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Dissertationen zum Thema „Singing“
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1
Curtis, Sandra L. „Singing subversion, singing soul, women's voices in feminist music therapy“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ44871.pdf.
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2
Raffoul, Bernadette. „Go down singing“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ52644.pdf.
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Stanley, Denise. „English Gypsy singing“. Thesis, City University London, 1989. http://openaccess.city.ac.uk/7672/.
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This thesis presents a study of English Gypsy Singing in the broader context of contemporary English folksong research and previous English Gypsy song studies. It describes and illustrates Gypsy singers and their respective song performances in the five detail ed case studies of formal and informal contexts. It examines communal engagement in singing and observes that there are three different Singing roles: the Novice, the Participating singer and the Specialist which it considers in relationship to other roles activated during song performances. It gives an account of the way in which Gypsy singing is employed as an enabling device for social bonding, through song performances of the community's Participating and Specialist singers. It further observes that the social constructs which apply to Gypsy singing change according to gender and context. Finally, it considers the songs that Gypsies perform and emphasises that there is no such thing as Gypsy song, rather, it is the song performance, indeed, the whole activity of singing that is specific to Gypsies. English Gypsy singing provides the opportunity to observe community ritual in a vibrant context.
4
Parupudi, Aarti. „Singing wine glasses“. Kansas State University, 2015. http://hdl.handle.net/2097/19706.
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Master of ScienceComputing and Information Sciences
Daniel A. Andresen
One among the many inventions of Benjamin Franklin is the Glass Armonica, a musical instrument whose sound source was a series of resonating glass vessels. However, the Irish musician Richard Pockrich is typically credited as the first to play an instrument composed of glass vessels, called the Glass Harp in 1741, by rubbing his fingers around the rims. In this project “Singing Wine Glasses”, the principle of Franklin’s glass armonica is demonstrated with a wine glass. One hand is used to hold the glass steady at the base. The rim of glass is gently pressed with a moistened finger of the other hand and drawn in a circle around. When the pressure and amount of moisture are just right, the slight friction between the finger and the rim of glass causes vibrations in the sides of the glass. At a particular frequency, called the resonant frequency, the sides of the glass will vibrate most easily. The resonant frequency of wine glasses is typically within the range of human hearing (20-20,000 Hz), so the resulting resonant vibration is heard as a tone. The glass starts to sing when the vibration gets the molecules moving at their natural frequency. The resonant frequency changes with the amount of water filled in the glass. This android application deals with virtual glasses that serve the purpose of wine glasses filled with different amounts of water. Swiping on the glass edges would produce music, as per Franklin’s principle. The users would be free to select the number of glasses they want to play, and the amount of water-level in each glass. This application would also come with an enhanced feature of sustaining a particular note until the finger is released from the glass.
5
Mann, Susan 1967. „One tongue singing“. Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/11534.
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Also available online.one tongue singing is a novel which unfolds in two time-frames. In the first, a young unmarried French nurse comes to South Africa with her father and her small daughter during the closing years of apartheid. The family settles amongst a small wine-growing community in the Western Cape where they become involved in the lives of victims of the System. In the second frame, the daughter, now about nineteen years old, is a talented artist who enrols at the exclusive Art School of a womanising painter. The man walks a tightrope between popular success and a deep-seated fear of failure (linked to a growing awareness of being a fake). He has started to suffer from panic attacks.
6
BARNHART, MICHAEL ROBERT. „THE SINGING BRIDGE“. University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195667467.
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Kim, Yu-Jin. „How to prepare for foreign art songs : an innovative method for beginning singers /“. Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11221.
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Hale, Connie Lou. „Primary students' attitudes towards their singing voice and the possible relationship to gender, singing skill and participation in singing activities /“. Search for this dissertation online, 2006. http://wwwlib.umi.com/cr/ksu/main.
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Kleinberger, Rébecca (Rébecca Henrietta Marie Franca). „Singing about singing : using the voice as a tool for self-reflection“. Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/95607.
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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2014.Cataloged from PDF version of thesis.
Includes bibliographical references (pages [93]-106).
Our voice is an important part of our individuality. From the voice of others, we are able to understand a wealth of non-linguistic information, such as identity, social-cultural clues and emotional state. But the relationship we have with our own voice is less obvious. We don't hear it the same way others do, and our brain treats it differently from any other sound we hear. Yet its sonority is highly linked to our body and mind, and is deeply connected with how we are perceived by society and how we see ourselves. This thesis defends the idea that experiences and situations that make us hear, see and touch our voice differently have the potential to help us learn about ourselves in new and creative ways. We present a novel approach for designing self-reflective experiences based on the voice. After defining the theoretical basis, we present four design projects that inform the development of a framework for Self-Reflective Vocal Experiences. The main objective of this work is to provide a new lens for people to look at their voice, and to help people gain introspection and reflection upon their mental and physical state. Beyond this first goal, the methods presented here also have extended applications in the everyday use of technology, such as personalization of media content, gaming and computer-mediated communication. The framework and devices built for this thesis can also find a use in subclinical treatment of depression, tool design for the deaf community, and the design of human-computer interfaces for speech disorder treatment and prosody acquisition.
by Rébecca Kleinberger.
S.M.
10
Krige, Willie. „An HMM-based automatic singing transcription platform for a sight-singing tutor“. Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2687.
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Thesis (MScEng (Electrical and Electronic Engineering))--Stellenbosch University, 2008.A singing transcription system transforming acoustic input into MIDI note sequences is presented. The transcription system is incorporated into a pronunciation-independent sight-singing tutor system, which provides note-level feedback on the accuracy with which each note in a sequence has been sung. Notes are individually modeled with hidden Markov models (HMMs) using untuned pitch and delta-pitch as feature vectors. A database consisting of annotated passages sung by 26 soprano subjects was compiled for the development of the system, since no existing data was available. Various techniques that allow efficient use of a limited dataset are proposed and evaluated. Several HMM topologies are also compared, in analogy with approaches often used in the field of automatic speech recognition. Context-independent note models are evaluated first, followed by the use of explicit transition models to better identify boundaries between notes. A non-repetitive grammar is used to reduce the number of insertions. Context-dependent note models are then introduced, followed by context-dependent transition models. The aim in introducing context-dependency is to improve transition region modeling, which in turn should increase note transcription accuracy, but also improve the time-alignment of the notes and the transition regions. The final system is found to be able to transcribe sung passages with around 86% accuracy. Finally, a note-level sight-singing tutor system based on the singing transcription system is presented and a number of note sequence scoring approaches are evaluated.
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Krige, W. A. „An HMM-based automatic singing transcription platform for a sight-singing tutor /“. Link to the online version, 2008. http://hdl.handle.net/10019/863.
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Harris, Ronald T. „Entering Zion with singing“. Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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Kowalzig, Barbara. „Singing for the gods“. Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270429.
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Kim, Youngmoo E. „Singing voice analysis/synthesis“. Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/62044.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.Includes bibliographical references (p. 109-115).
The singing voice is the oldest and most variable of musical instruments. By combining music, lyrics, and expression, the voice is able to affect us in ways that no other instrument can. As listeners, we are innately drawn to the sound of the human voice, and when present it is almost always the focal point of a musical piece. But the acoustic flexibility of the voice in intimating words, shaping phrases, and conveying emotion also makes it the most difficult instrument to model computationally. Moreover, while all voices are capable of producing the common sounds necessary for language understanding and communication, each voice possesses distinctive features independent of phonemes and words. These unique acoustic qualities are the result of a combination of innate physical factors and expressive characteristics of performance, reflecting an individual's vocal identity. A great deal of prior research has focused on speech recognition and speaker identification, but relatively little work has been performed specifically on singing. There are significant differences between speech and singing in terms of both production and perception. Traditional computational models of speech have focused on the intelligibility of language, often sacrificing sound quality for model simplicity. Such models, however, are detrimental to the goal of singing, which relies on acoustic authenticity for the non-linguistic communication of expression and emotion. These differences between speech and singing dictate that a different and specialized representation is needed to capture the sound quality and musicality most valued in singing.
(cont.) This dissertation proposes an analysis/synthesis framework specifically for the singing voice that models the time-varying physical and expressive characteristics unique to an individual voice. The system operates by jointly estimating source-filter voice model parameters, representing vocal physiology, and modeling the dynamic behavior of these features over time to represent aspects of expression. This framework is demonstrated to be useful for several applications, such as singing voice coding, automatic singer identification, and voice transformation.
by Youngmoo Edmund Kim.
Ph.D.
15
Chua, Grace (Grace W. J. ). „Singing the Brain Electric“. Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45342.
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Thesis (S.M. in Science Writing)--Massachusetts Institute of Technology, Dept. of Humanities, Graduate Program in Science Writing, 2008.Includes bibliographical references (p. [36]-[38]).
Singing the Brain Electric Brain pacemakers, scientists have found, can treat depression by correcting neural circuitry gone haywire. This thesis examines how such technology - a technique known as deep-brain stimulation, in which electrodes are implanted within the brain - was developed and how it works. We are introduced to a patient who received deep-brain stimulation for her refractory depression, and consider the risks, ethical issues, and questions of humanity and identity the technology raises.
by Grace Chua.
S.M.in Science Writing
16
Trichon, Vincent. „A Singing Drone Choir“. Thesis, KTH, Robotik, perception och lärande, RPL, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-228612.
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Drones have a new emerging use case: performing in shows and live events. This master thesis has been driven by an artistic project invited to take part in a full-scale operatic performance in the Croatian National Theatre Ivan Zajc in Rijeka, Croatia, in 2019. This project merges technological research with ancient theatrical and operatic traditions by using drones as an opera choir. After describing the process of designing and building a fleet of quadrotors equipped with speakers, we present a reacting and interacting motion planning strategy based on potential fields. We analyse and evaluate our drone design with its control strategy on simulation and on a real drone.Droner har ett nytt framväxande användarfall: att delta i show- och liveevenemang. Detta examensarbete har drivits av ett konstnärligt projekt som inbjudits att delta i ett fullskaligt opera-uppträdande i den kroatiska nationalteatern Ivan Zajc i Rijeka, Kroatien, 2019. Detta projekt förenar teknisk forskning med gamla teatraliska och opera-traditioner genom att använda droner som en operakör. Efter att ha beskrivit processen att designa och bygga en flotta quadrotors utrustade med högtalare presenterar vi en reagerande och interaktiv rörelseplaneringsstrategi baserad på potentiella fält. Vi analyserar och utvärderar vår drone-design med sin kontrollstrategi för simulering och på en riktig drone.
17
Lopez, Thomas Matthew. „MAss : singing without gravity /“. Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9992738.
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Mullally, Andrew. „Singing saw : final thrum“. Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6226.
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Humanity has entered a new geologic age wherein our actions have become the dominant influence steering both climate and environment, now having entered a new era of mass extinction. Some scientist allege that half of the extant animal species have disappeared in the last forty years, while other scientific studies project that the remaining nine million species will again halve by the end of the century. Although extinction cycles are no stranger to this planet, this sixth iteration is unique in that is being driven primarily by human consumption. It has been claimed that in order to sustain our current level of consumption, we would need a planet 1.5-2 times the size of the one we currently inhabit.
It is easy to dismiss our individual responsibility as stewards of this planet. New modes of thinking about and approaching conservation at a local level must be developed in order to stave off the impending destruction of any and all species. Our own future as a species is inexorably linked to the success of the ecosystems we inhabit; their success, too, is bound to the species that sustain them. While this essay may not offer any meaningful solutions to an impending cataclysm, it is my hope that it will at the very least elicit a desire to amend the way we think about animals, nature, and the urgent responsibility we need to take for our planet in order for both our species and the Earth’s other inhabitants to endure.
19
Patteson, Ann. „Singing a woman's life, how singing lessons transformed the lives of nine women“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0001/MQ45292.pdf.
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Baird, Maureen Jaymin. „Perceived benefits of choral singing : social, intellectual, and emotional aspects of group singing“. Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112325.
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This research sought to explore the meaningfulness of belonging to a choir. Members of 14 Canadian choirs (N=404) responded to 18 statements concerning the perceived benefits of choral singing. Choristers ranked six aspects of choral singing in the following order of importance (from greatest to least): musical, intellectual, emotional, physical, social, and spiritual. An in-depth analysis of three central areas of the choral experience (social, intellectual, and emotional) was done and six sample populations were compared: paid vs. volunteer choristers, choristers living in different areas (urban, suburban, and rural), choristers with a music degree vs. non-degree, age of choristers (young adult, middle-aged, and senior), choir size (large, medium, and small), and type of choir (community and church).Results showed that choristers in small choirs felt like valued members of their choirs, felt a positive connection with the other choristers, and that singing in choir raised their mood to a significantly higher degree than choristers in medium and large choirs. Significant findings showed that volunteer singers, to a greater extent than paid singers, found that choir raised their mood, helped them to relax, and was a satisfying experience which gave them a sense of accomplishment. The differences in responses between middle-aged and senior choristers were minimal, but both gave responses that were significantly higher when compared with young adult choristers. The older singers felt that singing in choir raised their mood, helped them to relax, provided them with a sense of accomplishment, and that there was a sense of unity within their choir more so than young adults.
21
Guastaferro, D. Domenic. „The coup de glotte in vocal technique and pedagogy /“. Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10857862.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1989.Sponsor: Harold Abeles. Dissertation Committee: Lenore Pogonowski. Typescript; issued also on microfilm. Bibliography: leaves 117-121.
22
Bevan, Ronald Verle. „Belting and chest voice : perceptual differences and spectral correlates /“. Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10858453.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1989.Typescript; issued also on microfilm. Sponsor: Ronald J. Baken. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 98-103.
23
Smith, Muriel Louise. „Singing in 'The Peg' : the dynamics of Winnipeg singing cultures during the 20th century“. Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/12353/.
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The research begins by establishing Winnipeg, as a city comprised of many different European immigrant communities where the dominant British-Canadian culture reflected the Canadian national consciousness of the early 20th century. After an outline of early musical life in the city, four case studies demonstrate how the solo vocal and choral culture in Winnipeg represents a realization of the constitutive, continuously forming and mutable relationships between peoples of differing identities. In all of these case studies, I investigate how this culture has been shaped by social and political actions through transnational connections over the 20th century. The first two case studies are underpinned by the theories of cultural capital and gender. The first focuses on the Women’s Musical Club of Winnipeg (1900-1920s), an elite group of Brito-Canadian women who shaped the reception of high art singing among their peers primarily through their American connections. The second investigates the Men’s Musical Club of Winnipeg (1920s-1950s), a dynamic group of businessmen and musicians who sought to reinforce Brito-Canadian cultural supremacy by developing a choral culture and establishing a music competition festival based on British models and enforced by British musical associations. The third and fourth case studies are examined through the lens of diaspora and identity, underpinned by social capital. One examines the changing perspectives towards vocal repertoire and its performance in the urban Mennonite community from the 1950s until the end of the century, and how this has shaped high art vocal culture in Winnipeg. The final case study investigates the mutable political and social transnational relationships between diaspora Poles and those in the homeland, as reflected through the activities of the choir of Winnipeg’s Sokół Polish Ensemble. This thesis contributes to the knowledge on transnational musical relationships that shape urban and diaspora musical cultures in Canada.
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Agenbag, Gustel. „Musical expressivity in choral singing“. Thesis, Nelson Mandela University, 2017. http://hdl.handle.net/10948/13614.
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This qualitative mini-treatise explores Musical expressivity in choral singing with reference to three High School choirs in the Port Elizabeth area. Singing with emotions is not only a facial expression of some sort. There are so many more aspects which could be applied in order for the choral performance to be of an outstanding nature and not merely a performance. The researcher questioned the possibility of introducing expressiveness into rehearsals and performance through the application of more expressive conducting techniques, more detailed musical aspects and a general sense of unity within the group. The choral conductor plays a primary role and should therefore be considered as the most important link between choir and excellence. Focus is put on specific warm up exercises and suggestions are put forward regarding the development of your own, personalized exercises which suits your own unique setup. Data was collected through open-ended interviewees of the three school choir conductors as well as data from current and past studies on various topics. The perceptions of these conductors were noted and the manner in which they apply Musical knowledge during their rehearsals. Research findings indicate that not enough emphasis is put on expressive singing during rehearsals. More research done by the conductors and attending workshops are recommended for personal growth and development.
25
Monks, Susan J. „Perceptions of the singing voice“. Thesis, University of Sheffield, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580649.
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Bohrer, Joceli Cirilo Soares. „Intonational strategies in ensemble singing“. Thesis, City University London, 2002. http://openaccess.city.ac.uk/7645/.
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The aim of the research was to find out about intonational strategies in the performance situation. The singing voice was chosen as the appropriate subject for experimental work, due to its superior capability to define pitch as compared to other musical instruments. Ensemble singing was also required, as harmonic context may be important in the clarification of the issue, Chapter One, as an introduction to the subject, considers tuning systems and temperaments and briefly reviews the experimental literature on the subject. It also states the aim of the research. Chapter Two focuses on the theoretical aspects of the research, considering sonic relevant phenomena of psychoacoustics to the legacy of tuning systems and temperaments. Some thoughts on intonational strategies, reference frequencies and flexible temperament as desirable components of a sound intonational strategy are elaborated. An analysis of the motet Ave Veruin Corpus, by Mozart, as the chosen music piece for experimental work is carried out. Chapter 11ree deals with the delineation of experimental procedures for the evaluation of the intonational strategies adopted by singers in the performance situation. The recording sessions environment and the technical tools utilised in the experiments are described, as well as the technical procedures to carry out the measurements of the acquired data. As strict criteria had to be met regarding the performance situation, simultaneity of performance and the need to acquire individual data for analytical work, electrodes were attached to the neck of the singers, near the larynx, in order to carry out the recording sessions with the help of I-uyngogr2ph devices. Analytical issues arc also considered in the chapter, namely technical problems, errors and mistakes, as well as the implementation of intonational analyses and reference frequency calculations. Chapter Four presents a discussion on data measurements procedures, including guidelines for the determination of errors and mistakes and their symbology. Four recording sessions were carded out; two of them fulfilled 211th e necessary requirements. The singers' results are presented in chronological order. firstly, a quartet of singers from the Royal Academy of Music, and secondly, sixteen of the BBC Singers. Reference frequency results are also presented and discussed. Chapter Five deals with the intonational strategies as defined by the experimental work. It was discovered that no lbeorr&d modewl as followed throughout the music piece, but instead international procedures were guiding the singers while performing. Also, the two groups adopted different intonational strategies regarding reference frequencies. Alongside with the main issues of the research - intonational strategies regarding pitch behaviour and reference frequencies,p itch equalization within a choir section and text-related issues that amongst the most important topics that have been revealed by the results. Chapter Six comments on the new concepts brought about by the research. It also delineates some possibilities for future research work on the subject and related issues, especially vibrato singing & text articulation and absolute pitch. The Appendices contain images of the experimental work, diagrams of studio disposition for recording sessions, and analytical scores alongside with tuning tables that make it possible to represent graphically analytical values. They also provide means of performing acoustical replications of the results of analysis and singers. The core of the appendices volume is formed by the results of the singers' fundamental frequencies results and their graphical representation.
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White, Brian David. „Singing techniques and vocal pedagogy“. Thesis, University of Surrey, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371900.
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Evans, Michelle. „Vocal qualities in female singing“. Thesis, University of York, 1995. http://etheses.whiterose.ac.uk/10857/.
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Bohrer, Jocelei Cirilo Soares. „Intonational strategies in ensemble singing“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2002. http://hdl.handle.net/10183/15619.
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The aim of the research was to find out about intonational strategies in the performance situation. The singing voice was chosen as the appropriate subject for experimental work, due to its superior capability to define pitch as compared to other musical instruments. Ensemble singing was also required, as harmonic context may be important in the clarification of the issue. Chapter One, as an introduction to the subject, considers tuning systems and temperaments and briefly reviews the experimental literature on the subject. It also states the aim of the research. Chapter Two focuses on the theoretical aspects of the research, considering some relevant phenomena of psychoacoustics to the legacy of tuning systems and temperaments. Some thoughts on intonational strategies, reference frequencies and flexible temperament as desirable components of a sound intonational strategy are elaborated. An analysis of the motet Ave Verum Corpus, by Mozart, as the chosen music piece for experimental work is carried out. Chapter Three deals with the delineation of experimental procedures for the evaluation of the intonational strategies adopted by singers in the performance situation. The recording sessions environment and the technical tools utilised in the experiments are described, as well as the technical procedures to carry out the measurements of the acquired data. As strict criteria had to be met regarding the performance situation, simultaneity of performance and the need to acquire individual data for analytical work, electrodes were attached to the neck of the singers, near the larynx, in order to carry out the recording sessions with the help of Laryngograph devices. Analytical issues are also considered in the chapter, namely technical problems, errors and mistakes, as well as the implementation of intonational analyses and reference frequency calculations. Chapter Four presents a discussion on data measurements procedures, including guidelines for the determination of errors and mistakes and their symbology. Four recording sessions were carried out; two of them fulfilled all the necessary requirements. The singers’ results are presented in chronological order: firstly, a quartet of singers from the Royal Academy of Music, and secondly, sixteen of the BBC Singers. Reference frequency results are also presented and discussed. Chapter Five deals with the intonational strategies as defined by the experimental work. It was discovered that no theoretical model was followed throughout the music piece, but instead intonational procedures were guiding the singers while performing. Also, the two groups adopted different intonational strategies regarding reference frequencies. Alongside with the main issues of the research – intonational strategies regarding pitch behaviour and reference frequencies, pitch equalization within a choir section and text-related issues rank amongst the most important topics that have been revealed by the results. Chapter Six comments on the new concepts brought about by the research. It also delineates some possibilities for future research work on the subject and related issues, especially vibrato singing, text articulation and absolute pitch. The Appendices contain images of the experimental work, diagrams of studio disposition for recording sessions, and analytical scores alongside with tuning tables that make it possible to represent graphically analytical values. They also provide means of performing acoustical replications of the results of analysis and singers. The core of the appendices volume is formed by the results of the singers’ fundamental frequencies results and their graphical representation.
30
Beisswenger, Donald. „Singing Schools in Southcentral Kentucky“. TopSCHOLAR®, 1985. https://digitalcommons.wku.edu/theses/2128.
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Singing school teachers, who teach rural church congregations to sing from shape-note gospel songbooks, are still working in southcentral Kentucky, but the demand for them is smaller than it was in the first half of the twentieth century. The interdependence network in which singing school teachers, songbook publishers, and community singing events were key parts began to weaken in the 1940s as a result of the growth in popularity of professional gospel quartet concerts and gospel record albums. Many gospel music enthusiasts who once looked to songbooks as a major source for new material and for developing singing skills turned to albums and concerts in the 1940s. Singing school teachers began to be called on less frequently.
The first three chapters of this thesis contain an overview of the gospel singing events, the songbook publishers, and the singing schools. The nature of the relationship between these three gospel music institutions is established. In the fourth chapter, I profile three singing school teachers of southcentral Kentucky. In the conclusion, the development of popular religious music since the early 1800s is summarized and the importance of researching Southern white gospel music as a step toward a greater understanding of Southern music traditions as a whole is examined.
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Detwiler, Gwendolyn Coleman. „Solo Singing Technique & Choral Singing Technique in Undergraduate Vocal Performance Majors: A Pedagogical Discussion“. University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1226948715.
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Sheridan, Megan Maureen. „Singing is Elementary: Teachers' Use of Singing in Three Kodaly-Based Elementary General Music Classrooms“. The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429743952.
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Detwiler, Gwendolyn Coleman. „Solo singing technique & choral singing technique in undergraduate vocal performance majors a pedagogical discussion /“. Cincinnati, Ohio : University of Cincinnati, 2009. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1226948715.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.Advisors: Barbara Honn M.M. (Committee Chair), Barbara Paver M.M. (Committee Member), Brett Scott D.M.A. (Committee Member). Title from electronic thesis title page (viewed April 25, 2009). Includes abstract. Keywords: voice; choral; choir; vocal; pedagogy; vocal pedagogy; choral pedagogy; music; music education; undergraduate. Includes bibliographical references.
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Michaud, Brian G. „Male music teachers and singing fathers: effects on and correlations with kindergarten children's singing abilities“. Thesis, Boston University, 2014. https://hdl.handle.net/2144/11146.
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Thesis (D.M.A.)--Boston UniversityThe purpose of this study was to discover the effects, if any, of baritone and falsetto singing models on kindergarten children's singing range development and pitchmatching abilities. An additional purpose was to determine if there is a relationship between the amount of singing that fathers do with and to their children in the home and those children's singing range development and pitch-matching abilities. I investigated the following questions: (a) What effect, if any, does a male music teacher's use/nonuse of falsetto have on kindergarten children's singing range development? (b) What effect, if any, does a male music teacher's use/nonuse of falsetto have on kindergarten children's pitch-matching abilities? (c) To what extent does the amount of singing that fathers do with and to their children in the home correlate with those children's singing range development? (d) To what extent does the amount of singing that fathers do with and to their children in the home correlate with those children's pitch-matching abilities? Participants were 66 kindergarten children in four intact classrooms who received music instruction for 30 minutes once each week for 20 weeks. Two classes (n = 29) experienced a baritone vocal model during music instruction, while two classes (n = 37) experienced a falsetto vocal model during music instruction. Parents completed a revised version of the HOMES questionnaire (Brand, 1985) at the outset of the study to provide information about the children's musical home life. Vocal range development was tested using the Singing Voice Development Measure (Rutkowski, 1996). I tested pitchmatching accuracy of sol-mi patterns in a call-and-response song. Results of a MANCOVA indicated no significant differences in either pitchmatching or vocal development between the two groups; however, the results of a chi-square test indicated significantly more children in the falsetto group had success in singing over the break in the head register on the SVDM pretest (p < .00) and SVDM posttest (p = .01). The results of the HOMES indicated that the amount of singing that fathers did with and to their children in the home had multiple significant (p < .05) positive correlations with the children's scores in both pitch-matching and singing range development pre-, mid-, and post-tests. Based on the results, I recommended that male elementary music teachers consider using their falsetto ranges when teaching kindergarten children to sing in their head registers. In addition, fathers should be encouraged to sing with their children because it appears that the amount of singing fathers do with and to their children in the home positively correlates with those children's singing abilities.
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Pettersen, Viggo. „From Muscles to Singing - The activity of accessory breathing muscles and thorax movement in classical singing“. Doctoral thesis, Norwegian University of Science and Technology, Faculty of Social Sciences and Technology Management, 2005. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-560.
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The overall aim of the present studies was, in selected muscles, to investigate muscle activation levels and muscular patterns in classical singers. Further was these muscles’ relation to thorax movement investigated.
Loading levels and respiratory phasing of TR, STM and SC was investigated in vocalization tasks with high and moderate expiration. Further, PN activity was investigated in inhalation and phonation and finally, TR, INT, OBL and RC muscle loading in student and professional singers was examined.
Muscle activity was recorded by use of an ambulatory four-channel monitoring system (Physiometer PHY 400, Premed, Norway). TX movement pattern was traced with two strain gauge sensors (RES-117) placed around the upper TX and lower TX .
A phasing of upper TR activity to INT and OBL activity was discovered, all muscles supporting the expiration phase. During phonation TR contributes in the compression of the upper TX, thus serving as an accessory muscle of expiration. TR activity is reduced with short breathing cycles and is mostly inactive in simplified speaking tasks During phonation professional opera singers activate the expiratory phased TR, INT, OBL and RC muscles to higher levels than student singers do.
STM and SC show correlated activity patterns during inhalation and phonation by classical singers. During demanding singing expiratory phased STM and SC activity peaks produce a counterforce to the compression of upper TX at high pitches. As breathing demands are lowered STM and SC activity are reduced and attain inspiratory phasing. Substantial muscle activity is observed in posterior neck muscles (PN) during inhalation and phonation. EMG biofeedback performed on TR and STM have a secondary effect of lowering EMG activity in PN.
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Addo, Christian. „Singing in Fishing: A culturally-centred exploration of the meanings and functions of singing to sailors“. Thesis, Norges teknisk-naturvitenskapelige universitet, Psykologisk institutt, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-25249.
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The present study explores the meanings sailors make with their songs and the functions that are culturally pursued by sailors through singing. The study presents a model of functions of singing based on a qualitative approach which was developed after participatory, one-on-one and focus group interviews with 10 child sailors and 14 adult sailors. The model covers social, cultural and personal experiences with singing. Five main functions of singing were identified; singing for: intra-personal, inter-personal, spiritual, social and emotional functions. Some of the functions identified include singing to: ward off hunger, as a tool to attract fishes, as a tool for boosting self esteem and singing to keep in touch with the Supreme Being for: protection from the wrath of the sea god and protection of trapped fish from escaping. Future directions in cultural psychology of music, implications of the study for research and practice are also discussed.
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Loscos, Àlex. „Spectral processing of the singing voice“. Doctoral thesis, Universitat Pompeu Fabra, 2007. http://hdl.handle.net/10803/7542.
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Aquesta tesi doctoral versa sobre el processament digital de la veu cantada, més concretament, sobre l'anàlisi, transformació i síntesi d'aquets tipus de veu en el domini espectral, amb especial èmfasi en aquelles tècniques rellevants per al desenvolupament d'aplicacions musicals.La tesi presenta nous procediments i formulacions per a la descripció i transformació d'aquells atributs específicament vocals de la veu cantada. La tesis inclou, entre d'altres, algorismes per l'anàlisi i la generació de desordres vocals como ara rugositat, ronquera, o veu aspirada, detecció i modificació de la freqüència fonamental de la veu, detecció de nasalitat, conversió de veu cantada a melodia, detecció de cops de veu, mutació de veu cantada, i transformació de veu a instrument; exemplificant alguns d'aquests algorismes en aplicacions concretes.
Esta tesis doctoral versa sobre el procesado digital de la voz cantada, más concretamente, sobre el análisis, transformación y síntesis de este tipo de voz basándose e dominio espectral, con especial énfasis en aquellas técnicas relevantes para el desarrollo de aplicaciones musicales.
La tesis presenta nuevos procedimientos y formulaciones para la descripción y transformación de aquellos atributos específicamente vocales de la voz cantada. La tesis incluye, entre otros, algoritmos para el análisis y la generación de desórdenes vocales como rugosidad, ronquera, o voz aspirada, detección y modificación de la frecuencia fundamental de la voz, detección de nasalidad, conversión de voz cantada a melodía, detección de los golpes de voz, mutación de voz cantada, y transformación de voz a instrumento; ejemplificando algunos de éstos en aplicaciones concretas.
This dissertation is centered on the digital processing of the singing voice, more concretely on the analysis, transformation and synthesis of this type of voice in the spectral domain, with special emphasis on those techniques relevant for music applications.
The thesis presents new formulations and procedures for both describing and transforming those attributes of the singing voice that can be regarded as voice specific. The thesis includes, among others, algorithms for rough and growl analysis and transformation, breathiness estimation and emulation, pitch detection and modification, nasality identification, voice to melody conversion, voice beat onset detection, singing voice morphing, and voice to instrument transformation; being some of them exemplified with concrete applications.
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Janer, Mestres Jordi. „Singing-driven interfaces for sound synthesizers“. Doctoral thesis, Universitat Pompeu Fabra, 2008. http://hdl.handle.net/10803/7550.
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Els instruments musicals digitals es descomponen usualment en dues parts: la interfície d'usuari i el motor de síntesi. Tradicionalment la interfície d'usuari pren el nom de controlador musical. L'objectiu d'aquesta tesi és el disseny d'un interfície que permeti el control de la síntesi de sons instrumentals a partir de la veu cantada.Amb la present recerca, intentem relacionar la veu amb el so dels instruments musicals, tenint en compte tan la descripció del senyal de veu, com les corresponents estratègies de mapeig per un control adequat del sintetitzador.
Proposem dos enfocaments diferents, d'una banda el control d'un sintetitzador de veu cantada, i d'altra banda el control de la síntesi de sons instrumentals. Per aquest últim, suggerim una representació del senyal de veu com a gests vocals, que inclou una sèrie d'algoritmes d'anàlisis de veu. A la vegada, per demostrar els resultats obtinguts, hem desenvolupat dos prototips a temps real.
Los instrumentos musicales digitales se pueden separar en dos componentes: el interfaz de usuario y el motor de sintesis. El interfaz de usuario se ha denominado tradicionalmente controlador musical. El objectivo de esta tesis es el diseño de un interfaz que permita el control de la sintesis de sonidos instrumentales a partir de la voz cantada.
La presente investigación pretende relacionar las caracteristicas de la voz con el sonido de los instrumentos musicales, teniendo en cuenta la descripción de la señal de voz, como las correspondientes estrategias de mapeo para un control apropiado del sintetizador. Se proponen dos enfoques distintos, el control de un sintetizador de voz cantada, y el control de la sintesis de sonidos insturmentales. Para este último, se sugiere una representación de la señal de voz como gestos vocales, incluyendo varios algoritmos de analisis de voz. Los resultados obtenidos se demuestran con dos prototipos a tiempo real.
Digital musical instruments are usually decomposed in two main constituent parts: a user interface and a sound synthesis engine. The user interface is popularly referred as a musical controller, and its design is the primary objective of this dissertation. Under the title of singing-driven interfaces, we aim to design systems that allow controlling the synthesis of musical instruments sounds with the singing voice.
This dissertation searches for the relationships between the voice and the sound of musical instruments by addressing both, the voice signal description, as well as the mapping strategies for a meaningful control of the synthesized sound.
We propose two different approaches, one for controlling a singing voice synthesizer, and another for controlling the synthesis of instrumental sounds. For the latter, we suggest to represent voice signal as vocal gestures, contributing with several voice analysis methods.
To demonstrate the obtained results, we developed two real-time prototypes.
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Sofianos, Stratis. „Singing voice extraction from stereophonic recordings“. Thesis, University of Hertfordshire, 2013. http://hdl.handle.net/2299/10054.
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Singing voice separation (SVS) can be defined as the process of extracting the vocal element from a given song recording. The impetus for research in this area is mainly that of facilitating certain important applications of music information retrieval (MIR) such as lyrics recognition, singer identification, and melody extraction. To date, the research in the field of SVS has been relatively limited, and mainly focused on the extraction of vocals from monophonic sources. The general approach in this scenario has been one of considering SVS as a blind source separation (BSS) problem. Given the inherent diversity of music, such an approach is motivated by the quest for a generic solution. However, it does not allow the exploitation of prior information, regarding the way in which commercial music is produced. To this end, investigations are conducted into effective methods for unsupervised separation of singing voice from stereophonic studio recordings. The work involves extensive literature review of existing methods that relate to SVS, as well as commercial approaches. Following the identification of shortcomings of the conventional methods, two novel approaches are developed for the purpose of SVS. These approaches, termed SEMANICS and SEMANTICS draw their motivation from statistical as well as spectral properties of the target signal and focus on the separation of voice in the frequency domain. In addition, a third method, named Hybrid SEMANTICS, is introduced that addresses time‐, as well as frequency‐domain separation. As there is lack of a concrete standardised music database that includes a large number of songs, a dataset is created using conventional stereophonic mixing methods. Using this database, and based on widely adopted objective metrics, the effectiveness of the proposed methods has been evaluated through thorough experimental investigations.
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Mukherjee, Aryesh. „Studies in Hydroelastodynamics: Singing and Swimming“. Thesis, Harvard University, 2011. http://dissertations.umi.com/gsas.harvard:10242.
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In this thesis we describe two instances of the nonlinear interaction between a fluid and an elastic solid to mimic or explain some phenomenon seen in nature. We focus on the phenomena of singing of small song birds and swimming of small fish. Song birds show a versatile range of tones and compositions that have highly complex spectral structure, while fish cut through water with amazing ease. The complexity of the Navier Stokes Equations that describe the fluid coupled with large deformation elasticity equations, makes analytic attempts intractable. Hence experiments were carried out with simple physical models to explain these observations. In the first case a cylindrical elastic tube (2.5cm long, 2.5mm diameter) was used to model the vocal organ, the syrinx, of a song bird. Muscle action was mimicked using a linear motor that implemented a squeezing action and the action of the lungs was modeled by a constant source of air flow. The combined fluid-elastic system behaved like a nonlinear dynamical system and produced sound under certain conditions of external parameters. Moreover the structure of the sound created depended sensitively on the control parameters, which in this case was dominated by the position of the linear motor. The motor was dynamically controlled to produce a range of songs from simple tonal ones of the Vireo to the complex chaotic songs of the Zebra Finch. In the second instance, a cantilever (5cm long, 1cm wide)suspended between and driven by magnetic coils arranged in an anti-Helmholtz configuration, was used to mimic the dynamics of the caudal fin of a small fish. Three different gaits were observed as a function of the control parameter, the drive frequency. One of these gaits maximized thrust and hydrodynamic efficiency, and velocities unto 6 body lengths per second were measured.Engineering and Applied Sciences
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Grize, Justin Newcomb. „Singing beasts : opera and the animal“. Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/70890/.
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This practice-led project examines opera in light of the current critical attention to animals, both real and metaphorical, and their often hidden or overlooked presences in human culture. Despite their near ubiquity in our lives, animals have only recently become the subjects of serious intellectual inquiry, and the field of animal studies is a rapidly-evolving discipline, with scholars like Keith Thomas and Harriet Ritvo considering animals as active participants in human lives and histories. Opera as a form has always concerned itself with meetings between the human and the not-human; Orpheus, the semi-divine hero of the earliest operas, subdues both gods and wild beasts through his music. It is therefore curious that no serious study of opera in relation to animals and animality has yet been undertaken. For the first part of this project I have been examining the extensive representation of animals in opera over the 400 years of its existence to understand the changing forms and meanings of animals in opera. The voice is central to opera, and a closer consideration of the voice as the locus of human and non-human difference reinvigorates the debate about operatic representation, reinforcing opera's status as the ultimate humanist art form while exposing the vulnerability of this position in an era when humanism itself is increasingly called into question. A synthetic opera-animal approach casts important light on some concerns which are central to both fields: the porous, shifting boundary between human and non-human animals (and the way in which mimesis and performance further reinforce or erode those boundaries, building on work by Ritvo and Erica Fudge, Deleuze and Agamben); questions of anthropomorphism and authenticity as addressed by Steve Baker; notions of wonder, the metaphysical, and the uncanny as explored by Abbate and Tomlinson; even the politics and ethics of performance-as-animal. Practical research is also central to this project, which explores, through a portfolio of documented workshops and performances, the opportunities and necessities occasioned by the creation of a new post-human music theatre that articulates and confronts head-on our own animality, moving beyond a modernism which defines itself in opposition to the animal. In fact, as public discourse turns more and more to the sciences rather than to the arts for answers to the fundamental questions of human and animal nature, animal-opera is an obvious territory on which these two epistemological frameworks, scientific and artistic, can coexist - or collide - revealing how animals might be regarded not simply as passive carriers of imposed human meaning, but generators of meaning in their own right. The main project realised through this process of experimentation is Arthropoda, a collection of works based on the life stories of arthropods. The choice of animal is not arbitrary - their phylogenetic distance, their problematic bodies, their simultaneous familiarity and utter alienness supply particular representational challenges beyond those of more easily anthropomorphised creatures. The first work from this series, Phthirus, a cantata for human singers as human parasites, has underlined some of the limitations of traditional anthropomorphic representations, while new developments in the field of insect communication have suggested radical new directions that push the boundaries of opera as a form. A reconfigured examination of animal lives and bodies offers new source material, such as the bizarre lifestyle of the parasitic barnacle Sacculina; new musical dramaturgies, in the repurposing of entomological classics as performance texts; even new ways of producing and perceiving musical sound, such as the tymbalum, a biomimetic musical instrument based on cicada physiology. Each of these approaches seeks to bridge the perceptual divide between human and arthropod.
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Hayward, Guy Daniel. „Singing as one : community in synchrony“. Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708494.
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Poulet, James Francis Alexander. „Sound processing in the Singing Cricket“. Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619560.
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Hofman, Michael Joseph. „The birds are singing in Greek“. The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314212618.
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Coetzee, Jacques. „Singing through : a collection of poems“. Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/7917.
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Ioan, Cristina. „Developing the flute tone through singing“. Master's thesis, Universidade de Aveiro, 2007. http://hdl.handle.net/10773/1140.
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Mestrado em MúsicaEste estudo pretende propor um método alternativo para melhorar o som na execução da flauta utilizanto elementos da técnica vocal. É uma pesquisa interdisciplinar que consiste em desenvolver, experimentar e analisar exercícios e métodos para estudar flauta através do canto. ABSTRACT: This music study whants to propose an alternative method for developing the flute tone by using singing techniques. It is a piece of interdisciplinary reasearch consisting in developing, experimenting, and analyzing exercises and methods for practicing flute through singing.
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Hughes, D. „Teaching singing in Sydney government schools“. View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/36654.
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Thesis (Ph.D) -- University of Western Sydney, 2007.A thesis submitted to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfillment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.
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Kruger, Candace. „Yarrabil Girrebbah Singing Indigenous Language Alive“. Thesis, Griffith University, 2022. http://hdl.handle.net/10072/418662.
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Yarrabil Girrebbah Singing Indigenous Language Alive answers the call to yarrabil girrebbah (sing awake) Yugambeh language songs of the Gold Coast, Logan and Scenic Rim regions of South-East Queensland, Australia. The response is a narrative of Gannga.lehla, Muwa.lehla, Baribunma.lehla Thinking, Gathering and Dreaming, a Songwoman’s journey for Kombumerri/Ngugi of Yugambeh/Quandamooka, Goori [Aboriginal] woman Candace Kruger.
This doctoral investigation is underpinned by the following research question: How can Aboriginal methodologies challenge ethnomusicological understandings of Aboriginal music? To address this question, the dissertation comprises three components: •an exegesis documenting the Songwoman’s journey,
•print publications of Yugambeh Yarrabil Gaureiman (song and narrative), and
•audio and/or visual recordings of Yugambeh Yarrabil Gaureiman.
The exegetical and creative components of the research are underpinned by three methodologies, all designed as critical components of the research process and discussed within the three chapters of the thesis.
Chapter 1: Gannga.lehla thinking presents the Ngubu Yarrabil Tomorrow’s Song methodology. Designed by the Songwoman in consultation with Elders, this chapter presents the relational ontology of our land, language and knowledge systems as our own worldview, and endeavours to privilege the voices of our Elders for mobo jarjum (tomorrow’s children). Ngubu Yarrabil acknowledges that the Songwoman’s inquiry is critically important, both culturally and academically, as it aims to protect, maintain and revive living culture. The Songwoman’s journey is more than repatriation: it is creation. It is singing the land alive.
Chapter 2: Muwa.lehla Gathering presents the Yarrabilginngunn (Songwoman’s) methodology. Underpinned by five fundamental principles: Spirituality, Place, Knowledge, Transmission and Legacy, the Yarrabilginngunn methodology aims to iv protect, maintain and revive living culture. Furthermore, on a wider level, this methodological approach can be used to assist other Aboriginal people to determine and control their own epistemological trajectory.
Chapter 3: Baribunma.lehla Dreaming presents the Yarrabil Song Framework. This Framework is an alternate methodological approach to analysing and interpreting Aboriginal music. Here it is argued that Aboriginal music should no longer be considered a genre; rather, ethnomusicologists should consider Aboriginal music as a tool. In this approach, Aboriginal music is viewed as a way to hold and carry knowledge, consequently opening the listener’s mind to the presence of jagun (land) and the narratives of the jagun that are embedded within the tool that carries them.
Engaging with the exegetical component of the research requires the reader to immerse themselves concurrently in the accompanying creative works. A Thesis Guide is included, which explains how the reader can approach the exegesis and creative works to maximise understanding. One of the creative works that will be viewed is the Morning Star and Evening Star, a Yugambeh songline situated as the 2021 Australian Music Examinations Board Online Orchestra Piece.
Yarrabil Girrebbah Singing Indigenous Language Alive illustrates one way in which an Aboriginal community, in South-East Queensland is reconstructing Aboriginal knowledges for sustainability and legacy outcomes. Moreover, the Songwoman demonstrates how the performativity of living culture can be articulated as a modernity of Aboriginal music.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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Barrier, Julie Tacker. „The development of criteria for the selection of age-appropriate literature for the senescent voice“. Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186178.
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The intent of this study is to attempt to create new scientific criteria for the evaluation of choral literature for senescent singers, The first criterion developed for selection of age-appropriate choral literature was a measurement for voice quality registration called phonetography. Phonetography is the registration of the dynamic range of a voice as a function of fundamental frequency. Manual phonetograms on twenty young adult singers and twenty senescent singers were developed to determine individual frequency-by-intensity relationships of the senescent voice. The graph that was created when all points of minimum and maximum sound pressure levels are connected, thus enclosing the subject's total phonation area, was the singer's phonetogram. Three choral adjudicators were present at the phonetogram testing to determine which pitch levels and dynamic ranges were acceptable for healthy choral singing in each subject. Gelfer acoustic-perceptual rating scales were completed by the choral adjudicators on each phonetogram test subject. Adjectives utilized most frequently by speech pathologists, singers, otolaryngologists, and untrained listeners were codified and confidence ratings were made by each of the four groups who were polled. Appropriate opposites for the selected descriptors were chosen. The Gelfer test results were consistent with phonetogram findings. Criteria for age-appropriate choral literature were proposed from phonetogram data and the Gelfer acoustic-perceptual analyses. The four pieces which were selected as age-appropriate were analyzed by tessiturometry as a final criteria of suitability for aging singers. The tessiturogram is a graphic analysis of the frequency of note occurrence within a composition. Lower tessituras and limited ranges were recommended for aging singers. Choral selections with long phrases, rapid melismatic passages, wide unprepared leaps, and sustained singing should be avoided. High, soft singing for older female singers is not suggested. Rhythmic, homophonic works are recommended for successful performance. Instrumental accompaniments are beneficial in reinforcing the older singers' intonation.
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Tan, Haidee Lynn C. „Register Unification in Light of Twentieth-Century Vocal Pedagogy“. Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/tan%5Fhaidee/index.htm.
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