Dissertations / Theses on the topic 'Academia Vocalis'
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1
Cordell, Laura Michele Portune. "Bridging the Gap, Transitioning Vocalists from Academia to Career." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1311268981.
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Wright, Timothy F. "Vocal communication in the Yellow-naped Amazon (Amazona auropalliata) /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9724894.
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Pires-Fernandes, Catherine. ""The Girl in 14G:" Analyzing Solutions for Vocal Issues Through Vocal Pedagogy." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1636.
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The intent of this thesis is to study a variety of vocal techniques and identify how to solve different vocal challenges in the musical theatre song, "The Girl in 14G." In order to be successful in the entertainment business, it is imperative that a singer performs healthily and in a variety of music styles. Through an exploration of Lessac Kinesensic Training, Estill Voice Training Systems and Bel Canto techniques, a singer can gain a holistic perspective about voice. I will study with three voice teachers, each of whom specializes in one of the aforementioned techniques. This thesis will reveal how each voice teacher brought her expertise to the lesson. It is a singer’s responsibility to ensure she is well rounded and knowledgeable about her voice, and the different approaches to teaching voice. Solutions that reflect different techniques will be analyzed. Observations and discoveries made in private voice lessons will also
be described. Documentation of lessons with each teacher will provide insight about the distinctions and similarities in vocal techniques. This thesis is intended to serve as a starting
point for students and teachers to satisfy their own vocal curiosity and exploration.B.F.A.
Bachelors
Theatre
Arts and Humanities
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Kroytor, Anya. "Does behavioral treatment for children with social anxiety disorder change vocal characteristics?" Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/573.
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Children with Social Anxiety Disorder (SAD) characterized by persistent shyness and anxiety in social or performance situation, exhibit social skills deficits. These deficits include difficulty initiating conversations, maintaining eye contact, and taking turns when speaking, which in turn leads to impairments in their daily interactions and development of peer relationships (Greco, 2005; Miers, 2010). Although there are many subjective assessments for treatment outcomes for children with SAD, in order to become more thorough and effective when assessing treatment outcomes, more objective measures of actual behaviors are needed. This study uses digital vocal analysis to examine vocal parameters associated with anxiety such as pitch and volume in children with SAD pre and post treatment. Measuring vocal parameters during role-play behavioral assessment tasks allowed us to examine whether the software was capable of detecting differences in vocal characteristics that are consistent with the clinical presentation of the disorder. Children with SAD showed differences in vocal characteristics pre to post treatment, in regards to pitch, pitch variability, volume, and volume variability. There were significant changes in volume pre to post treatment, however the changes in pitch, pitch variability, and volume variability were not significant. These results suggest that post SET-C treatment, certain vocal characteristics, (one of the social skills deficits exhibited by children with SAD) improved. Implications of the findings are discussed.B.S.
Bachelors
Sciences
Psychology
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Costa, León Piero. "La subjetividad en la definición lexicográfica : un análisis textual de tres vocablos andinos en los diccionarios de la Real Academia Española." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2016. http://tesis.pucp.edu.pe/repositorio/handle/123456789/7676.
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La presente investigación tiene como objetivo explorar la manifestación de la subjetividad en el texto de la definición lexicográfica y dar cuenta, a través de esta, de la perspectiva que, a título individual, el lexicógrafo vierte en el espacio textual en cuestión. En contraste con el objetivo de colocar en la definición el saber compartido que los hablantes comparten como parte del significado, la filtración de la postura, expectativas y conocimientos específicos del emisor del texto permite entrever en el diccionario las motivaciones y determinaciones lingüísticas, cognitivas e ideológicas que conducirían a aquel a la formulación de un texto que se aleja del significado general, de aquel valor semántico con que un determinado vocablo circula entre los hablantes. Es con este afán que se emprende aquí el análisis de las definiciones que, para coca, puma y llama, los diccionarios de la Real Academia Española han presentado a lo largo de su historia. Apelando a herramientas conceptuales como las de significado estereotípico, concepción consustancionalista y nomenclaturista del signo lingüístico, ideología y otras vinculadas, así como a la propuesta metodológica de las marcas de enunciación subjetiva, se pretende realizar un ejercicio de análisis textual-(meta)lexicográfico, del cual se desprenderá la existencia de construcciones textuales con una cierta carga subjetiva, motivadas por la comprensión de los tres vocablos señalados, por parte de los lexicógrafos académicos, sobre la base de referentes del mundo (no necesariamente lingüísticos), hechos históricos e ideologías hispanocéntricas y que conceptualizan el mundo americano a partir de paralelos con el contexto y modo de vida españoles.Tesis
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Thompson, Shannon. "The role of anxiety in mental tumbling blocks." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/921.
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Mental tumbling blocks are a problem in sports such as cheerleading where the athlete has an unexplained fear related to performing a skill that has been previously executed successfully. The current study compared participants with and without a mental tumbling block on self-report measures of anxiety and on vocal analysis data indicating if anxiety or fear is present. Participants were female cheerleaders who ranged in age from 10 to 16 years old. The Sport Anxiety Scale-2 (SAS-2; Smith, Smoll, Cumming & Grossbard, 2006) and the Cheerleading Fear Inventory (CFI; modified from Cartoni, Minganti, and Zelli, 2005) were used in addition to vocal analysis measures assessing pitch and intensity. These vocal analysis measures were taken under two conditions while the cheerleader was interviewed (1) about tumbling and (2) about school. Results indicated that athletes with a mental block reported higher somatic anxiety, concentration disruption, and overall anxiety on the SAS-2 than participants who did not have a mental tumbling block. Similarly, athletes with a mental tumbling block reported higher scores on the CFI than athletes without a mental tumbling block. In addition, athletes with a mental tumbling block showed higher pitch on the vocal analysis measure than athletes without a mental tumbling regardless of interview condition. Finally, several significant correlations emerged between scores on the SAS-2, the CFI, and the vocal analysis measures. These results are discussed in terms of the existing literature, and practical suggestions are offered that may help coaches understand how to effectively handle mental blocks at practice.B.S.
Bachelors
Sciences
Psychology
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Kent, Travis M. "Effects of input modality and expertise on workload and video game performance." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/448.
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A recent trend in consumer and military electronics has been to allow operators the option to control the system via novel control methods. The most prevalent and available form of these methods is that of vocal control. Vocal control allows for the control of a system by speaking commands rather than manually inputting them. This has not only implications for increased productivity but also optimizing safety, and assisting the disabled population. Past research has examined the potential costs and benefits to this novel control scheme with varying results. The purpose of this study was to further examine the relationship between modality of input, operator workload, and expertise. The results obtained indicated that vocal control may not be ideal in all situations as a method of input as participants experienced significantly higher amounts of workload than those in the manual condition. Additionally, expertise may be more specific than previously thought as participants in the vocal condition performed nearly identical at the task regardless of gaming expertise. The implications of the findings for this study suggest that vocal control be further examined as an effective method of user input, especially with regards to expertise and training effects.B.S.
Bachelors
Sciences
Psychology
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Brown, Shaun (Shaun Joseph). "Ensemble Singing in the Bel Canto Salon Repertory: A Pedagogical Reconsideration." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609069/.
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Vocal duets have had a long history in the Western classical music tradition. Their use as a teaching resource can be traced back to the Renaissance, where duets were used for the development of singing, performance, and musicianship. In the late 19th and all of the 20th centuries, this pathway of vocal pedagogy has markedly declined. This study proposes a reintroduction of this methodology of teaching, asserting that it provides the collegiate vocal student with maximum opportunity for growth and development in terms of technique, musicianship, ensemble skills, and performance development. Four vocal duets ("La pesca," "Il brindisi," "Il gallop," and "La caccia") of Saverio Mercadante (1795-1870) serve as the point of discussion. These songs from Les soirées italiennes (C.1836), which are representative of the salon culture of the 19th century, are given detailed attention through a discussion of their pedagogical value. Since they are long out of print, a new performance edition is presented.
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Murray, Joan. "Impact of a Music Program on Students' Standardized Test Scores." ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2938.
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Administrators at the focus school had not determined if participation in a music program has influenced students' academic achievement, thereby ushering doubt about the utility of this program. The purpose of this causal-comparative study was to determine the impact of the music program on students' English language arts (ELA) and math Measure of Academic Progress (MAP) scores. The theoretical foundation for this study was Miendlarzweska and Trost's model of musical training, which indicates the impact of musical training on academic, social, and cognitive outcomes and identifies factors that mediate that impact. Archival data were retrieved on 74 Grade 5-8 students who participated in the program during the 2012-2013 school year and who also participated during the 2011-2012 school year as Grade 4-7 students. Analysis of covariance indicated no significant effect on ELA or math MAP scores for music program participation. Implications for positive social change include providing initial research findings to the local site on the potential academic impact of this music program. Further research with recent data and larger sample sizes were recommended. Additional research at the local level may yield results that can help administrators better support higher levels of student success.
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Binek, Justin. "The Evolution of Ella Fitzgerald's Syllabic Choices in Scat Singing: A Critical Analysis of Her Decca Recordings, 1943-52." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984212/.
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This study examines the evolution of Ella Fitzgerald's scat syllable vocabulary during a key developmental period in her career when she was recording for Decca Records. Between 1943 and 1952, Fitzgerald established the syllabic vocabulary that would serve as a defining characteristic of her improvisational style for the rest of her career. Fitzgerald is commonly praised as the greatest vocal improviser in jazz history, but while much has been written about Fitzgerald's melodic and harmonic approach to jazz improvisation, little has been written about her syllabic approach. Timbre and articulation are considered to be vital elements of any jazz musician's style; the study examines the changes in Ella Fitzgerald's syllabic approach through transcription and analyses of thirteen scat solos recorded during this time period, using scat syllable choices to discuss timbre and articulation. This analysis provides a model for further research of its kind, as well as informing historically accurate performance practice by both teachers and students of jazz singing.
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Turcott, Amber. "Choral Music Education: A Survey of Research 1996-2002." [Tampa, Fla.] : University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000056.
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Scharfstein, Lindsay. "Social Skills and Social Acceptance in Childhood Anxiety Disorders." Doctoral diss., University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5860.
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The present study examined the social skills and social acceptance of children with SAD (n=20), children with GAD (n=18), and typically developing (TD) children (n=20). A multimodal assessment paradigm was employed to address three study objectives: (a) to determine whether social skills deficits are unique to children with SAD or extend to children with GAD, (b) to assess whether skills vary as a function of social context (in vivo peer interaction Wii Task versus hypothetical Social Vignette Task) and (c) to examine the relationship between anxiety diagnosis and social acceptance. Parent questionnaire data indicated that both youth with SAD and GAD experienced difficulties with assertiveness, whereas children with SAD experienced a broader range of social skills difficulties. Blinded observers' ratings during the behavioral assessment social tasks indicated that compared to children with GAD and TD children, children with SAD have deficits in social behaviors and social knowledge across settings, including speech latency, a paucity of speech, few spontaneous comments, questions and exclamations, and ineffective social responses. In addition, vocal analysis revealed that children with SAD were characterized by anxious speech patterns. By comparison, children with GAD exhibited non-anxious speech patterns and did not differ significantly from TD youth on social behaviors, with the exception of fewer spontaneous comments and questions. Lastly, children with SAD were perceived as less likeable and less socially desirable by their peers than both children with GAD and TD children. Clinical implications of these findings are discussed.Ph.D.
Doctorate
Psychology
Sciences
Psychology; Clinical Psychology
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Hamilton, Richard John. "The History of the Vocal Jazz Ensemble Singing Movement in the Public Schools of the Boise Valley from Its Inception through the Academic Year 1989-1990." Thesis, The Florida State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10602363.
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The vocal jazz ensemble singing movement that began at Mt. Hood Community College (Gresham, Oregon) in 1967 reached the public schools of the Boise Valley, in Southwestern Idaho sometime in the early 1970’s. The first generation of vocal jazz educators in the region were Jerry Vevig , Vern Swain, Moyle Brown and Lonnie Cline. In an effort to learn the new style, these four directors participated in the burgeoning vocal jazz scene occurring in the Western region of the United States. By the mid 1970’s, vocal jazz ensemble education had become so prevalent in the Boise Valley region that the Jr. High School directors of the Boise Public School District were programming vocal jazz music and participating in many of the same vocal jazz events as their high school colleagues. These Junior High school directors included Bruce Walker, Catherine Gilck, Rich Lapp, Sue Hough, Paul Olson and Rob Newburn. The 1980’s saw the second generation of prominent vocal jazz singing ensemble directors begin their tenures in the Boise Valley when Glenn Grant, Quinn, Van Paepeghem, Linda Schmidt, Ted Totorica, and Barb Oldenburg, continued the tradition of vocal jazz style singing and event participation that their predecessors had initiated throughout the remainder of the era investigated (inception–1990). In the study, each subjects experiences and education in vocal jazz ensemble singing is documented and specific techniques they employed when working with their vocal jazz ensembles are revealed. The literature used by each vocal jazz educator from the Boise valley (1970–1990) is also exposed, collated, and presented in the document for reference and use by future choral music educators.
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Garst, John. "The Recorded Legacy of Enrico Caruso and its Influence on the Italian Vocal Tradition." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849763/.
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This dissertation presents evidence for the influence which tenor Enrico Caruso had on the Italian Vocal Tradition. This impact was clearly boosted by the revolution realized in the fledgling recording industry, and the recordable disc. In the years of 1902-1920 gramophones became commonplace, and collecting recordings became an interest for many. This new technology required specialized skills, and was especially suited to certain qualities of voice. Caruso enjoyed immense success in this medium, in recording over 250 records.
Italian vocal style at the turn of the century was changing, and Caruso employed a new "modern" style in his singing. His interpretive decisions, vocal method, and repertoire which he championed had an impact on the vocal tradition of future generations. Comparison of his recordings with tenors Fernando de Lucia, Giuseppe Anselmi, and Alessandro Bonci shows a marked contrast in styles of "the old school" and Caruso's "more straightforward" approach. A collection of historical documents for those who succeeded him include many biographies, reviews, and quotes to demonstrate the extent of his influence. Recordings also show a movement toward "the Caruso Sound." Jussi Bjoerling, Franco Corelli, Richard Tucker, Mario Lanza, and Luciano Pavarotti were all influenced by the great Caruso. Almost 100 years have passed since he sang his last performance. He continues to inspire singers to this day, through his recordings and legacy passed on by many generations. He is the ideal, the measuring stick for all tenors to follow, and continues even to today.
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Canchola, Amy. ""Para qué recorder": Preserving the Legacy of María Grever through Selected Vocal Compositions for Study and Performance." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505196/.
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María Grever (1885-1951) overcame racism and gender bias during a pivotal era in American music history to become the first commercially successful Mexican female composer and more specifically, a pioneer of popular music during the first half of the 20th century. Though named the "Madonna of song," her legacy is largely overshadowed by other compositional giants of the era, such as the Gershwin brothers, Cole Porter, and Irving Berlin. Grever's music is sophisticated, heartfelt, and worthy of attention. Her colorful, genuine music adds distinctiveness and variety to recital programs. Grever's songs offer a high level of musical integrity and socio-cultural value. Incorporating her compositions into a singer's vocal repertoire is an excellent way to broaden the scope of styles and languages while maintaining the highest standards of musical study. The following document considers the importance of performing and studying Grever's music by analyzing nine songs representing three compositional periods. I evaluated the songs considering pedagogical benefit, performance value, and significance to her overall oeuvre.
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Stanley, David Thomas. "A Countertenor Aria Collection Continuum for Studio Training and Performance." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248503/.
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An assessment of the standard voice instructor or performer collection of printed music would likely reveal numerous operatic repertoire volumes in anthology format appropriated to the primary four voice categories. However, thorough investigation divulges little in comparable printed material accessible to the countertenor. This scarcity of systemized collections is especially evident in the territory of comprehensive countertenor operatic repertoire. This project fills that present void by creating a compilation of sixteen countertenor arias drawn from various styles and historical periods for suggested application in studio instruction and performance. Perhaps, a more meaningful project intent is the presentation of a beneficial graded literature continuum resource for the studio teacher who instructs a countertenor in various stages of vocal development. For this purpose, each of the 16 arias is categorized into four difficulty levels based on considerations of range, tessitura, coloratura demands, rhythm, sustained phrase length, tonality, melodic considerations/overall musical difficulty, accompaniment support, and ornamentation requirements. The project also addresses common issues of pedagogy and ornamentation for voice teacher consideration when instructing a developing countertenor.
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Chang, Chul Woong. "A Guide to Suitable Bass Solo Vocal Repertoire by J. S. Bach for Collegiate Baritone." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011800/.
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In the Baroque period, the baritone voice was not yet well-defined, but many composers wrote vocal pieces with a range appropriate for the modern baritone voice. Composers used the general categories of soprano, alto, tenor, and bass for solo voice in their compositions. Johann Sebastian Bach (1685-1750) was no different from other Baroque composers in writing solo works to be performed by one of the four main voice types. The various ranges and tessituras of J. S. Bach's vocal works for bass solo voice are not limited to being sung by low basses, but may also be sung by more medium ranged baritones. The purpose of this research is to guide collegiate voice teachers and their baritone students in selecting appropriate repertoire from the works of Bach on the basis of each students' level of development and to categorize four groups of bass solos by Bach for collegiate baritone students: beginning level for freshmen, intermediate level for sophomores, advanced level for juniors and seniors, and pre-professional level for seniors and graduate students. This research was prepared in conjunction with a DMA lecture-recital of eight bass solos for collegiate baritone voice, selected from the study; two vocal works for each proficiency level.
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Robison, Jennaya Jorie. "Choral Pivoting Solutions for Tessitura-Related Vocal Fatigue in Frank Martin's Messe pour double choeur a cappella." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/293589.
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The purpose of this study is to investigate the management of tessitura in the choir though the use of choral pivoting in Frank Martin's Messe pour double choeur a cappella (1922), since the ranges of a vast number of choral works extend beyond the limits of what the American Academy of Teacher's of Singing have deemed "best" and "safest." According to the American Academy of Teachers of Singing, many great teachers of singing hesitate to allow their "pupils to participate in choral singing because experience has proven that, due to the unusually high tessituras dominating the arrangements of many choral works, harm is done to the voice. "This study includes an in-depth summary of the anatomy and physiology of the vocal mechanism in specific registers and the potential for harm, vocal strain, or vocal fatigue when singers must sing in an extremely high or low tessitura for an extended amount of time. Three methods of vocal pivoting are examined and explanations given as to how choral pivoting may be applied in Messe pour double choeur a cappella.
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Radziun, Barrett. "A Detailed Investigation, Comparison, and Analysis of the Practice Habits of Undergraduate Vocal and Piano Performance Majors." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404523/.
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For musicians of all kinds, practice is an essential component in establishing and refining their skills. How a musician learns the art of practicing, and at what point in their musical and cognitive development can vary drastically. The purpose of this research is to understand how two groups of musicians, undergraduate vocal performance majors and undergraduate piano performance majors, developed (or consequently failed to develop) their respective knowledge pertaining to effective practice prior to entering the university setting, and how their practice habits changed (or consequently failed to change) after beginning study with a university instructor. This is accomplished by comparing the practice habits of the two groups prior to entering the university setting, and, after gaining admission into the degree program. Findings are supplemented with recent research pertaining to the study of learning and various types of practice.
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Pisanski, Katarzyna Alicja, and University of Lethbridge Faculty of Arts and Science. "The effects of voice pitch and resonances on assessments of speaker size, masculinity, and attractiveness." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Psychology, 2010, 2010. http://hdl.handle.net/10133/2549.
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The human voice might have been shaped by sexual selection. Hence, voice fundamental (F0, or pitch) and formant frequencies (Fn, or timbre) are proposed to convey fitness cues germane to rivals and potential mates. First, I confirm the independent effects of F0 and Fn on listeners’ assessments of speaker size, masculinity, and attractiveness. Second, I quantify the just-noticeable differences in both vocal features and then place F0 and Fn cues in conflict by equally discriminable amounts to test their relative influence on such voice-based social judgments. Results revealed a greater relative role of Fn in listeners’ ratings of all three dimensions, suggesting that these dimensions might all be cued more reliably by Fn than F0. Alternatively, given post-hoc principal component analyses that revealed considerable overlap in ratings of size, masculinity, and attractiveness, listeners’ conceptions of these dimensions may not be independent despite a research tradition that assumes they are.xi, 102 leaves : ill. ; 29 cm
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Youngs, Jennifer (Soprano). "The Historical and Pedagogical Significance of Excerpts by André-Ernest-Modeste Grétry (1741-1813)." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505272/.
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This collection of 9 vocal works, taken from the oœuvre of André-Ernest-Modeste Grétry (1741-1813), was chosen for their utility in teaching undergrad voice majors. This collection offers a group of songs that are attractive in their simplicity allowing the time in their lessons to be devoted to the instruction of French pronunciation. Grétry's attention to detail in the setting of French prosody provides undergraduate singers with a collection of songs that offer an immediate understanding as to the nuances of the French language. With funding from an I-GRO grant through the University of North Texas, research was conducted in the archives of the Bibliothèque nationale de France, and work continued in the Grétry Museum in Liège, Belgium. The primary sources found within these locations formulated valuable insights into to the life and influence of Grétry, and provided first-hand experience with research techniques within foreign libraries. This research has solidified the relationship between Grétry's compositional style and its usefulness within the undergraduate voice studio.
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Mohr, Caitlin. "Clinical Symptoms and Signs Related to Voice Disorders among Collegiate-Level Singers: A Retrospective Study." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955112/.
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The objectives of this research were to (1) characterize the demographics and vocal health history of collegiate-level singers, particularly those with a voice disorder and (2) describe and compare self-reported symptoms of singers across diagnostic categories of vocal fold disorders. Clinical reports of 56 collegiate-level singers (15 male and 41 female) who visited the Voice Diagnostic Clinic at the University of North Texas for voice evaluations between 2010 and 2015 were reviewed. Information was extracted from clinical records including demographic data, vocal health history, self-reported voice-related symptoms, and voice diagnosis confirmed by strobolaryngoscopic examinations and phonatory function testing. Diagnoses of voice disorders were grouped under three categories: normal (i.e., no perceptible pathology), benign lesions and irritation/inflammation. Seven singers were diagnosed as normal, 27 (51.8%) with benign lesions, and 22 (39.3%) with irritation/inflammation. All singers diagnosed as normal were females. Female singers have twice as many benign lesions as irritation/inflammation whereas males presented the opposite pattern. Nodules, polyps, cysts and irritation/inflammation were the most common voice disorders. Singers with allergies and a past history of voice problems demonstrated a higher incidence of voice disorders. The top five self-reported vocal symptoms were worse voice in the morning (50%), pain in throat (46.4%), voice worse with prolonged use (44.6%), vocal fatigue (42.9%), and breathiness (41.1%). Self-reported symptoms are not a reliable screening tool to determine presence or absence of vocal pathology. Voice teachers must be familiar with the singing and speaking voice of each student, so as to perceive early onset of vocal attrition symptoms and encourage the student in seeking medical attention.
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Wood, Samantha (Soprano). "Distance Learning in Singing Education: An Overview of Historical and Modern Approaches and Future Trends." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505254/.
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This research of distance learning in singing study provides some historical framework of long-distance singing study, including research on three former distance singing courses, which exemplify the "best practices" of their time: Siegel-Myers Correspondence School of Music, the Perfect Voice Institute, and the Hermann Klein Phono-Vocal Method: Based Upon the Famous School of Manuel Garcia. I also discuss current trends in long-distance singing study, including interviews and insights from current long-distance singing teachers using cutting edge technology in their virtual studios. Lastly, I make predictions and projections, based on analyses of past "best practices," where this information may have impact upon future methods of distance singing lessons, including conceivable distance singing course components of online degree programs offered at universities.
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Sullivan, Kristen (Kristen Janell). "An Analysis of Emma Diruf Seiler's Teaching Philosophy and Contribution to Voice Pedagogy." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505229/.
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Emma Diruf Seiler (1821-1886) was a Bavarian-American voice teacher and scientist who wrote and published Altes und Neues über die Ausbildung des Gesangorganes mit besonderer Rücksicht auf die Frauenstimme (Old and New in the Art of Singing, with Special Attention to the Female Voice) in 1861 while working in Leipzig. It was translated by William Henry Furness and published in Philadelphia as The Voice in Singing in 1868. This pedagogue and her writings are largely unknown to those who study historic bel canto pedagogy. In the opening of Seiler's pamphlet, she explained her purpose for writing was "to bring into harmony things which have always been treated separately, the Science and the Art of Singing..." Aside from brief comments in a few books on vocal pedagogy, Emma Seiler is largely unknown. Neither her contribution to voice science and pedagogy, nor the impact of her integrated philosophy on teaching have been subjected to scholarly scrutiny. The purpose of this document is to explore her philosophy on teaching, her method of female vocal instruction, and her impact on voice instruction. This dissertation historicizes evidence-based pedagogy through Seiler's example.
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Ortiz, Camille. "Spanish Diction in Latin American Art Song: Variant Lyric Pronunciations of (s), (ll), and (y)." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984247/.
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Latin American art song is a genre primarily of the first half of the twentieth-century, when popular folklore served as the voice and inspiration of many poets and musicians. The nationalist movement served as a means of expression, each Latin American country with its own identity. There is great benefit for singers to study Spanish diction at an academic level, since it is a language already familiar to most U.S.A residents. There is a significant amount of unknown repertoire that would be very useful in the singing studio because of the language's open vowels. This repertoire can also serve as a confidence-builder to young Spanish-speaking singers at the beginning of their training. I will be focusing on the (s), (ll), and (y) sounds as pronounced in the diverse regions of Latin America; in particular, why they matter when coaching singers, and the articulators involved in each. The purpose of this study is to discuss diction differences in the repertoire, expound on its benefits for voice pedagogy, all while informing about varied options for recital programming.
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Sullivan, Ryan W. "A Performance Edition of the Vespers Settings in Sacri E Festivi Concenti, Opera Nona by Giovanni Legrenzi." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505211/.
Full textAbstract:
Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by creating a performance edition of Sacri e festivi concenti, Opera nona, one of Legrenzi's significant works near the beginning of his Venetian period. This collection of sacred music was published on 12 June 1667 in Venice though Legrenzi's exact whereabouts at the time remain uncertain. This phase of his career can be defined by his having sought more prestigious and lucrative employment. Having lived and worked in rural Lombardy and Ferrara, he made unsuccessful overtures in places such as Milan, Bologna, Vienna, and Paris. A full score has been produced by transcribing from the part books of the Bologna Museo copy, which will allow consumers to have insight into Legrenzi's music. A performance edition of these Vespers settings is important because it would increase access to, and understanding of, Giovanni Legrenzi's music. This era of Italian music between Monteverdi and Vivaldi is often underperformed by practitioners. One goal of this project is to broaden the work's circulation through a music publisher that would be willing to include portions of the chapters outlined in this proposal. Doing so would offer the work as a good specimen of the period to a wider audience of performers and scholars alike.
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Abe, Shoko. "Two Argentine Song Sets: A Comparison of Songs by De Rogatis and Ginastera." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248378/.
Full textAbstract:
Latin American classical vocal repertoire is vast, but in the United States, we only hear a fairly limited part of this literature. Much of this repertoire blends western European classical music traditions and native folk music traditions. One example of such a Latin American vocal work that is well-known in the United States is Alberto Ginastera's frequently performed song set from 1943, Cinco canciones populares argentinas. However, another lesser-known, earlier work, Cinco canciones argentinas (1923), by fellow Argentine composer Pascual De Rogatis (1880-1980) deserves attention as well. As with Ginastera's set, De Rogatis' songs are based on Argentine folk genres, but contain stylistic features of European classical music of its time. De Rogatis' neglected songs are a significant, overlooked part of Argentine classical music history, and a full understanding of well-known works such as Ginastera's song set and of the genre as a whole, must include attention to De Rogatis' Cinco canciones argentinas. Beyond vocal repertoire, De Rogatis' songs are an important part of the development of Argentine classical music. While Western musical trends change rapidly, folk music remains largely unchanged. Both De Rogatis and Ginastera were proud of their Argentine heritage, and incorporated traditional music into their compositions. I believe that De Rogatis's composition had a direct influence on Ginastera, and that the similarities between the two sets are not coincidental.
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Becker, Theresa. "Evaluating Improvisation as a Technique for Training Pre-Service Teachers for Inclusive Classrooms." Doctoral diss., University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5129.
Full textAbstract:
Improvisation is a construct that uses a set of minimal heuristic guidelines to create a highly flexible scaffold that fosters extemporaneous communication. Scholars from diverse domains: such as psychology, business, negotiation, and education have suggested its use as a method for preparing professionals to manage complexity and think on their feet. A review of the literature revealed that while there is substantial theoretical scholarship on using improvisation in diverse domains, little research has verified these assertions. This dissertation evaluated whether improvisation, a specific type of dramatic technique, was effective for training pre-service teachers in specific characteristics of teacher-child classroom interaction, communication and affective skills development. It measured the strength and direction of any potential changes such training might effect on pre-service teacher's self-efficacy for teaching and for implementing the communication skills common to improvisation and teaching while interacting with student in an inclusive classroom setting. A review of the literature on teacher self-efficacy and improvisation clarified and defined key terms, and illustrated relevant studies. This study utilized a mixed-method research design based on instructional design and development research. Matched pairs t-tests were used to analyze the self-efficacy and training skills survey data and pre-service teacher reflections and interview transcripts were used to triangulate the qualitative data. Results of the t-tests showed a significant difference in participants' self-efficacy for teaching measured before and after the improvisation training. A significant difference in means was also measured in participants' aptitude for improvisation strategies and for self-efficacy for their implementation pre-/post- training. Qualitative results from pre-service teacher class artifacts and interviews showed participants reported beneficial personal outcomes as well as confirmed using skills from the training while interacting with students. Many of the qualitative themes parallel individual question items on the teacher self-efficacy TSES scale as well as the improvisation self-efficacy scale CSAI. The self-reported changes in affective behavior such as increased self-confidence and ability to foster positive interaction with students are illustrative of changes in teacher agency. Self-reports of being able to better understand student perspectives demonstrate a change in participant ability to empathize with students. Participants who worked with both typically developing students as well as with students with disabilities reported utilizing improvisation strategies such as Yes, and…, mirroring emotions and body language, vocal prosody and establishing a narrative relationship to put the students at ease, establish a positive learning environment, encourage student contributions and foster teachable moments. The improvisation strategies showed specific benefit for participants working with nonverbal students or who had commutation difficulties, by providing the pre-service teachers with strategies for using body language, emotional mirroring, vocal prosody and acceptance to foster interaction and communication with the student. Results from this investigation appear to substantiate the benefit of using improvisation training as part of a pre-service teacher methods course for preparing teachers for inclusive elementary classrooms. Replication of the study is encouraged with teachers of differing populations to confirm and extend results.Ph.D.
Doctorate
Education and Human Performance
Education; Instructional Technology
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Silva, Isabel Maria Pinheiro da. "Contributos para a elaboração do programa da disciplina de classe de conjunto vocal : o caso da Academia de Música de Viana do Castelo." Master's thesis, 2014. http://hdl.handle.net/10400.14/17648.
Full textAbstract:
A prática coral tem sido referenciada por vários autores, de entre os quais Holt,
Welch, Braga, Phillips, Leck, como elemento estruturante para a formação do músico
nas vertentes cognitiva, social e comportamental.
Em Portugal, o Ministério da Educação prevê a sua implementação nos cursos
de Iniciação Musical, Curso Básico de Música e Curso Complementar, na disciplina de
Classe de Conjunto Vocal. No entanto não define qualquer programa oficial que se
apresente como linha orientadora para a sua implementação.
No âmbito desta investigação, pretendemos apresentar contributos para a criação
de um programa curricular da Classe de Conjunto Vocal, aplicado ao contexto
educativo da Academia de Música de Viana do Castelo, de forma a servir como
orientação para um ensino estruturado e sequenciado pelos diferentes anos de ensino do
Curso Básico.
O conhecimento da fisiologia e características da voz, bem como o
estabelecimento de conteúdos, objetivos, metodologias e uma lista de repertório, são
algumas das matérias abordadas nesta dissertação. Para o efeito foi estudado o estado de
arte e efetuadas várias entrevistas junto de professores com experiência no ensino da
Classe de Conjunto Vocal em diversas escolas de ensino artístico vocacional.Several authors, amongst whom are Holt, Welch, Braga, Phillips and Leck, have stated that choir practice is an essential component in music learning in its cognitive, social and conduct components. In Portugal, the Ministry of Education approves of the implementation of choral lessons in Early Years, Elementary and Secondary Musical Education Courses. This study is concerned with giving contributions to the creation of a course syllabus for choir singing studies at Viana do Castelo Music Academy (Academia de Música de Viana do Castelo) so that it serves as a structured and well-sequenced course outline for the different school grades/stages. To accomplish the purpose of knowing voice physiology and characteristics and of establishing the contents, the aims, the teaching methods and a list of repertoire for choir practice, the present state of art was studied and several interviews were undertaken with choir conductors in a number of vocational music schools. Knowledge of the physiology of the voice and features, as well as the establishment of content, objetives, methods and a list of repertoire, are some of the matters addressed in this dissertation. To this end the state of art has been studied and carried out several interviews with teachers experienced in teaching the class Vocal Ensemble in various schools of vocational art education.
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Lima, Vítor Manuel da Cunha. "A construção da sonoridade coral na perspetiva da performance musical : aspetos formadores da sonoridade do coro da Academia de Música de Viana do Castelo : Vianavocale." Master's thesis, 2014. http://hdl.handle.net/10400.14/18073.
Full textAbstract:
O presente estudo subordinado ao tema a construção da sonoridade coral na perspetiva
da performance parte da reflexão da atividade docente na Academia de Música de Viana do
Castelo e dos aspetos formadores na criação da sonoridade do coro VianaVocale.
Propõe-se um relato sobre o percurso musical do coro VianaVocale e seu
desenvolvimento relacionando com aspetos de ordem performativa, pedagógica e de
interpretação. Os procedimentos metodológicos a ter em consideração assentam nos
princípios básicos da produção vocal no canto lírico e dos elementos fundamentais da referida
sonoridade coral.
Como opção metodológica realizou-se um estudo de caso através da análise e
observação das atividades académicas e disciplinares do grupo, bem como nos exercícios
técnicos preparatórios e estratégias de ensino e da prática vocal tida em consideração por
forma a determinar a sonoridade coral do grupo.
Adicionalmente, apresenta-se como evidencia e estratégia metodológica para o estudo
da sonoridade coral, a gravação da Primeira Cantata do Natal de Fernando Lopes-Graça
editada pelo coro VianaVocale, com data de 2013, Neste sentido, e porque somente existem
três gravações integrais da referida obra pretendeu-se realizar uma entrevista semiestruturada
aos maestros Paulo Brandão, Jorge Alves e Mário Mateus, com o intuito de correlacionar
aspetos técnicos e interpretativos tidos em consideração para a interpretação/gravação e que
podem servir de indicadores para o ensino destas obras em contexto de ensino/aprendizagem.
O estudo apurou os fatores determinantes que influenciam a criação da sonoridade de um
coro, constituindo um processo complexo e continuo na construção de diversos elementos e
propriedades como a voz, musicalidade ente outros conceitos, moldados e reajustados pelo
diretor coral.This thesis addresses the theme of building choral sound from a performance perspective based on a reflection of teaching practices at the Academy of Music in Viana do Castelo and on the formative aspects in creating the choral sound of the choir VianaVocale. The aim is to provide an account of the choir’s musical career and development with regard to aspects related to performance, pedagogy and to interpretation. The methodological procedures take into account the basic principles of vocal production in classical singing and the fundamental elements of choral sound. The case study involves an observation and analysis of the academic disciplinary activities of the group, as well as of the preparatory technical exercises, teaching strategies and vocal practices employed. The recording of the First Christmas Cantata by Fernando Lopes-Graça, dated 2013, produced by the choir VianaVocale, presents itself as evidence and as a methodological strategy for studying choral sound. In this sense, and because there are only three full recordings of this work, semi-structured interviews intended to be held with the choral conductors Paulo Brandão, Jorge Alves and Mário Mateus, in order to correlate the technical and interpretative aspects taken into consideration for the recording, and that can serve as indicators for instruction these works in the context of teaching / learning. This study has been a complex and continuous building process of diverse elements and features like voice and musicality amongst other concepts, shaped and readjusted by the choir conductor.
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Kgagudi, Paul Marule. "Prevalence of permanent vocal cord paralysis after anterior cervical decompression and fusion at Charlotte Maxeke Johannesburg Academic Hospital (CMJAH)." Thesis, 2018. https://hdl.handle.net/10539/25424.
Full textAbstract:
A research report submitted to the Faculty of Health Sciences, University of the Witwatersrand in partial fulfilment of the requirements for the degree of Master of Medicine.
Johannesburg, 2018.Background: Anterior Cervical Discectomy and Fusion (ACDF) is a successful procedure performed by Orthopaedic surgeons for various pathologies that affect the cervical spine. It is however not without complications. The commonest neurological complication is Recurrent Laryngeal Nerve (RLN) injury leading secondarily to permanent Vocal Cord Paralysis (VCP). Aims and Objectives: The aim of this study was to assess the prevalence of permanent VCP post-ACDF at our Charlotte Maxeke Johannesburg Academic Hospital (CMJAH) spinal unit. To study objectives are: 1) To correlate demographic, pathological and peri-operative patient factors to post-operative hoarseness and vocal cord paralysis and 2) To establish an association between post-operative hoarseness and clinical laryngoscopic cord status. Study design: This is a retrospective with prospective recall. Methods: Patients who underwent the procedure of ACDF at CMJAH from January 2012 to June 2016 were recruited telephonically to participate voluntarily. Our research study specific questionnaire was administered to the patients who consented for the study together with a post-operative direct laryngoscopy, performed by the Ear-Nose-Throat (ENT) specialist to assess vocal cord function. Results: Only 23 patients presented for participation. Post-operative hoarseness was present in 5 cases (23%). The likelihood of which was higher in white women who had ACDF for a degenerative cause involving two or more vertebral levels. However, our study found none of the cases had vocal cord paralysis. Conclusion: Post-operative hoarseness is common after ACDF, affecting almost a quarter of those who undergo the procedure. A white woman undergoing ACDF for a degenerative cause affecting multiple cervical spine levels is at risk, especially if being operated on the left hand side of the neck with a transverse incision. Although hoarseness suggests VCP, the relationship between the two is not always one of cause and effect. The former can exist due to other causes unrelated.
LG2018
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Vanherle, Francisca Paula. "Castrati : the history of an extraordinary vocal phenomenon and a case study of Handel’s opera roles for Castrati written for the First Royal Academy of Music (1720-1728)." Thesis, 2002. http://hdl.handle.net/2152/29851.
Full textAbstract:
Castrati were without doubt, an extraordinary phenomenon in the vocal world. Four centuries of history exist from the first evidence of their presence in music, dating from the 1550s, and the death of the last castrato Allessandro Moreschi, in 1922. A tradition almost solely practiced in Italy, the castrati experienced their halcyon days in the seventeenth and eighteenth century. At first, they were recruited and castrated as young boys to sing in the soprano sections of the church choirs. They enjoyed an extensive training in specialized conservatorios and grew to be the most accomplished vocalists the world had known thus far. Inevitably, their art was noticed by opera composers of the time. They flourished and were celebrated in Italy and abroad. Their vocal technique and artistic skills dictated the bel canto style for nearly two hundred years. At the end of the eighteenth century, the growing awareness in moral philosophy, and a series of political shifts in Europe put an end to the overwhelming success of the eunuchs. Yet their influence on opera composition of the time and of the subsequent decades was of immense consequence. An important question should be raised when performing the opera roles written for castrati nowadays. Who will sing the castrato roles? As a logical solution, women or countertenors should adopt these roles into their repertoire. A study of opera roles written for castrati by a baroque master in the genre, Georg Friedrich Handel, sheds some light on the music for these rare birds. The castrato role-study encompasses Handel’s operas written for the First Royal Academy of Music (1720-1728). By disclosing some particular aspects in the music and the drama, it becomes clear what voice type should be singing these roles in present day Handel opera production.text