Eight traditional English carols /

Preface in English by the composer.

The Phi Kappa Psi song book /

For unacc. chorus or solo voice with piano acc.

Only begotten Son : the hymn of Justinian /

Caption title.

The new Yale song-book : a collection of songs in use by the Glee Club and students of Yale University /

Includes photographs of the Yale campus.

Negro folk-songs.

Forewords by Natalie Curtis Burlin.

The Boston Academy's Collection of church music : consisting of the most popular psalm and hymn tunes, anthems, sentences, chants, &c. old and new ... /

Includes index.

Popular choir collection of anthems for general use.

For chorus (SATB) with piano.

Building Resonance

Thesis (Master's)--University of Washington, 2016-06

3D Reconstruction of Cultural Values at the Regional History Museum-Veliko Tarnovo

The project paper presents the work done by the Regional History Museum – Veliko Tarnovo (RHM) on 3D reconstruction of cultural values and objects from the Veliko Tarnovo region – the St Peter and St Paul church in Veliko Tarnovo, the chorus of the metropolitan Nativity church in Arbanassi and the St. Dimitar church in Arbanassi.

Vertical attenuation of light predicts the sequence to dawn song in a tropical forest avifuana

The concentration of avian song at first light (i.e., the dawn chorus) is widely appreciated but has an enigmatic functional significance. The most widely accepted explanation is that birds are active but light levels are not adequate for foraging. As a consequence, the time of first song should be predictable from the light level of individuals singing at dawn. To test this, I collected data from a tropical forest of Ecuador, involving 130 species. Light intensity at first song was a highly repeatable species' trait (r = 0.57). Foraging height was a good predictor of first song, with canopy birds singing at lower light levels than understory birds (r = -0.62). Although light level predicts the onset of singing in tropical and temperate bird communities, the structural complexity and trophic specializations in tropical forests may exert an important influence, which has been overlooked in research conducted in the temperate zone.

Lutèce: symphonie dramatique

Le départ -- Le champ de bataille -- Après la défaite.

Les argonautes: symphonie dramatique

poême & musique par Augusta Holmès ; partition pour piano et chant.

Fest-Chor zur Enthüllung des Mozart-Denkmals in Salzburg: aus Compositionen des Gefeierten

zusammengestellt, instrumentirt, und mit einem passenden Texte versehen von dessen Sohne W.A. Mozart..

A.A. Milne - When We Were Very Young : cycle éclectique de chansons pour enfants, chanté par des enfants

Les fichiers qui accompagnent mon document on été réalisés avec les logiciels Microsoft Word et Finale.

Teaching Sight-Reading to Undergraduate Choral Ensemble Singers: Lessons from Successful Learners

This study was designed to investigate professional choral singers’ training, perceptions on the importance of sight-reading skill in their work, and thoughts on effective pedagogy for teaching sight-reading to undergraduate choral ensemble singers. Participants in this study (N=48) included self-selected professional singers and choral conductors from the Summer 2015 Oregon Bach Festival’s Berwick Chorus and conducting Master Class. Data were gathered from questionnaire responses and audio recorded focus group sessions. Focus group data showed that the majority of participants developed proficiency in their sight-reading skills from instrumental study, aural skills classes, and through on-the-job training at a church job or other professional choral singing employment. While participants brought up a number of important job skills, sightreading was listed as perhaps the single most important skill that a professional choral singer could develop. When reading music during the rehearsal process, the data revealed two main strategies that professional singers used to interpret the pitches in their musical line: an intervallic approach and a harmonic approach. Participants marked their scores systematically to identify problem spots and leave reminders to aid with future readings, such as marking intervals, solfege syllables, or rhythmic counts. Participants reported using a variety of skills other than score marking to try to accurately find their pitches, such as looking at other vocal or instrumental lines, looking ahead, and using knowledge about a musical style or time period to make more intuitive “guesses” when sight-reading. Participants described using additional approaches when sight-reading in an audition situation, including scanning for anchors or anomalies and positive self-talk. Singers learned these sight-reading techniques from a variety of sources. Participants had many different ideas about how best to teach sight-reading in the undergraduate choral ensemble rehearsal. The top response was that sight-reading needed to be practiced consistently in order for students to improve. Other responses included developing personal accountability, empowering students, combining different teaching methods, and discussing real-life applications of becoming strong sight-readers. There was discussion about the ultimate purpose of choir at the university level and whether it is to teach musicianship skills or produce excellent performances.