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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. [ABSTRACT FROM AUTHOR]

AbstractIn this method article, we aimed to demonstrate how design thinking can be used as a conceptual framework for planning a scientific, health-promoting intervention for a non-clinical group, with the intention of making it an enjoyable and meaningful experience that the participants are motivated to pursue. The intervention was an 11-month choral singing course specifically designed for healthy participants between the ages 65–75 years. Before launching the intervention, we conducted a preparatory study, which constitutes the current study. A focus group session and a co-creation workshop was held with participants with similar characteristics to those recruited for the upcoming intervention. The findings are presented in an affinity diagram, including an exctract of key aspects identified as crucial for a health-promoting, positive experience, such as the conductor’s leadership qualities, motivation, equipment, and more. Based on the findings, we constructed a design specification establishing the intervention content. A participant journey map was developed to consider various aspects of the participants’ experiences throughout the upcoming intervention. Our conclusion is that utilizing the design thinking framework for planning health-promoting interventions of psychological studies offers researchers valuable insights and a systemic approach to design the experience to fit the specific needs of the target group. [ABSTRACT FROM AUTHOR]

The article focuses on various innovative choral collaborations across the country, highlighting their impact and unique approaches. Topics include the ESOL Chorus's integration of English learners through music, the Cincinnati Choral Academy's El Sistema-inspired program for underserved youth, and Common Ground Voices' efforts to build peace through music between diverse communities.

The paper deals with the educational role and function of choral singing in Waldorf schools. On a general level, it will describe the function of singing in teaching and the anchoring of choral singing at Waldorf schools in the Czech Republic. At a specific institution - Waldorf Elementary School and Secondary School Ostrava - Poruba, contributory organization - it will describe in detail choral singing with the presentation of musical projects related to regional sources and ethnic diversity of music. It will focus on the period of the 2022/2023 school year and the activities of the secondary school choir Avis igneus. Ethnic music will be presented here on behalf of various projects, such as cooperation with the Finnish Waldorf High School as part of Erasmus+ or an African musical project of choral settings of unknown songs of the Mandenk tribe in cooperation with the professional Ostrava drumming band Camara, which focuses on African rhythms. Unique projects have been created, which will be presented in the paper. As part of the regional inspiration, a composition by the Ostrava contemporary composer Milan Báchorek - Frenštátská vonička písní will be presented in the interpretation of the choir Avis igneus. [ABSTRACT FROM AUTHOR]

The article is devoted to the exploration of the life and creative path of an outstanding Ukrainian composer, singer, conductor and music educator – Dmytro Stepanovych Bortnianskyi. The relevance of this topic is connected both with the revitalization of church life in our country and with the spread of concert and performance practice. Without studying the main directions of the development of Ukrainian musical art in the 18th – 19th centuries, it is impossible to understand the ways of development of modern Ukrainian music. The purpose of this work is a comprehensive examination of the figure of Dmytro Bortnianskyi, not only as a composer, but also as an individual against the background of historical events of the 18th century. Distinctive features of Dmytro Bortnianskyi’s creative heritage and his influence on the national and world musical culture are established. The theoretical and methodological footing of the work is based on general scientific methods of cognition with the use of scientific and critical analysis of sources. The subject of the study presupposes the use of comparative historical and descriptive methods, as well as analysis and synthesis of the material. The scientific novelty of the work lies in the analysis and systematization of the life and creative path of the outstanding Ukrainian composer, musician, singer and conductor Dmytro Bortnianskyi; in the reproduction of the socio-cultural context of the time which contributed to the artist’s development; and in highlighting the importance of his oeuvre for the actualization of the Ukrainian national spiritual heritage. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Compared to other types of musical art, the unity of three components - composer creativity, performance and education - in choral practice is the most deterministic. A vivid example of this is the choral art of China, each direction of which has its own characteristic features, peculiar ways of development, vectors of application determined by certain historical and socio-cultural factors, but in general they appear as an inseparable organic alloy. The purpose of the article is to highlight the trinity of composer creativity, performance and education as determinants of the development of choral art in China. The research methodology is based on a comprehensive approach based on historical-cultural, comparative, music-theoretical analysis of the material and theoretical modelling of the structural-logical and substantive characteristics of choral activity. The scientific novelty of the article lies in the fact that the trinity of composer creativity, performance and choral art education in China is considered for the first time as an immanent quality determined by historical development. Conclusions. Since the beginning of the 20th century, Chinese choral culture has been actively assimilating compositional, performing, and educational traditions of a foreign, mostly European, model. In the first half of the century, this was especially evident in the work of composers. Choirs by Chinese composers created in this period are based on the melody of patriotic songs in an organic synthesis with European writing techniques (including polyphonic). In the second half of the 20th century, the emphasis shifted towards performance, which was determined by the socio-political involvement of art, when choral work was a tool of political propaganda. At the end of the 20th and the beginning of the 21st century, choral art in China becomes independent, specialised educational institutions are opened in the country, where the training of conducting and choral personnel is carried out. At each stage, each branch of choral art in China had its own characteristics, development trajectory, vectors of application. In general, separate components - composer creativity, performing and educational activities become an inseparable whole during the entire development. This determinism of Chinese choral culture ensured its successful development in the 20th and early 21st centuries. [ABSTRACT FROM AUTHOR]

Participation in group activities such as choirs has been shown to have positive effects on emotional health and overall well-being. Inclusive choirs, which integrate individuals of various abilities and diverse backgrounds, provide a unique space for social interaction, emotional expression, and inclusion. This study aims to explore the impact of participation in an inclusive choir on the emotional health of its members, identifying both positive and negative emotional impacts as well as personal experiences derived from their participation. This longitudinal exploratory study combines participant observation, field notes, focus groups, and questionnaires to gain a deep understanding of the participant's emotional experiences through their narratives. The study was conducted in an inclusive choir located in a medium-sized city in Spain, which brings together people of various ages, genders, abilities, and cultural backgrounds. The results indicated that most participants experienced significant improvements in their emotional well-being, including increased self-esteem, a greater sense of belonging, and reduced symptoms of anxiety and depression. Participants also reported that the choir provided a safe space for emotional expression and the building of meaningful relationships. Participation in an inclusive choir can have a considerable positive impact on the emotional health of its members. [ABSTRACT FROM AUTHOR]

Community-based open-to-all choirs or singing groups are popular internationally and associated with multiple health and well-being benefits. Facilitators of such groups require specific skills, attributes and knowledge. Therefore, we examined literature to identify key characteristics of group singing facilitators (GSFs) using a systematic review approach. Eighteen studies are included in the current review. These studies utilized qualitative research methods to illustrate GSFs' roles within the community context. Narrative synthesis revealed two meta-themes, namely music-related and group facilitation-related. Within both meta-themes, there were various skills, attributes and knowledge specific to GSFs, which appear to be intertwined. This analysis also revealed the complexity of group singing facilitation along with a lack of opportunities for training and support for GSFs. Further research is needed to develop and evaluate holistic learning to support GSFs with essential skills, attributes and knowledge to promote group singing in the community setting. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

The article focuses on integrating movement into choral performance, examining its historical development and advocating for a departure from traditional Western European aesthetics. Topics include the psychological and pedagogical aspects of movement in choral singing, the importance of cultural relevance in music education, and the potential physiological effects of movement on performers and audiences.

The distributive political economy of contemporary Arab Oman yields a status‐differentiated social infrastructure composed of elites who distribute and non‐elites who, in many ways, rely on those distributions. The construction of communicative links within social infrastructures via the performance of sung poetry depends on the phaticity of the link being activated. For Omani poets, different linguistic performance genres telescope the vast social distance between elites who listen and non‐elites who sing in different ways and with different results. Omani poets from the rural north of the country conduct cross‐class social contact—conceptually "vertical" social infrastructural movement—by way of two contrasting genres of Arabic praise poetry: a one‐off request or statement, the solo qasida, and a recognitive, addressive choral form that reciprocally establishes and evaluates such vertical relationships, the 'āzī. I argue that the metapragmatic distinctions that Omani poets draw between these two genres reveal a subtle phatic ideology that allows certain modes of communicative contact to index deeper, cross‐class social ties within grand public performances, while simultaneously reinforcing tacit norms of elite avoidance of non‐elites in everyday social intercourse. [ABSTRACT FROM AUTHOR]

The purpose of the work is to determine the foundations of meaning-making by the conducting gesture of the regent and choirmaster according to the specifics of choir management in the church-applied and concert-art spheres of identifying the specified specialisation, based on knowledge about the possibilities in this regard of the luminaries of the Odesa choral school in the persons of K. Pihrov, D. Zahretskyi, L. Butenko and other well-known representatives. The methodological basis is the intonation approach of the school of B. Asafyev in Ukraine, comparative-hermeneutic and cultural prolongations of intonation in the works of D. Androsova, T. Verkina, O. Kozarenko, I. Kotliarevsky, I. Liashenko, Liu Binjan, O. Markova, O. Muravska, O. Sokolova, H. Shpak, V. Shulhina, with the use of scientific and research methods: art history-analytical, descriptive-historical, cultural-regionalist, religious studies, intellectualbiographical definition. The scientific novelty of the work is determined by the fact that, for the first time in Ukraine and abroad, the executive discoveries of the named great representatives of the Odesa choral school became the subject of analysis in the specifics of the understanding of individual techniques, stylistic findings, the separation of the regent component of the choir master's heritage according to the function of the semantic core of the executive expressiveness of choir management. Conclusions. For the first time in Ukrainian musicology, a distinguishing feature has been clearly drawn between the regent and choirmaster general principles of choral conducting, taking into account the applied nature of the former, but that which marks the genesis and attribution of choral vocals as a special meaning of expressing the ideal guidelines of the human worldview, while the artistic significance nourishes the choirmaster's work both in the temple and in concert-theatrical spheres. The "instrumental" levers of the choir master's activity as the adjustment of the "instrument" of the choral multi-level rhythmic sound are also highlighted - and the vocal-"speech" layer in particular. The first of them relies on the conductor's minimal gesticulations, while the second requires a certain plastic expressiveness of hand movements, but bypassing the self-importance of that "hand ballet", which under certain conditions interferes with the intonation accuracy of sound expression. For the first time, the question was raised about the intonation performance of the conductor's sound presentation at the level of training and performance of the choir master. [ABSTRACT FROM AUTHOR]

Italian university choirs typically welcome students, employees at the university, alumni and even external people. In fact, they constitute a significant example of intergenerational and intercultural group singing in that they enable interaction between people with different backgrounds in terms of age, gender, ethnicity, place of origin, language and class. This makes them a strategic standpoint from which to investigate group singing activities which are aimed at inclusivity, cooperation and music appreciation. Drawing on quantitative and qualitative data collected during 2018–19, shortly before the onset of the COVID-19 pandemic, this article investigates the positive benefits of singing for members of university choirs. More precisely, it argues that collective singing promotes the emotional, social and cognitive well-being of choristers. It discusses how these benefits are strongly associated with face-to-face interaction and direct personal participation in the choir, including but not limited to singing during rehearsals and concerts. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses articles in the issue on topics including concept of community music in the Italian context; the importance of music making in instrumental and vocal ensembles; and the theory and practice of music for social change.

Prayer in human life enables directing attention to God and a transcendent goal beyond Earthly life. Singing has been present in the life of Israel since the oldest times, which is proved on the pages of the Holy Scriptures, in the Books of Exodus and Psalms. In the New Testament, there is a lot of encouragement to sing the glory of God in psalms and songs, as well as praising God Most High in Revelation. The Catholic Church is concerned with the quality of liturgical music through a number of recommendations and requirements defining the pieces that may become a part of the liturgy. Liturgical choir singing is a special form of common prayer. The aim of the present paper is to examine the effect of prayer by choral singing on human flourishing. The aim was achieved by analyzing recommendations of the Church on liturgical music, presenting the assumptions of the theoretical model investigating the effect of art on human flourishing, and then conducting empirical studies. Sixteen in-depth interviews were carried out with members of fourteen choirs. There were four groups of respondents according to their gender and family status. All obtained codes were organized into five main themes with four subcategories. They confirmed the assumptions of the model presented in the theoretical part and made it possible to identify the effect of choral singing on the performers' health and the improvement of their skills. In addition, they showed a direct relation between prayer and spiritual well-being when singing in a choir, a coherence of activities with values as well as the striving for happiness. [ABSTRACT FROM AUTHOR]

The study aimed to determine the study feasibility of a weekly virtual community-based choral singing program and to explore the impact of weekly choral singing on resilience, anxiety, and benefit finding in cancer survivors. Six participants were recruited from the Survivorship Choir (SC), led by a board-certified music therapist and affiliated with a cancer center. Study participants attended their standard 90-minute rehearsals, which were conducted virtually because of COVID-19 pandemic restrictions. Researchers followed participants over eight weeks, collecting data at weeks one and eight. Five self-report instruments were used and included a researcher-designed Demographic Form. The Connor-Davidson Resilience Scale (CD-RISC-10) is a 10-item questionnaire assessing participants' resilience. The PROMIS: Emotional Distress-Anxiety Scale measured participants' anxiety levels, and the Carver Benefit Finding Scale assessed participants' benefit finding levels. The participant Feedback Form, designed by the researchers, assessed the study's feasibility and effectiveness. High attendance and completion rates demonstrated the study's feasibility. Choral singing led to a statistically significant increase in resilience (W = 0.00, p =.036, r rb = -1.00) between baseline (M = 28.33, SD = 7.20) and week 8 (M = 33.83, SD = 4.88), demonstrating a large effect. While not significant, anxiety and benefit finding trended in a desirable direction with large effects. The present study format was feasible during the COVID-19 pandemic. The study showed that community-based choral singing, even in a virtual format, may positively affect cancer survivorship by increasing resilience and benefit finding and alleviating anxiety. [ABSTRACT FROM AUTHOR]

This qualitative study explores the intricate dynamics between students' passion for music and their motivation in higher education music performance classes. Guided by Self-Determination Theory (SDT) and Social Cognitive Theory (SCT), the research involves in-depth interviews with fifteen undergraduate music performance majors. The study identifies five pivotal themes shaping students' motivation. The theme of personal music connections emphasises the profound impact of individualised relationships with music, highlighting the significance of nurturing personal and emotional dimensions within musical connections. Exposure to diverse musical styles emerges as a transformative factor, broadening students' musical horizons and significantly influencing their motivation. Involvement in extracurricular music activities is identified as a powerful motivator, providing real-world experiences that enhance students' passion for music performance. The theme of supportive interactions highlights the critical role played by educators, peers, and the overall learning environment in shaping students' motivation. Cultivating a strong personal bond with music accentuates the profound impact of an individualised and emotionally resonant connection with music on students' motivation within the educational context. These findings underscore the vital role of cultivating enthusiasm, providing diverse musical experiences, and fostering supportive environments to enhance motivation in higher education music performance classes. The implications extend to educators, enabling them to design more engaging and effective music programs, enriching the overall educational experience for students. [ABSTRACT FROM AUTHOR]

The article focuses on the debate on vibrato in choral singing, its historical context, and ongoing discussions. It emphasizes the synchronization of choral elements, historical perspectives, and contemporary discourse. It highlights the 2023 The American Choral Directors Association (ACDA) National Conference session on the feminine voice's fullness and the evolving narrative advocating for healthy vocal pedagogy amid the vibrato debate.

Several studies have been conducted that show the crucial role of active participation in music in health promotion (e.g. Dingle et al., 2021; Sheppard & Broughton, 2020); however, little research has focused on the biopsychosocial effects of choral singing. The present study aims to evaluate the effectiveness, in terms of improving physiological and psychosocial factors, of a choral program for middle-aged and older individuals. We integrated our study with qualitative observations of the atmosphere and flow state experienced by the choristers. The data were collected before and after 12 weeks of training, with 23 participants took part in the study. They experienced significant improvements in weight, oxygen saturation, heart rate, and satisfaction of psychological needs. A beneficial trend, although not statistically significant, were observed for blood pressure, cholesterol, triglycerides, stress, psychological needs, and mental health. The observations progressively revealed a more cohesive and focused group. Our findings support the potential for cross-disciplinary collaboration between healthcare and arts policy to promote and enhance health and well-being throughout the lifespan.

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 classicalromantic influence created a generous and varied repertoire. [ABSTRACT FROM AUTHOR]

In Estonia, choral singing is one of the most common hobbies across all age groups. The popularity of choral singing can be explained, amongst other things, by the positive impact of music on emotion regulation and mental well-being, and by the support of a strong group identity, also among vulnerable groups in society. At the same time, choral singing also involves public performances, which can cause discomfort in people with higher anxiety levels. In this case study of the Estonian LGBTQ+ mixed choir Vikerlased, the impact of singing on mental well-being was investigated using both qualitative (in-depth and focus group interviews, autoethnography, rehearsal and performance observation) and quantitative research methods (original questionnaire combined with the CAD-7 anxiety assessment tool). This article focuses on the analysis of quantitative data. The results revealed differences in participants' self-perceived anxiety and mood before and after the choir rehearsal and the performance. On average, mood scores increased while anxiety scores decreased, but only for performances was this change statistically significant. [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 offers information on Interest Sessions, which will be held at the American Choral Directors Association Eastern Region Conference, to be held in Providence, Rhode Island, from February 28-March 2, 2024. The sessions include Choral Teaching Strategies and Repertoire Ideas for Young/Beginning Singers, Choral Singing in America: Nurturing the Country's Soul, and Community Connections: Telling American Stories.

This paper discusses compositional methods and interpretive choices behind "new ancient music" for Euripides' Helen , how it supports or complicates the play's musical design as previously understood, and how a newly musicalized "choral plot" can affect audience experience, ancient and modern. It is intended to complement performance recordings and scores, materials which, taken together, may help one understand the ancient experience of Greek dramatic music generally, or to evaluate musical effects of this specific play. It may also be useful for restaging Helen with this music, or new compositions of one's own. [ABSTRACT FROM AUTHOR]

The antistrophic pairs of the choral odes of Aeschylus's Persians are frequently marked by close verbal and thematic parallels in a symmetrical fashion. This "strophic bonding" permits more precise speculation about the possible performative relation between strophic pairs in the choral odes of a play that culminates in the explicit display of parallel lamenting gestures in the concluding strophic pairs of the exodos. The repeated themes, sounds, gestures, images, and phrases in the play's strophic pairs serve as well to define and perform the changing relation between Persian royal leaders and their choral subjects in the play as a whole. [ABSTRACT FROM AUTHOR]

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The relevance of the studied issue is the need to identify the main trends in choral performance, and determine the principles of the work of conductors and choral artists in the context of renewal of the components in this field. The aim of the research is to study the problem of current global trends in the development of choral performance as a complex multifaceted and integral phenomenon. Its practical methods (audio search; audio selection; audio analysis) were used in the research. The aspects of modern choral performance (interdisciplinary; socio-cultural; as well as artistic management; professional training; modern engineering technologies; information and communication space; technologies aimed at preserving human and professional resources) were identified. The current components of activity in the field of modern choral art were established. The directions of modern choral practice were identified (activation of the musical group in the life of society; expansion of traditional executive functions; growth of the genre stylistic palette of the choral repertoire). The system of key modernized methods of interpreting choral works of the 20th and 21st centuries was studied (principles of intonation; the principle of expanding the range; the principle of enriching the technical means of interpretation; the principles of forming the performance texture; the principle of interpreting the verbal text in the context of the choral score; the principle of creating different types of sound). The general features of modern choral performance in Ukraine and in the world were studied. The results can be applied in the process of researching future choral performing practice and preparing the relevant studies. The prospects of research in this field of musical culture are to enrich the theoretical and practical sectors of choral art as a complex system which is open for updates. [ABSTRACT FROM AUTHOR]

There are considered the features of the Cherubikons as a special troparion in the system of Orthodox worship. It is emphasized that the singing of the Cherubikon is characterized by extraordinary splendor and solemnity; historically, it always stood out noticeably from other chants. It is indicated that the style of the Cherubikons of various stages of the development of the liturgical singing was influenced by the general style panorama of that era. It is determined that, despite this, during each of the historical eras, significant samples of the Cherubikon were created, which retain visible connections with the genre invariant, based on the reliance on the text, strophic and melodiousness. It is determined that the Cherubikons performed in churches today are stylistically simple, but very convenient for choral singing. Separately allocated spiritual music, written not for church use, but for concert performances by modern composers. It is revealed that Cherubikons songs written by modern Ukrainian composers belong to sacred music and have no direct links with liturgical practice. They are individual author’s implement of the canonical text. The musical language of these Cherubikons is extremely complex and involves the use of modern composition techniques. This allows composers to embody the symbolism of the content of the liturgical text and a new look at the traditions of Christian singing. [ABSTRACT FROM AUTHOR]

Bel canto singing style is a foundational cornerstone for vocal technique in choral ensemble classes. Yet there are reasons to question whether bel canto pedagogy alone can help students navigate the many different genres they sing as part of a diverse and balanced curriculum. This article examines the specific performance demands associated with arranged spirituals, global musics, and popular styles and some ways students might benefit from further study of Contemporary Commercial Music (CCM) voice pedagogy when singing such genres in choir. Strategies for enabling students to healthily engage with CCM genres are also recommended. [ABSTRACT FROM AUTHOR]

At Thesmophoriazusae 101–129 Agathon sings a choral song about the fall of Troy. The choice of this theme serves two purposes. First, it connects this scene to the larger plot of the comedy by alluding to the role that Euripides envisions for Agathon, namely that of his "Trojan Horse" at the Thesmophoria. Second, it enables Aristophanes to make fun of Agathon by calling to the audience's mind a famous failure of his, as the later testimony of Aristotle demonstrates. [ABSTRACT FROM AUTHOR]

This article provides a review of a recording of Giuseppe Verdi's opera "Il Corsaro" by the ensemble Europa Galante. The review discusses the orchestration and performance of the ensemble, as well as the individual performances of the principal singers. It highlights the strengths and weaknesses of each performer and provides an analysis of their interpretations. The review also comments on the choir's performance and the supplementary materials included in the album. Overall, the article suggests that the recording offers an opportunity to reflect on historical performance practices and the value of melodramatic choices in opera. [Extracted from the article]

The article focuses on the resurgence of the concept of belonging in various settings, including schools and universities. Topics discussed include the psychological research on belonging, its importance in choral music, and future considerations for fostering belonging in choral contexts. It discusses the American Choral Directors Association's 2023 National Conference theme, "A Place of Belonging," underscores belonging as a critical companion to access, diversity, equity, and inclusion.

The article focuses on philanthropic and fundraising suggestions for American Choral Directors Association student chapters, emphasizing the importance of blending musical experiences with community impact. Topics discussed include setting fundraising goals, financial considerations, and diverse strategies such as concerts, choir festivals, educator workshops, singing telegrams, GoFundMe campaigns, scholarships, grants, university support, and volunteer opportunities.

The article focuses on the importance of considering the singer's experience in choral rehearsals, emphasizing the impact on conductor effectiveness and ensemble quality. Topics discussed include efficient rehearsal techniques for vocal health, repertoire selection based on vocal demands, and the significance of gestures, vocal modeling, and auditions in fostering a holistic approach to choral singing.

The article focuses on strategies for enhancing the choral rehearsal experience, emphasizing the importance of efficiency, effectiveness, and enjoyment. Topics discussed include repertoire selection criteria, balancing difficulty levels, theming concerts, creating rehearsal plans, and utilizing technology and internal leadership.

This paper discusses the development of music lessons for adults in a non-professional choir. Based on the Kodály Concept, the lessons took place from April 2019 until March 2020. The singers and conductor engaged in shared research practices, tracking teaching and learning experiences through journaling and sharing our writings. Through this sharing, we have discussed the activities that are most enjoyable, difficulties we have encountered, and ways to overcome these difficulties. The data has important implications for my own practice as a music teacher and conductor, in addition to resonating with topics such as critical geragogy and life-long learning in non-academic contexts. Furthermore, shared research practices give adult learners an opportunity to actively engage in teaching and learning processes, with implications for future projects that include adult music education in nonacademic contexts. [ABSTRACT FROM AUTHOR]

The article suggests strategies to help choral directors demystify vocal improvisation in the jazz choir setting. These include making students sing variation on the melody and encouraging them to stretch by adding ornaments or melodic modifications, having students sing the bass roots of every chord to make them comfortable with harmony, having students sing based on the tonic scale associated with the key signature, and encouraging students to listen to vocal improvisers.

The article discusses the highlights of the panel discussion, titled Creating Choral Community: Coming Together in Song, presented at the 2022 American Choral Directors Association (ACDA) Eastern Region Conference in Boston, Massachusetts. Topics included limitations in musical collaborations, importance of looking at the history of slavery out of which the Spirituals emerged, injustices perpetuated against choral communities, coexistence of ethnic pride and humanism in choral communities.

The article presents a content analysis of articles on treble repertoire for soprano and alto choirs published in the journal from 1966 to 2019. Findings indicate divergent accompaniment types, challenges on utilizing repertoire for treble choir types, majority of recommended pieces were from the Romantic period and 20th-century, majority of repertoire identified as intermediate- to advanced-level literature, and lack of diversity in composers.

The article presents a guide for choral conductors to teaching the oratorio "Messiah" by George Frideric Handel, including choral pedagogical tools and vocal exercises. It discusses metric accentuation, articulation in macro- and micro-phasing, rhythmic alterations and notes inégales, consonant placement and rhythmic alteration, dynamic markings and communicating rhetorical gestures in study guides. Sequential technical exercises for vocal agility and accuracy in Florid music are provided.