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1
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.
2
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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Joseph, Dawn, Roy Page-Shipp und Caroline van Niekerk. „Singing and spirituality in a South African male voice group“. International Journal of Community Music 11, Nr. 1 (01.02.2018): 21–38. http://dx.doi.org/10.1386/ijcm.11.1.21_1.
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Freer, Patrick K. „Perspectives of European boys about their voice change and school choral singing: developing the possible selves of adolescent male singers“. British Journal of Music Education 32, Nr. 1 (03.12.2014): 87–106. http://dx.doi.org/10.1017/s026505171400031x.
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This article reports analysis of interviews with 85 boys from England, Greece, Ireland and Spain about the voice change, school singing and choral music instruction. Consistent, former and self-described non-singers were included. Data suggest consistency with much of the existing narrative literature about the experience of voice change. Unique topics included a sense of identity loss during voice change. Issues related to gender and sexuality-based bullying were explored. Boys offered numerous recommendations for teachers, including that teachers focus on vocal technique specific to male changing voices. Boys’ comments suggested a pattern of identity development consistent with the Possible Selves construct. This suggests that teachers can support adolescent male singers by addressing specific issues at specific points in a boy's process of voice change and identity development.
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Shen, Hung Che, und Chung Nan Lee. „Digital Storytelling Book Generator with MIDI-to-Singing“. Applied Mechanics and Materials 145 (Dezember 2011): 441–45. http://dx.doi.org/10.4028/www.scientific.net/amm.145.441.
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Creating a digital storytelling book is an important knowledge source for the blinds, but it usually takes a lot of time and efforts. In order to read the books from electronic contents, automatic procedures could be incorporated into a speech synthesis system. In this paper, we give a practical description using a free software Text-to-speech (TTS) program with a MIDI-to-Singing toolkit as a digital storytelling book generator. In this case, a certain amount of emotional TTS customization can be derived by using time-pitch manipulation of the synthesized acoustic waveform. MIDI-to-Singing voices can be generated automatically with special emphasis on lyrical or storytelling-styled contents that are usually discouraged by uninteresting natures of voices synthesized from traditional Text-to-speech (TTS) programs. Rule-based approaches rely on rules that describe the behavior of the pitch frequency along time to generate time-pitch values. Pitch values fluctuate within a certain range depending on the intended emotion. This MIDI-to-Singing voice synthesis relies on mapping the pitch frequency values to the 12 semi-tonal melodic scales and extracting semi-tonic intervals for each emotional state. In the current version of the system, a user can style the synthesized voice by selecting either male or female standard voice in combination with one of the predefined 12 expressive styles: Neutral, Monotonic, Lowly-pitched, Highly-pitched, Rising-pitched, Falling-pitched, Happy, Sad, Fear, Anger, Randomly-pitched, and Melody-aligning (singing) styles using a small set of musical notes. A subjective test shows that synthetic conversations based on MIDI-to-Singing with customized styles are more preferable, natural, intelligible and enjoyable than the traditional ones. Finally, the result of digital talking recordings can be heard on the web-site for the comparisons between human speech and MIDI-to-Singing synthesized speech.
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Paoliello, Karla, Gisele Oliveira und Mara Behlau. „Singing voice handicap mapped by different self-assessment instruments“. CoDAS 25, Nr. 5 (23.10.2013): 463–68. http://dx.doi.org/10.1590/s2317-17822013005000008.
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PURPOSE: To map voice handicap of popular singers with a general voice and two singing voice self-assessment questionnaires. METHODS: Fifty singers, 25 male and 25 female, 23 with vocal complaint and 27 without vocal complaint answered randomly the questionnaires. For the comparison of data, the following statistical tests were performed: Mann-Whitney, Friedman, Wilcoxon, Spearman and Correlation. RESULTS: Data showed that the VHI yielded a smaller handicap when compared to the other two questionnaires (VHI x S-VHI - p=0.001; VHI x MSVH - p=0.004). The S-VHI and MSVH produced similar results (p=0.723). Singers with vocal complaint had a VHI total score of 17.5. The other two instruments showed more deviated scores (S-VHI - 24.9; MSVH - 25.2). There was no relationship between gender and singing style with the handicap perceived. A weak negative correlation between the perceived handicap and the time of singing experience was found (-37.7 to -13.10%), that is, the smaller the time of singing experience, the greater the handicap is. CONCLUSION: The questionnaires developed for the assessment of singing voice, S-VHI and MSVH, showed to be more specific and correspondent to each other for the evaluation of vocal handicap in singers. Findings showed that the more the time of singer's singing experience, the smaller the handicap is. Gender and singing styles did not influence the perception of the handicap.
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Constansis, Alexandros N., und Aglaia Foteinou. „Case study of a performance-active changing trans* male singing voice“. Voice and Speech Review 11, Nr. 2 (04.05.2017): 154–75. http://dx.doi.org/10.1080/23268263.2017.1383555.
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Meizel, Katherine. „Simon Ravens, The Supernatural Voice: A History of High Male Singing“. Journal of Musicological Research 35, Nr. 4 (28.09.2016): 350–52. http://dx.doi.org/10.1080/01411896.2016.1229003.
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Killian, Janice N. „Perceptions of the Voice-Change Process: Male Adult versus Adolescent Musicians and Nonmusicians“. Journal of Research in Music Education 45, Nr. 4 (Dezember 1997): 521–35. http://dx.doi.org/10.2307/3345420.
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To examine the changing-voice process, 141 males were interviewed regarding their voice change. Subjects included changing-voice boys (both singers and nonsingers) and men (both singers and nonsingers during time of voice change). Audiotaped interviews were scripted and verbal content analyzed. Results included the following: Boys remembered significantly more about their voice changes than did men. Singers remembered more than nonsingers. Significantly more singers than nonsingers noticed their voice change themselves and indicated that it affected both their singing and speaking. Five of every six interviewees regarded his voice change as a positive experience, but eight times more negative than positive comments were made. Vocabulary was limited to few words and was similar across all groups. Boys used “crack” and men used “break” to describe the sensation; few used musical terminology. Results are discussed in terms of teacher preparation for those working with adolescent boys.
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Johnson, Aaron M., und Gail B. Kempster. „Classification of the Classical Male Singing Voice Using Long-Term Average Spectrum“. Journal of Voice 25, Nr. 5 (September 2011): 538–43. http://dx.doi.org/10.1016/j.jvoice.2010.05.009.
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Bosma, Hannah. „Bodies of evidence, singing cyborgs and other gender issues in electrovocal music“. Organised Sound 8, Nr. 1 (April 2003): 5–17. http://dx.doi.org/10.1017/s135577180300102x.
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This article is part of PhD research dealing with gender issues in electroacoustic music, focusing on the voice. The first part of the article begins with a discussion of the musical material under research. Thereafter follows an elaborate overview of the number of male and female composers, vocalists and recorded voices in several series of CDs of electroacoustic and computer music. The gendered roles of the live, pre-recorded and synthesised voices are discussed and the musical couple of the male composer and the female vocalist emerges. The second part touches upon several issues raised by the results of part one: the roles of the performer and the composer, (dis)embodiment, femininity and technology. This is a preview into some of the remaining research. In section 2, other music than the CD series of section 1 is discussed as well. The gender patterns are interpreted in a broader context. The role of the female vocalist is many sided. Cyborg voices relate to old patterns as well as new possibilities.
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Jovanović, Smiljka. „Voice as a masquerade: Audible gender performance in several representative theoretical discourses on female identity“. New Sound, Nr. 46 (2015): 55–64. http://dx.doi.org/10.5937/newso1546055j.
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Tracing different approaches to the notion of gender masquerade, this study promotes the idea that a female subjectivity can be constituted, represented and socially situated by the means of audible masquerade. Given that the masquerade is understood here as an ongoing, recurrent, strategic and creative audible performance, the female voice, either in its real form (singing in opera, for instance) or in its metaphorical sense (écriture fémine), is taken as a gender mask par excellence. The study aims to shed some light on social and theoretical contextualization of female voice and its oppositions to the paradigm of male word / male voice.
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McCrea, Christopher R., und Richard J. Morris. „Comparisons of Voice Onset Time for Trained Male Singers and Male Nonsingers During Speaking and Singing“. Journal of Voice 19, Nr. 3 (September 2005): 420–30. http://dx.doi.org/10.1016/j.jvoice.2004.08.002.
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Daugherty, James F., Jeremy N. Manternach und Kathy K. Price. „Student Voice Use and Vocal Health During an All-State Chorus Event“. Journal of Research in Music Education 58, Nr. 4 (05.11.2010): 346–67. http://dx.doi.org/10.1177/0022429410387145.
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This field-based case study documented students’ ( N = 256) voice use and voice health perceptions during a 3-day all-state high school chorus event through daily surveys, phonation duration data, analysis of rehearsal voice use behaviors, and field notes. Among the primary results are the following: (a) First and final day survey comparisons indicated significant declining changes in 5 of 7 voice health indicator statements and in self-perceptions of singing voice quality, yet (b) most students (78.8%) believed they had taken good care of their voices; (c) self-reported sleep hours decreased significantly; (d) vocal fold contact time measured with two students ranged from 15% to 38% during rehearsal periods, 1% to 27% during on-site non-rehearsal times, and 3% to 17% during measured pre- and post-event activities, but (e) overall percentages of vocal fold contact varied little between regular rehearsal and on-site non-rehearsal events (female: 19.37% rehearsal, 20.11% non-rehearsal; male: 22.89% rehearsal, 20.54% non-rehearsal); (f) rehearsal voice rest time (63%) exceeded voice use time (37%); (g) students sat in close proximity to other choristers for approximately 73% of rehearsal time; and (h) the two compositions ranked highest relative to demands on adolescent voices consumed 61% of rehearsal time.
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Vurma, Allan. „Spectral envelope consistency singing diatonic scales with different dynamics contours“. Musicae Scientiae 24, Nr. 2 (11.09.2018): 227–50. http://dx.doi.org/10.1177/1029864918798136.
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This study was motivated by the frequently expressed opinion that in the classical style of singing one of the main objectives is the evenness of the voice over wide pitch and dynamic ranges. With an empirical experiment, we aimed to discover whether and how the acoustical parameters related to voice timbre change when professional male vocalists fulfil vocal tasks with changing pitch and dynamics. We asked 11 participants to produce one-octave D-major ascending diatonic scales in three different ways: (1) with their habitual dynamics, (2) with sempre crescendo, and (3) with sempre diminuendo. The values of the corresponding parameters varied systematically in the case of all the singers tested. Some of these changes occurred for purely acoustical reasons that are unrelated to the vocal technique of the singer. Several singers used vocal strategies whose purpose appeared to be the improvement of the perceived evenness of the voice. One such technique was the creation of a difference between the piano and forte dynamics primarily by changing the voice timbre without varying the sound level significantly. An alternative strategy was varying the sound level while minimizing the variation in the level of the singer’s formant (which is related to the brightness and carrying power of the voice).
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Schueller, Marianne, Donald Fucci und Z. S. Bond. „Perceptual Judgment of Voice Pitch during Pitch-Matching Tasks“. Perceptual and Motor Skills 94, Nr. 3 (Juni 2002): 967–74. http://dx.doi.org/10.2466/pms.2002.94.3.967.
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This study investigated the perceptual judgment of voice pitch. 24 individuals were assigned to two groups to assess whether there is a difference in perceptual judgment of voice during pitch-matching tasks. Group I, Naïve listeners, had no previous experience in anatomy, physiology, or voice pitch-evaluation methods. Group II, Experienced listeners, were master's level speech-language pathologists having completed academic training in evaluation of voice. Both groups listened to identical stimuli, which required matching audiotaped voice-pitch samples of a male and female voice to a note on an electronic keyboard. The experiment included two tasks. The first task assessed pitch range, which required marching of the lowest and highest voice pitch of both a male and female speaker singing /a/ to a note on a keyboard. The second task assessed habitual pitch, which required matching of the voice pitch of a word spoken by a male and female speaker to a note on a keyboard. A one-way analysis of variance indicated a significant difference between groups occurred for only one of four conditions measured, perceptual judgment of the female pitch range. No differences between groups were found in the perceptual judgments of the male pitch range or during perceptual judgment of the female or male habitual pitch, suggesting that the skill possessed by speech-language pathology students is no different from that of inexperienced listeners.
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Hadlock, Heather. „Return of the repressed: The prima donna from Hoffmann's Tales to Offenbach's Contes“. Cambridge Opera Journal 6, Nr. 3 (November 1994): 221–43. http://dx.doi.org/10.1017/s0954586700004316.
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The operatic diva, a singer of strange songs, and too often a turbulent, unkind girl, haunted the nineteenth-century imagination, as evidenced by the musical tales of E. T. A. Hoffmann and numerous retellings of those tales in theatre, ballet and opera. Each adaptation of Hoffmann's ‘Rat Krespel’, ‘Der Sandmann’ and ‘Don Juan’ reflects an ambivalent attitude towards women performers, whose potent voices make them simultaneously desirable and fearsome. How do these stories about female singers contrive to contain and manage the singing woman’s authority? And how does the prima donna's voice repeatedly make itself heard, eluding and overcoming narrative attempts to shape or contain its turbulent noise?Let me begin with an excerpt from ‘Rat Krespel’ (1818), which might serve as a parable for relationships between female singers and male music lovers in the Romantic imagination. Krespel, a young German musician, travelled in Italy and was fortunate enough to win the heart of a celebrated diva, Angela, whose name seemed only appropriate to her heavenly voice. Unfortunately, her personality was less than heavenly, and when she was not actually singing he found her violent whims and demands for attention very trying. One day, as he stood playing his violin:[Angela] embraced her husband, overwhelmed him with sweet and languishing glances, and rested her pretty head on his shoulder. But Krespel, carried away into the world of music, continued to play on until the walls echoed again; thus he chanced to touch the Signora somewhat ungently with his arm and the fiddle bow.
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Wangpaiboonkit, Parkorn. „Rethinking Operatic Masculinity: Nicola Tacchinardi's Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century Italy“. Cambridge Opera Journal 32, Nr. 1 (März 2020): 1–26. http://dx.doi.org/10.1017/s0954586720000099.
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AbstractThis article looks at representations of masculinity in Italian operatic performance in the 1820s and 1830s, with a particular focus on the ways in which male characters were transformed through the practice of aria and scene substitutions. Upon his retirement in 1833, the tenor Nicola Tacchinardi chastised musico performers – women who sang male roles – for their unconvincing portrayal of operatic heroes. Rather than complain about their high-lying voices, he chose to criticise these women's feminine appearance and idiosyncratic stage behaviours as unmasculine. Tacchinardi's criteria for gender performance, then, sidestepped embodied vocality and centred on performer appearance and behaviour in specific narrative situations. My study explores how Tacchinardi and his contemporaries employed aria substitution in heroic roles as a means for plot substitution, forgoing arias of dramatic stasis for dynamic scenes that showcase decisive action and augmented narrative significance. In this pre-Duprez milieu, before the onset of predetermined physiology in operatic discourse, male singers across the 1820s achieved an explicitly masculine self-definition not through voice, but as masters of textual control. Aria substitutions in the operas La Sacerdotessa d'Irminsul, La donna del lago and Norma demonstrate how singers established the components of masculine-heroic conventions through sensitive consideration of dramaturgy. I stress that the singing voice before 1830 was under-assimilated as an index of gender, and that rethinking the history of the ‘rise of the tenor’ may be crucial to understanding the history of the vocalic body.
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Hambridge, Katherine. „Staging Singing in the Theater of War (Berlin, 1805)“. Journal of the American Musicological Society 68, Nr. 1 (2015): 39–98. http://dx.doi.org/10.1525/jams.2015.68.1.39.
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Almost fifty years after the original event, Willibald Alexis’s historical novel Ruhe ist die erste Bürgerpflicht (1852) commemorated a musical performance that had taken place on October 16, 1805, at Berlin’s Nationaltheater. According to both Alexis’s reimagining and contemporary reports, after the closing “Reiterlied” of Schiller’s Wallensteins Lager a new war song was sung by audience and actors. The sensation this caused—in a city awaiting its troops’ departure for war against Napoleon—established Schiller’s play as a privileged site for political singing in Berlin and across German lands for the next decade. In this article, I account for this first occasion, its unusual press reception, and its influence by contextualizing it within a growing early nineteenth-century discourse on public communal singing, arguing that Berliners were self-consciously enacting French patriotic behaviors. As well as indicating longer-term continuities, I distinguish the political role attributed to war songs in this period from the more familiar Bildung-orientated discourse on choral singing and folk song. In contrast to established accounts that locate the emergence of popular political song in the volunteer movements of the Wars of Liberation and the national politics of the Burschenschaften and male-voice choirs, I suggest that these early performances show the official imposition of public political singing—as a kind of “defensive modernization”—in response to the Napoleonic threat. I thus revise our understanding of the establishment of singing as a modern political tool in German lands, and of the role of singing in the development of political agency and national sentiment more broadly.
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Brooks, Jeanice. „O QUELLE ARMONYE: DIALOGUE SINGING IN LATE RENAISSANCE FRANCE“. Early Music History 22 (August 2003): 1–65. http://dx.doi.org/10.1017/s0261127903003012.
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François de Billon’s Fort inexpugnable de l’honneur du sexe feminin (1555) was among the most extensive contributions to the sixteenth-century polemic on the nature of women known as the querelle des femmes. In keeping with the military connotations of its title, Billon’s ‘impregnable fortress’ is an exercise in bellicose rhetoric; his sallies are illustrated with woodcuts of roaring lions and fire-spitting cannons to heighten the effect of bravado. In the section on women’s musical gifts, he vaunts the ‘angelic sweetness’ of the female singing voice, and claims that although male musicians more often win fame, women have always been better singers:In [singing] nevertheless women have always been the very best. Whatever may be said by Sandrin, Arcadelt or Janequin, the most renowned musicians of Europe in our time, whom I would willingly ask, ‘Where is it that one can find sweetness of vocal harmony, in general, if not in the musical throat of Woman, even if she puts forth only a little warbling?’ And if they answered that in some men one finds more, could I not rightly reply, ‘What is the reason, my friends, that so few men of your profession are married and that you all flee marriage, if not that through propriety [honnesteté] you would be forced to bring your wives (instead of choirboys) into princely chambers to sing with you, or without you, which would be found so much sweeter than any childish voice? O what harmony, if you were all married in the normal fashion to beautiful women; if they were well instructed by you in the rules of music; and if in the aforementioned manner, you tuned yourselves well with them. The pleasure of listening to you would be double, the advantage triple, and thus, frequently nothing would be sung except in duo’.
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Gigolayeva-Yurchenko, V. „The role and specificity of vocal-performing universalism (on the example of the activity at MC “The Kharkiv Regional Philharmonic Society”)“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, Nr. 52 (03.10.2019): 188–200. http://dx.doi.org/10.34064/khnum1-52.13.
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The relevance of the topic. The dynamics of cultural development in the 21st century sets for the interpreter-vocalist tasks that require a quick and high-quality response to public inquiries (challenges of the time), on which the performing demand at a particular institution directly depends. MC “The Kharkiv Regional Philharmonic Society” is a concert organization, where, unlike the opera theatre, there are not clearly regulated genre priorities. Therefore, opera, jazz and even pop music organically coexist on the same stage. This genre and style diversity entails the need for the soloist to comply with the performing complex, which includes a number of requirements: the vocal-technical and stage freedom, the mastery of the art of improvisation (working with the audience), the vocal endurance, taking into account the repertory load (during one hour and a half). Last but not least, there are such criteria as the vocal-performing aesthetics, the ability for gender-performing transformation and the vocal-figurative reincarnation in one concert, etc. The purpose of the article is to substantiate the role of the phonopedic method for the development of a singing voice for developing the vocal-performing universalism in the conditions of the competition between genre-performing styles and the trends of the modern vocal culture. Analysis of recent research and publications. A great deal of interesting research and biographical works (I. Arkhipova, P. Domingo, S. Lemeshev, E. Nesterenko, B. Hmyrya, T. Madysheva,) is devoted to studying the specifics of the vocal-performing interpretation. The practicing teachers and scientists (L. Dmitriev, J. Lauri-Volpi, I. Nazarenko, V. Yushmanov) reveal the performing secrets, share their stage experience, meticulously identifying the nature and the possibilities of the voice apparatus, make historical excursions and acquaint with the vocal traditions of the past. However, none of the above scientific sources presents a systematic picture reflecting the vocal-performing process as a complex phenomenon. The author sees the indicated problem as relevant and requiring a multilateral discussion of specialists. The presentation of the main material. As of today, the professional activity of a vocal artist, regardless of the genre direction, faces very high requirements, the most important of which is the interpretative universalism. Its fundamental element is the vocal technique, the possession of which is the basic condition that ensures the singer a long and healthy professional life. However, up to the present, it is the vocal technique that continues to be an area of the open problem of the singing instrument, as a sound-forming object used by vocal performers to realize their artistic intentions and tasks. The key issue of the vocal method and one of the fundamental questions of the theory of the singing art, the psychophysics that controls the phonation process remains its unexplored area. According to V.I. Yushmanov, the technically perfect singing (or the vocal school) is a factor by which, first of all, the vocal mastery is evaluated, and the ability to sing, maintaining the phonetic clarity of vocal speech in combination with timbre rich, and at the same time bright, flying sound of the voice, steady dynamically and in the pitch on a range of at least two octaves – is one of the main requirements of the singing profession, the very necessary condition that provides the singer with the opportunity to realize their artistic intentions. But at the same time, the impossibility of separating the singing instrument from the singer himself/herself and the secrecy of the work of the control system of the singing process initially caused the emergence of the persistent illusion that, unlike instrumentalists, singers deal with the voice – perceived only acoustically (by the hearing). In this regard, the development of the vocal technique, called the “singing voice setting” must include a detailed study of the functional structure of the vocal apparatus, as a musical instrument, together with the psychophysical peculiarities. It should be noted that in the gender (male and female) and age (children, adolescents, adults) senses, the psychophysical peculiarities of the management of the vocal phonation process are diametrically opposed and require an individual approach in the vocal pedagogy. The methods of influence on psychophysics, which are responsible for managing the vocal phonation process, the principles of its flexible correction are presented in detail in the field of phonopedia and are successfully applied by vocal phonopedists. Unfortunately, the majority of the vocal-performing and phonopedic practices coexist in parallel and intersect only in critical cases (in case of functional disorders of the vocal apparatus). For ten years of my performing on the stage of the concert organization MC “The Kharkiv Regional Philharmonic Society” I have had a unique opportunity to try myself in different vocal genres and vocally reincarnate within the fames of even one concert. Such working conditions discipline, force to develop, and provide the opportunity to experiment and learn the professional foundations of singing with an even new power. And, of course, it would be impossible without the proper vocal and technical foundations, which should be constantly replenished and improved thanks to the knowledge of the phonopedic method of the voice development. The conclusion. On the example of the personal experience in chamber and concert performances it has been shown that the presented issues are relevant and deserve attention. The “tandem” of phonopedia and vocal theory not only opens new horizons for singers in their vocal-performing practice, but also shows the shortest way to mastering the singing and interpretive universalism.
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Ossi, Massimo. „"Pardon me, but your teeth are in my neck": Giambattista Marino, Claudio Monteverdi, and the bacio mordace“. Journal of Musicology 21, Nr. 2 (2004): 175–200. http://dx.doi.org/10.1525/jm.2004.21.2.175.
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Claudio Monteverdi's "Eccomi pronta ai baci" presents an odd pairing of a first-person female voice with a three-voice low male ensemble; in addition, the text, by Giambattista Marino, deals with the subject of the "bacio mordace" [biting kiss], and the female speaker invites her lover to kiss her but warns him against biting her. He of course betrays her, and the poem closes with her outraged complaint and vow never to kiss him again. The combination of text, singing voices, and expressive qualities invoked in the setting suggests that Monteverdi went beyond the conceit of Marino's madrigal in exaggerating the comic and parodistic (in the non-musicological sense of the word) aspects of the situation. In this essay, I explore the background of the kiss imagery, focusing specifically on the "bacio mordace" as an expression of "lover's furor" in Classical and Renaissance sources. I then relate the particular conceit of Marino's poem to Emanuele Tesauro's analysis of the dynamics of literary comedy: the device of decettione [deception or reversal] as part of the ridicolo [comedy] and its attendant burle [pranks]. Finally, I offer a reading of Monteverdi's madrigal in terms of Tesauro's definitions, in which I argue that the setting interjects an extra level of interpretation between the poet and the audience. This musical "filter" introduces new ambiguity into the poem's already equivocal situation, expanding its comic aspects.
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Santos, Sabrina Silva, Thaynara Montagner, Gabriele Rodrigues Bastilha, Letícia Fernandez Frigo und Carla Aparecida Cielo. „Singing Style, Vocal Habits, and General Health of Professional Singers“. International Archives of Otorhinolaryngology 23, Nr. 04 (Oktober 2019): e445-e450. http://dx.doi.org/10.1055/s-0039-1693140.
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Introduction For the singer, the voice is a medium used to express feelings that capture the listener. Every singing style has specific demands, and a vocal alteration may prevent the singer from meeting them. Objective To compare the singing style, the vocal habits, and the general health data of professional singers. Methods Cross-sectional, quantitative and retrospective study of a survey database. Data on the singing style, the vocal habits, and the health conditions and history of 57 professional singers, 31 female singers and 26 male singers, aged from 19 to 57 years old (average of 32 years old), from a mid-sized town were analyzed Results There was a prevalence of female (54 ± 2%) popular singers (91 ± 2%), in the adult age (51 ± 2%), nonsmokers (89 ± 2%), nonusers of alcohol (77 ± 2%), with respiratory problems (53 ± 2%), mainly rhinitis (23 ± 2%), and without other health problems. There was a significant use of alcohol in males (p = 0.010); among the alcohol users, there was a significant presence of respiratory problems (p = 0.046), of pharyngitis/tonsillitis (p = 0.003), and of gastroesophageal reflux (GER) (p = 0.043); there was a significant presence of GER in subjects reporting endocrine problems (p = 0.023), of gastritis (p = 0.023), and of pharyngitis/tonsillitis (p = 0.030). Conclusion There was a predominance of adult professional popular female singers, with complaints of respiratory issues (with a higher prevalence of rhinitis), without other general health issues, of nonsmokers, and of nonusers of alcohol.
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Rini Rahayu. „Rini Rahayu OLAH VOKAL SEBAGAI ALAT DAN BAHAN PENUNJANG SAJIAN TARI“. PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 2 (27.01.2020): 211–20. http://dx.doi.org/10.33153/semhas.v2i0.123.
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This research is an analytical description which positions singing as a tool and supporting material in a danceperformance. In order to limit the problem and focus in more detail on the study material, the sindenan forbedhaya Duradasih was chosen as the material object, specifically in the final performance by students fromthe Dance Department at Institut Seni Indonesia (ISI) Surakarta in 2018. The problem addressed is related tocooperation in the process of interpreting the sindenan for bedhaya Duradasih. In a vocal performance, themain tool for interpreting the material is of course the voice. The way in which the voice is produced is relatedto the technique or method used by each musician, in this case the pesinden (female singer) and penggerong(male singer), in interpreting the material. Therefore, cooperation refers to the way the material is treated in anattempt to realize a vocal performance that is rampak and rempeg. Accuracy in the way breathing is regulatedinfluences the sound of the voice because breathing is the basis of producing sound. Naturally, every person,and more specifically every pesinden and penggerong, has a different way of breathing. This leads to differencesin the way sound is produced in the process of interpreting the material to become a pragmatic reality.In addition, differences in habit for determining preferences in the vocal melody between the pesinden andpenggerong when performing their own roles also creates a problem when performing the sindenan for bedhayaDuradasih in unison. Therefore, in order to realize a vocal performance that is rampak and rempeg a solidprocess of interpretation is required. Every treatment, as a form of interpretation of the material, must beperformed with careful consideration. Departing from this problem, it is known that singing in a dance performance,in particular with the sindenan material for bedhaya Duradasih, involves flexible and open cooperation.The principle mad-sinamadan is a manifestation of the treatment of performance material, bearing in mind thedifferent breathing between the musicians. Mad-sinamadan is performed in an endeavour to realize a vocalperformance that is rampak and rempeg, using a breathing technique in which the singers snatch breathswhile they are singing the vocal melody. The purpose of this is to ensure the continuity and unity of the vocalmelody, because the sindenan for bedhaya Duradasih places more emphasis on the continuity and unity of themelodic line rather than the integrality of the vocal text. Therefore, it may be said that breathing techniqueplays an important role in a vocal performance.
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Sundberg, J., I. Titze und R. Scherer. „Phonatory control in male singing: A study of the effects of subglottal pressure, fundamental frequency, and mode of phonation on the voice source“. Journal of Voice 7, Nr. 1 (März 1993): 15–29. http://dx.doi.org/10.1016/s0892-1997(05)80108-0.
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McConville, Katherine. „Navigating the “Passaggio” Between Voice Therapy and a Singing Lesson: Ethical Considerations for the Speech-Language Pathologist“. Perspectives of the ASHA Special Interest Groups 5, Nr. 3 (30.06.2020): 658–61. http://dx.doi.org/10.1044/2020_pers-20-10003.
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Purpose The purpose of this article is to discuss factors that guide ethical decision making in determining what constitutes medically necessary voice therapy that involves or targets singing, which is distinct from a singing lesson. Method Different treatment tasks and scenarios are identified, and their rationales are compared with deference to precedent literature and relevant portions of the American Speech-Language-Hearing Association Code of Ethics. These materials are referenced in an effort to define the boundaries between voice therapy involving singing technique and a singing lesson. Results Suggestions regarding goal writing and documentation to highlight apparent boundaries are made. Conclusions In the care of injured voices, both precedent and ethical principles support speech-language pathology treatment that targets singing. However, it is incumbent upon the treating speech-language pathologist to determine when they are venturing into tasks that no longer serve a therapeutic purpose and to refer the patient for voice lessons as appropriate.
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Cole, Suzanne. „‘As Much by Force of Circumstances as by Ambition’: The Programming Practices of the Melbourne Liedertafel Societies, 1880–1905“. Nineteenth-Century Music Review 2, Nr. 2 (November 2005): 107–32. http://dx.doi.org/10.1017/s1479409800002226.
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Two male-voice singing societies – the Metropolitan Liedertafel and the Melbourne Liedertafel – occupied prominent positions in the concert life of Melbourne during the prosperous 1880s. At this time the Metropolitan Liedertafel, formed in 1870, had between 80 and 100 performing members and regularly attracted audiences of over two thousand to its ‘Social Evenings for Ladies and Gentlemen’. A concert described as the ‘greatest gathering of its kind every [sic] seen in this city’, given at the recently completed Exhibition Buildings on 7 July 1881 and attended by the Princes Albert Victor and George, drew a crowd of between five and six thousand. The farewell concert given on 13 February 1882 for the Mendelssohn Quintette Club, visiting from Boston, had an audience of approximately two thousand, even though as one of the society's ‘smoke nights’, attendance was limited to men. The Metropolitan Liedertafel played host to a number of other visiting international musicians, including Henri Kowalski, August Wilhelmj, Carlotta Patti, Ernest de Munck, and, somewhat later, Sir Charles and Lady Hallé. In the early 1880s, the Metropolitan was identified as the city's leading musical society; an 1881 review in the Argus made so bold as to suggest that it was ‘the most successful association of its kind ever established here – or probably anywhere else’! This sentiment is reflected in a satirical piece in Town Talk in October 1881 in which the Metropolitan's conductor, Julius Herz, refers to himself, in a mock German accent, as ‘the subreme conductor of the greatest musical organisation in the vorld“.
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Fisher, Ryan A. „The Impacts of the Voice Change, Grade Level, and Experience on the Singing Self-Efficacy of Emerging Adolescent Males“. Journal of Research in Music Education 62, Nr. 3 (12.09.2014): 277–90. http://dx.doi.org/10.1177/0022429414544748.
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The purposes of the study are to describe characteristics of the voice change in sixth-, seventh-, and eighth-grade choir students using Cooksey’s voice-change classification system and to determine if the singing self-efficacy of adolescent males is affected by the voice change, grade level, and experience. Participants ( N = 80) consisted of volunteer sixth-grade, seventh-grade, and eighth-grade males enrolled in a public school choral program. Participants completed the Singing Self-Efficacy Scale for Emerging Adolescent Males (SSES). After completing the SSES, participants were individually audio-recorded performing simple vocal exercises to attain each boy’s vocal range. Results revealed that 45% of sixth-grade participants, 48.15% of seventh-grade participants, and 87.88% of eighth-grade participants were classified as changing voices. Results of a three-way between-subjects ANOVA revealed no main effect for voice-change stage or grade level. A main effect was found for experience, favoring participants with 3 or more years of experience in choir. No statistically significant interactions were found.
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Jonathan, Jonathan, und Yohanes Suyanto. „Sintesis Suara Bernyanyi Dengan Teknologi Text-To-Speech untuk Notasi Musik Angka dan Lirik Lagu Berbahasa Indonesia“. IJEIS (Indonesian Journal of Electronics and Instrumentation Systems) 10, Nr. 1 (30.04.2020): 1. http://dx.doi.org/10.22146/ijeis.32131.
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Singing is a work of art that can not be separated from human life. It then makes a research about develop the art of singing by technology will brings a useful impact for such a wide aspect of human life. This research is trying to synthesize singing voice with TTS (text-to-speech) technology, as it capability to produce sound with certain pronunciation at certain frequency of sound. Inputs that used in the system are texts of song in TXT format that contain the information of numbered musical notation and lyrics in Indonesian. These inputs will converted to a phonetic transcription, for then synthesize of song voice can done based on the transcription. In general, the system made successfully synthesize song voices with some feature that based on the convention of numbered musical notation. Based on 30 people of respondents, the song voice synthesized has 81.71% of accuracy with 6.24% of deviation standard. The syntax of song text also reputed as a user-friendly convention with only up to 3 times re-compilation done to synthesize 8 bar of song text by each of respondents without any error.
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Erickson, Molly L. „Dissimilarity and the Classification of Male Singing Voices“. Journal of Voice 22, Nr. 3 (Mai 2008): 290–99. http://dx.doi.org/10.1016/j.jvoice.2006.10.002.
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McCrea, Christopher R., und Christopher Watts. „Relations of Singing Talent with Voice Onset Time of Trained and Untrained Female Singers“. Perceptual and Motor Skills 105, Nr. 1 (August 2007): 133–42. http://dx.doi.org/10.2466/pms.105.1.133-142.
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This study examined phonatory-articulatory timing during sung productions by trained and untrained female singers with and without singing talent. 31 untrained female singers were divided into two groups (talented or untalented) based on the perceptual judgments of singing talent by two experienced vocal instructors. In addition to the untrained singers, 24 trained female singers were recorded singing America the Beautiful, and voice onset time was measured for selected words containing /p, b, g, k/. Univariate analyses of variance indicated that phonatory-articulatory timing, as measured with voice onset time, was different among the three groups for /g/, with the untrained-untalented singers displaying longer voice onset time than the trained singers. No other significant differences were observed across the other phonemes. Despite a significant difference observed, relatively small effect sizes and statistical power make it difficult to draw any conclusions regarding the usefulness of voice onset time as an indicator of singing talent.
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Nawarecki, Aleksander. „Somatyczne, muzyczne i auguryjskie konteksty retoryki“. Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 5 (14.05.2018): 87–100. http://dx.doi.org/10.24917/23534583.5.7.
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Somatic, musical and augural contexts of rhetoric Rhetoric is considering from the way of performance (gr. hipokrizis, lat. actio), called by the Cicero “the body language”. There will be a point of departure in all kinds of somatic obstacles that limit the orator, and also the voices of the background that make oration harder. Among the natural voices there is a specific case of animal sounds, in particular birds’ melodies which were intensively listened by ancient augurs and poets. There is also returning question of birds singing and human voice, especially in the age of ecology and the new media, and in context of cinema music and literature. From the perspective of the zoophilology a very special case is the voice of marsh warbler that can be associated with jazz improvisation and the sampling. In the conclusion author reveals the rhetoric community between different discourses that were inspired by the art of improvisation – the free jazz (Coleman), deconstruction (Derrida) and birds language (marsh warbler).
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Wilson Arboleda, Barbara M. „Establishing Healthy Chest Register in Child Singers“. Perspectives on Voice and Voice Disorders 24, Nr. 2 (Juli 2014): 87–93. http://dx.doi.org/10.1044/vvd24.2.87.
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Historically, teaching children to utilize their chest voice in singing has been actively discouraged. These admonitions arise from assumed rather than scientifically based conclusions regarding the anatomical and physiological differences between children and adults. Chest voice singing is both an enjoyable and functional activity for children. The general lack of distinction children have between speaking and singing and their readiness to incorporate new motor patterns—for better or worse—make them ideally suited for age-appropriate training. In this article, the controversy regarding children's use of chest register will be reviewed along with relevant information about anatomy and physiology. Updated information regarding the impact of training on children will be illuminated and a framework for implementing chest voice training will be presented.
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Strumbl, Melanie. „Voice, Affect, Grain: Their Relevance in Bodily Aesthetic Experience and Popular Singing Styles“. Cultural History 7, Nr. 2 (Oktober 2018): 205–25. http://dx.doi.org/10.3366/cult.2018.0174.
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This article proposes that music and sound do not possess discursive meaning in a hermeneutical sense per se but should be recognized as a performative process. Consequently, music does not necessarily have meaning; rather, its essence is the moving of affects, a process of doing. The realization of music as a body in movement that affects other bodies is crucial to the understanding of the symbiosis of voice, sound, and body. Reading Jean-Luc Nancy's Listening enables a way of thinking about rhythm and timbre, sound, resonance and noise, voice and instrument, and ultimately song altogether that — connected with affect studies — might show the affectivity of resonating bodies and voices. Furthermore, Roland Barthes's essay The Grain of the Voice is an oft-cited and clairvoyant analysis of vocal sound that can be fruitfully combined with Nancy's philosophical treatise on the act of listening. Finally, notions of the affective turn will be linked with post-structuralist hermeneutics of the sonic quality of voice and sound. Against this theoretical backdrop, an endeavor to tackle the specific affective quality of voice and timbre should be made. Spectral analysis serves as an analytical tool to demystify the aesthetic appeal of singers like Janis Joplin, whose renditions are perceived as very emotional and authentic, due to her unique timbre and unique style of singing. Ultimately, the article is aiming towards discovering congruencies between aesthetic judgements on specific vocal artists and the sonic visualization of interpretation and vocal qualities thereof. Firstly, combining those two methodological approaches makes possible an analysis of the affective quality, the jouissance of an artist's mesmerizing voice and their aesthetic charm and, secondly, proves useful for cultural historians in terms of approaching an aesthetic phenomenon that has had relevance throughout the history of popular music.
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Breznik, Jelka. „The impact of voice on speech realization“. Journal of Education Culture and Society 5, Nr. 2 (06.01.2020): 93–101. http://dx.doi.org/10.15503/jecs20142.93.101.
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The study discusses spoken literary language and the impact of voice on speech realization. The voice consists of a sound made by a human being using the vocal folds for talking, singing, laughing, crying, screaming… The human voice is specifically the part of human sound production in which the vocal folds (vocal cords) are the primary sound source. Our voice is our instrument and identity card. How does the voice (voice tone) affect others and how do they respond, positively or negatively? How important is voice (voice tone) in communication process? The study presents how certain individuals perceive voice. The results of the research on the relationships between the spoken word, excellent speaker, voice and description / definition / identification of specific voices done by experts in the field of speech and voice as well as non-professionals are presented. The study encompasses two focus groups. One consists of amateurs (non-specialists in the field of speech or voice who have no knowledge in this field) and the other consists of professionals who work with speech or language or voice. The questions were intensified from general to specific, directly related to the topic. The purpose of such a method of questioning was to create relaxed atmosphere, promote discussion, allow participants to interact, complement, and to set up self-listening and additional comments.
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Lucas, Mark. „Adolescent Male Attitudes About Singing in Choir“. Update: Applications of Research in Music Education 30, Nr. 1 (26.08.2011): 46–53. http://dx.doi.org/10.1177/8755123311418623.
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The purpose of this study was to investigate the factors that influence adolescent males to enroll in school choir as an elective class and to assess their attitudes about singing in general, self-concept of their own voices, and perception of others’ view of adolescent males’ participation in choir. Data were obtained from 101 adolescent males who were enrolled in choir at one of six participating schools, and were in Grade 7 or Grade 8. Data analysis showed that most participants enrolled in choir because they thought it was fun and/or they were good singers. Results also indicated that peer pressure factored less than the enjoyment of singing in influencing their decision to enroll in choir. Other results suggested that the participants perceived support from their families, principals, and nonmusic teachers in their decision to take choir and that they perceived slightly less support from coaches at their school. The study indicates a need for future research of adolescent males who have chosen not to participate in choir and their attitudes about choir participation. Future research studying the attitudes of adolescent males from other regions and their attitudes about choir participation is also recommended.
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Brum, Leonardo Araujo Zoehler, und Edward David Moreno. „Challenges and Perspectives on Real-time Singing Voice Synthesis“. Revista de Informática Teórica e Aplicada 27, Nr. 4 (23.12.2020): 118–26. http://dx.doi.org/10.22456/2175-2745.107292.
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This paper describes the state of art of real-time 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.
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Ilić, Miona. „The presence and importance of choirs made up of students from younger grades of primary school in Serbia“. Norma 25, Nr. 1 (2020): 93–108. http://dx.doi.org/10.5937/norma2001093i.
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Considering the fact that the elementary school students do not have enough information on proper singing, vocal technique and using and taking care of their voice, this paper analyzes the importance of choir singing at this age, the presence of such choirs in Serbian elementary schools, and the reasons that make their formation difficult. Relying on the relevant literature, the paper analyzes the data obtained through a questionnaire on the presence of choirs made up of pupils from younger grades of primary school, as well as on the views of teachers on the reasons for the current situation. The research has shown that in the majority of schools in Serbia choir singing is not taught at all, due to the lack of motivation of teaching staff resulting from unfavorable financial circumstances. Such data are of vital importance, since only an insight into the actual situation can enable us to work on the improvements in the pedagogical practice.
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Honisch, Stefan Sunandan. „Singing tone: Disability and pianistic voices“. Journal of Interdisciplinary Voice Studies 4, Nr. 2 (01.10.2019): 247–55. http://dx.doi.org/10.1386/jivs_00008_1.
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Abstract Humans experience multiple forms of vocality not only through encounters with each other but also with other animals (e.g. the crying wolf), and in moving through natural environments (e.g. the howling wind). Music likewise affords varied opportunities to experience and express ourselves as vocalizing beings, giving rise to complex relationships between speaking, singing and playing musical instruments. This piece considers the built-in percussiveness of the piano against the aesthetic prestige of lyricism ‐ that is, 'songfulness' ‐ as it encodes ableist choreographies on the part of the pianist. Disabled performers whose embodied relationships to their instrument transgress the corporeal biases of piano performance and pedagogy thus defy the aesthetic limits of normative lyricism: by foregrounding interstitial gesture, and multi-sensory expression, they envoice a new aesthetic that I call 'disabled songfulness'. Their pianistic voices, I argue, reach beyond stage and studio, refusing containment within the sensory hierarchies out of which music is often made.
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Sinaga, Theodora. „Dasar-Dasar Teknik Bernyanyi Opera“. Gondang: Jurnal Seni dan Budaya 2, Nr. 2 (19.12.2018): 75. http://dx.doi.org/10.24114/gondang.v2i2.11284.
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This study aims to analyze, Technique of Singing in Opera. The purpose of this research is to know Technique of Singing. The theory used is vocal technique, sound processing, sound formation, breathing, frasering, head voice, powering, vibrato, interpretation, singing, opera, aria, The method used in this research is qualitative descriptive method, namely a research method that aims to describe in detail and clearly about a phenomenon that became the focus of research. On the basis of it can be started that the overall appearance of Diana Damrau is interconnected to build on the builder’s point to make the appearance of Diana Damrau towards spectaculer.
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Francis, Kimberly, und Sofie Lachapelle. „The Medical and the Musical: French Physiology and Late Nineteenth-Century Operatic Training“. Cambridge Opera Journal 28, Nr. 3 (November 2016): 347–62. http://dx.doi.org/10.1017/s0954586716000458.
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AbstractIn 1892, physician Achille Gouguenheim (1839–1901) was invited to teach a course on the physiology and hygiene of singing at the Paris Conservatoire. By that time, scientists had been interested in the mechanics of the ‘invisible’ singing voice for years, initially experimenting on human and animal cadavers using strings and weights to make dead larynges sing. By mid-century, with the development of better quality artificial lighting and mirrors, physicians and physiologists finally developed a better understanding of the relationship between voice and physiology. Meanwhile, by 1890, a growing number of connoisseurs and medical professionals alike were concerned that there was a crisis ruining French operatic singing. Gouguenheim and others argued that the key to improving the situation rested on embedding medical knowledge and its relationship to the proper functioning of the larynx and voice into pedagogy at the Conservatoire. Drawing upon archival documents, debates in leading periodicals and Gouguenheim’s published lecture notes, we examine the marriage between medical science and artistic pedagogy during the latter part of the nineteenth century. Overall, we argue that this evidence reveals a strand of French vocal training that merged the fields of science and artistry, if ever so briefly, creating pedagogical methods that for a few years offered the promise of rescuing French opera performance.
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Killian, Janice N., und Michele L. Henry. „A Comparison of Successful and Unsuccessful Strategies in Individual Sight-Singing Preparation and Performance“. Journal of Research in Music Education 53, Nr. 1 (April 2005): 51–65. http://dx.doi.org/10.1177/002242940505300105.
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High school singers ( N=198) individually sang two melodies from notation, with and without a 30-second practice opportunity. Overall accuracy scores were significantly higher with preparation time. The less accurate singers, however, did not benefit from practice time. Analysis of videoed tests indicated that high scorers tonicized (vocally established the key), used hand signs, sang out loud during practice, physically kept the beat, and finished practicing the melody within 30 seconds significantly more frequently than did low scorers during practice. Similar strategies were used during performance, with the addition of tonicizing before singing. Sight-singing system used made no significant difference. Characteristics appearing significantly more often among high scorers included: region/state choir, private voice or piano lessons, playing an instrument, membership in instrumental ensemble, sight-singing individually outside class, and director giving individual sight-singing tests. Results are discussed in terms of strategies for teaching individual sight-singing and recommended areas of future research. August 11, 2004 January 18, 2005.