Auswahl der wissenschaftlichen Literatur zum Thema „Academia Vocalis“
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Zeitschriftenartikel zum Thema "Academia Vocalis"
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Mustafayev, Femiy. „Ukrainian vocal music of the 20th – early 21st century in the pedagogical repertoire of the soloist-vocalist“. Collection of scientific works “Notes on Art Criticism”, Nr. 39 (01.09.2021): 154–59. http://dx.doi.org/10.32461/2226-2180.39.2021.238712.
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The purpose of the article. The paper describes the contemporary vocal pedagogical repertoire from the standpoint of its representativeness in relation to musical trends of the 20th – early 21st century. The methodology is based on a combination of historical, cultural, systemic, analytical, predictive methods, which made it possible to demonstrate the limited educational repertoire of vocalists, respectively, with didactic tasks and potential openness to expand its genre and style palette in connection with the need to train a universal academic singer. The scientific novelty of the paper lies in the fact that in Ukrainian science for the first time the problematic issues of the content of the pedagogical repertoire of academic vocalists in the context of the genre and style diversity of vocal music of the 20th – early 21st centuries were revealed. Conclusions. The contemporary pedagogical repertoire used in the preparation of academic vocalists does not reflect the stylistic and genre diversity of the musical art of the 20th – early 21st centuries, in particular, it does not contain avant-garde compositions, which have long been a constant of contemporary musical culture. Practical acquaintance with avant-garde classics is possible as part of an elective for those vocalists who plan to specialize in this direction of academic music, however, the pedagogical repertoire of training an academic vocalist does not provide for the performance of works of an avant-garde character and the acquisition of appropriate skills. The reasons for the inexpediency of including avant-garde music of the 20th – early 21st century in the main educational repertoire is the absence of a temporal distance, not always a high artistic level of contemporary works, the impossibility of including contemporary vocal music of an avant-garde character in the anthology due to the peculiarities of its notation and forms of existence, as well as the priority for the educational process of the classical vocal repertoire as such that forms the vocalist’s executive apparatus. At the same time, Ukrainian variety classics of the 20th century is an integral part of the educational repertoire of a contemporary academic vocalist, as it serves as a bridge between elite and popular musical culture.
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Kaushnian, Y. M. „On the Model of “National” and “International” Style (Illustrated by vocalises of S. Pavliuchenko, M. Zavalyshyna, O. and R. Voronin)“. Aspects of Historical Musicology 13, Nr. 13 (15.09.2018): 141–53. http://dx.doi.org/10.34064/khnum2-13.11.
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Background. Ukrainian vocal pedagogy represents almost all types of instructive vocalises, which take into account both the specifi c features of the national vocal school and the individual style of authors and originators (both composers and performers). The aspect of national stylistic extends to such a component of vocal style as pedagogy. The national-specifi c features manifest themselves, fi rst of all, in the tone of material used to teach singers. The aspect of the musical Ukrainian “linguistics” in the modern language situation is associated with a certain type and the national form of language/speech. Dialogue of languages in the form of traditions and national musical lexicon is represented in Ukrainian vocalise, even in its instructional variants. After all, vocalization, which lays in the beginning of an academic singer teaching, plays one of the leading roles in understanding the art of solo singing. Such a teaching is based on the corresponding vocal exercises and more or less completed samples that came to vocal pedagogy from the traditions of academic and folklore practice, both world and the national one. It is obvious that there is no need to draw a direct parallel between the artistic samples of the national vocal music and training in their performance based exclusively on Ukrainian vocalises. It is only about the fact that the variety of methods for the voice training and development also includes a mandatory national-specifi c component, which is developed through the national vocal school practice and is based primarily on the embodiment of folk tones in vocalization interpreted in the curriculum. Therefore, the creators of Ukrainian instructive vocalises, focusing on substantial intonation, combine it with the singing techniques arising out of Italian bel canto. At the same time, a number of methodological and methodical issues related to Ukrainian vocalises require further coverage. The question of Ukrainian vocalise in two of its varieties – instructive and artistic – has not been almost studied which is an important aspect of the relevance of the paper. Thus, the relevance of the paper is determined by the following reasons: - the signifi cant value of vocalise in the practice of vocal art; - the need to fi ll a gap in studying the genre of vocalise based on samples created by Ukrainian authors. The aim of the study is to determine the specifi city of vocalise in Ukrainian vocal art, as well as related vocal-intonational exercises in the practice of Ukrainian vocal schools. The object of research is vocalise in Ukrainian vocal art. The subject of the study is its varieties and stylistic features in the Ukrainian vocal school. The material of the study consisted of samples of various types of vocalises and related vocal-intonational exercises in Ukrainian vocal literature: collections by M. Zavalyshina, S. Pavlyuchenko, О. Voronin and R. Voronina. One can distinguish another characteristic feature common to Italian and Ukrainian vocal stylistics, which is spoken by many Ukrainian vocal pedagogues, including representatives of the Kharkov Vocal School: P. Golubev, M. Mykhailov, L. Tsurcan, N. Grebenyuk, T. Madysheva. The matter is that in their genre specifi city, vocalises always refl ect the peculiarities of vocal music with the text, where the national language imposes its imprint on melody and rhythm, as well as on harmony (Harmony of Solo Singing by B. Filts). The Ukrainian “nightingale language”, characterized by the fl uidity of the transitions from word to word, the special role of vowels being singed, emotionality in the intonational rise of words, is close in many respects to the Italian, in which the same features are presented. Therefore, the presence of these two linguistic principles, which, although presented in non-verbal forms, through vocalization, is always felt in Ukrainian vocalises, refer both to instructional and artistic samples. The multidimensional nature of the tasks facing pedagogues and students in instructive vocalises is refl ected in certain specializations on which certain collections and selections are being created. Vocalises are an international genre, in which for several centuries of its exis tence, various musical and linguistic sources and techniques of singing, coming from them, were assimilated. In the vocalises, referring to different national schools, not only “our own” musical and mental features, coming from national folklore and professional creativity, but also “strangers”, come from the sources of foreign style (far, near, own; “theywe- you”, if you recall the triads of Е. Nazaikinsky). Relevant material is needed to develop multi-ethnic stylistics in the genre of vocalise. Teachers of vocalise widely use folk songs arrangements. The practice of such arrangements forms the basis for the creation of a national musical language, and the interest of composers-arrangers in other peoples’ songs helps extend such a language base. It is known that the national vocal school style acts as a general aesthetic phenomenon and is refl ected in all spheres of vocal art. This is about the vocal style of national authors, which is closely related to the peculiarities of verbal language (“music” and “word” as a key problem of vocal tone), as well as the refl ection of such a style in performing art, where syntheses of foreign national traditions and indigenous aspects of singing related to the national culture. The national specifi c features of instructive vocalises should be considered. One should not forget that this genre is traditional in nature and dates back to classical singing schools, especially to the Italian ones.
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Muhamedova, Galina. „Methodological Aspects of Studying Uzbek Folk Songs in the Academic Singing Class“. Eurasian music science journal, Nr. 2 (04.11.2021): 37–43. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_2/67.
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In the educational process of training a young vocalist, it is planned to study and master the most diverse repertoire, which includes Baroque arias, romantic music of the XIX century, and works by modern composers. Folk songs are also an integral part of the educational process. In the performance of folk songs, the best qualities of the singer's voice, his timbre, musicality, possession of national melismatics are revealed.
In the work "Methodological aspects of studying Uzbek folk songs in the academic singing class", the features of the structure of Uzbek folk songs, such as "Barnolarning barnosi" (The beauty of beauties), "Intizor etding meni" (I yearned for you), “Gul yuz uzra” (Delicate and charming face), “Sayyora” (Planet), "Chaman Ichra" (In the garden), “Kaylarga boray?” (Where should I go?) are considered, a detailed performance-theoretical analysis of some of them is carried out, educational and methodological recommendations are given for young vocalists-performers.
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Vynohradcha, Dina, und Olena Hrytsiuk. „Methodical Features of Academic Vocals Studying“. IMAGE OF THE MODERN PEDAGOGUE 2, Nr. 2(185) (2019): 80–83. http://dx.doi.org/10.33272/2522-9729-2019-2(185)-80-83.
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Sharnina, Lyubov Alexandrovna. „Singing breathing: methodological recommendations and practical developments“. Culture. Art. Education, Nr. 1 (26.12.2022): 92–104. http://dx.doi.org/10.37816/2949-1762-2022-1-1-92-104.
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А modern professional singer must have a huge arsenal of vocal techniques to create artistic images of the world vocal repertoire. This is a well educated musician-performer.
The training of modern vocalist must begin with the formation of the correct foundations of vocal technique, to instill a taste for the performance of academic vocal music. Incorrect classification, incorrect voice setting during training can lead to flaws in timbre. The singing of outstanding singers is always striking in its freedom: wide open throat, smooth, flowing singing without shocks in sound production.
Singing breath has a huge role in the development of vocal technique which is necessary for the formation of a professional sounding of the voice. The article deals with the main methodological issues of staging singing breath among vocalists, it provides recommendations and practical developments for mastering the technique of singing breath, based on work eхperience.
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Кабулниязова, О. А. „Formation of professional qualities of a performer in vocal lessons“. Review of pedagogical research 6, Nr. 3 (07.05.2024): 233–40. http://dx.doi.org/10.58224/2687-0428-2024-6-3-233-240.
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в статье рассматриваются условия, способствующие формированию профессиональных артистических качеств на уроках вокала. Приведены разные определения профессиональных качеств, значимых для артиста. Особый акцент сделан на том, что, помимо собственно голосовых и артикуляционных качеств, у артиста должны быть определенным образом развиты и психологические качества, такие, как: стрессоустойчивость, критическое мышление, креативность, артистизм, трудоспособность, воля, стремление к самореализации в условиях сцены, стабильная самооценка и другие. Автор убежден, что педагог-преподаватель вокала способен и должен развить в своих воспитанниках профессиональные артистические качества широкой палитры на уроках вокала. Приведены результаты проведенного автором статьи эксперимента по изучению профессиональных качеств молодых вокалистов, применялся метод экспертных оценок, изучение мотивационно-потребностного, эмоционально-творческого, когнитивно-рефлексивного и художественно-операционального компонентов в структуре профессиональных качеств вокалиста. Представлены условия их формирования на уроках вокала, включая: использование творческих заданий, методов театрализации и моделирования ситуации исполнительства, методов целостности анализа нот, ролевую подготовку, мысленное моделирование звучания произведения, упражнения в актерском мастерстве и хореографии, тренинги творческой интерпретации и импровизации. Показан количественный и качественный рост уровней сформированности профессиональных качеств вокалистов на начальном этапе и спустя один учебный год, который они провели в изучении вокала на уроках, что подтверждает, что профессиональные качества артистов могут быть сформированы уроками вокала уже в подростковом возрасте, при правильной стратегии выбранного педагогического воздействия и педагогического мастерства преподавателя по вокалу. the article discusses the conditions that contribute to the formation of professional artistic qualities in vocal lessons. Various definitions of professional qualities that are significant for a performer are given. Particular emphasis is placed on the fact that, in addition to the actual vocal and articulatory qualities, the performer must also have psychological qualities developed in a certain way, such as: resistance to stress, critical thinking, creativity, artistry, ability to work, will, the desire for self-realization in stage conditions, stable self-esteem and others. The author is convinced that a vocal teacher is capable and should develop professional artistic qualities of a wide range in his students during vocal lessons. The results of an experiment conducted by the author of the article to study the professional qualities of young vocalists were presented; the method of expert assessments was used, the study of motivational-need, emotional-creative, cognitive-reflexive and artistic-operational components in the structure of the professional qualities of a vocalist. The conditions for their formation in vocal lessons are presented, including: the use of creative tasks, methods of theatricalization and modeling of the performance situation, methods of integrity of note analysis, role training, mental modeling of the sound of a work, exercises in acting and choreography, training in creative interpretation and improvisation. The quantitative and qualitative growth in the levels of formation of professional qualities of vocalists at the initial stage and after one academic year, which they spent studying vocals in lessons, is shown, which confirms that the professional qualities of artists can be formed by vocal lessons already in adolescence, with the right strategy of the chosen pedagogical influence and pedagogical skill of a vocal teacher.
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Balashova, S. I., und A. Sh Rudi. „Priorities of professional training of academic vocalists“. Alma mater. Vestnik Vysshey Shkoly, Nr. 8 (August 2017): 97–100. http://dx.doi.org/10.20339/am.08-17.097.
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Ishchenko, M. V. „HEALTH TECHNIQUES IN BREATHING EXERCISES FOR ACADEMIC VOCALISTS“. Innovate Pedagogy 1, Nr. 31 (2021): 95–98. http://dx.doi.org/10.32843/2663-6085/2021/31-1.19.
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Krom, Anna E. „David Lang’s Postminimalist Musical Theater“. Vestnik of Saint Petersburg University. Arts 12, Nr. 3 (2022): 432–48. http://dx.doi.org/10.21638/spbu15.2022.302.
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The article explores issues of the American musical theater of the nineteenth century, fruitfully developing on the basis of postminimalism. Among the brightest representatives of this style is the composer David Lang (1957), a member of the group “Bang on a Can”. His theatrical projects of the last two decades demonstrate a new phase in the development of postminimalist theater, the foundation of which was laid by his older contemporaries, Philip Glass, Steve Reich, and John Adams. Using the example of stage works — “The Difficulty of Crossing a Field” (2002), “Prisoner of the State” (2019), and “Anatomy Theater” (2016) — the author identifies the main features of Lang’s musical and theatrical style and traces a close relationship with the operas of his predecessors. They are brought closer by the appeal to postmodern dramaturgy (fragmentation, discreteness, commentarity), social problems, the desire for genre uniqueness of each performance, repetitive methods of organizing musical facture. In his theatrical work, Lang relies on postminimalism and repetitive technique, which manifests itself at different levels — dramatic, verbal (repetition of syllables, words, phrases in the libretto) and musical. A characteristic feature of Lang’s stage opuses is the synthesis of academic opera traditions and non-academic genres and directions (Musical, jazz, rap), which allows us to draw analogies with the art of crossovers. The Musical in some cases acts as the genre basis of the work (non-academic vocals, dances, a speech episodes). Lang’s theater is a chamber theater, it assumes a small composition of participants, placement of vocalists and orchestra members on the stage, laconic timing of plays. All these factors allow us to make an assumption about the formation in Lang’s musical and theatrical work of the next phase of the evolution of postminimalism, which can be characterized as postpostminimalism.
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Martos Carrera, Marco. „Apuntes sobre Ricardo Palma y el español del Perú“. Aula Palma, Nr. 16 (11.05.2018): 39–51. http://dx.doi.org/10.31381/test2.v0i16.1335.
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Debido a la colonización lingüística y a la hibridación del lenguaje por su contacto permanente con las lenguas indígenas, el castellano es una lengua que ha ido cambiando con el tiempo, adquiriendo variaciones en cada región de América. En el caso del Perú, la imposición de una lengua en un territorio que tenía muchas otras, ha generado la aparición de peruanismos, incorporando muchos vocablos de origen nativo a la lengua general. La figura de Ricardo Palma es importante, no solo por su escritura literaria sino por su actitud de defensa cerrada del castellano andino y de la incorporación de nuestros vocablos al diccionario de la Real Academia Española en 1892.
Dissertationen zum Thema "Academia Vocalis"
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Cordell, Laura Michele Portune. „Bridging the Gap, Transitioning Vocalists from Academia to Career“. The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1311268981.
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Wright, Timothy F. „Vocal communication in the Yellow-naped Amazon (Amazona auropalliata) /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9724894.
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Pires-Fernandes, Catherine. „"The Girl in 14G:" Analyzing Solutions for Vocal Issues Through Vocal Pedagogy“. Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1636.
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The intent of this thesis is to study a variety of vocal techniques and identify how to solve different vocal challenges in the musical theatre song, "The Girl in 14G." In order to be successful in the entertainment business, it is imperative that a singer performs healthily and in a variety of music styles. Through an exploration of Lessac Kinesensic Training, Estill Voice Training Systems and Bel Canto techniques, a singer can gain a holistic perspective about voice. I will study with three voice teachers, each of whom specializes in one of the aforementioned techniques. This thesis will reveal how each voice teacher brought her expertise to the lesson. It is a singer’s responsibility to ensure she is well rounded and knowledgeable about her voice, and the different approaches to teaching voice. Solutions that reflect different techniques will be analyzed. Observations and discoveries made in private voice lessons will also
be described. Documentation of lessons with each teacher will provide insight about the distinctions and similarities in vocal techniques. This thesis is intended to serve as a starting
point for students and teachers to satisfy their own vocal curiosity and exploration.B.F.A.
Bachelors
Theatre
Arts and Humanities
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Kroytor, Anya. „Does behavioral treatment for children with social anxiety disorder change vocal characteristics?“ Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/573.
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Children with Social Anxiety Disorder (SAD) characterized by persistent shyness and anxiety in social or performance situation, exhibit social skills deficits. These deficits include difficulty initiating conversations, maintaining eye contact, and taking turns when speaking, which in turn leads to impairments in their daily interactions and development of peer relationships (Greco, 2005; Miers, 2010). Although there are many subjective assessments for treatment outcomes for children with SAD, in order to become more thorough and effective when assessing treatment outcomes, more objective measures of actual behaviors are needed. This study uses digital vocal analysis to examine vocal parameters associated with anxiety such as pitch and volume in children with SAD pre and post treatment. Measuring vocal parameters during role-play behavioral assessment tasks allowed us to examine whether the software was capable of detecting differences in vocal characteristics that are consistent with the clinical presentation of the disorder. Children with SAD showed differences in vocal characteristics pre to post treatment, in regards to pitch, pitch variability, volume, and volume variability. There were significant changes in volume pre to post treatment, however the changes in pitch, pitch variability, and volume variability were not significant. These results suggest that post SET-C treatment, certain vocal characteristics, (one of the social skills deficits exhibited by children with SAD) improved. Implications of the findings are discussed.B.S.
Bachelors
Sciences
Psychology
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Costa, León Piero. „La subjetividad en la definición lexicográfica : un análisis textual de tres vocablos andinos en los diccionarios de la Real Academia Española“. Bachelor's thesis, Pontificia Universidad Católica del Perú, 2016. http://tesis.pucp.edu.pe/repositorio/handle/123456789/7676.
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La presente investigación tiene como objetivo explorar la manifestación de la subjetividad en el texto de la definición lexicográfica y dar cuenta, a través de esta, de la perspectiva que, a título individual, el lexicógrafo vierte en el espacio textual en cuestión. En contraste con el objetivo de colocar en la definición el saber compartido que los hablantes comparten como parte del significado, la filtración de la postura, expectativas y conocimientos específicos del emisor del texto permite entrever en el diccionario las motivaciones y determinaciones lingüísticas, cognitivas e ideológicas que conducirían a aquel a la formulación de un texto que se aleja del significado general, de aquel valor semántico con que un determinado vocablo circula entre los hablantes. Es con este afán que se emprende aquí el análisis de las definiciones que, para coca, puma y llama, los diccionarios de la Real Academia Española han presentado a lo largo de su historia. Apelando a herramientas conceptuales como las de significado estereotípico, concepción consustancionalista y nomenclaturista del signo lingüístico, ideología y otras vinculadas, así como a la propuesta metodológica de las marcas de enunciación subjetiva, se pretende realizar un ejercicio de análisis textual-(meta)lexicográfico, del cual se desprenderá la existencia de construcciones textuales con una cierta carga subjetiva, motivadas por la comprensión de los tres vocablos señalados, por parte de los lexicógrafos académicos, sobre la base de referentes del mundo (no necesariamente lingüísticos), hechos históricos e ideologías hispanocéntricas y que conceptualizan el mundo americano a partir de paralelos con el contexto y modo de vida españoles.Tesis
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Thompson, Shannon. „The role of anxiety in mental tumbling blocks“. Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/921.
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Mental tumbling blocks are a problem in sports such as cheerleading where the athlete has an unexplained fear related to performing a skill that has been previously executed successfully. The current study compared participants with and without a mental tumbling block on self-report measures of anxiety and on vocal analysis data indicating if anxiety or fear is present. Participants were female cheerleaders who ranged in age from 10 to 16 years old. The Sport Anxiety Scale-2 (SAS-2; Smith, Smoll, Cumming & Grossbard, 2006) and the Cheerleading Fear Inventory (CFI; modified from Cartoni, Minganti, and Zelli, 2005) were used in addition to vocal analysis measures assessing pitch and intensity. These vocal analysis measures were taken under two conditions while the cheerleader was interviewed (1) about tumbling and (2) about school. Results indicated that athletes with a mental block reported higher somatic anxiety, concentration disruption, and overall anxiety on the SAS-2 than participants who did not have a mental tumbling block. Similarly, athletes with a mental tumbling block reported higher scores on the CFI than athletes without a mental tumbling block. In addition, athletes with a mental tumbling block showed higher pitch on the vocal analysis measure than athletes without a mental tumbling regardless of interview condition. Finally, several significant correlations emerged between scores on the SAS-2, the CFI, and the vocal analysis measures. These results are discussed in terms of the existing literature, and practical suggestions are offered that may help coaches understand how to effectively handle mental blocks at practice.B.S.
Bachelors
Sciences
Psychology
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Kent, Travis M. „Effects of input modality and expertise on workload and video game performance“. Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/448.
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A recent trend in consumer and military electronics has been to allow operators the option to control the system via novel control methods. The most prevalent and available form of these methods is that of vocal control. Vocal control allows for the control of a system by speaking commands rather than manually inputting them. This has not only implications for increased productivity but also optimizing safety, and assisting the disabled population. Past research has examined the potential costs and benefits to this novel control scheme with varying results. The purpose of this study was to further examine the relationship between modality of input, operator workload, and expertise. The results obtained indicated that vocal control may not be ideal in all situations as a method of input as participants experienced significantly higher amounts of workload than those in the manual condition. Additionally, expertise may be more specific than previously thought as participants in the vocal condition performed nearly identical at the task regardless of gaming expertise. The implications of the findings for this study suggest that vocal control be further examined as an effective method of user input, especially with regards to expertise and training effects.B.S.
Bachelors
Sciences
Psychology
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Brown, Shaun (Shaun Joseph). „Ensemble Singing in the Bel Canto Salon Repertory: A Pedagogical Reconsideration“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609069/.
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Vocal duets have had a long history in the Western classical music tradition. Their use as a teaching resource can be traced back to the Renaissance, where duets were used for the development of singing, performance, and musicianship. In the late 19th and all of the 20th centuries, this pathway of vocal pedagogy has markedly declined. This study proposes a reintroduction of this methodology of teaching, asserting that it provides the collegiate vocal student with maximum opportunity for growth and development in terms of technique, musicianship, ensemble skills, and performance development. Four vocal duets ("La pesca," "Il brindisi," "Il gallop," and "La caccia") of Saverio Mercadante (1795-1870) serve as the point of discussion. These songs from Les soirées italiennes (C.1836), which are representative of the salon culture of the 19th century, are given detailed attention through a discussion of their pedagogical value. Since they are long out of print, a new performance edition is presented.
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Murray, Joan. „Impact of a Music Program on Students' Standardized Test Scores“. ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2938.
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Administrators at the focus school had not determined if participation in a music program has influenced students' academic achievement, thereby ushering doubt about the utility of this program. The purpose of this causal-comparative study was to determine the impact of the music program on students' English language arts (ELA) and math Measure of Academic Progress (MAP) scores. The theoretical foundation for this study was Miendlarzweska and Trost's model of musical training, which indicates the impact of musical training on academic, social, and cognitive outcomes and identifies factors that mediate that impact. Archival data were retrieved on 74 Grade 5-8 students who participated in the program during the 2012-2013 school year and who also participated during the 2011-2012 school year as Grade 4-7 students. Analysis of covariance indicated no significant effect on ELA or math MAP scores for music program participation. Implications for positive social change include providing initial research findings to the local site on the potential academic impact of this music program. Further research with recent data and larger sample sizes were recommended. Additional research at the local level may yield results that can help administrators better support higher levels of student success.
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Binek, Justin. „The Evolution of Ella Fitzgerald's Syllabic Choices in Scat Singing: A Critical Analysis of Her Decca Recordings, 1943-52“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984212/.
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This study examines the evolution of Ella Fitzgerald's scat syllable vocabulary during a key developmental period in her career when she was recording for Decca Records. Between 1943 and 1952, Fitzgerald established the syllabic vocabulary that would serve as a defining characteristic of her improvisational style for the rest of her career. Fitzgerald is commonly praised as the greatest vocal improviser in jazz history, but while much has been written about Fitzgerald's melodic and harmonic approach to jazz improvisation, little has been written about her syllabic approach. Timbre and articulation are considered to be vital elements of any jazz musician's style; the study examines the changes in Ella Fitzgerald's syllabic approach through transcription and analyses of thirteen scat solos recorded during this time period, using scat syllable choices to discuss timbre and articulation. This analysis provides a model for further research of its kind, as well as informing historically accurate performance practice by both teachers and students of jazz singing.
Bücher zum Thema "Academia Vocalis"
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Abrahams, Frank, und Paul D. Head, Hrsg. The Oxford Handbook of Choral Pedagogy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.001.0001.
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This text explores varied perspectives on teaching, learning, and performing choral music. Authors are academic scholars and researchers as well as active choral conductors. Topics include music programming and the selection of repertoire; the exploration of singer and conductor identity; choral traditions in North America, Western Europe, South America, and Africa; and the challenges conductors meet as they work with varied populations of singers. Chapters consider children’s choirs, world music choirs, adult community choirs, gospel choirs, jazz choirs, professional choruses, collegiate glee clubs, and choirs that meet the needs of marginalized singers. Those who contributed chapters discuss a variety of theoretical frameworks including critical pedagogy, constructivism, singer and conductor agency and identity, and the influences of popular media on the choral art. The text is not a “how to” book. While it may be appropriate in various academic courses, the intention is not to explain how to conduct or to organize a choral program. While there is specific information about vocal development and vocal health, it is not a text on voice science. Instead, the editors and contributing authors intend that the collection serve as a resource to inform, provoke, and evoke discourse and dialogue concerning the complexity of pedagogy in the domain of the choral art.
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Harris, Ellen T. The Late Eighteenth Century. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190271664.003.0007.
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In the late eighteenth century, The Academy of Ancient Music prepared a modern adaptation of Dido and Aeneas that was performed into the nineteenth century. The score was brought “up-to-date” by means of alterations to rhythmic flow and cadential patterns, and the temporal separation of individual movements from one another. Scenic demarcations were revised to indicate entrances and exits rather than stage set, and cuts were taken throughout the score. The vocal ranges of the soloists were altered to cover the standard vocal range: soprano (Dido), alto (Belinda), tenor (Aeneas), bass (Sorceress). Some of the surviving sources for these performances offer the names of specific singers who played the major roles.
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Mahuika, Nepia. Rethinking Oral History and Tradition. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190681685.001.0001.
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For many indigenous peoples, oral history is a living intergenerational phenomenon that is crucial to the transmission of our languages, cultural knowledge, politics, and identities. Indigenous oral histories are not merely traditions, myths, chants, or superstitions, but are valid historical accounts passed on vocally in various forms, forums, and practices. Rethinking Oral History and Tradition: An Indigenous Perspective provides a specific native and tribal account of the meaning, form, politics, and practice of oral history. It is a rethinking and critique of the popular and powerful ideas that now populate and define the fields of oral history and tradition, which have in the process displaced indigenous perspectives. This book, drawing on indigenous voices, explores the overlaps and differences between the studies of oral history and of oral tradition, and urges scholars in both disciplines to revisit the way their fields think about orality, oral history methods, transmission, narrative, power, ethics, oral history theories, and politics. Indigenous knowledge and experience hold important contributions that have the potential to expand and develop robust academic thinking in the study of both oral history and tradition.
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Boffone, Trevor, und Carla Della Gatta, Hrsg. Shakespeare and Latinidad. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474488488.001.0001.
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Shakespeare and Latinidad is a curated collection of scholarly and practitioner essays in the field of Latinx theatre that specifically focuses on adaptations and appropriations of Shakespeare’s plays. It is the first truly comprehensive treatment of the myriad intersections of Latinx practitioners and art with Shakespearean performance, adaptation, and pedagogy. The collection includes leading academics, playwrights, and theatre practitioners; its blend of scholarly essays, practitioner essays, and interviews reflects the transdisciplinary synthesis of scholarship, dramaturgy, and pedagogy that shapes Latinx engagement with Shakespeare. The collection brings together the diverse voices working in this field today including leading academics, playwrights and theatre practitioners. This blend of essays and interviews reflects the transdisciplinary synthesis of scholarship, dramaturgy, and pedagogy that shapes Latinx engagement with Shakespeare. The collection includes essays and dialogues from actors, directors, scholars, playwrights, and vocal coaches. Essays cover a range of topics that include translating Shakespeare into contemporary English, Latinx actors portraying Shakespearean roles as either Latinx or non-Latinx, strategies for engagement for devised theatre and theatre for young audiences, directors’ Latinx visions for Shakespeare, and scholarly analysis of productions, adaptations, and initiatives for Latinx Shakespeares. The collection highlights productions, adaptations, and theatres from throughout the United States, in large cities and rural areas, from predominantly-white theatres to theatres of colour.
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Campbell, Patricia Shehan, und Shannon Dudley. A University Commitment to Collaborations with Local Musical Communities. Herausgegeben von Brydie-Leigh Bartleet und Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.8.
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Working from the premise that the study of music in a hermetic academic environment is no longer a viable model, and that university music programmes must connect to the vibrant musical communities in the very neighbourhoods that surround them, we examine how the presence of a community music ‘weave’ within university programmes of music benefits students, faculty, and community members in myriad ways. We offer examples of university–community partnerships initiated by the ethnomusicology and music education programmes at the University of Washington that prepare music students for the diverse and complex society into which they will graduate. The Visiting Artists in Ethnomusicology programme will be highlighted for the extent to which world-renowned and locally residing artist-musicians have been invited to the faculty for extended periods to perform, teach, and interact with students on instruments, vocally, and in dance forms associated with traditional musical practices. The intent of the chapter is to underscore the critical need for university–community exchanges, to suggest some ways that such exchanges can be accommodated within university programmes of music, and to affirm the benefits that flow from connecting the dots of musicians and aspiring musicians in the workaday world beyond the fortress of the university.
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Craig, Paul, und Gráinne de Búrca. 23. Citizenship of the European Union. Oxford University Press, 2015. http://dx.doi.org/10.1093/he/9780198714927.003.0023.
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All books in this flagship series contain carefully selected substantial extracts from key cases, legislation, and academic debate, providing able students with a stand-alone resource. This chapter reviews EU citizenship law. It considers the rights of free movement and residence of EU citizens, political rights of citizenship, and Directive 2004/38 on the rights of free movement and residence for EU citizens and their families. The status of EU citizenship created by EU law has been criticized on various grounds, including the thinness of the rights created and their economic focus, the conditions to which they are subject, the reinforcement of the distinction between third-country nationals and EU nationals, the limited impact of the new electoral rights, and the reluctant pace of implementation. On the other hand, the legal rights of citizenship have been expanded by the European Court of Justice, even in the face of vocal Member State opposition. The case law in this area continues to develop and the chapter provides a considered evaluation of this difficult body of law.
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Finley, Emily B. The Ideology of Democratism. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197642290.001.0001.
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Abstract The Ideology of Democratism argues that history’s most vocal champions of democracy from Jean-Jacques Rousseau and Thomas Jefferson to John Rawls put forth an interpretation of democracy that effectively transforms the meaning of “rule by the people” into its opposite. Making use of democratic language and claiming to speak for the people, politicians, philosophers, academics, religious, and many others advocate a more “complete” and “genuine” form of democracy that in practice has little regard for the actual popular will. This way of conceiving of democracy, which constitutes an entire view of life and politics, has been and remains a powerful influence in America and leading Western European nations and their colonial satellites. This book defines and describes the ideology of democratism through a look at some of its major historical contributors, including Rousseau, Jefferson, Woodrow Wilson, Jacques Maritain, Jürgen Habermas, John Rawls, and prominent figures in the George W. Bush administration. The findings of this book suggest that to the great political “isms” of the past two centuries must be added another of equal scope: democratism.
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Hal Leonard Publishing Corporation (COR). And The Winner Is. Hal Leonard Corporation, 1994.
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Handel And Maurice Greenes Circle At The Apollo Academy The Music And Intellectual Contexts Of Oratorios Odes And Masques. V&r; Unipress, 2008.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Academia Vocalis"
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Desmarais, Fabrice, und Alexandra Vignolles. „Customer Engagement through the Vocal Touchpoint: An Exploratory Cross-Cultural Study“. In European Advertising Academy, 67–78. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-24878-9_6.
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Christensen Hughes, Julia, und Sarah Elaine Eaton. „Student Integrity Violations in the Academy: More Than a Decade of Growing Complexity and Concern“. In Academic Integrity in Canada, 61–79. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-83255-1_3.
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AbstractAcademic misconduct in Canada is a growing and complex concern, worthy of increased attention and concerted action. Yet, the press appears to be more actively engaged (at least more vocal) in raising concerns about integrity violations than many in our post-secondary institutions. This chapter presents a synopsis of the seminal work by Christensen Hughes and McCabe (in the Canadian Journal of Higher Education 36: 1–21, 2006), followed by an exploration of its treatment by the press—in particular MacLean’s magazine—following its release. We also present select stories of student misconduct as reported by the Canadian press from 2010 to 2020. From a review of these contributions, we suggest that misconduct in the academy appears to be growing in complexity, severity and by the variety of third-party stakeholders involved. Types of cheating identified in this review include: the use of wearable, wireless high-tech devices for communicating with accomplices; paying (bribing) TAs for answers and inflated grades; exam impersonation; plagiarism; and contract cheating (customized essay buying from freelance writers and essay sweatshops). Explanations provided in the press for these behaviours, include increasing numbers of international students, the proliferation of contract cheating services, and increased use of on-line assessment, resulting from the Covid-19 pandemic. The chapter concludes with a call to action, for all post-secondary institutions, to a greater commitment to academic integrity, including stepping up efforts to educate faculty and students as well as to embrace innovation in assessment design and invigilation practice. We also suggest advocacy for introducing laws that will help to deter contract cheating services.
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Butković, Ana. „14. The Personality of Music Students with Diverse Vocal and Instrumental Skills“. In Psychological Perspectives on Musical Experiences and Skills, 305–22. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.14.
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This chapter presents the results of a study that examined personality differences in a sample of music students (N = 246) with diverse vocal and instrumental skills. Personality data, measured with the Big Five Inventory (BFI), from voice, keyboard, string, and wind instrument students of the Academy of Music in Zagreb were analysed. The results indicate personality differences between different job specialisations among musicians, but they also suggest that the differences are limited to one personality trait, Openness. Individual differences in the other four personality traits were not found across music student groups.
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Pudaruth, Santosh Kumar. „Online teaching and learning of Hindustani classical vocal music: Resistance, challenges, and opportunities“. In Academic Voices, 147–59. Elsevier, 2022. http://dx.doi.org/10.1016/b978-0-323-91185-6.00004-5.
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Verwer, Christiaan, und Anna van der Velde. „Isabella Diederiks-Verschoor“. In Portraits of Women in International Law, 348—C29P28. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198868453.003.0029.
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Abstract Isabella Diederiks-Verschoor was one of the first women in academia in the Netherlands and worldwide to significantly shape the field of air and space law. Among others as a co-founder of the International Institute of Space Law and the International Institute of Air and Space Law, and as a teacher at the University of Utrecht, she promoted and popularized the research and teaching of air and particularly space law. This portrait reflects on her work through the eyes of one of her former students, highlighting her impact as a teacher and networker bridging the gaps between academic and professional air and space law institutions. It looks at her personal challenges and resulting vocal advocacy for women’s equality and economic independence through promoting education both in her national context but also within developing economies.
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Bhusan, Amlan. „A Positive Hegemony?“ In From Government to E-Governance, 261–70. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-1909-8.ch016.
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Amlan Bhusan raises important questions in “A Positive Hegemony? Arguing for a Universal Knowledge Regime led by an e-Governance ‘Savvy’ Global Knowledge Enterprise!” To him, there is a growing academic consciousness, regarding the use of e-governance, to deliver social goods in a better way. This voice advocates that more needs to be done by public institutions, governments, and more importantly, the academia, to develop e-governance as an enabler for social efficiency. Such developments would help reach debates and discussions on this area to the grassroots of the policy system. His chapter is neither a commentary of the application of e-governance to deliver social change nor a study of how different governments have handled this area around the world. Rather, it is a practicing consultant’s views of the power of e-governance to refine public choice and social decision making and how this process was enriched by a more vigorous role of the academia. Taking specific examples from the education sector, particularly universities, this chapter is a comment on some of the ways in which e-governance ‘can’ be handled across the education system and how lessons from the developed countries can be used to inspire similar revolutionary changes to the status quo in the developing world. His objective is to promote a greater role for the academia in the public policy making process. The idea is to support a more constructive engagement of the academia with the more vulnerable parts of the social system. Above all, he argues for the benefits of spreading the values of information democracy, right to access to information, among the people. He envisages that the power of a more vocal and active academia would be profound in how it could positively affect the information apartheid affecting many large sections of the developing world. He proposes greater research and development on the means of engaging with e-governance and to establish the mechanisms to enhance, converge, simplify, homogenize, and structuralize the knowledge and information enterprise of the global political and social systems.
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Bhusan, Amlan. „A Positive Hegemony?“ In Public Affairs and Administration, 1535–45. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8358-7.ch077.
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Amlan Bhusan raises important questions in this chapter. To him, there is a growing academic consciousness, regarding the use of e-governance, to deliver social goods in a better way. This voice advocates that more needs to be done by public institutions, governments, and more importantly, the academia, to develop e-governance as an enabler for social efficiency. Such developments would help reach debates and discussions on this area to the grassroots of the policy system. His chapter is neither a commentary of the application of e-governance to deliver social change nor a study of how different governments have handled this area around the world. Rather, it is a practicing consultant's views of the power of e-governance to refine public choice and social decision making and how this process was enriched by a more vigorous role of the academia. Taking specific examples from the education sector, particularly universities, this chapter is a comment on some of the ways in which e-governance ‘can' be handled across the education system and how lessons from the developed countries can be used to inspire similar revolutionary changes to the status quo in the developing world. His objective is to promote a greater role for the academia in the public policy making process. The idea is to support a more constructive engagement of the academia with the more vulnerable parts of the social system. Above all, he argues for the benefits of spreading the values of information democracy, right to access to information, among the people. He envisages that the power of a more vocal and active academia would be profound in how it could positively affect the information apartheid affecting many large sections of the developing world. He proposes greater research and development on the means of engaging with e-governance and to establish the mechanisms to enhance, converge, simplify, homogenize, and structuralize the knowledge and information enterprise of the global political and social systems.
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Tonetto, Leandro Miletto, und Rodrigo Beck Leite Trevisan. „Testing Affective Responses to Different Brand Vocal and Sound Logo Stimuli: A Case Study“. In ((( ABA ))) Audio Branding Academy Yearbook 2011/2012, 141–51. Nomos Verlagsgesellschaft mbH & Co. KG, 2012. http://dx.doi.org/10.5771/9783845236858-141.
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Moreira, Victor Hugo Tetilla, Mario Pinheiro Esposito, Tarcisio Redes Xavier, Rayna Gonçalves Ferrer, Izabela Pinheiro Esposito, Thales Victor Fernandes Ferreira und Karina Alencastro dos Santos. „Effects of aging on vocal function: A systematic review“. In Health and Medicine: Science, Care, and Discoveries. Seven Editora, 2024. http://dx.doi.org/10.56238/sevened2023.004-047.
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Introduction: Aging is a natural and inevitable process that affects all areas of the body, including vocal function. The voice plays an important role in communicating and expressing emotions. A variety of physiological and biomechanical changes can impair vocal function with aging. In view of the above, this study is justified by its academic, scientific, and social relevance, with the aim of exploring in detail the effects of aging on vocal function, including associated structural and physiological changes and their social and emotional implications. Objective: To demonstrate, through the scientific literature, the effects of aging on vocal function. Methodology: This is a systematic review research, carried out according to the indications of the PRISMA method. Data collection took place in the scientific bases: LILACS, SCIELO and MEDLINE. Results and Discussion: The discussion about the effects of aging on vocal function is crucial for us to understand how the natural aging process affects such a fundamental aspect of human communication. It was evidenced through the analysis of the selected sample, the main aspects for the present discussion. The natural aging of the voice occurs progressively in parallel with other bodily functions and is influenced not only by the anatomy and physiology of the body, but also by the lifestyles that individuals lead throughout their lives. Conclusion: Understanding the effects of aging on speech function has advanced significantly, but knowledge gaps still need to be filled. More research is needed to validate the effectiveness of different therapeutic interventions and to develop innovative approaches to facilitate voice quality improvement in older adults.
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Aston, Nigel. „The University as seen from outside“. In Enlightened Oxford, 483–552. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780199246830.003.0011.
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Abstract Chapter 10, the first of three under the heading of ‘Cultural Constructions, Connections, and Tensions’ looks at the University as seen from the outside. It first treats the depiction of Oxford in literature and art. Then it examines the perspective of Protestant Dissenters, particularly vocal in expressing their disdain for Oxford; next the varying attitudes of graduates of other universities with a view to distinguishing the genuinely critical from good-hearted academic one-upmanship. The fourth category for notice is that of insiders who were technically non-matriculated outsiders, notably college servants, as well as graduates such as Edward Gibbon, who wanted to position themselves at a remove and had the capacity to damage the standing of the University. The presence of women across Oxford receives extended emphasis. The city could function as a relatively open cultural space, especially on some academic occasions when women had an active consumerist and spectatorial role.
Konferenzberichte zum Thema "Academia Vocalis"
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Aksenova, S. S. „ICT in the Teacher Training System for Academic Vocals: Structured Mentoring“. In Proceedings of the International Conference on the Development of Education in Eurasia (ICDEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icdee-19.2019.26.
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Bugor, Elena, und Tatiana Berezovicova. „Alexei Stârcea's early vocal creation. Romances on poems of Fyodor Tyutchev“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.14.
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The article is dedicated to the vocal creation of Alexei Stârcea (1919-1974), a famous composer, singer and pedagogue. His early romances dating back to the years 1946-1955 are examples of love lyrics. Some of the vocal pieces signed during the reference period, such as „The Day Is Nearing Evening” („День вечереет”) on lyrics by F. Tiutchev, or „The Soul Bursts Out of the Chest” („Так и рвется душа”) on verses by A. Koltsov, entered the contemporary concert and pedagogical repertoire. The article studies two romances by A. Stârcea on poems by F. Tyutchev, which are analyzed from the point of view of form, poetic content, the interaction of music with the literary text, musical language, vocal interpretation.
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Stan, Alina-Lucia. „The land of the foresters, Hunedoara, a pillar area for ethnomusicological research“. In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.16.
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The Land of the Foresters, Hunedoara is a well-defined archaic area, preserving traditional material and immaterial values, a fact that aroused the interest of researchers from early on. The area was first explored by Béla Bartók (1913–1914), who reached the villages Cerbal, Chelari and Feregi, from where he collected around 80 vocal and instrumental songs, published in the Romanian Folk Music. Between 1946 and 1960, a group of specialists from Bucharest made song collections in 12 villages. The research was completed by the publication by Emilia Comișel of the Folkloric Anthology from the Land of Foresters (Antologie folclorică din Ținutul Pădurenilor), Hunedoara, which includes 144 vocal and instrumental songs (collection published in two editions). Until the publication of these song collections, several studies on this area were published over the years (Béla Bartók, Emilia Comișel, Ovidiu Bârlea, Mariana Kahane-Rodan, Alina Stan).
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Amihalachioaie, Mihai. „Ways of arrangement of folkloric instrumental pieces for voice, men’s choir and folk music orchestra“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.07.
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One of the basic ideas in this discourse is experimentation in the arrangement process. The author aims to argue the need of developing the knowledge of some ways of arranging folk music material in a modern version, applied to an orchestral score in the context of the local musical art modernization through the prism of his own experience as a practitioner. Especially in vocal pieces, but also instrumental ones, the author comes up with some newer arrangement features in the process of developing the sound material. One of the essential features of this experiment is the use of the male choir during the development of the folk music material in the vocal, instrumental or orchestral pieces, the introduction of brass band interventions in the folk music orchestra score, which lead to an even wider development of the musical material.
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Coroiu, Petruta Maria. „Aurel Stroe — outstanding personality of modern Romanian music“. In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.08.
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Being one of the most important Romanian composers, thinkers and teachers of the second half of the 20th century, illustrious representative of modern European and Romanian thought with spiritual amplitude, Aurel Stroe has reached — although passed to the eternal ones in 2008 — the anniversary moment when he would have completed 90 years since his birth (May 5, 2022). Member of the academic staff at the Bucharest National University of Music until he left for Germany, Aurel Stroe taught orchestration and composition, but also he held courses in the USA (1985–1986), France (1972), Germany (1986–1994) and in Romania (the famous training courses from Bușteni, from 1992). Awarded the Prize of the Romanian Academy (1974) and the Herder Prize (Vienna, 2002), Aurel Stroe is distinguished by an impressive creation, in all the fields and genres: from opera (The Closed Citadel Trilogy, 1973–1988) to a libretto after Aeschylus: Agamemnon/Orestia I — 1973, Choephorele/Orestia II — 1983, Eumenides/Orestia III — 1988), to symphonic dance and vocal music (the poem for choir and orchestra Monumentum I (1961) — to the lyrics of Nichita Stănescu), from symphonic music (Arcade, Laude I and II, Canto I and II, Ciaccona con alcune licenze, Lyrical Preludes, Mandala with a polyphony by Antonio Lotti) to concert music (Concerto for clarinet and orchestra, Concerto for violin and ensemble of soloists "Capriccios and Ragas", Concerto for saxophone and orchestra "Prairie, Priere", Concerto for accordion and orchestra), from chamber music (piano sonatas) to choral music.
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Shatskaia, O. V., und I. A. Voitik. „Structuring performance (coordination muscle) specifics of disciplines in the system of additional education on the example of academic vocals“. In Научный диалог: Молодой ученый. ЦНК МОАН, 2018. http://dx.doi.org/10.18411/spc-22-11-2018-07.
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Lee, Jaejun, Hyeyoon Cho und Yonghyun Kim. „Bean Academy: A Music Composition Game for Beginners with Vocal Query Transcription“. In CHI '23: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3544549.3583824.
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Munteanu, Angelica. „Some teaching aspects of pop and jazz vocal duo“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.17.
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The article examines some aspects of the Pop and Jazz Vocal Duet teaching in a musical educational institution. The author deals with such issues as working on a poetic and musical text, creating a stage image. In addition, recommendations are given on the choice of the duet’s repertoire at different stages of training. The article presents examples from a number of compositions that are of interest from the point of view of studying by beginner singers.
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Kuznetsova, Elena Pavlovna. „On some differences in approaches to the development of vocal technique at the academic and variety schools“. In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-462518.
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Cosciug, Tatiana. „Concerto for voice and orchestra by Oleg Negruta: recommendations for study and interpretation“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.08.
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The Concerto for voice and orchestra by Oleg Negruta, the first creation of this kind in the history of Moldovan music, consists of two movements. The first movement, written in the f moll tone, in the Andante tempo, is a sad „story”, described in gloomy colors, with melancholic nuances. The second movement a light waltz, which, through its major key (B dur, Andantino) is meant to illuminate the atmosphere created by the music of the first movement. The vocal part of the Concerto lacks a literary text, being an expressive vocalization, but this is not an obstacle to distinguish the lyrical character and the ideational content of the creation. Although, from the position of a listener, any concerto of the composer Oleg Negruюa is easily perceptible, for that of a performer each of them hides quite a lot of challenges and difficulties, the Concerto for voice and orchestra being an eloquent example in this sense.