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The paper turns on the period when Dobroslav Orel worked as a teacher in church institutions and Austrian secondary schools (1894-1918). It focuses on the least studied part of his activity, choirmastering. Through the prism of contemporary pedagogical journals and school documentation, he attempts to reconstruct the choirmaster's methods used by him and, in particular, traces the dynamics of the development of his relationship with Battke's intonation method, from his initial enthusiasm to his awareness of the pitfalls of uncritical acceptance of this method to his warning against the danger of elevating the means of achieving correct intonation to the goal of singing education. [ABSTRACT FROM AUTHOR]

This paper investigated the importance of using virtual reality (VR) technology to enhance choral conducting education thus highlighting its potential for rethinking traditional pedagogical approaches in this specialized field. It described an empirical study of the impact of VR technology on improving choral conducting skills with a special comparison of traditional teaching methods with VR-based training using Maestro VR. This study involved 220 student conductors divided equally into two groups: traditional training in choral conducting and training based on Maestro VR. The authors conducted pre- and post-tests in both groups to measure their conducting skills. They assessed hand coordination, temporal accuracy, and the ability to interpret and convey musical dynamics. After training, post-test results showed a dramatic intergroup difference in the improvement of conducting skills. Statistical analysis using paired sample t-tests showed a mean improvement of −29.545 (indicating an increase) in the experimental group with a standard deviation of 6.042. The mean improvement in the control group was −18.718 with a standard deviation of 5.877. These results indicated that VR-based training could significantly improve choral conducting skills compared to traditional teaching methods. The authors concluded that VR technology (Maestro VR) offered an effective and innovative approach to teaching choral conducting. [ABSTRACT FROM AUTHOR]

This article investigates the procedures used by amateur choir conductors for learning scores. For this purpose, a mixed-methodology approach has been designed, allowing for a dual focus. On one hand, the procedures recommended in a bibliographic selection of three choir conducting treatises are analyzed. On the other hand, a semi-structured interview was conducted with five Valencian female conductors, all of whom have more than six years of experience. The results highlight the significant differences between theoretical recommendations and the participants' practice. It is concluded that the existing theory does not meet the needs of amateur choir conductors. Therefore, this article compiles procedures that satisfy the needs of this sector in the specific Spanish socio-cultural context. [ABSTRACT FROM AUTHOR]

The article provides guidance for choral conductors on how to approach the first rehearsal of a new work. It emphasizes the importance of comprehensive score study, using piano or recordings to learn the music, consulting scholarly editions, and understanding elements such as phrasing, dynamics, and translations. The article aims to help conductors plan and conduct a productive initial rehearsal by being well-prepared and mindful of techniques.

The purpose of this study was to explore participants' value ratings of specific methods course topics in the choral teaching preparedness of non-choral music education majors . Forty-four university/college level choral methods instructors, identified through the College Music Society membership list, participated in the survey . Participants rated 16 choral methods topics using a seven-point Likert-type scale (1 = Not Very Important; 7 = Very Important) in their importance to non-choral music education majors' choral teaching preparedness . Participants identified choral rehearsal techniques, vocal techniques, and choral repertoire as the three most important topics . Participants also identified choral student recruitment and retention, choral conducting techniques, choral student recruitment and retention, and choral class administrative tasks as the three least important topics . The findings of this study may provide undergraduate choral methods instructors information on developing effective course experiences in the preparation of non-choral music education majors for future classroom choral instruction . [ABSTRACT FROM AUTHOR]

In current college music education, choral conducting is a required course for students. The course implementation aims to cultivate excellent and high-quality choral conductors. The requirements for choral conducting teaching in college music education under the new media environment have been further improved. First, this study gives the value of applying new media technology in choral conducting teaching in colleges and universities. Then, based on the key point that choral conductors' expression of music mainly relies on gestural language, an action recognition model in college choral conducting teaching is proposed. The model is designed with an adaptive deep graph convolution model, and a spatio-temporal convolution submodel with a small number of parameters is created using group convolution. After the trained teacher model is obtained, the spatio-temporal convolutional submodel with fewer parameters is trained using the knowledge distillation method combined with data augmentation techniques. The final action recognition fusion model is obtained using the linear fusion method. The experimental results demonstrate that the proposed model can recognize the movements in college choral conducting teaching with higher performance than other existing models, which provides effective guidance for college choral conducting teaching in the new media environment. [ABSTRACT FROM AUTHOR]

The purpose of this phenomenological study was to investigate choral directors' experiences as they navigate Whiteness through their own personal philosophies and practices related to repertoire selection and how those lived experiences may or may not impact their students. Twelve practicing choral directors from middle school through university settings were interviewed. Three important themes arose during analysis including the presence of dysconscious racism with episodes of white fragility, the presence and absence of ethical caring, and the development of a critical consciousness along a spectrum based on experiences. Implications for music educators are offered. [ABSTRACT FROM AUTHOR]

Choral singing is one of the most widespread musical activities, and choral conductors work in a variety of social settings that involve every imaginable type of choir and musical genre. The conductor role draws on a number of skills and competencies that are partly acquired through education but, equally importantly, through experience. Choral conductors shape their practice in highly individual fashions as amalgamations of background, formal education, career development and working situation. The present qualitative study seeks to uncover how choral conductor practices arise and unfold, by using Etienne Wenger's theory of communities of practice and situated learning as the key analytical framework. The study elucidates the choral conducting practice as an ongoing educational project and theorises the dimensions of variety in choral conductors' trajectories. The study situates the conducting practice in a Western choral tradition, based on interviews with a diverse sample of 20 conductors in Norway. The theoretical framework proved to be highly appropriate; however, applying it to the choral conducting practice requires the explicit positioning with regard to the academic debates on the theory's development following Wenger's original conceptualisation. The study therefore contributes to knowledge development in three ways – (1) by shedding new light on the theory, (2) by proposing a sub-structure to the main theory for its application to choral conducting and (3) by tracing some initial implications for choral conducting education. One of the key findings is that a conductor's background continues to impact competence and identity throughout a conductor's work-life, while practice seems to be predominant over formal education. [ABSTRACT FROM AUTHOR]

This paper explored the origin and journey of my musical career. How my family, church, school, and friends influenced me to pursue a career in music and teaching, and take a Master in Music Major in Choral Conducting degree. An auto-ethnographic approach was used to investigate shared experiences that are all based on my personal experiences. [ABSTRACT FROM AUTHOR]

The current research aims to identify music teaching criteria applied by women conductors who have experience in children's choral conducting because an existing gap in pedagogical in matters of repertoire selection. The research method holds a qualitative, nonexperimental, and cross-sectional design, using the constant comparative method because criteria are identified through conductor interviews that are centered on repertoire selection for childhood choirs. Results demonstrate that criteria for repertoire selection are based on inferences that conductors make regarding students' musical preferences and difficulties and experiences perceived by each singer. In conclusion, three teaching criteria are identified concerning repertoire selection: musical background, the difficulty level of repertoires, and musical tastes of students. [ABSTRACT FROM AUTHOR]

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Preparing choral music educators who are sociocultural pedagogues requires the development of a knowledge base of diverse singing traditions, the meaningful inclusion of culturally diverse content in the choral curriculum and rehearsal, and thoughtful adaptation in the delivery of instruction that shows a sensitivity both to the learners and the represented music cultures. The purpose of this case study was to analyze the outcomes of a newly designed graduate course for choral conducting students as they engaged in singing traditions from marginalized and lesser-known music cultures. The research focused on inequities in music education based on race, ethnicity, and music cultures that have resulted in asymmetric power relationships between choral directors and students. I applied Maton's (2016) Legitimation Code Theory (LCT), a research framework inspired by Bourdieu's (1986) work with "rules of the game" and Bernstein's (2000, 2003b) work with knowledge codes. LCT allows examination of knowledge practices and can be used to shape teaching practice and curricular content. The research was guided by the following questions: (a) what beliefs do music educators hold about repertoire and music cultures that they do and do not include in their choral curricula in relation to the place and time in which they teach, and (b) what can be discovered regarding successful pedagogical strategies based on knowledge and knower structures. Two relevant themes emerged including the impact of cultural elitism in the choral conducting community with subthemes of perfectionism and concerns related to performance practice, and the development of a reflective praxis. [ABSTRACT FROM AUTHOR]

The purpose of this study was to investigate a broad range of choral conductors' views on competences needed in their own practice, and how education and experience have contributed to their current level of mastery. Choral conductors (N = 685) in Norway, Sweden, and Germany completed a survey covering 15 competence items that together constitute a holistic view of the choral conducting role. The survey also captured contextual data related to academic education and working situation. The analysis sought to determine the degree of situatedness and universality of the various competency items. The results show that there is a general agreement on the relative importance of competencies across various contexts, with some notable differences. The two key factors that drive the self-perceived competence level are leading advanced choirs and years of experience. A degree specifically in choral conducting matters, but primarily for gestural skills. Music degrees in general do not explain variations across participants. With regard to aural skills, we observe that the retrospective appreciation of education grows with the longevity of experience. [ABSTRACT FROM AUTHOR]

The article discusses the history of conducting in pedagogy and practice. Conducting history is reportedly as old as recorded history, however conductors only became popular in the 19th century. Topics include the pedagogical value of history for conducting students, literature on existing instructional materials related to conducting history, and the development of kinesthetic musical practices.

The purpose of this mixed methods study was to investigate the perceptions of students and teachers regarding the engagement of creativity within choral classes. Participants rated their perceptions of the degree to which certain activities were creative. Middle/high school chorus students (N = 314) and teachers (N = 11) completed a survey measuring the importance of purposes of music education. Most students found chorus to include creative activities, but were unable to explain which activity precipitated the creativity. Results from teacher surveys showed they valued creativity but addressed it infrequently. Interviews were conducted with two teachers, with focus groups for eight students. Findings suggested that students varied by age on process/product orientation, and generally stated that creative activities were absent from their classes. Teachers were most influenced by a lack of confidence in leading creativity lessons. Recommendations include research on teacher preparation programmes’ inclusion of creativity and professional development opportunities. [ABSTRACT FROM AUTHOR]

The purpose of this mixed methods study was to investigate the perceptions of students and teachers regarding the engagement of creativity within choral classes. Participants rated their perceptions of the degree to which certain activities were creative. Middle/high school chorus students (N = 314) and teachers (N = 11) completed a survey measuring the importance of purposes of music education. Most students found chorus to include creative activities, but were unable to explain which activity precipitated the creativity. Results from teacher surveys showed they valued creativity but addressed it infrequently. Interviews were conducted with two teachers, with focus groups for eight students. Findings suggested that students varied by age on process/product orientation, and generally stated that creative activities were absent from their classes. Teachers were most influenced by a lack of confidence in leading creativity lessons. Recommendations include research on teacher preparation programmes’ inclusion of creativity and professional development opportunities. [ABSTRACT FROM AUTHOR]

This action research report addresses the structure and outcomes of a fifteen-week online project designed to enhance choral conductor identity development through community discussion. Aligned with a university choral literature course, the project was intended to encourage professional perspective and communication. Outcomes and insights were ascertained via online responses to posted choral performance recordings, a questionnaire given at the end of the project period, and an in-person final group discussion. A categorical analysis of discussion content revealed a larger frequency of comments focused on expressive aspects of music over comments focused on musical technique. Comments were often stated as personal preferences rather than objective observations aligning with a particular style or genre. Students demonstrated a fluid use of resources to stimulate conversation including class readings, selected video/audio recordings, and peer comments. Questionnaire responses indicated that the online format enhanced students' ability to formulate and articulate ideas, expanded their understanding of professional community perceptions and expanded their overall awareness of their role as a choral conductor. Class members also reported greater awareness of the differences between formal online discourse appropriate for professional communication and informal conversation habits developed through social media interactions. [ABSTRACT FROM AUTHOR]

An interview with English conductor Timothy Reynish is presented. Topics discussed during the interview of Reynish include his musical background, his music education at Cambridge, his experience in conducting the Merseyside Youth Orchestra and in working with teenagers, and the short courses of his conducting studies.

This paper reports on the findings related to the possible selves of males who participate in choir. It focuses on the perceptions of participants’ past, present and future identities and the way these interact to influence decisions about choir. The paper is derived from a larger study, set in Australia, which investigated the perceptions of success, notions of masculinity and the impact of possible selves on male choral participation. Four choirs of different age groups were involved: junior school, secondary school, university and community. Data were collected through interviews, focus groups, surveys and observational video analysis. Findings demonstrated that the strength of possible selves was influenced by past experience and present self-perception, which impacted future projections of self and subsequent decisions about choir. The research points to the importance of providing positive and fulfilling experiences of choir in school because of its positive impact on individual well being and the active pursuit of desired goals. [ABSTRACT FROM AUTHOR]

The article focuses on the activities of student chapter of American Choral Directors Association (ACDA) at the University of Montevallo, Alabama with the music education program and start an annual fundraiser. It mentions that ACDA Student Conducting Awards for which deadline will be October 31, 2016 and the 2017 ACDA National Honor Choirs Information to be held in Minneapolis, Minnesota from March 8-11, 2017.

The article focuses on effective communication between a conductor and the ensemble so that the musical intentions of the conductor are well-executed. It starts with a presentation of foundational aspects relevant to all choral conductors which include score study, technical gestures, and expressive gestures. It is followed by a discussion of the perceptions of the ensemble including verbal feedback, familiarity with the conductor and previous musical experience, and implications for practice.

This article explores cooperative learning in choral conducting education. The five characteristics of cooperative learning identified by Adams and Hamm ((1996). Cooperative learning: Critical thinking and collaboration across the curriculum (2nd ed.). Springfield, IL: Charles Thomas Publishers): positive interdependence; face-to-face interaction; individual accountability and personal responsibility for reaching groups goals; frequent practice with small-group interpersonal skills; and regular group processing and reflection have been used to structure the discussion on the learners’ perception of their development and their module’s effectiveness. The context in focus was an elective module on choral conducting education at master’s level. Cooperative learning in choral conducting education was shown to support the learners’ motivation for active participation in the teaching and learning process; to increase respect for diversity; to support the learners’ development of interpersonal, communication, leadership and teaching skills at both an individual and at a collective level; and to improve teacher effectiveness. [ABSTRACT FROM AUTHOR]

The article discusses aspects of literature selection in the choral program throughout the academic year. It highlights the demonstration on the relationship between music literacy, vocal technique, and creative opportunities for students. Several profiles of notable people in the choral music including Stan Engebretson, music professor at George Mason University, Tianxu Zhou, choral conductor and Derrick Fox, assistant professor of choral music education at Ithaca College, are also presented.

The article offers the author's insights on the 2014 International Conductors Exchange Program (ICEP) in China. Topics include the international relationships between American Choral Directors Association (ACDA) and China Chorus Association, cultural exchange, and commitment to provide the highest level of musical education for all children in the country.

This paper presents theoretical perspectives for choral conducting education. A wide range of related literature on choral practice and education in higher education contexts, as well as training in the workplace is reviewed. Whilst various attributes for effective choral conducting practice have been identified by research studies, there has been no systematic research on the process of choral conductor education and the contexts in which it occurs, particularly in the UK. The proposed framework consists of six interconnected parameters: (i) the tutor(s), (ii) the learner(s), (iii) the music repertoire and the singers, (iv) the sequence and amount of training, (v) the learning outcomes and (vi) the socio-cultural context(s), including teaching context(s) where practice takes place. The framework itself offers insights and related approaches for the development of choral conducting education. [ABSTRACT FROM PUBLISHER]

An interview with choral conductor Amy Kaiser is presented. She describes the nature of her educational background on music. She says that her first conducting position was at the glee club of the Mary A. Burnham School in Northampton, Massachusetts during her junior year in college. She relates the experiences that contributed to her career growth as a conductor.

The article presents suggestions for conducting honor choirs. The musical goals for the honor choir experience are the responsibility of the conductor. The guest conductor also has an opportunity to invite teachers to gauge the effectiveness of his or her rehearsal, conducting, and performance techniques. Before accepting the first invitation to conduct an honor choir, one is advised to to attend a similar event. One of the primary tasks for guest conductors is submitting proposed repertoire for the organizing committee's approval. Guest conductors are often provided with programs from previous years as a guide.

There are several factors that contribute to the formation and education of a student as a conductor and future music teacher, such as: the traits of the conductor's personality (their temperament, education, experience, ideals, character), their habit of individual practice (the hereditary inheritance and experience -- which also encompasses creativity) and, of course, the interaction of the conductor's inner self with the environment, namely with the members of the choir. The education and formation of the student -- conductor will depend on both factors, internal and external and it will be accomplished gradually, in a spiral manner. [ABSTRACT FROM AUTHOR]

This study investigated the relationship between teacher discourse and student experience in middle school choral rehearsals. Teacher discourse was categorized by characteristics of scaffolding and non-scaffolding language: subsequent analysis examined how that language was used within complete sequential units of instruction. Student reflective self-reports, completed after each rehearsal, were examined to reveal correlations with teachers' institutional language. Participants included two choral di rectors from two middle schools and their 88 choral students. Each teacher taught one seventh grade choir and one eighth grade choir. The choirs were observed for 5 consecutive rehearsals, including a final pre-concert rehearsal for each ensemble. Rehearsal transcripts were analyzedfor the types of scaffolding units ofinstruction (including teacher task presentation, student response/interaction with the task, and specific teacher reinforcement). Multiple coders were employed to insure reliability of the discourse analysis. Student surveys contained 15 semantic differential items rating self-perceptions of affect, challenge, and skill. Additional data collection included videotapes, field notes, and interviews with teachers. Results indicated teachers used scaffolding language during 25 percent of total instruction. Seventh grade rehearsals were characterized by higher levels ofscaffolding language and complete sequential units of instruction than eighth grade rehearsals. Within complete sequential units, the most frequent use of scaffolding language (1) transferred responsibility for learning from teacher to students (during 23% of teacher presentations) and (2) offered task-based support (during 22% of teacher reinforcements). Teacher reinforcement during complete sequential units was overwhelmingly positive (74:26 approval/disapproval ratio). Complete sequential units of perceived challenge and skill (often referred to as ‘flow experience’) during rehearsals included 4 or 5 shifts in activity/grouping, student interaction, and teacher attention to individual students. Interviews indicated teachers felt they gave more responsi bility for learning to eighth graders than seventh graders; discourse analysis indicated the opposite. This study suggests a strong positive relationship exists between teacher scaffolding language use, complete sequential units of instruction, and quality of student experience during middle school choral rehearsals. [ABSTRACT FROM AUTHOR]