Thematische Bibliographien / Male singing voice

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Auswahl der wissenschaftlichen Literatur zum Thema „Male singing voice“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 8. Februar 2022

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Zeitschriftenartikel zum Thema "Male singing voice"

Shen, Hung-Che. „Building a Japanese MIDI-to-Singing song synthesis using an English male voice“. MATEC Web of Conferences 201 (2018): 02006. http://dx.doi.org/10.1051/matecconf/201820102006.

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This work reports development of a MIDI-to-Singing song synthesis that will produce audio files from MIDI data and arbitrary Romaji lyrics in Japanese. The MIDI-to-Singing system relies on the Flinger (Festival singer) for singing voice synthesis. Originally, this MIDI-to-Singing system was developed by English. Based on some Japanese pronunciation rules, a Japanese MIDI-to-Sing synthesis system was developed and derived. For a language transfer like Festival synthesized singing, two major tasks are the modifications of a phoneset and a lexicon. Originally, MIDI-to-Sing song synthesis can create singing voices in many languages, but there is no existing Japanese festival diphone voice available right now. We therefore used a voice transformation model in festival to develop Japanese MIDI-to-Singing synthesis. An evaluation of a song listening experiment was conducted and the result of this voice conversion showed that the synthesized singing voice successfully migrate from English to Japanese with high voice quality.

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Dong, Li, und Jiangping Kong. „Electroglottographic Analysis of the Voice in Young Male Role of Kunqu Opera“. Applied Sciences 11, Nr. 9 (26.04.2021): 3930. http://dx.doi.org/10.3390/app11093930.

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The phonation types used in the young male role in Kunqu Opera were investigated. Two national young male role singers volunteered as the subjects. Each singer performed three voice conditions: singing, stage speech, and reading lyrics. Three electroglottogram parameters, the fundamental frequency, contact quotient, and speed quotient, were analyzed. Electroglottogram parameters were different between voice conditions. Five phonation types were found by clustering analysis in singing and stage speech: (1) breathy voice, (2) high adduction modal voice, (3) modal voice, (4) untrained falsetto, and (5) high adduction falsetto. The proportion of each phonation type was not identical in singing and stage speech. The relationship between phonation type and pitch was multiple to one in the low pitch range, and one to one in the high pitch range. The sound pressure levels were related to the phonation types. Five phonation types, instead of only the two phonation types (modal voice and falsetto) that are identified in traditional Kunqu Opera singing theory, were concomitantly used in the young male role’s artistic voices. These phonation types were more similar to those of the young female roles than to those of the other male roles in the Kunqu Opera.

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Killian, Janice N., und John B. Wayman. „A Descriptive Study of Vocal Maturation Among Male Adolescent Vocalists and Instrumentalists“. Journal of Research in Music Education 58, Nr. 1 (April 2010): 5–19. http://dx.doi.org/10.1177/0022429409359941.

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This descriptive study was designed to examine middle school adolescent boys’ singing voices ( N = 104) comprising volunteers enrolled in band ( n = 72) or choir ( n = 32). The authors sought to confirm possible earlier voice change, to compare vocal characteristics among frequent (choir) and infrequent (band) singers, and to determine use of falsetto during each voice stage. To assess falsetto, the authors had participants view and then imitate a segment of Shrek, in which characters speak in falsetto and bass. Students then spoke a line at high, medium, and low pitches. They then self-selected their highest and lowest singing pitches, sustaining them as long as possible. Following Cooksey procedures, the authors identified the boys’ speaking pitch and guided them to their highest and lowest pitches. Data consisted of demographic information; changing voice stages; high, medium, and low speaking contrasts; highest and lowest sung pitches (both self-selected and instructor-guided); number of seconds pitches were held; presence/absence of falsetto singing; and Likert-type responses to “Like singing?” and “Sing well?” Results confirmed that boys’ voices continue to change at an early age and can be divided reliably into predictable developmental stages and that speaking voices were 3 to 4 semitones above lowest sung pitches. Predictable identification of falsetto appeared elusive.

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Rutkowski, Joanne. „Investigation of the effect of a male singing model on kindergarten children’s use of singing voice achievement“. International Journal of Music in Early Childhood 14, Nr. 2 (01.12.2019): 167–80. http://dx.doi.org/10.1386/ijmec_00003_1.

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Replicable singing models are important as children learn to use their singing voices. Previous research indicates that for elementary school-aged children a child model is most effective, then a female model, then a male falsetto model, then a male baritone model. In my work with preschool children in a more informal setting, I noticed that many of these children did not seem to have difficulties singing along with male undergraduate students. In a recent study I conducted, significant differences in male and female models were found, favouring the female model. However, gains in singing were not noted until the second half of the year and the male teacher was only part of instruction for the first half of the year. Therefore, the purpose of this study was to investigate the effect of a male singing model over an entire academic year of instruction on kindergarten children’s singing voice achievement. Kindergarten children (N=15, N=10) received informal music guidance once a week for 30‐40 minutes from October to May from a team of two music teachers, one female and one male. The teachers sang together during activities, but sometimes the female teacher would take the lead; other times the male teacher. The Singing Voice Development Measure (SVDM) was administered four times during the instructional period. For each test time, the female teacher administered the test with her voice as the singing model; on a different day the male teacher administered the test with his baritone voice as the singing model. Two raters evaluated the randomized recordings of the children’s singing; reliabilities were acceptable. A three-way repeated-measures ANOVA revealed a significant interaction by time and model. The children’s scores, while quite high on the pretest, showed an increase over time for both models except for the final performances when singing with text with the female model; one of these performances appears to be an outlier.

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Miller, Donald G., H. K. Schutte und James Doing. „Soft Phonation in the Male Singing Voice“. Journal of Voice 15, Nr. 4 (Dezember 2001): 483–91. http://dx.doi.org/10.1016/s0892-1997(01)00048-0.

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Cooksey, John M., und Graham F. Welch. „Adolescence, Singing Development and National Curricula Design“. British Journal of Music Education 15, Nr. 1 (März 1998): 99–119. http://dx.doi.org/10.1017/s026505170000379x.

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Adolescence is characterised by a distinctive phase of vocal development which bridges childhood and adulthood. Various research studies over the past twenty years have demonstrated that the physical maturation of the adolescent voice mechanism produces a systematic change in both the male and female singing voice. Longitudinal research data indicate that there are distinctive features to each stage of adolescent voice change and that, with an appropriate matching of repertoire, it is possible for all young people to continue to sing successfully throughout this period. The traditional and stereotypical notion that adolescent male voices ‘break’ is untenable in the light of this research evidence and it is suggested that a concept of adolescent singing voice ‘transformation’ or ‘change’ is a more accurate representation of the physiological reality. It is a weakness of the revised National Curriculum for Music (1995) that it makes no appropriate reference to this unique period of adolescent voice change and, as a result, teachers receive inadequate statutory guidance on the development of singing at Key Stage 3.

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Fisher, Ryan Austin, Nancy L. Summitt und Ellen B. Koziel. „A Description of Middle School Male Singers’ Voice Change and Voice Part Assignment“. Update: Applications of Research in Music Education 40, Nr. 1 (27.05.2021): 45–53. http://dx.doi.org/10.1177/87551233211018209.

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The purpose of this study was to describe the voice change and voice part assignment of male middle school choir members. Volunteers ( N = 92) were recruited from three public middle school choral programs (Grades 6-8). Participants were audio-recorded performing simple vocal tasks in order to assess vocal range and asked to share the music they were currently singing in class. Results revealed 23.91% of participants’ voices could be categorized as unchanged, 14.13% as Stage 1, 3.26% as Stage 2, 10.87% as Stage 3, 26.09% as Stage 4, and 21.74% as Stage 5. The majority of sixth-grade participants were classified as unchanged or in Stage 1 of the voice change and the majority of eighth-grade participants were classified in Stages 4 to 5 of the voice change. Of the participants labeled “tenors” in their choir, over 60% were classified as either unchanged voices or in Stage 1 of the voice change.

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Robison, Tiger. „Overcoming the Octave Displacement: Vocal Modeling Strategies for Male Elementary General Music Teachers“. General Music Today 31, Nr. 3 (April 2018): 66–72. http://dx.doi.org/10.1177/1048371318768486.

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The purpose of this article is to address the issue that children’s natural singing voices and pitch perception are in a treble range, and a male elementary general music teacher’s natural singing voice is an octave below. There are many strategies to overcome this significant but manageable obstacle in daily teaching, including monitoring of vocal health, use of instrumental accompaniment, encouragement of student vocal modeling, specific vocal exercises and cues, and cognitive strategies to help students discern between child and adult voices. Specific games, prompts, and rubrics are also included in this article to help guide any male elementary general music teacher to the most appropriate long-term vocal modeling solutions.

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Monod, David. „DOUBLE-VOICED: MUSIC, GENDER, AND NATURE IN PERFORMANCE“. Journal of the Gilded Age and Progressive Era 14, Nr. 2 (April 2015): 173–93. http://dx.doi.org/10.1017/s1537781414000784.

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AbstractDouble-voiced singing was a popular form of variety show entertainment from the 1860s through to the 1920s. Double-voiced performers were able, through intonation and tone, to sound as though they had at least two separate and distinct “voices,” generally one soprano and one baritone. But as Claire Rochester, a double-voiced singer of the early twentieth century made clear, their act was more than just a matter of a woman singing low notes or a man singing high ones; it was all about a performer adopting the “voice” of the other sex. The unusual practice of these singers was to sing duets (and sometimes as much as quartets) to themselves and by themselves, flipping back and forth between their male to female “voices.” I place this strange form of entertainment in the context of changing attitudes to gender and sexuality and suggests that conventional interpretations of “freak” performances as “transgressive” fail to account for these vocal wonders. Double-voiced singers shunned the “transgressive” billing, especially when their own sexual identity was called into question. In making this argument, I suggest that we need to widen our understanding of “freakery,” imposture and the meaning of “nature” and “truth,” as they were revealed both on stage and off.

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Harries, M. LL, Maggie Griffith, J. Walker und S. Hawkins. „Changes in the male voice during puberty: Speaking and singing voice parameters“. Logopedics Phoniatrics Vocology 21, Nr. 2 (Januar 1996): 95–100. http://dx.doi.org/10.3109/14015439609098748.

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Dissertationen zum Thema "Male singing voice"

Hook, Sally. „Vocal agility in the male adolescent changing voice“. Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4151.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (November 8, 2006) Vita. Includes bibliographical references.

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Keating, Bevan T. „A choral organizational structure for the developing male singer“. Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5num=osu1086095145.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xii, 136 p. : ill. Advisor: Hilary Apfelstadt, School of Music. Includes bibliographical references (p. 102-107).

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Cottrell, Duane Coles. „Increasing glottal closure in an untrained male chorus by integrating historical, scientific, and clinical practice into choral voice building exercises“. Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-10998.

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Morris, Brad Lawson. „A Countertenor's Reference Guide to Operatic Repertoire“. Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554918197976462.

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Ranney, Todd Edward. „Vocal Preparation For The High School Male (Preparing the High School Male Soloist for Contest/Audition - A Choral Director’s Guide)“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243865443.

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YANG, HAN-CHIEH, und 楊涵絜. „Effects of Karaoke Singing in Taiwanese Male Elderly on Acoustic Measurements, Aerodynamic Measurement, and Voice Quality of Life“. Thesis, 2017. http://ndltd.ncl.edu.tw/handle/16499391463930734148.

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碩士
國立臺北護理健康大學
語言治療與聽力研究所
105
In recent years, the elderly population in Taiwan has risen, and the prevalence of presbyphonia caused by aging is high. 　　The study aims to discuss the effects of Karaoke singing on elderly male, and to explore whether this singing habit can moderate or improve the decline of voice function and voice quality of life caused by aging. 　　There are 40 elderly male recruited, and all were in good physical condition. Subjects were divided into 2 groups, depending on whether they had Karaoke singing habit. Measurements of acoustics, aerodynamics, and voice quality of life were conducted. The data were analyzed by independent t-test to compare the differences between two groups among all the parameters. 　　The results of acoustic parameters including jitter, highest tone, and PFRP (physiological frequency range of phonation) show better outcomes in Karaoke group than non-Karaoke group. However, other acoustic parameters, MPT, and measurements of voice quality of life have no statistic differences between groups. 　　This study indicates that Karaoke singing habit can maintain or improve the rise of jitter caused by aging, and also can maintain or improve the phonational frequency range, especially the highest tone, and PFRP. 　　The positive effects of Karaoke singing in Taiwanese male elderly can provide speech language pathologists, doctors, and medical staff for clinical use, and also can provide ministry of health and welfare for developing diversified vocal hygiene strategies.

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Filippi, Lukáš. „Falzet jako hlavní princip při strukturaci mužského pěveckého hlasu Sonda do literatury pěvecké pedagogiky 20. století“. Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-445757.

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This master thesis will examine the role of falsetto in structuring the male singing voice. The author will examine both Czech and international literature of the 20th century concerned with pedagogy of singing with regard to the use of head register. Works that are cited in this thesis were chosen based upon their authors' common view that it is the contribution of head voice that should play major role in structuring the singing voice. Czech authors in this thesis include Antonín Mařík, Jiří Bar, Rudolf Vašek and Přemysl Kočí. Foreign authors are represented by Anthony Frisell. This thesis strives to summarize main pedagogical concepts of the above mentioned authors. Based upon citations, it lists and explains their most common views. Apart from explaining thoughts and opinions that are shared by a majority of listed authors, this thesis also mentions views and opinions that are in some way radical or significantly different from the rest of the group. These pedagocial concepts of head voice training are later compared with the current method of chest voice training. Here, the author draws not only on the literature but also on his experience from his studies of classical singing at the Prague Conservatory. This work will also strive to summarize and compare terms such as register, head voice,...

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Wei, Huang Yu, und 黃玉瑋. „The effect of three different types of male and female teachers’ modeling singing voice on the first graders’singing pitch accuracy“. Thesis, 2006. http://ndltd.ncl.edu.tw/handle/50264512319026203686.

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碩士
國立臺北教育大學
音樂教育學系碩士班
95
This study was to investigate the effect of three different types of male and female teachers’ modeling singing voice on the first graders’ singing pitch accuracy. In addition, the correlations between/among the three types of male and female teachers’ modeling singing voice and the singing pitch accuracy of the participants were examined. A Criterion Song, Male and Female Teachers Modeling Singing CD, and Assessment Form developed by the researcher were the instruments. The total of subjects was 228 from an elementary school in Taipei City. Three judges who are children singing experts received judge training and the inter-rater reliability was .865. Data analysis approaches included descriptive statistical, analysis of variance (ANOVA) and Pearson product-moment correlation. There was a significant difference (p=.00, F=144.44) between the three types of male and female teachers’ modeling singing voice and the singing pitch accuracy of the participants. The LSD was utilized for the post-hoc comparison. The findings are as follows: 1. The means of participants’ singing pitch accuracy were different by the three different types of singing modeling: female singing modeling (m=7.32), male falsetto singing modeling (m=7.35), and male natural voice singing modeling (m=4.22). 2. Regarding to the effects on participants’ singing pitch accuracy, there were significant differences between male natural voice singing modeling and female singing modeling (correlation coefficient, r= -.089), male natural voice singing modeling and male falsetto singing modeling (correlation coefficient, r=.174) as well; however, there was no significant difference between female singing modeling and male falsetto singing modeling (correlation coefficient, r=.329). It can be recommended: 1) when modeling singing, teachers should consider the appropriateness of vocal types, the timbre and the pitch accuracy. 2) male teachers should have the awareness and appropriate timing of using natural voice and falsetto and the timing of using them, as well as using child singing modeling as an alternative way, if they do singing modeling.

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Bücher zum Thema "Male singing voice"

Narverud, Jacob J. The resonant male singer: Daily vocal workouts to engage and empower young men. Milwaukee, Wisconsin: Shawnee Press, 2016.

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Teaching singing to boys and teenagers: The young male voice and the problem of masculinity. Lewiston, NY: Edwin Mellen Press, 2008.

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Giles, Peter. The history and technique of the counter-tenor: A study of the male high voice family. Aldershot, Hants, England: Scolar Press, 1994.

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How high should boys sing?: Gender, authenticity and credibility in the young male voice. Farnham, England: Ashgate Pub., 2009.

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Steve, Parker. Singing a song: How you sing, speak, and make sounds. New York: F. Watts, 1991.

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Secrets of Singing Male Voice With Cd. Alfred Publishing Company, 1994.

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Supernatural Voice: A History of High Male Singing. Boydell & Brewer, Incorporated, 2014.

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Jeffrey Allen's Secrets of Singing: Male (Low and High Voice). Alfred Publishing Company, 1994.

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Ashley, Martin. How High Should Boys Sing?: Gender, Authenticity and Credibility in the Young Male Voice. Taylor & Francis Group, 2016.

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Giles, Peter. The History and Technique of the Counter-Tenor: A Study of the Male High Voice Family. Scolar Press, 1996.

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Buchteile zum Thema "Male singing voice"

Faulkner, Robert. „Icelandic Men, Male Voice Choirs and Masculine Identity“. In Perspectives on Males and Singing, 215–31. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2660-4_14.

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Davies, Peter. „The Male Voice Choir in the United Kingdom“. In Perspectives on Males and Singing, 325–35. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2660-4_21.

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Abrahams, Frank. „Changing Voices—Voices of Change: Young Men in Middle School Choirs“. In Perspectives on Males and Singing, 79–93. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2660-4_6.

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Bayliss, Curtis, und Robert Stewart. „Giving Voices to Gifted Antipodean Unicorns“. In Perspectives on Males and Singing, 337–45. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2660-4_22.

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Bannister, Matthew. „“But I Can Write Songs Okay”: Male Voices in New Zealand Alternative Rockalternative rock“. In Perspectives on Males and Singing, 259–70. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2660-4_16.

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Walker, David. „The adjudicator“. In Why I Became an Occupational Physician and Other Occupational Health Stories, 152. Oxford University Press, 2020. http://dx.doi.org/10.1093/med/9780198862543.003.0124.

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Sweet, Bridget. „Strength from Within“. In Thinking Outside the Voice Box, 61–76. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190916374.003.0004.

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The chapter describes how young singers, female and male, can be helped as they traverse times of great vocal challenge. If psychological and emotional needs are not met, it is likely that adolescents will not endure vocal difficulties and will stop singing. Until coordination of the vocal mechanism returns, students must be provided with something to keep them going, to keep them from quitting singing. This chapter focuses on ideas of resolve that are essential to the navigation of voice change; perseverance is explored under the designations of grit, vulnerability, and relentlessness. An additional section considers perseverance in practice and provides strategies for music students and educators to utilize during voice change challenges and beyond.

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Braae, Nick. „Freddie Mercury“. In Rock and Rhapsodies, 107–38. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526736.003.0006.

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This chapter analyses and interprets the singing of Freddie Mercury. It is argued that the singer utilised four predominant voice types—powerful, gritty, sincere, exaggerated—which were defined by combinations of vocal techniques. These voice types often aligned with stylistic contexts but were also utilised to emphasise the structural dynamics of songs, such as moving from a lighter tone (e.g. sincere) to a powerful tone at the onset of a pre-chorus. Furthermore, Mercury’s deployment of these voice types in incongruous stylistic contexts (e.g. a breathy tone in a hard rock song), along with the ambiguity as to whether he possessed a ‘true’ voice, may be read as queer vocal strategies that challenge heteronormative conventions of male rock singing. It is argued that his vocal aesthetic was influenced by Liza Minnelli and Marilyn Monroe—theatrical voices—which underscores his ability to present a distinct performance identity.

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Sweet, Bridget. „Introduction“. In Thinking Outside the Voice Box, 1–10. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190916374.003.0001.

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The book describes voice change as a whole-body experience for adolescents, both female and male, which, while not always easy, should not scare music teachers away from working with adolescent singers. Many aspects of adolescent voice change are addressed throughout this book, but there may be exceptions to what is discussed. Everyone has an endocrine system that contains glands to produce hormones, but this system is sometimes influenced or disrupted by biological makeup, environmental conditions, or malnourishment; in addition, some people are diagnosed with atypical chromosomal structures. As a result, it is acknowledged that not every person on the planet does, in fact, experience a voice change. The focus of Thinking Outside the Voice Box remains on adolescent females and males who are engaged in the singing process and experiencing symptoms and expectations of a “typical” adolescent voice change.

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Jacobsen, Kristina M. „Sounding Navajo“. In Sound of Navajo Country. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631868.003.0005.

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Chapter Four interrogates what is defined as “sounding Navajo” and what happens when someone refuses to adhere to these expectations. Looking at how gender, nation, and the idea of a prescriptive “Navajo” sound intertwine, I show ethnographically how Navajo blues and rock bands such as Chucki Begay and the Mother Earth Blues Band are often told they don't “sound Navajo'” by local radio station deejays who refuse to play them on air. Instead, these deejays insist that sounding Navajo is defined as a male vocalist singing either Anglo-affiliated genres such as country music, or genres historically associated with Navajo tradition, such as social dance- and ceremonial songs. Tracing why Navajo identity came to be aligned with country music, the “rez” accent and the male singing voice through the work of the late singer and comedian Vincent Craig, it becomes clear how Navajo musical taste is inflected by class, generation, and gender ideologies.

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Konferenzberichte zum Thema "Male singing voice"

Brum, Leonardo, und Edward David Moreno. „State of art of real-time singing voice synthesis“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10422.

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This paper describes the state of art of realtime singing voice synthesis and presents its concept, applications and technical aspects. A technological mapping and a literature review are made in order to indicate the latest developments in this area. We made a brief comparative analysis among the selected works. Finally, we have discussed challenges and future research problems. Keywords: Real-time singing voice synthesis, Sound Synthesis, TTS, MIDI, Computer Music.

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