor in the education of the ruling class and literate clergy. Thus, a more meaningful and profound educational program for future adults was introduced. In conclusion, the author states that children's choir singing, while being closely associated with church traditions and practice, introduces children to anagogic, educational and spiritual processes of the church ceremony.

Ukrainian Artist in the Space of Contemporary Culture

The author explores the organizational, cultural and artistic activities of the regional conductor-choirmaster O. Tarasenko. Attention is paid to his path in art, in particular as a choirmaster at the Rivne Music College at Rivne State University for the Humanities and the Tchaikovsky National Academy of Music of Ukraine. In addition, his creative activity as a choirmaster at the M. Lysenko National Opera of Ukraine is additionally analyzed. Emphasis is placed on the importance of organizational and cultural activities of the choirmaster in modern conditions in general, the leading forms of which significantly affect the change of the cultural situation in Ukraine, namely: the resumption of the All-Ukrainian M. Leontovych Choral Society, whose members are already trying to restore the practice of his work in better times, expanding its directions. The need to return to the organization of international choral competitions, which will stimulate the promotion of choral performance, is emphasized. The author focuses on special art education in the country, the deepening of which will affect the formation of new value orientations of the population. It is extremely important to restore the work of children's choirs and create permanent creative laboratories, which would inherit the artistic experience of Ukraine in the outlined direction, which will help in forming an appropriate bank of ideas and practical experience. It was found that the effectiveness of these activities will help to recognize the must for similar structures in the cultural practice of the country. This includes organizational and cultural activities aimed at supporting the choirs of regions that cultivate mainly spiritual issues, as these activities will promote interfaith reconciliation, which is extremely important today for the whole country. Differences in the practice of the choirmaster's work with professional and amateur structures were identified by the author on the basis of the analysis of the conductor's work with different types of artistic groups. The study proved that the collected, processed and critically considered material can form the basis for the preparation of similar scientific and journalistic works on the disclosure of organizational and cultural activities of leading artists of Ukraine and the formation of a kind of encyclopedia of national artistic experience.

Criação do jogo para corais infantis

Este artigo, oriundo de uma dissertação de mestrado, buscou propor uma sequência de etapas para o desenvolvimento do jogo didático nos ensaios de coros infantis para além do seu caráter recreativo, e sim como uma ferramenta interessante para o aprendizado do repertório musical. Por meio de estudos bibliográficos da literatura vigente relacionada aos jogos, regência coral e educação musical, considerou-se a organização destes conceitos para que a presença do jogo nos ensaios seja justificada e possa promover juntamente significado no aprendizado e avanço na qualidade da performance. Considerou-se que o regente é responsável pelos ensaios e cabe a ele, planejar propostas dinâmicas evitando o abuso do ensino mecanizado que muitas vezes tende a distanciar o interesse da criança do ensaio.

Association Between the Development of Pediatric Voice Disorders and Singing in Children’s Choir

Pediatric vocal fold pathology is important because having a healthy voice free from disorders is crucial in a child's emotional and educational development. To determine whether there is an association between singing in a children's choir and the development of voice disorders. Prospective cohort study of children (aged 8 to 14 years) singers selected from local children's choirs and nonsingers selected from local schools evaluated at Clarós Otorhinolaryngology Clinic in Barcelona, Spain, from October 2016 through April 2018. Singing for a mean time of 7.5 hours per week for 2.5 years. The primary outcome of the study was the prevalence of voice disorders measured using videostroboscopy. The obtained values were analyzed statistically and used to compare the characteristics of the children and the frequency of voice disorders between the groups. Of 1495 enrolled children (745 male [49.8%]; median age, 9.3 years [range, 8-14 years]), 752 were singers and 743 were nonsingers. No differences in baseline characteristics were observed between the groups. Voice disorders were more frequent in the nonsinging group than in the singing group (32.4% vs 15.6%; difference, 16.8%; 95% CI, 12.3%-21.4%). Of 12 voice disorders considered in this study, all 12 were more frequent in the nonsinging group. Functional voice disorders were more frequent in the nonsinging group than in the singing group (20.2% vs 9.4%; difference, 10.8%; 95% CI, 7.2%-14.3%), as were organic voice disorders (12.2% vs 6.1%; difference, 6.1%; 95% CI, 2.6%-9.6%). Voice disorders were less common among children in the cohort who sing in choirs, possibly because of voice training and the commonly observed habit of attending regular ear, nose, and throat examination. Voice disorders may be prevented in nonsinging children if the same solicitude for voice is observed.

Дитячий хоровий спів та його роль у музичній культурі

Changes in the functional purpose of choral performance are determined. It is noted that choral children singing was an integral part of the education of the young generation, part of the cult-ritual acts. Gradually, there is formation of children's choirs as a self-sufficient art education with more professional level. It is associated with the formation of institutions of music education at various levels. The importance of choral singing as a factor contributing to the development of aesthetic education was emphasized. The need to carefully select the repertoire for children's choral performance is noted.

The Effects of Three Physical and Vocal Warm-up Procedures on Acoustic and Perceptual Measures of Choral Sound: Study Replication With Younger Populations

The purpose of this study was to replicate a previous investigation to assess with two intact children's choirs and a high school choir the potential effects of three choral warm-up procedures (vocal-only, physical-only, physical/vocal combination) on acoustic and perceptual measures of choral sound. The researchers tested three videotaped, 5-minute, choral warm-up procedures on two children's and one high school choir. After participating in a warm-up procedure, each choir was recorded singing a folk song for long-term average spectra and pitch analysis. Singer participants responded to a questionnaire about preferences after each warm-up procedure. Warm-up procedures and recording sessions occurred during each choir's regular rehearsal time and in each choir's regular rehearsal space during three consecutive rehearsals. Long-term average spectra results demonstrated more resonant singing after the physical/vocal warm-up for two of the three choirs. Pitch analysis results indicated that two of the three choirs sang "in-tune" after participating in the physical/vocal warm-up and two choirs sang "in-tune" after participating in the physical-only warm-up. Singer questionnaire responses showed a preference for the physical/vocal combination warm-up, and singer ranking of the three procedures indicated the physical/vocal warm-up as the most favored for readiness to sing. This study replication indicates similar conclusions as the original investigation with university choruses: a combination choral warm-up that includes both physical and vocal aspects is preferred by singers of all ages, enables more resonant singing, and more in-tune singing. Findings from these investigations provide choral educators with compelling information concerning efficient and effective choral warm-up procedures.

Chorus vector of the Tenth International Easter Assembly “Spirituality Unites Ukraine -2018”: achievements and perspectives

Chorus vector of the Tenth International Easter Assembly “Spirituality Unites Ukraine -2018”: achievements and perspectives

The Role of North American Music Educators in the Introduction of the Kodály Method in Taiwan

The island now called Taiwan was a Japanese protectorate from 1895-1945, and elementary schools began to provide instruction in music during that period. (1) The nation took its current formal name, the Republic of China (ROC), in 1949, after the Japanese relinquished control, but the island remained under Chinese martial law until 1987. It was during this martial law period, beginning in the 1970s, that the Taiwanese government began to exhibit increasing interest in local issues and topics related to the island. (2) Due to the Taiwanese government's increasing attention, it became fashionable during that decade to collect and promote Taiwanese folk arts, including indigenous music. These new activities and interests, and the fact that by that time music had been taught in Taiwanese elementary schools for more than seventy-five years, laid the foundations for the subsequent importation of the Kodaly method to the island. (3) This importation began in the mid-1980s, near the end of the martial law period. According to Taiwanese music educator and scholar Mei-Ling Lai Kou, beginning in the 1980s there was very rapid social change, with greater openness, cultural diversity, and freedom of thought. (4) These attitudes fostered the acceptance of new ideas. The era was also a time of rapid economic growth, especially after the lifting of martial law. Economic prosperity gave people more time and money to invest in social programs, including education. Thus, social, economic, and political changes paved the way for improvements in education and many other aspects of society, while at the same time the country became more open to new ideas. During this time of social revitalization, economic growth, and increasing political freedom, several North American music educators collaborated with Taiwanese music educators to launch the Kodaly method in Taiwan. This article discusses the influences of these North American music educators on their Taiwanese counterparts, and some of the activities of both, during the early stages of this introduction. Initial American Connection The first music educator who introduced the Kodaly method to Taiwan was Tian-Hui Xu. After graduating from the National Taiwan Normal University in Taipei in 1965, he taught aboriginal children until 1971. During this early period of his career, Xu discovered that his aboriginal students loved to sing but could not read music. When he attempted to teach them to read music, they had difficulty singing on pitch and lost interest in singing. Consequently, he taught them through rote singing using solfege with movable-do. When he began to take his aboriginal children's choirs to competitions, he discovered that the students sang in tune better than many children from urban areas who could read music. (5) Later, Xu traveled to the United States to study choral conducting under Byron McGilvray at San Francisco State University. Xu's study of choral conducting and education led him to solfege, which eventually led him to the Kodaly method. After receiving a master's degree in choral conducting in 1982, he returned to Taiwan. (6) With the encouragement of a Taiwanese entrepreneur named Yong-Qing Wang, Xu spent the next few years again among Taiwan's aboriginal children. He taught music in remote mountainous regions, helping teachers uncover singing talents and improving music education for the aboriginal students. Disappointed by the small number of teachers and inadequate facilities and general funding available to the aboriginal people, but impressed with the abundance of talent among them, Xu sought and acquired external funding to organize the first Aboriginal Elementary and Secondary Teachers Music Camp in 1985. He turned to his former teacher and advisor at San Francisco State University, Byron McGilvray, for help in organizing and presenting choral training workshops for the aboriginal music teachers at this camp. …

The Promise of Liberty (Unison or 2-Part)

An adaptation of The New Colossus for two-part or unison chorus with optional descant and optional piano or guitar accompaniment. Duration: 3 minutes.The text of The Promise of Liberty is an adaptation of the sonnet The New Colossus by Emma Lazarus (1883), which was written to raise money for the construction of the Statue of Liberty's pedestal and has graced the entrance to the Statue of Liberty in New York Harbor since 1945. The chorus is adapted from the Lazarus poem, while the verses are new text written by the composer.The Promise of Liberty is designed for flexibility: May be sung a cappella or with piano or guitar accompaniment. All verses are unison. The chorus may be sung in unison or 2-part harmony. The final chorus has an optional descant. The conductor may invite the audience to join in the final chorus.The Promise of Liberty provides many performance options, as well as many teachable moments. From learning to recognize an AB form, following 1st and 2nd endings, repeat signs, duple rhythms, descant and other young choral vocabulary words, your kids will learn to read a choral score and learn about compositional form, not to mention the history of the Statue of Liberty. Add the variations to the chorus and other performance options, and you have a great new patriotic number for audiences to enjoy. Jenny Price, Washington State ACDA Repertoire & Standard Chair, Children's Choirs Also available in an SATB arrangement.

Folk music for children's choirs: the challenges and benefits of cultural diversity

In this article we investigate ‘folk’ music in the choral repertoire of children's choirs as a way of building bridges between diverse cultures within the context of regional children's choirs, with specific reference to the University of Pretoria Jacaranda Children's Choir, which performs under the auspices of the University of Pretoria, as a sample case study. This descriptive qualitative study investigates the challenges and benefits of including folk music in the repertoire of children's choirs in South Africa, while also taking into account the views of internationally recognised conductors of overseas children's choirs. We address challenges in preserving the authentic character of folk music in choral performances, issues regarding transcribing African folk music, copyright, and the availability of scores and audiovisual media We also investigate the extent to which folk music is included in programmes of South African children's choirs and ways in which folk music as choral repertoire can play a role in promoting the transformation process in South Africa.

Live Electronics in Luciano Berio's Music

Luciano Berio has made significant contributions to the development of electronic music, from the Studio di Fonologia Musicale of the RAI in Milan, to IRCAM in Paris, to the Italian Centro Tempo Reale, founded in Florence in 1987 with the objective of creating a structure in which to investigate the possibilities of real-time interaction between live performance and programmed digital systems. Tempo Reale is today a center of musical production, research, and education where many major Italian composers, in addition to Berio himself, create their works and where important works from the electroacoustic repertoire are performed. In this article, we focus on three compositions by Berio that are not only particularly significant in themselves but also represent an important testimonial to the production activity of the center in recent years: Outis, the azione musicale composed in 1996 for La Scala theater and then performed again in 1999; Ofanim (1988-1997) for female voice, two children's choirs, two instrumental groups, and live electronics; and finally, Altra voce (1999), a chamber music composition for mezzosoprano, flute, and live electronics. The electronic parts of these compositions were totally revised beginning in 1999, and various updated musicaltechnological contributions have been presented in their recent performances. They are in any case works that, ranging from musical theater to chamber music, clearly exemplify Berio's approach to composing for live electronics in different contexts. This article discusses the problems involved in this approach within the context of the musicaltechnological solutions designed and implemented by Tempo Reale for the live performance of the three works. The techniques adopted are first described in relation to their use in music; they are then viewed within their proper context in a more detailed description of the three specific works. The performances in question are the most recent ones for each composition, namely Outis in Milan (September 1999, La Scala Theater) and Paris (November 1999, Th6atre du Chatelet), Ofanim in Milan (October 2000, Sala Verdi), and Altra voce in New York (March 2001, Carnegie Hall), Tokyo (October 2002, Kajimoto Music), and Rome (March 2003, Renzo Piano's Auditorium).

More than anthems: The ministry of children's choirs within the assembly

More than anthems: The ministry of children's choirs within the assembly

Children's Choirs

Children's Choirs

Taking It to the Streets: Czech National Socialists in 1908

On the night of December 1,1908, the city of Vienna was lit up like a giant birthday cake in celebration of the sixtieth anniversary of the reign of Emperor Francis Joseph I. This final night of the monarch's diamondjubilee was the culmination of an entire season of ceremonial occasionsranging from visits to Vienna by the German emperor William II to a seemingly endless series of fětes—everything from concerts by children's choirs to the most magnificent royal balls Vienna could muster. The streets of the imperial capital were filled with the myriad languages of the empire asmore than one million citizens crowded the Ringstraßre and its many side streets and alleys hoping for a glimpse of their emperor-king. That evening the streets of Prague were filled with thousands of angry Czechs, whose moodwas much different from that of the crowd in Vienna. In contrast to the Viennese festival of light, the Czech demonstrators were extinguishing the street lanterns of Prague, hoping that darkness would decrease the likelihood that they would be arrested. According to the Neue Freie Presse, the Old Town(staré město/Altstadt) district of Prague was experiencing a “schrecktlichstag.”

Children's Choirs A Revolution from Within

Children's Choirs A Revolution from Within

Children's Choirs as Proclaimers

Children's Choirs as Proclaimers