1,723,760 research outputs found
Recommended from our members
Blessed are They . . . (Celebrating the 75th Anniversary of the A Cappella Choir)
No full textA Cappella Choir concert performed at the UNT College of Music Winspear Hall
Modern a cappella-pop and showchoir methods for the classically trained music educator
Full text linkMaster of MusicDepartment of MusicJulie YuUniversity choral music education programs commonly focus on training music educators in the Western Classical tradition, however, the evolving landscape of popular music requires an additional set of skills and experiences that are not a part of the standard curriculum. A cappella groups with vocal percussion and show choirs are increasing in demand due to the popularity of modern vocal music entertainment with television shows such as “Glee” and “The Sing-off” and performing groups such as “Pentatonix” and “Straight No Chaser.” With limited available literature and training, current and future musical educators face the problem of having to acquire these skills on their own. While ensembles dedicated to singing popular music are nothing new, the technical aspects of developing an ensemble that meets the high performance expectations of modern audiences can be intimidating. This report intends to cover the requisite techniques, skills, and resources that modern a cappella pop choirs and show choirs utilize to be successful.
The report covers these topics: 1) a brief survey of the historical origins of choral vocal pop and show choir ensembles 2) defining the purpose, intent, and nature of such ensembles 3) show choirs, pop a cappella choirs, and hybrids 4) roles, responsibilities, and personnel assignment 5) music selection, arrangement, and programming 6) the decision to perform live, with a pre-recorded track, or a combination 7) use of audio and recording equipment in performance 8) rehearsal techniques 9) artistic and stylistic decision
A cappella ear training: bringing theory and aural skills together via singing in a jazz program environment
Full text linkAs jazz study has become an established branch of the tertiary music landscape, disquiet has arisen in some quarters about the 'mechanical' way in which improvisation is taught. This study examined the ways in which singing in an a cappella harmony group affected the improvisational abilities of tertiary level jazz students. Over three semesters, students participated in a method developed by the author known as 'A cappella Ear Training' (AET). AET was used to test the author's assumption that learning to sing in harmony with other voices and without recourse to the mechanics of any instrument would improve the ability of the students to internalize the theoretical information with which they were being presented in all areas of the course. The research used a qualitative approach, and drew on data generated through participant-observation and interview techniques. Students were observed throughout the course, with the author making field notes on the practice of the class session. Further interviews with some participants were conducted to ascertain the students' perception of the AET approach. Analysis of the data confirmed that AET enabled the development of a theoretically informed practice whereby the participating students came to recognize concepts in practice and performance
ACU A Cappella Chorus and ACU Alumni Chorus
No full textSummit 2019 begins with a joint concert featuring the A Cappella Chorus and Alumni Chorus. It is a lovely way to begin, with hundreds of voices representing Christians from three generations, joining with us in worship to our God and creator
A cappella singing in vocal groups and its use in music education
No full textThe bachelor thesis deals with a cappella singing and its use in vocal groups. The theoretical part of this bachelor defines the terms a cappella, vocal groups and vocal music. Briefly describes the history of development of vocal groups and more closely characterizes the groups that engage in a cappella singing: The Real Group, Pentatonix, 4TET and Skety. This list is concluded by the group My, písnička, of which the author of the bachelor thesis is a member. The practical part of the presented bachelor thesis represents project teaching as a proposal for the application of a cappella themes in the music education process. The result is methodical sheets that use songs of the group My, písnička and serve as a manual for working with a capella repertoire for future and existing teachers. The practical part of the bachelor thesis concludes with a questionnaire survey, which completes the overall picture of the students' orientation in the a cappella theme
2018 Spring A Cappella Concert program
No full text2 p.Program for the 2018 spring a cappella concert titled "Discover Weekly: A Cappella Edition". The show included performances by The Limelights, ACAPOC, Premium Orange, and The Kalamadudes
A cappella und die Macht der Definition
No full textIn der Szene von A-Cappella-Ensemblegesang ist der A-Cappella-Begriff keineswegs statisch, sondern unterliegt einem kontinuierlichen Wandel, da er von den Akteuren der Szene – Fans, Sängerschaft und Produzenten – immer wieder neu ausverhandelt wird. Die vorliegende Arbeit erforscht die Wechselwirkungen zwischen diskursiver Begriffsformation und musikalischer Praxis mit dem Ziel, die verschiedenen diskursiven Positionen in der Szene hinsichtlich der begrifflichen Bedeutungsinhalte von a cappella herauszuarbeiten, und die komplexen Machtstrukturen zwischen den Akteuren der Szene aufzudecken.
Als Hauptinformationsquelle dienen mir qualitative Einzel- und Gruppeninterviews mit Mitgliedern von A-cappella-Ensembles und mit LeiterInnen von A-cappella-Festivals als Gewährspersonen der Szene. Ich ergänzte die Materialsammlung weiters um die teilnehmende Beobachtung von Live-Auftritten der befragten Ensembles, um ausgewählte Songtexte sowie Webseiten von institutionalisierten Veranstaltungen und Vernetzungsplattformen für Fans.
Für die Zusammenstellung des Datenkorpus und die Analyse des gesammelten Forschungsmaterials orientierte ich mich methodisch an der kritischen Diskursanalyse nach Siegfried Jäger. Den abgesteckten Rahmen für die Diskursanalyse bildet die Szene von
A-Cappella Ensembles im deutschsprachigen Raum zum Zeitpunkt der Forschung. Basierend auf meinen persönlichen Erfahrungen als A-Cappella-Sängerin und Fan, welche ich im Stil einer Autoethnographie reflektierte, traf ich a priori die Annahme, dass eine solche Szene existiert. Als ein erstes Ergebnis der Forschungsarbeit wird daher die Existenz der Szene basierend auf dem theoretischen Konzept von Andy Bennett und Richard Peterson verifiziert, und die Szene in Form einer ethnographischen Darstellung deskriptiv und überblicksartig dargestellt.
Anschließend werden die diskursiv verhandelten Bedeutungsinhalte des A-Cappella Begriffs, also die ideellen Grundlagen der Szene, im Stile einer dichten Beschreibung nach Geertz auf semantischer Ebene analysiert. Die Wechselwirkungen zwischen diskursiver Formation des A-Cappella Begriffs und der musikalischen Ensemble-Praxis werden in der Gestalt von polarisierenden Diskurs-Positionen strukturiert zusammengefasst, um Antworten auf die folgenden Fragen zu finden: Inwiefern wirken sich unterschiedliche Begriffsauslegungen konkret auf die Ensemblepraxis aus? Welche Strategien entwickeln die Akteure zur Behauptung ihrer Diskursposition vor dem Hintergrund einer zunehmenden Kommerzialisierung der Szene seit der Jahrtausendwende? Und nicht zuletzt – Wer hat in der Szene die Macht zur begrifflichen Normierung, und damit die Macht der Definition inne, was a cappella in Bezug auf die musikalische Praxis bedeutet?In the scene of a cappella groups in German speaking countries the notion of
“a cappella“ is by no means static, but is subject to permanent change because it is permanently renegotiated by fans, group singers and producers. This master thesis explores the interactions between discursive conception and musical practice of
“a cappella“ with the aim of elucidating the different discursive positions into conceptual meanings of the scene and revealing the complex power structures underlying the a cappella discourse. I specifically emphasize the discursive position of music industry and mass media in order to unfold to which extent they exercise power in order to implement “a cappella” as a label. On the other hand, I’m explaining various strategies that a cappella groups and fans use to assert their discursive position.
My findings are primarily based on my own field research, using interviews, participating observation and my own personal experience as an amateur a cappella singer. The data corpus was further supplemented by selected song texts as well as institutional websites, networking platforms for fans and media articles. The critical discourse analysis according to Siegfried Jäger served me as central method for the compilation and analysis of my research material
Recommended from our members
[A Cappella Choir group shot]
No full textPhotograph of the A Cappella Choir standing on stage
- …
