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http://nbn-resolving.de/urn:nbn:de:hbz:061:3-22417
Die Steilmann Unternehmensgruppe meldete im Frühjahr 2016 Insolvenz aufgrund von Zahlungsunfähigkeit an. Bereits mehrere Jahre vor der Insolvenz wurden Probleme der Textilbranche und des Unternehmens in der Presse behandelt. Die vorliegende Arbeit soll die Entwicklung der Krise des Unternehmens beschreiben und mögliche Alternati-ven entwickeln und...
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Objective
In choral performance, a wide variety of musical expression is required to deliver the worldview of the work to the audience. Singers need to regulate their mind-body to be in the optimal state, which includes relaxed concentration and flexible kinesthetic controllability in sensation, expression, and vocalization, for the chorus. Therefore, a choral warm-up focused on the mind-body could be crucial for various musical expressions. However, what kind of warm-up helps the singer achieve the optimal condition for the chorus remains unclear. Here, we investigated the effects of a warm-up method focusing on breathing, physical movement, imagery, and the combination of those factors on singing performance.
Method
Twenty-five choral singers were randomly assigned to five groups, and then singers for each group online conducted one of five warm-up conditions (breathing / stretching / imagery work / all works / control) and performed singing tasks to evaluate singing performance, including sensation, expression, and vocalization, both subjectively and objectively. Changes in mood were also measured using the second edition of the Profile of Mood States.
Results
The results showed that the warm-up with imagery work or all works could objectively and subjectively enhance singing performance. By contrast, the warm-up with breathing or stretching did not significantly improve performance, but did enhance subjective evaluations in general. In addition, no significant correlations were found between the objective performance evaluations and changes in individual mood.
Conclusions
These results suggest that a warm-up focusing on mind-body interventions, especially imagery work, may enhance choral performance, thereby providing new insight for the establishment of more effective choral warm-up methods.
Objective
The purpose of this study was to replicate a previous investigation to assess with two intact children's choirs and a high school choir the potential effects of three choral warm-up procedures (vocal-only, physical-only, physical/vocal combination) on acoustic and perceptual measures of choral sound.
Methods
The researchers tested three videotaped, 5-minute, choral warm-up procedures on two children's and one high school choir. After participating in a warm-up procedure, each choir was recorded singing a folk song for long-term average spectra and pitch analysis. Singer participants responded to a questionnaire about preferences after each warm-up procedure. Warm-up procedures and recording sessions occurred during each choir's regular rehearsal time and in each choir's regular rehearsal space during three consecutive rehearsals.
Results
Long-term average spectra results demonstrated more resonant singing after the physical/vocal warm-up for two of the three choirs. Pitch analysis results indicated that two of the three choirs sang “in-tune” after participating in the physical/vocal warm-up and two choirs sang “in-tune” after participating in the physical-only warm-up. Singer questionnaire responses showed a preference for the physical/vocal combination warm-up, and singer ranking of the three procedures indicated the physical/vocal warm-up as the most favored for readiness to sing.
Conclusions
This study replication indicates similar conclusions as the original investigation with university choruses: a combination choral warm-up that includes both physical and vocal aspects is preferred by singers of all ages, enables more resonant singing, and more in-tune singing. Findings from these investigations provide choral educators with compelling information concerning efficient and effective choral warm-up procedures.
