Sverker Zadig

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Ledarna i kören

IN WESTERN EUROPEAN choral traditions, the ambition of most choirs is to attain an equalized blend of sound and to perform well together with regard to timing and intonation. In order to be able to synchronize this the choir members need to cooperate musically and listen to each other. Choirs often have close bonds, both socially and with regard to their common musical aim to perform well in concerts.The aim of this doctoral thesis is to explore and describe musical cooperation between choral singers. A reason to join and sing in a choir may be that you don’t have to be a soloist but rather can fit in the weave of voices, relying on other choir singers for support.This thesis focuses on the existence of informal leaders in the choral voice, a field that has so far not been very much researched. The thesis is built on four articles focusing in different ways on informal leaders. The research has been carried out as qualitative studies based both on interviews and on recordings of choral singers.Article I was an interview study on how experienced Swedish choral conductors understand musical collaborations between the singers and consequences of such collaborations for choral work. Article II and III both examined how singers act in the choir while singing together. Article II was trying out a method to record the individual singers on separate tracks by using head-set microphones and then by using a computer software converting these tracks into graphs that could be analysed. By way of this method, Article III examined how individuals can take the lead and how other singers follow along. Finally, Article IV was built on focus group interviews with stimulated recall from earlier sessions with the singers.As a theoretical framework, Communities of Practice as presented by Wenger was used. The results showed that there are informal leaders in the choral voices, although sometimes they are not even aware of this themselves. Also, the social practice field was useful to find that choral singers and choirs share the three main concepts of (i) mutual engagement, (ii) joint enterprise and (iii) shared repertoire.Highlighting informal musical leadership in choirs can help improve choral work and to develop choirs with regard to precision, articulation and blend, aspects that can be controlled by an informal musical leader.

10. JOHAN SÖDERMAN Rap(p) i käften. Hiphopmusikers konstnärliga och pedagogiska strategier, Malmö 2007. Pp 238.11. Karin Johansson: Organ improvisation – activity, action and rhetorical practice, Malmö 2008. Pp 208.12. Anders Ljungar-Chapelon: Le respect de la tradition. Om den franska flöjtkonsten: dess lärande, hantverk och estetik i ett hermeneutiskt perspektiv, Malmö 2008. Pp 246.13. Ingemar Fridell: Talk on Musical Interpretation – Visual Tools for Perceived Dynamics and Points of Gravity, Malmö 2009. Pp 266.14. Kristina Holmberg: Musik- och kulturskolan i senmoderniteten: reservat eller marknad?, Malmö 2010. Pp 232.15. Ylva Hofvander Trulsson: Musikaliskt lärande som social rekonstruktion. Musikens och ursprungets betydelse för föräldrar med utländsk bakgrund, Malmö 2010. Pp 219.16. Anna Houmann: Musiklärares handlingsutrymme – möjligheter och begränsningar, Malmö 2010. Pp 252.17. Sven Bjerstedt: Storytelling in Jazz Improvisation. Implications of a Rich Intermedial Metaphor, Malmö 2014. Pp 379.18. Lia Lonnert: Surrounded by Sound. Experienced Orchestral Harpists’ Professional Knowledge and Learning, Malmö 2015. Pp 248.19. Karl Asp: Mellan klassrum och scen – en studie av ensembleundervisning på gymnasieskolans estetiska program, Malmö 2015. Pp 180.20. Pia Bygdéus: Medierande verktyg i körledarpraktik – en studie av arbetssätt och handling i körledning med barn och unga. Malmö 2015. Pp 226.21. Sverker Zadig: Ledarna i kören – Vokala samarbeten mellan körsångare, Malmö 2017. Pp 216.Subscription to the series and orders for single volumes should beaddressed to: Malmö Academy of Music, Box 8203, SE-200 41 Malmö,Sweden

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