Choir Research Articles

Exploring the Effects of Vocal Training Programs on the Skills and Development of Chorus Performers.

Vocal training is a crucial component in developing a singer's vocal capabilities. It enhances the vocal quality and improves the overall vocal health. Through consistent practice and well-structured exercises, singers can achieve high control, clarity, and expressiveness. In this research, we aim to investigate the impact of a structured vocal training program on older choristers. This research includes 18 older choral singers (with ages above 50years), randomly assigned to either the study group or control group. Data were gathered through pretestand post test assessments of vocal function using perceptual voice analysis, self-assessments, and acoustic evaluation. The vocal training program was exclusively performed for the study group. Additionally, participant feedback and program effectiveness were collected through structured interviews. Respondents in the study group indicated substantial improvements in perceptual roughness, vocal clarity, jitter, shimmer, and pitch accuracy following the training session. However, assessments of subjective breathiness and effort, as well as phonational frequency range, revealed no significant differences. The participants also reported that the training program had a favorable impact on their voices. Overall, the findings suggest that structured vocal training can significantly enhance certain aspects of vocal performance in choristers. This research highlights the potential benefits of vocal training programs for improving vocal health and performance quality for older choristers.

‘Sing a song for the peace of everyone’: sacred music and social cohesion

The topic of this article is sacred music as an instrument for social cohesion, spiritual growth, community empowerment and bridging boundaries. How does sacred music function as an instrument for cohesion? First, the article presents a case study: a choir comprising people experiencing homelessness in Amsterdam and a collaboration with a theologians’ choir. Second, a research presentation follows on how choral singers experienced the absence of choral singing in the Covid-19 pandemic. What impact did the lockdown have on singers? Did the absence of choral singing influence their sense of community? The data reveal that cohesion takes place in three ways, which singers mentioned occur when they sing together: musical, spiritual and social. Musical cohesion occurs while they sing together. Singers also mentioned spiritual cohesion and the experience of interconnectedness. Finally, it reflects on choral music as an instrument for social cohesion.

«Умелое слово» священника А. В. Анисимова: из истории русской духовной миссии в Иерусалиме во 2-й пол. 1880-х гг.

The article characterises the educational activities of the visiting employee of the Russian Spiritual Mission in Jerusalem, priest Alexander Vasilyevich Anisimov in 1887–1889. It describes the main facts of his biography and shows that prior to his appointment to Jerusalem he had had close contacts with the Holy Land as a pilgrim and spiritual writer. The position of a visiting employee established on the initiative and with financial support of the Orthodox Palestine Society, was associated with the need to accompany Russian pilgrims during their trips to Holy Places, to hold cultural and educational lectures (Palestinian readings) in Russian houses in evening time. A. V. Anisimov, who worked under the direct supervision and in collaboration with the head of the Russian Ecclesiastical Mission, Archimandrite Antonin (Kapustin), successfully coped with his responsibilities and gained love and respect of pilgrims. The readings were devoted to regular Christian holidays, the Sacred history of the Old and New Testaments, the history of the Russian Orthodox Church, various spiritual and moral issues, and were accompanied by a demonstration of pictures and choral singing. The obstacles to the continuation of A. V. Anisimov’s work included health problems, his desire to go beyond the boundaries of his duties, confl icts with the Greek clergy of Jerusalem Patriarchate. It is concluded that A. V. Anisimov’s activities laid the foundation for the Palestine Readings, which at that time were a new form of work and by the mid-20th century gradually transformed into a mass phenomenon, involving millions of Orthodox people throughout Russia.

STUDY ON THE COMPOSITION AND SINGING CHARACTERISTICS OF CHINESE ANCIENT POETRY CHORAL WORKS

ABSTRACT The study of the creation and singing characteristics of ancient poetic choral works involves the study of ancient poetic art, choral art, harmonic composition, song singing, conducting techniques and artistic development, which is a very challenging research topic. This is mainly due to the special characteristics of the subject matter itself. As an art that encompasses a wide range of subjects, chorus itself has many characteristics in terms of connotation and extension. As the most important element of choral art, the combination of choral composition and singing characteristics can emphasize the characteristics and style of choral art. The main purpose of this study is to analyze the choral works of ancient poems composed since the emergence of Chinese choral art, organize them into categories, then analyze their characteristics, and then summarize the corresponding singing characteristics of different styles, periods and genres, so as to come up with a complete system of ancient poems composition and singing characteristics. By combining qualitative research with quantitative research and through interviews with experts, the various weaves of this system are further refined. The results of this study will help to present some innovative ideas and help in the current field of Chinese ancient poetry choral works. It will be of some guidance to some scholars engaged in the art of mass choral singing as well as introductory choral conducting.

Psalm No.8 in Ukrainian Choral Music of the Late 20th – Early 21st Centuries: Analysis of Composer Interpretations

The purpose of the article is to identify the distinctive features of the embodiment of the spiritual content of Psalm No. 8 in the choral works “Lord, Our Master” by Yevhen Stankovych and “Psalm No. 8” by Oleksandr Yakovchuk. The research methodology is based on an interdisciplinary approach that includes historical-cultural, religious-philosophical, textual, and musicological aspects. The methods employed include historical, sociocultural, textual, musicological, interpretative, and comparative approaches. Scientific novelty. For the first time, different interpretations of the spiritual content of Psalm No. 8 in contemporary Ukrainian choral music are considered. Based on a comparative analysis of Y. Stankovych’s choral concert “Lord, Our Master” for mixed a cappella choir and O. Yakovchuk’s choral miniature “Psalm No. 8” for solo tenor and male a cappella choir, distinct and common features in the figurative-emotional, dramaturgical, and stylistic aspects of these works are revealed. Conclusions. It was found that the composers revealed the figurative-emotional, substantive, and semantic potential of the psalm text in different ways. The differences in interpretation concern the choice of genre, performance ensemble, text selection, embodiment of figurative content, emotional filling, and textural techniques. The common features of both works are manifested in the use of a cappella choir, a tendency towards harmonic colourfulness, the organic combination of chordal structure, imitative polyphony techniques, and folk polyphony. It is proven that the concept of the choral concert implied an elevated, solemn sound, while the choral miniature aimed for deep meditative concentration in prayer.

Folk games as a tool of formation of artistic and creative competence of primary school children in music classes

The article describes the features of acquiring artistic and creative competence, as a child's elementary awareness of the specifics of art forms (artistic and productive, musical, theatrical); valuable attitude to art and artistic activity, the desire to perceive folklore art. Folkloric forms of the heritage of Ukrainian culture are considered. Teaching and methodical material and practical recommendations are offered, which in music classes will be useful both to experienced teachers of preschool institutions and to those workers who are starting to work with the smallest brains. Normative documents in the field of preschool education were studied and play competence was considered as a child's ability to free, emotionally saturated, spontaneous activity on his/her own initiative, in which the possibility of applying existing and assimilating new knowledge and personal development is realized due to the child's desire to participate in the life of adults through the realization of interests in game and role-playing actions in a generalized form. The necessity of using folk games for the formation of artistic and creative competence in preschool children is substantiated. Peculiarities of knowledge of the surrounding world of preschool children and themselves in it are determined. The work proposes to create a basis for the natural formation and development of musical abilities in preschoolers through a folk game by encouraging children to play folk games. It has been emphasized that raising children is based on love and respect for Ukrainian musical folklore. The secrets of conducting music classes using folk games and working with preschoolers are recommended to teachers of primary schools, music teachers, teachers of children's vocal ensembles of extracurricular and club institutions, scientists, graduate students, students of pedagogical and art educational institutions, parents and the general public

A Study of the Regional Characteristics of Liu Xiaogeng's Choral Music Works

Background and Aim: This article takes the regional characteristics of Liu Xiaogeng's choral music works as the main research subject, aiming to sort out the regional music characteristics and regional performance characteristics of Liu Xiaogeng's choral music works, to better guide the creation of contemporary Chinese choral music works. Materials and Methods: The research method of this thesis is mainly the literature analysis method and qualitative analysis method. The literature analysis method is mainly used to collect and sort out the information about Liu Xiaogeng's choral music works, which mainly comes from China Knowledge Network, Yunnan Provincial Library, Yunnan Provincial Museum of Literature and Art, the Internet, publishers, and purchased books. The qualitative analysis method is mainly used to screen the regional dialect characteristics, regional music style characteristics, regional music theme characteristics, and regional music cultural characteristics used in the relevant literature to classify the categories. Results: The main purpose of the study is to refine and summarise the regional characteristics of Liu Xiaogeng's choral music works, which include four aspects, namely, regional dialect characteristics, regional music style characteristics, regional music theme characteristics, and regional music cultural characteristics. Conclusion: Liu Xiaoqeng composes his works with the regional dialect liner notes, folk songs, or ditties of Yunnan Province as his main materials. These dialect liner notes, folk songs, or ditties have very different regional language characteristics and distinctive modal music styles. It is these characteristics that make Liu Xiaogeng's choral music works have distinctive regional characteristics.

Health Risks Associated with Microphone Sharing: A Survey of Awareness, Perception and Preventative Actions among Christian Church Choir Members in Taraba State, North-East, Nigeria

The aim of this study was to investigate the awareness and health actions related to the risks of microphone sharing among Christian choir members in Taraba State, Nigeria. Grounded in the Health Belief Model, the study utilised a descriptive survey design, sampling 225 choir members from 10 randomly selected churches across Taraba State, Northeast Nigeria. Data were collected via online questionnaires and analysed using simple descriptive statistics. The findings reveal a low level of awareness about the health risks associated with sharing microphones. The respondents generally demonstrated a negative perception towards these risks, with many expressing disbelief in the potential for disease transmission through shared microphones. Additionally, there was a notable lack of adherence to precautionary measures. The study found that microphones were infrequently cleaned, microphone foams were rarely replaced, and hand hygiene practices—such as hand washing and the use of sanitiser—were not routinely observed. The use of face masks and shields among choir members was also reported as rare. These findings have significant implications for public health practices within religious communities. They underscore the urgent need for increased awareness and education about the potential health risks of microphone sharing. Thus, the study recommends implementing regular cleaning protocols, ensuring the replacement of microphone foams, and promoting personal hygiene measures, including hand sanitisation and the use of face masks or shields during group singing activities. These measures are essential for mitigating health risks and ensuring the well-being of choir members.

The use of music and music-related elements in speech-language therapy interventions for adults with neurogenic communication impairments: A scoping review.

A growing body of research indicatesthat music-based interventions show promising results for adults with a wide range of speech, language and communication disorders. The purpose of this scoping review is to summarize the evidence on how speech-language therapists (SLTs) use music and music-related elements in therapeutic interventions for adults with acquired neurogenic communication impairments. This scoping review was completed using the Preferred Reporting Items for Systematic Reviews and Meta-Analyses Extension for Scoping Reviews guidelines. A systematic search of three databases (Allied and Complementary Medicine Database, Cumulative Index to Nursing and Allied Health Literature and OVID Medline) was conducted and articles were included if they (1) incorporated adult human participants; (2) received an assessment or intervention facilitated by an SLT; (3) incorporated techniques and interventions which included music-related elements (e.g., rhythm, melody, harmony and dynamics); (4) were written in the English language; and (5) were peer-reviewed full-text articles. Data were extracted using the Rehabilitation Treatment Specification System framework. A total of 25 studies met the inclusion criteria. The studies included participants with neurogenic communication impairments secondary to stroke, Parkinson's disease, dementia and traumatic brain injury. Musical interventions identified in the studies were Melodic Intonation Therapy, Modified Melodic Intonation Therapy, choral singing, singing therapy and songwriting. The majority of the studies reported interprofessional collaboration between SLTs and at least one other healthcare clinician and/or musician. Many studies also included music-based interventions lead and facilitated by musically trained SLTs. The results of the studies included in this review indicate that SLTs are using music-based interventions to target therapeutic goals to improve speech, language, voice and quality of life in collaboration with other clinicians and professional musicians. What is already known on this subject A growing body of research indicates that interventions using music (i.e., choirs and songwriting) and musical elements (i.e., rhythm and dynamics) show promising results for adults with neurogenic communication impairments. Currently, however, there is no clear indication of how speech-language therapists (SLTs) are using music in their clinical practice. What this study adds This scoping review collates the current evidence on how SLTs use music and musical elements in their clinical practice. SLTs are using music and musical elements for individuals with neurogenic communication impairments in populations such as Parkinson's disease, dementia and traumatic brain injury. Common interventions described in the literature include Melodic Intonation Therapy, choral singing, singing therapy and songwriting. What are the clinical implications of this work? Many SLTs collaborate when delivering music-based interventions, particularly with music therapists (MTs). This scoping review suggests that SLTs should continue to explore music-based interventions in collaboration with MTs and professional musicians to target therapeutic goals to improve speech, language, voice and quality of life.

Sight-singing in a group context: An eye-tracking study with experienced choral singers

Studies on music reading have provided insights into the cognitive processes in sight singing. However, there has been limited research on sight singing in a group setting. This study aims to assess how choral singers approach music reading as they perform previously unfamiliar choral scores together. We addressed (1) how singers’ gaze direction is distributed over staff systems, and (2) how their gaze behaviour is influenced by note density and repeated practice. Four quartets, a total of sixteen experienced singers, performed eight Baroque music excerpts three times, while the singers’ eye movements were recorded. Eye-movement measures were analysed in conjunction with the singers’ views regarding their music reading, obtained through questionnaires and group discussions. Results reveal that besides reading their own voice lines, singers typically inspected the neighbouring lines, seeking visual cues to coordinate the performance. The results of a generalised linear mixed model analysis underscore the substantial influence of note density on fixation durations on one’s own lines, but not on other voices’ lines. Practice, on the other hand, exhibited effects only on average fixation duration for one’s own lines, with no significant impact observed on other lines. The study provides evidence of coordination between an actual sight-reading process and a parallel information-gathering process that helps singers relate their parts to the overall musical structure.

Metropolitan Cathedral Choir. 100 Years Since Its Foundation

In 2022, the Choir of the Metropolitan Cathedral of Cluj-Napoca celebrated 100 years of uninterrupted activity in the field of church music. The centenary of the Cluj choir can be considered a particularly important event, both for the Transylvanian musical space and for the tradition of Romanian choral music. Founded in 1922, the Metropolitan Cathedral Choir has had an outstanding musical career, having performed countless religious concerts, cultural and missionary activities, and participated in religious and secular ceremonies. The recognition of the artistic contribution of the Metropolitan Choir is largely due to its prolific activity in the musical field, which has led to increased visibility, both locally and nationally. With a constant activity of 100 years, the Cathedral Choir has had at the conductor’s desk, but also among the choristers, outstanding personalities of Romanian music. Among those who have led its musical destiny we remember: Gheorghe Dima, Vasile Petrașcu, Augustin Bena, Sava Golumba, Ioan Brie, Vasile Stanciu. Through the prestige it has acquired over time, the Metropolitan Cathedral Choir has become a benchmark for church choirs in the Diocese of Vad, Feleac and Cluj, being a benchmark of mastery and virtuosity. Keywords: diocesan choir, choral music, church choir, conductors, cathedral, centenary

Innovative Multivoice Teaching Practices in Solfeggio Courses

Solfeggio is an interdisciplinary course in higher education, playing a critical role in subjects such as harmony, choral singing, piano accompaniment, and conducting, particularly in pitch accuracy training. Multivoice solfeggio is a focal point in solfeggio courses, addressing issues like off-pitch singing and pitch accuracy in students. Therefore, this paper's research on multivoice teaching in solfeggio courses is of significant importance.

Fundamentals of the Theory of Choral Conducting as a Relationship of the Creativity of Regent and Choir Master in one Person

Fundamentals of the Theory of Choral Conducting as a Relationship of the Creativity of Regent and Choir Master in one Person

Genre and style models of contemporary Ukrainian vocal and choral music

The relevance of the study of the chosen topic is conditioned by the fact that a wide panorama of compositions in the field of vocal and choral music appears, reflecting the modern process of reviving the national culture of Ukraine. The variety of their content, concepts, and structures contributes to the popularization of the spiritual and creative heritage of the Ukrainian people, which requires special research in modern conditions. The purpose of the study is to identify genre features and stylistic patterns that characterize the works of the vocal and choral branch of musical art. In the course of the study, methods of analysis, comparison, and synthesis were used. As a result, genre models of vocal and choral compositions of small (painting; prayer; monologue; song; arrangement) and large forms (cantata, choral concert suite, vocal and instrumental cycle, choral cycle) were discovered. The leading stylistic components of modern vocal and choral compositions were established, their content was emphasized (synthesis of elements of archaic play (action); folk songs; spiritual chant and modal, classical tonal, chromatic sound systems in small forms; a unique author’s idea, processing of primary sources from folk song art and church services based on a wide range of different fret and technical systems in large forms). The study's conclusions confirm the utilization of folk, church, and academic traditions, both past and present, alongside structural, compositional, technical, intonational, and rhythmic elements from various musical genres and cultures in vocal and choral compositions of the first quarter of the 21st century

Hungarian choral tradition from the music pedagogical reforms to the end of the twentieth century

ABSTRACT In the first half of the twentieth century a vast transformation in Hungarian school music education occurred. The ideological foundations of music pedagogical reforms and the means of their implementation were laid down by Zoltán Kodály. The music pedagogical model of Kodály’s concept strongly linked the Central European life reform movement and pedagogical reform trends of the early twentieth century. Kodály’s pedagogy emphasised the concept of developing the individual throughout his or her entire lifespan, nature appreciation, folk music, community engagement, and the transformative power of the arts. Kodály believed in the profound impact of choral singing on individuals and communities. László Lukin (1926–2004), an outstanding music educator of the twentieth century, significantly impacted Hungarian choral life. He remained a consistent presence in professional publications until his death. This study focuses on showcasing his writings on choral pedagogy in the music trade press and how Lukin incorporated and modified Kodály’s guidance on choral singing. The results reveal that Kodály’s key principles in choral pedagogy are also evident in Lukin’s articles. Lukin aimed to fulfil the musical reform ideals of the early century by realising the “education of the whole person” through singing communities and musical experiences.

Seconds Under Magnifying Glass – Focus on Pure Intonation

Several books, studies and videos are available on the Internet on the importance and role of singing in schools and choral singing, and on effective ways of learning songs and choral works. As a result of technological progress, MIDI recordings and digital choral parts are available to choirs and choir leaders to facilitate the rehearsal and learning process. However, what on the one hand seems modern and innovative (digital pianos, audio and video recordings, easy and fast communication, streaming, virtual choirs) can have a negative impact on the other. At international conferences and symposiums, it is common to see choirmasters making hand gestures to sound one or more parts, as a kind of attraction to show off solfa singing. It is not always clear, however, what the intelligent use of solmization can do beyond the two-(three-)part singing or vocal warm-up. The following chapters will point out why reading music with a relative system of solfa is beneficial, and why learning to sing a part or a choral work with the help of piano is less supported. Keywords: cent system, overtones, whole tones, relative solfa – absolute solfa, hand-signs, pure intonation.

Collaborative music making in the digital age: fostering creativity in vocal ensembles

ABSTARCT The article examines the role of collective music-making in the era of digital technologies in enriching and stimulating the creative process of vocal ensembles. The research utilized online surveys, questionnaires, and statistical data analysis for a comparative analysis of the impact of digital tools and online platforms on the creativity of students. Statistical methods, including comparative analysis of mean values and calculation of t-indicators, were employed for processing and analyzing the obtained data. Since t ≈ –6.85, which is less than the tabulated value of –1.655, it indicates that the difference between the mean values of the control and experimental groups is statistically significant at the significance level of 0.05. The analysis results indicate a statistically significant influence of using digital tools and online platforms for music creation on students’ creative process. The survey also revealed that digital tools allow for sound experimentation (28%), provide accessibility and flexibility in learning (27%), offer immediate feedback (20%), and enhance interactivity and collaboration (25%) through online platforms. This work expands understanding of effective approaches to integrating digital tools into music education and enhancing teaching methodologies aimed at developing students’ creative potential. The findings underscore the importance of integrating digital technologies into music education to enhance the quality and effectiveness of teaching in vocal ensembles. Thus, the research fills a gap in contemporary knowledge regarding the optimal use of digital technologies in vocal ensembles and may be beneficial for educational institutions and music teachers seeking to optimize teaching and student development processes in the modern digital environment.

Психологическое благополучие в пожилом и старческом возрасте: эффекты академического хорового пения

<p style="text-align: justify;">Aim. The purpose of this study was to investigate the level of psychological well-being of elderly and senile people who regularly engage in academic choral singing, and to identify factors related to this. Methods. A qualitative analysis was carried out to analyze the statements of the participants of two Moscow academic choirs of elderly people about the influence of choral singing on their physical and mental well-being. A quantitative comparison was made between the two groups of participants - choir members (46 people 57-91 years old; M=73,6±7,8), and a control group of people of the same age, but not involved in singing (56 people 52-82 years old; M=67,1± 6,8) - in terms of psychological and life well-being were conducted. The following measures were used: 1) the Russian version of the С. Ryff psychological well-being questionnaire, 2) a questionnaire regarding the socio-demographic information and the satisfaction with basic life circumstances, 3) a questionnaire (only for choristers) regarding the characteristics of musical and vocal-choral activity and their impact on the well-being of respondents. Results. The detailed statements of the choristers testify to the positive impact of choral singing on their physical and psychological well-being. The level of psychological well-being of elderly and senile people is largely determined by the well-being of important life circumstances. Engagement of elderly people in the academic choral singing has a significant effect in terms of increasing the psychological well-being of participants only if the level of well-being of the main life circumstances is high. The duration of engagement in the choir singing negatively correlates with the level of psychological well-being of the participants.</p>

The impact of singing on estrogen and progesterone release among female

Scientific studies have suggested that singing can have positive effect on people’s health. (NAFME, 2012). John Daniel Scott, has cited that people who sing are more likely to be happy because singing elevates the level of neurotransmitters which is associated with pleasure and wellbeing. Most studies on the biological effect of music has resolved around studies involving brain mapping and physiological parameters such as heart rate, blood pressure, through production of messengers such as hormones, cytokines and proteins, music elicit biological responses to stress, emotions and immune functions. Hormone certainly prove necessary for proper physiological growth and development. This study is therefore to know the influence of singing on female sex hormone release which has variety of effects on both sexual organs and diverse target tissues. This research study will be a cross sectional and controlled investigative study. Hormone will be assayed with ELIZA technique and its secretion will be determined by its concentration in the blood. The study will be carried out with a total of thirty female choral singers, grouped into three A, B, C, each group will comprise of ten subjects, using group C as control. Blood sample will collect from each group at pre and post ovulation phase of their menstrual cycle, before and after singing while the control group will not be involved in singing. The mean serum concentration in all group will be compared with group C which serve as control group.

THE ROMANIAN ORTHODOX CHURCH CHORAL CREATION OF CLASSICAL-ROMANTIC INFLUENCE

The liturgical singing of the Romanian Orthodox Church is monodic, of the Byzantine tradition. From the 19th century, under the influence of the Russian Orthodox Church, multiple voices choral singing penetrates the Romanian worship establishments. The beginnings were timid, isolated, from private initiatives and sometimes encountering the hostility of conservative ecclesiastical traditionalism. After 1959, the introduction of choral singing in the United Romanian Principalities was to be facilitated by state legislation. Choral singing would be used predominantly for the office of the Holy Liturgy. In finding a choral style suitable for the orthodox liturgical ceremonial, three main stylistic directions were outlined, among which the classical-romantic influence created a generous and varied repertoire.