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Music viewed from the real praxis could trigger positive religious emotions as the path of beauty in those searching for the meaning of life or the higher one in God. The article aims to encourage interdisciplinarity in teaching Catholic RE in Croatia, presenting many benefits of music and examples of positive practices that music can encourage in students. The main purpose of this paper, after recognizing the needs and difficulties of interdisciplinary teaching primarily for teachers in Croatia, is to create a model of implementing music content efficiently in Catholic religious education (RE) in Croatia. The research finds the necessity to unite experts from three fields to make interdisciplinary teaching efficient and progressively constructive: religious education pedagogy and music pedagogy combined with music practice itself through professional conductors. Nevertheless, the text seeks to expose an easily applicable model that leads to efficient and progressive interdisciplinary teaching, which is also the main aim of the work. The research is significant as this model could be examined in different subject areas, highlighting that singing in class could encourage religious sensibility and help improve spiritual and religious competencies. The research findings showed that the advantages and specifics of choral singing could be integrated into the religious education curriculum, making RE more dynamic and challenging for students. The research is based on a literature review, a data analysis, as well as participant observation (teacher and conductor) as methods to prove advantages and possibilities of how to implement music into the RE curriculum.

This paper observes the formation of the ‘learned musical taste’ and the added cultural capital of communal music making in a UK Bach choir. Data were collected through semistructured interviews and a paper-based survey. Findings indicate two key elements in terms of influences of choral singing on musical taste and preferences: a) the effects of family history, early concert experiences and encouragements on musical preferences and identities. b) the ‘learned appreciation’ of new (or previously disliked) music, periods, composers, genres through the cultural production of a choral performance. Findings did not indicate a correlation between musical taste and formal music education. Cilj je ovog rada promatrati formiranje ‛učenog glazbenog ukusa’ i dodanog kulturnog kapitala u kontekstu zajedničkog muziciranja u amaterskim zborovima. Rezultati proizlaze iz studije o engleskom zboru koji izvodi Bachova djela. Podatci su prikupljeni putem polustrukturiranih intervjua i pismenih anketa; međutim, ovaj je rad fokusiran na pojedinačne glazbene povijesti sudionika. Nalazi upućuju na dva ključna elementa u smislu utjecaja zborskog pjevanja na glazbeni ukus i sklonosti pjevača: kao prvo, važnost i učinci obiteljske povijesti na glazbene preferencije sudionika i razvoj pozitivnih glazbenih identiteta; osobito interes roditelja, članova obitelji te poticaj članova obitelji i nastavnika glazbe, kao i rana iskustva pohađanja koncerata. Kao drugo, kroz sudjelovanje u zborskoj izvedbi pjevač ‛uči cijeniti’ novu glazbu, nova djela, čak i nova glazbena razdoblja, skladatelje, stilove i/ili žanrove (‛učeni glazbeni ukus’), pri čemu mu se počinje sviđati glazba kojoj ranije nije bio naklonjen, stvarajući grupno favoriziranje i sudjelovanje u kulturnoj produkciji zborske izvedbe. Rezultati o glazbenim preferencijama sudionika nisu pokazali nikakvu povezanost između glazbenog ukusa i razine formalnog glazbenog obrazovanja .

iRooted in the experience of a professional choral conductor, this book provides a guide to practical issues facing conductors of choral ensembles at all levels, from youth choruses to university ensembles, church and community choirs, and professional vocal groups. Paired with the discussion of practical challenges is a discussion of over fifty key works from the choral literature, with performance suggestions to aid the choral conductor in directing each piece. Dealing with often-overlooked yet vital considerations such as how to work with composers, recording, concert halls, and choral tours, A Practical Guide to Choral Conducting offers a valuable resource for both emerging choral conductors and students of choral conducting at the undergraduate and graduate levels.ii iii

The aim of the study was to describe singing voice handicap in the Croatian professional and amateur classical singers. This cross-sectional study included 69 professionals (median age 47.5 interquartile range 42.0-55.8 years) and 41 amateurs (median age 30.0, interquartile range 25.0-41.0 years). Participants completed the Croatian version of the Singing Voice Handicap Index (SVHI-36), self-rated the severity of singing voice problem on another scale and answered questions about their age, gender, voice type and self-perceived average number of singing hours per week in the past three months. Cronbach’s alpha of the Croatian version of the SVHI was 0.97 in amateurs, and 0.98 in professionals. SVHI scores significantly differed across the categories of self-perceived singing voice problem in amateurs (P=0.001) and professionals (P<0.001). Median SVHI score was 16.7 (interquartile range 7.6-29.2) in amateurs and 13.8 (interquartile range 5.9-30.2) in professionals. Higher SVHI score was associated with more severe self-perceived singing voice problem in amateurs (ρ=0.63, P<0.001) and professionals (ρ=0.68, P<0.001). Amateurs and professionals did not significantly differ in the self-perceived singing voice problem (P=0.698), nor the SVHI score (P=0.538). Compared to the professionals, amateurs more often reported voice breaks (P=0.009) and the trouble with loud singing (P=0.020), and were less concerned about losing money because of their singing problems (P=0.022). Croatian classical singers mostly had mild singing voice problems. Voice difficulties in amateurs indicate the importance of learning vocal technique. It is necessary to balance work commitments with vocal rest to preserve workability in professional classical singers. Cilj istraživanja bio je opisati poteškoće pjevačkog glasa u hrvatskih profesionalnih i amaterskih klasičnih pjevača. U ovo presječno istraživanje uključeno je 69 profesionalnih pjevača (medijan dobi 47,5, interkvartilni raspon 42,0-55,8 godina) i 41 amaterski pjevač (medijan dobi 30,0, interkvartilni raspon 25,0-41,0 godina). Sudionici su ispunili hrvatsku verziju Indeksa vokalnih poteškoća pjevača (engl. Singing Voice Handicap Index, SVHI-36), samostalno su ocijenili ozbiljnost poteškoća s pjevačkim glasom na drugoj skali, odgovorili su na pitanja o svojoj dobi, spolu, vrsti glasa te procijenili prosječan tjedni broj sati pjevanja u prethodna tri mjeseca. Cronbachov koeficijent pouzdanosti hrvatskog verzije indeksa SVHI bio je 0,97 u amatera i 0,98 u profesionalaca. Rezultati indeksa značajno su se razlikovali među stupnjevima samoprocijenjenih poteškoća s pjevačkim glasom u amatera (P=0,001) i u profesionalaca (P<0,001). Medijan rezultata indeksa SVHI bio je 16,7 (interkvartilni raspon 7,6-29,2) u amatera i 13,8 (interkvartilni raspon 5,9-30,2) u profesionalaca. Veći rezultat indeksa SVHI bio je povezan s težim samoprocijenjenim poteškoćama s pjevačkim glasom u amatera (ρ=0,63, P<0,001) i profesionalaca (ρ=0,68, P<0,001). Amateri i profesionalci nisu se značajno razlikovali u samoprocijenjenim poteškoćama s pjevačkim glasom (P=0,698) niti u rezultatu indeksa SVHI (P=0,538). U odnosu na profesionalce, amateri su češće prijavili pucanje glasa (P=0,009) i poteškoće s glasnim pjevanjem (P=0,020) te su se manje brinuli za gubitak novca zbog poteškoća s pjevanjem (P=0,022). Hrvatski klasični pjevači većinom su imali blage poteškoće s pjevačkim glasom. Vokalne poteškoće u amatera ukazuju na važnost učenja vokalne tehnike. Potrebno je balansirati radne obveze i vokalni odmor radi očuvanja radne sposobnosti u profesionalnih klasičnih pjevača.

Previous studies have indicated that there are positive effects of music and singing on well-being in adults. The aim of our study was to examine the associations between singing characteristics and well-being indicators (positive affect, negative affect and life satisfaction). The study participants were 221 people (75.1% female) between 18 and 70 years (M = 31.94, SD = 12.89) who were at the time actively involved in any kind of singing activities. Singing characteristics, namely, frequency of singing, singing alone or with others and importance of singing were measured by a questionnaire designed for the purpose of this research. Croatian adaptation of the shortened form of The Positive and Negative Affect Schedule (PANAS; Watson & Clark, 1994) was used for measuring positive and negative affect, while The Satisfaction with Life Scale (SWLS; Diener et al., 1985) was used for general life satisfaction. We examined the associations between singing characteristics and wellbeing indicators using correlational and regression analyses. Results of both analyses showed that people who considered singing highly important had higher life satisfaction, and that singing with others was associated with less negative affect. However, these associations were small in size, explaining 2.7% and 6.3% of well-being variance after controlling for age. In line with previous research, when there are significant effects of singing on well-being, they are in direction that singing is associated with higher well-being.

This article analyses the musical work of the Brisbane Musical Union (BMU) between its founding in 1872 and the consolidation of its position by 1898. During this period, the BMU benefited from the dedicated leadership of its main conductor, R. T. Jefferies, who drew upon his high standing as a violinist, ensemble player and conductor in Brisbane to present regular choral concerts, mainly comprising oratorios, with an amateur choir. Despite financial challenges, difficulties over rehearsal and concert venues, periodic problems concerning the choice of repertoire, an insufficient number of available professional musicians and competition from rival local musical societies, Jefferies’ work with the BMU promoted an important aspect of high musical culture to the public and laid the foundations for further development of classical musical performance in Brisbane.

[...]a paper by Erick Arenas (San Francisco Conservatory of Music), ‘The Liturgical Mozart Requiem: Complexities of Performance Context and Critical Reception Between the Church and Concert Hall’, traced the history of concert performances of the Requiem shortly after the composer's death and identified the liturgical context for requiem masses in Vienna and Salzburg. A concert by traverso player Kim Pineda (Sam Houston State University), entitled ‘The Dilettante and the Professional: Differences in Composition, Style and Performance Expectations in the Eighteenth Century’, provided a superbly performed set of works for flute by Michel Blavet, Johann Joachim Quantz and Jacques-Martin Hotteterre, demonstrating the composers’ differing pedagogical approaches to music for amateurs. Because the conference is generously supported by numerous foundations, it is free and open to the public, facilitating its goal of a broadly stimulating and educational ‘Musicking’.

The purpose of this paper is to observe the meaning of J. S. Bach and his canonical repertoire in the lives of members of an amateur Bach choir; how they construct 'their Bach' through the performance of the Mass in B Minor and how the relevance of historical, biographical constructions on Bach affect the meanings they attribute to his music. Main findings indicate 'personal' experiences of Bach in spiritual/religious context as the virtuous composer, the tangible association of Bach with baroque design and the brilliance of Bach as a musical and mathematical genius. Findings indicate that participants create and construct 'their Bach' as a way to put his music into socio-historical context. Cilj je ovoga članka razmotriti značenje što ga J. S. Bach i njegov kanonski repertoar imaju u životima zborskih pjevača amatera te način na koji oni konstruiraju 'svojega Bacha' u odnosu na vlastite izvedbe njegove glazbe. Nadalje, ovaj rad istražuje koliku važnost imaju povijesne konstrukcije u biografskim napisima o Bachu (osobito u recepciji 19. stoljeća) u značenjima koja članovi zbora pripisuju glazbi. Zaključci su izvedeni iz teorijski utemeljene socio-glazbene studije slučaja o amaterskoj 'umjetničkoj glazbi' Bachova zbora koji izvodi Misu u h-molu J. S. Bacha, koristeći kao glavne metode promatranje sudionika, kvalitativne intervjue i bibliografsko istraživanje. Sudionici su raspravljali o svojim 'osobnim' iskustvima Bacha u duhovnom/religijskom kontekstu, o opipljivoj povezanosti Bacha s baroknim nacrtom, o briljantnosti Bacha kao glazbenoga genija te su ukazivali na određene matematičke vještine za koje smatraju da ih je Bach posjedovao. Nadalje, glavni se dio rasprave odnosi na religijsku sliku Bacha kao virtuoznog skladatelja u odnosu na rane biografske zapise o Bachovu životu i djelu, kao i vezu s novijim biografskim zapisima o Bachu kao o jadnom, frustriranom i nepriznatom skladatelju kojega su suvremenici ignorirali. Rezultati pokazuju kako sudionici stvaraju i konstruiraju 'svojega Bacha' kao način smještanja njegove glazbe u društveno-povijesni kontekst te kao poriv da njegovu glazbu izvode i poštuju onako kako ona to i zaslužuje — i tako 'čine ispravnu stvar'.

The authors analyse the concept of fiscal decentralisation in culture. The funding model of the Song and Dance Celebration movement in the period 2011-2015 has been chosen as a case study. Three criteria to assess the level of fiscal decentralisation are introduced: 1. The equalisation of public expenditure regionally; 2. The ratio between central and sub-central authorities in total public expenditure; 3. Distribution of public subsidies among different groups of cultural producers. Qualitative and quantitative analysis has been used for conducting the research: analysis of documents and of the budgets in 11 municipalities around Latvia. Conclusions show that although the division of competence between the state and local governments meets the principles of decentralisation, strengthening the non-governmental sector and individual financial contributions would increase the level of decentralization and foster sustainability of the amateur arts sector and the tradition of the Song and Dance Celebration in the long term.

In a rundown hotel straddling the Green Line in southeast Jerusalem, a group of elderly Russian-Israeli immigrants, long-time residents of the hotel, gathers to sing. Through a portrait of the everyday musical activities of the Diplomat Hotel choir, this article explores the ways in which the choir's activities mediate and reconfigure the immigration experience of those involved. Four case studies illustrate how music affords a rich expressive space within which personal and group identity narratives are framed and re-framed for personal, interpersonal and outside consumption. Through their musical activities, choir members articulate a complex awareness of the issues and challenges they face as immigrants and their own agency in addressing such challenges.