Color Formation of Musical Compositions of Children’s Choir “Vocalista Angels”

Vocalista Angels Children's Choir is one of the children's choir groups in Klaten Regency, Central Java, Indonesia, established in 1997. Most of the members are children from villages who do not understand singing techniques correctly or conform to classical vocal techniques. So that when practicing, this group has a different method from the classical vocal method that is standard in their coaching. This study seeks to reveal the typical character traits and the principles in practice to produce a unique character distinctive. The method in carrying out this research is mostly in the form of observations involved in data collection. Written records and audiovisual recordings are the most likely ways to obtain valid data. This method produces descriptive data in the form of written, spoken, or musical words for the group members who are the object of observation. As a result, in terms of sound production, it is very clear that phrasing, articulation, resonance, and intonation are important concerns in every practice in choral processing. In the final packaging of production, this group pays serious attention to dynamics, interpretation, and expression. This kind of knowledge is very useful for developing productive and practical knowledge for the presentation of music, especially the production of music in a chorus that has complexities that are not simple.

The Political Religion of Communism in Hungarian Children’s Choir Compositions between 1958–1989

Like all cultures, totalitarian regimes develop their own symbols and rituals. As such symbols, music and music making play an important role in expressing values, norms of the community, as well as in providing models for living in it (Geertz, 1973). They are especially valuable tools for educating children. This paper summarizes the result of a pilot study in the lyrics of choral pieces for children, that were distributed along with the state-published methodological journal, Énektanítás [Teaching Singing] and its continuation, Az ének-zene tanítása [Teaching Singing-Music] between 1958–1989. Using political religion (Gentile, 2006) as conceptual framework for content analysis, the study presents: 1) how different characteristics of the communist doctrine appeared in the lyrics of choral pieces and 2) how they changed over time, outlining the life-cycle of the regime itself from militant mass movements to giving place to expressions of individualism and alternative faiths until it would dissolve in the end.

Negotiating an Unequal Partnership: The Korean Children’s Choir 1954 U.S. Tour and Syngman Rhee’s Diplomacy

Most studies of U.S. cultural diplomacy focus on the ways that the United States has leveraged cultural events to achieve its own political ends. The present article takes a slightly different approach in its analysis of the 1954 Korean Children’s Choir (kcc) tour of the United States. Using copious documentary sources and interviews the author has conducted with former child choristers, it traces how Republic of Korea (rok) President Syngman Rhee used this high-profile cultural event to create a new opening to advance his goals in his complicated diplomatic relations with the United States. At the close of the Korean War, the rok was a war-ravaged nation with little power in dealing with its patron superpower. Deploying personal connections and propaganda skills that he had cultivated during decades of living in exile in the United States, Rhee orchestrated the kcc’s tour of the United States, and the visit helped Rhee gain new footing in negotiating the rok’s unequal partnership with the United States. This detailed socio-historical and musicological account shows how both President Rhee and the choristers were active and effective agents in striving to put the rok front and center in the imaginations of Americans and impress upon them its cultural gravitas and strategic importance.

The role of the Conductor of children choir in the improvement of Interpersonal Communication through Music

Choral singing is a complex and multifactorial activity, it is a group activity in which participants are actively involved through music and are able to transmit varied touches of human psychoemotional states. The conductor of a children’s choir must have a complex personality, he must be a passion-filled musician, a teacher, a psychologist, he must have psychosocial competences and leadership abilities. In the conductor-choir relationship, the interaction of the conductor’s self with the members of the choir is of distinct importance. In order to increase the quality of said relationship, which is the basis of a remarkable artistic performance, a new method has been approached: the Johary Window model, which can be applied by the conductor in order to obtain a viable communication between the members of the choral ensemble

Organization of choir singing in churches as a means of raising and developing children

The article deals with the study of historical aspects of children's choir singing in church tradition. The author considers characteristic features and origins of children's church choir singing. The reasons for using children's choir singing in Christian churches are investigated. The author characterizes the features of the conditions for utilization of children's choir singing in Christian churches. The distinction between children's church choir singing in the Orthodox East and Catholic West is shown. Children's choirs in Catholic churches were formed mainly from among orphan boys from orphanages at temples or monasteries. In the Catholic society of that time, childhood was not yet considered as a special status. Social assistance to children was included in the general program of care for unprotected segments of the population. However, they were destined for a compulsory religious education. In Orthodoxy, choir singing, along with the ability to read and write, was considered a necessary factor in the education of the ruling class and literate clergy. Thus, a more meaningful and profound educational program for future adults was introduced. In conclusion, the author states that children's choir singing, while being closely associated with church traditions and practice, introduces children to anagogic, educational and spiritual processes of the church ceremony.

ENSEMBLE IN THE BANDURA ART IN THE CENTER OF THE UKRAINIAN DIASPORA: CULTURAL-HISTORICAL ASPECTS OF DEVELOPMENT

The article analyzes the ensemble work of the diaspora bandura players. It is noted that ensemble music has its origins in the so called “kobzarism” in Ukraine. The development of bandura art in the diaspora of the twentieth century occurred differently. This is due to the chronological, spatial, geographical and cultural factors of the countries of the world where the bandura cells were located. The history of the appearance of Ukrainian bandura players on the territories of other continents is covered, and the emigration waves that became the impetus for the development of bandura art abroad are mentioned. The leading bandura ensembles of the diaspora were analyzed – the Taras Shevchenko Bandura Band (Detroit), the Canadian Bandura Band, the Gnat Khotkevych Bandura Ensemble (Toronto), and the Maiden Bandura Band. P. Orlyk (Detroit), ensemble “Haidamaki”, children’s choir “Golden Strings” and their cooperation with various groups both in the diaspora and in Ukraine. The article also describes the repertoire, tools and their modifications in connection with certain historical events. It is noted that the Ukrainian theme became the basis for the repertoire of the diaspora bandura players – Ukrainian folk songs, patriotic, Cossack, Duma, spiritual works, carols, works of Ukrainian composers, instrumental melodies and others. The names of famous bandura masters abroad are mentioned. Ensemble performance of non-mainland Ukraine is associated with the names of many artists, including Vasyl Yemets, Mykhailo Teliga, Hryhoriy Kytasty, Hryhoriy Nazarenko, Stepan Hanushevsky, Volodymyr Lutsyv, Viktor Mishalov, Olga Gerasimenko-Oliynyk and Yuriy Oliynyk. The article mentions the close cooperation of bandura ensembles and representatives of choral and vocal art. The concert life of famous bandura groups of the diaspora and their artistic achievements are described. It is also noted that the ensemble art of the diaspora is currently actively studied by scholars of the diaspora and Ukraine.