Academic literature on the topic 'Crossover singing'

The symptoms associated with performance anxiety, or the so-called stage fright syndrome, are similar to those of α and β adrenergic stimulation. Suppression of symptoms and improvement in instrumentalist's performance after β blockade suggest that this modality would be of benefit for singers as well. To evaluate the dose-effect relationship of β blockade upon singing performance and the possible effect of these agents upon performance maturation, we studied 34 singing students during end of semester juries, using a double-blind crossover paradigm. Students performed once with either placebo, 20, 40, or 80 mg of nadolol, and again 48 hours later, with placebo. There was a significant dose-related, limiting effect upon intraperformance cardiac rate. A small, but statistically significant, dichotomous effect upon performance rating was noted: low-dose nadolol tended to enhance performance, whereas larger doses impaired performance. We conclude that the effects of low dose β blockade upon singing are minimally helpful and high doses may detract from performance ability.

Background: Participation in music therapy is associated with improved psychological and physical indices among chronically ill patients. Listening to music during hemodialysis treatments positively affects patients’ hemodynamics, laboratory values, quality of life, and physical symptoms. The effect of live singing during hemodialysis treatments, however, has not previously been studied. Methods: A total of 24 participants with a diagnosis of end-stage kidney disease participated in the study. The vocalist was a musically trained dialysis nurse. Twelve of the patients listened to 15 min of live singing during 6 consecutive hemodialysis sessions, while the other 12 underwent standard hemodialysis. After a washout period of 2 days, the two groups were reversed. Results: Listening to live music was associated with improvements in systolic and diastolic blood pressure, better quality of sleep, fewer cramps, and reduced anxiety/depression, pain, and itching ( p < .05, all values). Conclusions: Listening to live music during hemodialysis is an effective and potentially low-cost therapy for the dialysis care team to employ during hemodialysis treatments.

Introduction. Parkinson’s disease (PD) frequently causes communication difficulties due to various voice impairments and there are few treatment options for vocal/communication complaints. We assessed the effects of weekly group singing on PD patients’ objective vocal and motoric function, cognition, mood, self-efficacy, and quality of life. Methods. Thirty-two participants were randomly assigned to either a singing group or a facilitated discussion group weekly over 12 weeks. After 12 weeks, participants crossed over for an additional 12 weeks. Evaluations were performed at baseline and every six weeks for 30 weeks. Objective voice measures included volume/loudness (decibels), held vowel duration, jitter, shimmer, and harmonic-to-noise ratio. Additional outcome measures included patient-centered quality of life, voice-related quality of life, MDS-UPDRS, Montreal Cognitive Assessment, and questionnaires assessing depression, self-efficacy, and overall well-being. Results. Twenty-six participants (16 M/10F; Hoehn & Yahr stage 2.3 (range 2–3); and age 68.6 (55–89)) completed the study. Across participants in both groups (intention-to-treat analyses), there was significant improvement from baseline in average loudness on the Cookie Theft picture description at 24 weeks (end of interventions), corresponding with improved minimal reading volumes at 24 weeks and 30 weeks (end of study). Similarly, there were improvements in minimal loudness on Rainbow passage reading at 24 and 30 weeks. There were improvements observed in the Emotional Well-Being (mean delta −12.7 points, p = 0.037 ) and Body Discomfort (mean delta −18.6 points, p = 0.001 ) domains of the PDQ-39 from baseline to week 24 in the overall cohort and greater improvement in the Communication domain for Group S than Group D after 12 weeks of singing (delta −12.9 points, p = 0.016 ). Baseline differences between the participant groups (age, gender, Hoehn & Yahr stage, and several voice loudness measures) and observed improvements during the weekly discussion group period limited our ability to attribute all of the above results specifically to singing (per-protocol analyses). No significant changes in other assessed outcome measures were found. Conclusions. Weekly group singing may improve some aspects of conversational voice volume and quality of life in PD. Some improvements were sustained at least six weeks after interventions ended. Further investigations of the mechanism of benefit and randomized controlled studies (without crossover) to assess the longitudinal effects of singing in PD are necessary.

Abstract Objectives Diet regulates gene expression and methylation profiles by several mechanisms. However, studies analyzing the simultaneous effect of specific foods on gene-expression and DNA methylation at the genome-wide level are very scarce. Therefore our aims were: To study the short-term transcriptomics and epigenomcis effects at the genome-wide level of the Iberian ham intake compared with orange intake in the same subjects. Methods We carried out a cross-over randomized trial (registered at ISRCTN17906849) in 33 healhty volunteers (aged 18–50 years and 50% females) of European ancestry. After 12h fasting, participants were randomly allocated to eat 67.5 g of Iberian ham (100% pure iberian breed and 100% acorn fed) or 500 g of peeled oranges (Citrus reticulata) depening on the intervention group. After a washout period, subjects were crossed over to the alternate treatment arm. Blood samples were taken at 0-h and at 4-h to isolate DNA and RNA from leukocytes. A random sample of 16 participants was selected for omics analyses (gene expression with the. GeneChip Human Gene 2.0 ST Array, and the EPIC-Illumina array (850K) for methylation). Eight arrays (2 times and 2 treatments per 2 omics) were obtained for each participant. Differences in gene expression and methylation (4 h vs baseline) were analyzed for Iberian ham, oranges and combined. Kyoto Encyclopedia of Genes and Genomes (KEGG) was used for pathway enrichment analysis. Results The top-ranked genes differentially expressed P &lt; 1 × 10–5) after Iberian ham intake (4 h vs baseline) were PKBP5 and PICALM. Pantothenate and CoA biosyntesis and the JAK-STAT singaling pathways were the most significantly enriched (P &lt; 5 × 10–7). After orange intake, the top-ranked differentially expressed genes (P &lt; 5 × 10–6) were: SMAP2 and RHEB, the pathways being (P &lt; 5 × 10–9): Cellular senescence and ABC transporters. We detected top-ranked methylated CpGs both for ham and oranges, resulting the Chemokine signaling pathway differentially methylated for oranges and in the Neurothrophine singaling pathway for Iberian ham intake. Comparative combined analysis revealed additional differences. Conclusions A short-term intake of Iberian ham or oranges results in differences in gene expression as well as in DNA-methylation. Funding Sources CIBEROBN-06/03/035, PROMETEO-17/2017 APOSTD/2019/136), P1–1B2013–54 and COGRUP/2016/06

Abstract A significant component of care for infants with bronchopulmonary dysplasia (BPD) is providing an optimal environment for supporting neurodevelopment and growth. Interventions that support the behavioral and physiologic stability of this population may play an important role in improving overall outcomes. Contingent singing is a music intervention that allows the caregiver to tailor certain musical elements, such as rhythm and tempo, to match behavioral and physiologic cues and support the infant in achieving optimal stabilization. A randomized crossover design was used to study the effect of contingent singing on the behavioral state and physiologic measures compared to standard care practices in the neonatal intensive care unit (NICU). Data were collected on a sample of 37 infants diagnosed with BPD. There were no significant differences in the physiologic measures or behavioral states of infants in the contingent singing sessions compared to control sessions. Parents and staff reported favorable views of music therapy in the NICU, and there were no adverse responses from infants during contingent singing. Further research is needed to determine the effectiveness of this intervention on the physiologic stability of infants with BPD.

The paper systematizes the aesthetic and technological foundations and describes the method of teaching modern pop singing based on the synthesis of academic and pop vocal traditions in such a style as crossover. The subject of the study is a set of theoretical, artistic, aesthetic, methodological and pedagogical principles of the modern vocal style, combining the features of academic and pop vocal with their specificity

Abstract Background Singing is a multimodal activity that requires physical, cognitive and psychosocial performance, with benefits to various domains of well-being and health in older adults. In recent years, research has increasingly studied group singing as an important cost-effective intervention to promote active and healthy aging. However, the specific factors responsible for these benefits need further experimental support, as most studies do not allow for causal inferences. This study responds to the need for further randomized controlled trials (RCT), with follow-up measurement, on the benefits of group singing in older adults from a low socioeconomic background. Also, while most studies often focus on specific outcome measure dimensions, in this study, the conjoint effect of several physical, psychosocial, psychoemotional and cognitive dimensions are analyzed, testing mediation effects of psychosocial and psychoemotional variables on the well-being and health of the participants. Methods We implement and measure the effects of a singing group program for older adults, with an RCT crossover design study, in a natural context, before and after the intervention and in a follow-up, 6 months after the intervention. Participants 140 retired older adults (> 60 years) users of a social support institution, will be invited to participate in a singing group program and randomly allocated to an experimental (n = 70) and a control (n = 70) group, which will enroll in the regular activities proposed by the institution. The intervention consists of 34 bi-weekly group singing sessions, of 2 h each, for 4 months. Measures on social and emotional well-being, cognitive function, and health indicators (e.g., blood pressure, glycemia, cholesterol, c-reactive protein, sedimentation rate, respiratory function, body balance, sleep quality, medication intake, and health services attendance) will be collected. Interviews will be conducted on the motivation and perceived benefits of participation. Discussion Significant improvements are expected in the outcome measures in the experimental group after the intervention, validating singing groups as a cost-effective intervention for healthy aging. Psychosocial and psychoemotional variables are expected to be mediators of the effects of the program in the cognitive function, well-being and health of the participants. Trial registration NCT03985917. Registered 14th June 2019 (retrospectively registered).

Professional musicians experience intense social exposure and high levels of preoccupation with their performance and potential negative reactions from the audience, which favor anxiety. Considering that oxytocin (OXT) has a potential therapeutic effect on anxiety, cognitive processes, and decreased psychosocial stress, this study’s objective was to assess the effects of a single dose of 24 UI of intranasal OXT among professional singers, during a public singing simulation test, on self-rated performance and mood. This crossover, randomized, double-blinded, placebo-controlled trial addressed 54 male singers with different levels of musical performance anxiety (42% high). The participants took part in different phases of a simulated public singing performance and completed instruments rating their performances (Self Statements During Public Performance- State version) and mood (Visual Analogue Mood Scale). Data were analyzed using ANOVA 2 × 2 for crossover trials. The results show that the use of OXT during the performance and immediate post-stress favored more positive (effect size: d &gt; 1.04) and less negative assessments of musical performance (effect size: d &gt; 1.86) than when placebo was used. No treatment effects were found in any VAMS subscales, indicating no direct anxiolytic effects. The conclusion is that OXT can minimizes social stress, especially during performances. This finding is exploratory and, if confirmed in future studies, may have relevance for musicians, especially those who constantly experience and recognize the impact of negative and catastrophic thoughts on performance and professional activities.Clinical Trial Registration[https://ensaiosclinicos.gov.br/rg/RBR-5r5sc5], identifier [RBR-5r5sc5].

The elaborate cross-media spectacle, ‘Australian Idol,’ ostensibly lays bare the process of creating a pop star. Yet with so much made visible, much is rendered opaque. Specifically, ‘Idol’ is defined by the use of carefully-tuned strategies of publicity and promotion that create, shape and reshape a series of ‘authentic celebrities’ – pop stars whose emergence is sanctified through a seemingly open process of public ratification. Yet, Idol’s main actor is the music industry itself which uses contestants as vehicles for crafting intimate, long-term relationships with consumers. Through an analysis of the process through which various contestants in ‘Australian Idol’ are promoted and sold, it becomes clear that these populist icons are emblematic of an industry reinventing itself in a media environment that presents remarkable challenges and surprising opportunities. Curiously, the debates, strategies and motivations of the public relations industry have received little sustained attention in popular music studies. While much has been written about the contradictions between the rhetoric of rebellion and the complicated realities of corporate success (Frank; Negus), less has been written about the evolution of specific kinds of publicity and the strategies that shape their use in the music industry. This is surprising given the foundational role of public relations strategies within the culture industries generally and the music industry in particular. Specifically, what Turner et. al. define as ‘the promotional culture’ is central to the production and marketing of mainstream popular music. The ‘Idol’ phenomenon offers a rich opportunity to examine how the mainstream of the popular music industry uses distinct and novel marketing strategies in the face of declining sales of compact discs, an advertising environment that is extraordinarily crowded with all manner of competing messages, a steady rate of trade in digital song files and ever more effective competition from video games and DVDs. The ‘Idol’ phenomenon has proved to be a bundle of highly successful strategies for making money from popular music. Selling CDs seems to be almost ancillary to the phenomenon, acting as only one profit centre among many. Indeed, we can track the progress and deployment of specific strategies for shaping the creation of what has become a series of musical celebrities from the start of the first series of ‘Australian Idol’ through a continuous process of strategic publicity. The Attention Economy It has been somewhat hysterically estimated that the average resident of Sydney might be presented with around 3000 commercial messages a day (Lee). It is this kind of communication environment that makes account planners go weak in the knees in both paralysing anxiety and genuine excitement. Many have taken to paying people to go to bars, cafes and clubs to talk up the relative merits of a product to complete strangers in the guise of casual conversation. Similarly, commercial buskers have recently appeared on City Trains to proclaim the virtues of the wares they’ve been contracted to hawk. One can imagine ‘Cockles and Mussels’ has been updated as ‘MP3 Players and Really Cool Footwear.’ These phenomena are variously referred to as ‘viral,’ ‘tipping point,’ ‘word of mouth’ or ‘whisper’ marketing. (Gladwell; Godin; Henry; Lee; Rosen) Regardless of what you call it, the problem inspiring these promotional chats and arias is the same: advertisers can no longer count on getting and holding our attention. As Davenport and Beck, Brody and even Nobel Prize winning economist Herbert Simon have noted, the more taxed public attention gets, the more valuable it becomes. By most industry accounts, the attention economy is an established reality. It represents a significant shift of emphasis away from traditional methods of reaching consumers, instead inspiring new thinking about how to create lasting, flexible and evolving relationships with target audiences. The attention economy is a complicated and often contradictory response to a media environment that appears less and less reliable and to consumers who behaviour is often poorly understood, even mysterious (Elliott and Jankel-Elliott). This challenging backdrop, however, is only the beginning for a seemingly beleaguered music industry. Wherever one looks, from the rise of the very real threat of global piracy to the expansion of the video game industry to mobile phones and hand held players to increasing amounts of money spent on DVDs and ring tones, selling CDs has become almost a sideline. The main event is the profitable use and reuse of the industry’s vast stores of intellectual property through all manner of media, most which didn’t exist ten years ago. Indeed, the ‘Idol’ phenomenon shows us how the music industry has been incorporating its jealously-guarded intellectual property and familiar modes of industrial self-presentation into existing media environments to build long-term relationships with consumers through television, radio, DVDs, CDs, the internet and mobile phones. Further, ‘Idol’s’ producers have supplemented more traditional models of communication by taking direct and explicit account of how and where audiences use a wide variety of media. The broad range of opportunities to participate in ‘Idol’ is central to its success. It demonstrates a willingness on the part of producers to accept the necessity of bending somewhat to the audience’s existing and evolving uses of the media. In short, they are simply not all that fussy about how participation actually happens so long as it does. Producers allow for many kinds of participation in order to constantly offer more specific and more active levels of involvement. ‘Idol’ has transformed consumer relationships within the music industry by coaxing into being ever more intimate, active and reciprocal relationships over the course of the contest by encouraging increasingly specific acts by consumers to complete a continual series of transactions. The Use and Reuse of Celebrity In many quarters, ‘Australian Idol’ has become a byword for bullshit. The competition seems rigged and the contestants are not seen as ‘real’ musicians in large part because their experience appears to be so transparent and so transparently commercial. As the mythology of the music industry has traditionally had it, deserving pop stars are established as celebrities through what is a more or less a linear progression. Early success is based on a carefully constructed sense of authentic cultural production. Credibility is established through a series of contestable affiliations to ostensibly organic music cultures, earned through artistic development and the hard slog of touring and practice (see Maxwell 118). The fraught possibilities of mainstream success continually beckon to ‘real’ musicians as they either ‘crossover’ or remain independent all the while trying to preserve some elusive measure of public honesty. As this mythology was implicitly unavailable to the producers of ‘Idol,’ a different kind of authenticity had to be constructed. Instead of a ‘battles of the bands’ (read: brands) contest, ‘Idol’ producers chose to present ‘unbranded’ aspirants (“Sydney Audition”). These hopefuls are presented as appealingly ambitious or merely optimistic individuals with varying degrees of talent. Those truly blessed, not only with talent but the drive to work it into saleable shape, would be carefully chosen from the multitude and offered an opportunity to make the most of their inherent yet unformed ability. Thus, their authenticity was assumed to be an implicit, inchoate presence, requiring the guiding hand of insiders to reach full flower. Through the facilitation of competition and direction provided in the form of knowledgeable music industry veterans who never tire of giving stern admonitions to indifferent performers who do not take full advantage of the opportunity presented to them, contestants are asked to prove themselves through an extended period of intense self-presentation and recreation. The lengthy televised, but tightly-edited auditions, complete with extensive commentary and the occasional gnashing of teeth on the part of the panel of experts and rejected contestants, demonstrate to us the earnest intent of those involved. Importantly, the authenticity of those proceeding through the contest is never firmly established, but has to be continually and strategically re-established. Each weighty choice of repertoire, wardrobe and performance style can only break them; each successful performance only raises the stakes. This tense maintenance of status as a deserving celebrity runs in tandem with the increasingly attentive and reciprocal relationship between the producers and the audience. The relationship begins with what has proved to be a compelling first act. Thousands of ‘ordinary’ Australians line up outside venues throughout the country, many sleeping in car parks and on footpaths, practising, singing and performing for the mobile camera crews. We are presented with their youthful vigour in all its varied guises. We cannot help but be convinced of the worth of those who survive such a process. The chosen few who are told with a flourish ‘You’re going to Sydney’ are then faced with what appears to be a daunting challenge, to establish themselves in short order as a performer with ‘the X factor’ (“Australian Idol” 14 July 2004). A fine voice and interesting look must be supplemented with those intangible qualities that result in wide public appeal. Yet these qualities are only made available to the public and the performer because of the contest itself. When the public is eventually asked to participate directly, it is to both produce and ratify exactly these ambiguous attributes. More than this, contestants need our help just to survive. Their celebrity is almost shockingly unstable, more fleeting than its surrounding rhetoric and context might suggest and under constant, expected threat. From round to round, favourites can easily become also rans–wild cards who limp out of one round, but storm through the next. The drama can only be heightened, securing our interest by requiring our input. As any advertiser can tell you, an effective campaign must end in action on our part. Through text message and phone voting as well as extensive ‘fan management’ through internet chat rooms and bulletin boards (see Stahl 228; http://au.messages.yahoo.com/australianidol/), our channelled ‘viral’ participation both shapes and completes the meanings of the contest. These active and often inventive relationships (http://au.australianidol.yahoo.com/fancentral/) allow the eventual ‘Idol’ to claim the credibility the means of their success otherwise renders suspect and these activities appear to consummate the relationship. However, the relationship continues well beyond the gala final. In a fascinating re-narration of the first series of ‘Australian Idol,’ Australian Idol: The Winner’s Story aired on the Friday following the final night of the contest. The story of the newly crowned Idol, Guy Sebastian, was presented in an hour long program that showed his home life, his life as a voice teacher in the Adelaide suburbs and his subsequent journey to stardom. The clips depicting his life prior to ‘Idol’ were of ambiguous vintage, cleverly silent on the exact date of production; somehow they were not quite in the past or the future, but floated in some eternal in-between. When his ‘Australian Idol’ experience was chronicled, after the second commercial break, we were allowed to see an intimate portrait of an anxious contestant transformed into ‘Your Australian Idol.’ There could be no doubt of the virtue of Sebastian’s struggles, nor of his well-earned victory. ‘New’ footage began with the sudden sensation reluctantly commenting on other contestants at the original Adelaide cattle call at the prompting of the mobile camera crew and ended with his teary-eyed mother exultant at the final decision as she stood in the front row at the Opera House. Further, not only is the entire run of the first series dramatically recounted in documentary format on the Australian Idol: Greatest Moments DVD, framed by Sebastian’s humble triumph, so are the stories of each member of the Final 12 and the paths they took through the contest. These reiterations serve to reinforce not only Sebastian’s status, but the status of the program itself. They confirm the benevolent success of the industry it so dutifully profiles. We are taken behind the curtain, allowed to see the machinery of stardom grind inevitably to a conclusion, knowing we will be allowed back again when the time is right. Whereas ‘Idol’ is routinely pilloried for its crass commercialism, it remains an unavoidable success. Viewers keep tuning in, advertisers still clamour to sponsor all aspects of the production and the CDs keep selling. Most importantly, the music industry has a showcase for its own operations. The structures of feeling it exists to produce take on a kind of subtle explicitness that ensures their perpetuation. Within an industry faced with threats perceived to be foundational, the creators of ‘Idol’ have produced an audacious and arrogant spectacle. They have made a profitable virtue out of an economic necessity. The expensive and unpredictable process of finding and nurturing new talent has not only been made more reliable, but ‘Idol’ has shown that it can actually turn a profit. The brand of celebrity produced by Idol possesses no mere sheen of populist approval, but embodies that more valuable commodity: popular attention, however reluctant or enthusiastic it may be. References “Australian Idol.” Ten Network, Sydney, 14 July 2004. “Australian Idol: The Winner’s Story.” Ten Network, Sydney, 21 November 2003. Australian Idol: Greatest Moments. Fremantle Media Operations, 2004. Brody, E.W. “The ‘Attention’ Economy.” Public Relations Quarterly 46.3 (2001): 18-21. Davenport, T., and J. Beck. “The Strategy and Structure of Firms in the Attention Economy.” Ivey Business Journal 66.4 (2002): 49–55. Elliott, R., and N. Jankel-Elliott. “Using Ethnography in Strategic Consumer Research.” Qualitative Market Research 6.4 (2003): 215-23. Frank, Thomas. The Conquest of Cool: Business Culture, Counterculture, and the Rise of Hip Consumerism. Chicago: U of Chicago P, 1997. Gladwell, Malcolm. The Tipping Point: How Little Things Can Make a Big Difference. Boston: Back Bay Books, 2002. Godin, Seth. Unleashing the Ideavirus. New York: Hyperion, 2001. Henry, Amy. “How Buzz Marketing Works for Teens.” Advertising and Marketing to Children April-June (2003): 3-10. Lee, Julian. “Stealth Marketers Ready to Railroad the Unsuspecting.” Sydney Morning Herald 24-5 July 2004: 3. Maxwell, Ian. “True to the Music: Authenticity, Articulation and Authorship in Sydney Hip-Hop Culture.” Social Semiotics 4.1-2 (1994): 117–37. Negus, Keith. Music Genres and Corporate Cultures. London: Routledge, 1999. Negus, Keith. Producing Pop: Culture and Conflict in the Popular Music Industry. London: Edward Arnold, 1992. Rosen, Emanuel. The Anatomy of Buzz: How to Create Word of Mouth Marketing. London: Harper Collins, 2000. Stahl, Matthew. “A Moment like This: American Idol and Narratives of Meritocracy.” Bad Music: Music We Love to Hate. Eds. C. Washburne and M. Derno. New York: Routledge, 2004. 212–32. “Sydney Auditions: Conditions of Participation in the Australian Idol Audition.” Australian Idol Website 10 June 2004. http://au.australianidol.com.au>. Turner, G., F. Bonner, and P.D. Marshall. Fame Games: The Production of Celebrity in Australia. Cambridge: Cambridge UP, 2000. Citation reference for this article MLA Style Fairchild, Charles. "'Australian Idol' and the Attention Economy." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/09-fairchild.php>. APA Style Fairchild, C. (Nov. 2004) "'Australian Idol' and the Attention Economy," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/09-fairchild.php>.

Este trabalho tem como objetivo analisar, por meio de pesquisas bibliográficas, o estudo e a prática do canto e traçar um comparativo de divergências e similaridades entre as técnicas do canto lírico e do belting na Contemporary Commercial Music1, sendo direcionado a profissionais e estudantes da área da voz cantada que tenham interesse por tais técnicas, bem como por entender a complexidade de transitar entre elas como cantores crossover. Apresentam-se, na metodologia deste trabalho de pesquisa, entrevistas efetuadas a cantores brasileiros profissionais e professores de canto, que são ou foram atuantes na área do canto lírico e do teatro musical, abordando questões sobre as suas próprias experiências como cantores crossover no Brasil. Por fim, uma sugestão de estudo com base na pesquisa artística e na autoetnografia segundo a experiência da autora ao fazer o crossover na canção “The Girl in 14G”; ABSTRACT: Crossover singer in Brazil: an approach to the vocal versatility between classical singing and belting in Contemporary Commercial Music This work aims to analyze, through bibliographic research, the study and practice of singing and to draw a comparison of divergences and similarities between classical singing and belting techniques in Contemporary Commercial Music, targeting singing voice professionals and students who are interested in such techniques, as well as in understanding their transitioning complexity as crossovers singers. The methodology used in this research paper includes interviews with professional Brazilian singers and singing teachers who currently work or worked in the field of classical singing and musical theater, addressing questions about their own experiences as crossover singers in Brazil. Finally, a suggestion for a study based on artistic research and autoethnography according to the author's experience in doing the crossover on the song “The Girl in 14G”.

Orientador: Angelo José Fernandes
Banca: Adriana Giarola Kayama
Banca: Josani Keunecke Pimenta
Resumo: Este trabalho tem como objetivo, estudar, através de pesquisa bibliográfica e entrevistas com profissionais da área, a versatilidade vocal do cantor crossover ao transitar por vários estilos de canto oriundos de outras culturas e algumas diferenças básicas entre o canto erudito e popular. Essa pesquisa possui caráter descritivo de natureza qualitativa, descrevendo as características e a complexidade do canto crossover, compreendendo os processos dinâmicos vividos pelos profissionais que atuam nessa abrangente área, com o intuito de possibilitar, um entendimento das particularidades desse tipo de canto. Para a investigação do tema deste trabalho, foram feitas entrevistas com profissionais que atuam hoje no mercado como cantores e professores crossover. Como resultado, observamos que esses profissionais, conseguem desenvolver uma voz flexível e versátil através da manipulação do seu trato vocal e que a conscientização do modelo fonte/filtro constitui uma importante ferramenta para ajudar nisso. Outro achado dessa pesquisa, foi destacar algumas características bem específicas e distintas entre o canto lírico e o popular as quais o cantor multi-estilístico precisa estar atento.
Abstract: The aim of this thesis is to study, through bibliographical research and interviews with professionals in the field, the vocal versatility of the crossover singer when moving through various styles of singing originated from other cultures, and several basic differences between classical and popular singing. This research has a descriptive aspect of qualitative nature, describing the characteristics and the complexity of crossover singing, understanding the dynamic processes experienced by the professionals that work in this wide field, in order to allow comprehension of the peculiarities of this type of singing. For the investigation of the thesis' theme, interviews were conducted with professionals who currently act in the market as singers and crossover teachers. As a result, it was observed that these professionals are able to develop a flexible and versatile voice through the manipulation of their vocal tract, and that the awareness of the source/filter model is an important tool for achieving it. Another finding of this research was to highlight some very specific and distinct characteristics between classical and popular singing, which the multi-stylist singer needs to be aware
Mestre

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Este trabalho tem como objetivo, estudar, através de pesquisa bibliográfica e entrevistas com profissionais da área, a versatilidade vocal do cantor crossover ao transitar por vários estilos de canto oriundos de outras culturas e algumas diferenças básicas entre o canto erudito e popular. Essa pesquisa possui caráter descritivo de natureza qualitativa, descrevendo as características e a complexidade do canto crossover, compreendendo os processos dinâmicos vividos pelos profissionais que atuam nessa abrangente área, com o intuito de possibilitar, um entendimento das particularidades desse tipo de canto. Para a investigação do tema deste trabalho, foram feitas entrevistas com profissionais que atuam hoje no mercado como cantores e professores crossover. Como resultado, observamos que esses profissionais, conseguem desenvolver uma voz flexível e versátil através da manipulação do seu trato vocal e que a conscientização do modelo fonte/filtro constitui uma importante ferramenta para ajudar nisso. Outro achado dessa pesquisa, foi destacar algumas características bem específicas e distintas entre o canto lírico e o popular as quais o cantor multi-estilístico precisa estar atento.
The aim of this thesis is to study, through bibliographical research and interviews with professionals in the field, the vocal versatility of the crossover singer when moving through various styles of singing originated from other cultures, and several basic differences between classical and popular singing. This research has a descriptive aspect of qualitative nature, describing the characteristics and the complexity of crossover singing, understanding the dynamic processes experienced by the professionals that work in this wide field, in order to allow comprehension of the peculiarities of this type of singing. For the investigation of the thesis’ theme, interviews were conducted with professionals who currently act in the market as singers and crossover teachers. As a result, it was observed that these professionals are able to develop a flexible and versatile voice through the manipulation of their vocal tract, and that the awareness of the source/filter model is an important tool for achieving it. Another finding of this research was to highlight some very specific and distinct characteristics between classical and popular singing, which the multi-stylist singer needs to be aware.

У роботі досліджено життєвий та творчий шлях співачки Монсеррат Кабальє. Висвітлено становлення творчої кар’єри та світової слави оперної діви Монсеррат Кабальє; визначено особливості творчої співпраці Монсеррат Кабальє зі співаками сучасної музики; проаналізовано особливості вокально-виконавського репертуару в співацькій діяльності Монсеррат Кабальє; розглянуто значущість вокальної драматургії «Casta Diva» з опери «Норма» В. Белліні у виконанні Монсеррат Кабальє засобами вокальної музики.
The course of life of singer of Montserrat Caballe is in-process investigational. Becoming of creative career and world glory of opera singer is reflected; the features of creative collaboration of Montserrat Caballe are certain; the features of vocally-carrying out repertoire are analysed in activity of singer of Montserrat Caballe; meaningfulness of vocal dramaturgy of "Casta Diva" is considered from opera "Norm" В. Bellini in execution of Montserrat Caballe by facilities of vocal music.

The early R&B vocal group the Orioles are often credited with launching the musical style later known as doo-wop, especially with their 1949 hit “It’s Too Soon to Know” and their last charting number, “Crying in the Chapel” (1953). Their smooth romantic ballads became some of the first crossover hits of the postwar era, and were an alternative to more aggressive masculinities emerging out of the jump blues. This chapter illustrates this choreography of gender through live stage shows, recordings, interviews, and period reviews in the African American press. The short-lived periodical Tan Confessions adds particular nuance, featuring interviews with stars like Sonny Til alongside housewares advertisements targeted at African American women. This masculinity should be understood as a strategy linked with Cold War discourses of consensus and consumption, and the anxieties over masculinity expressed in Franklin Frasier’s Black Bourgeoisie in the historical moment of postwar desegregation.

Chapter 2 examines a specific site of multivocality, a type of singing performance designated as “popera” or vocal “classical crossover.” Identifying the various aesthetic characteristics and preferred repertories of popera, the chapter integrates the experiences of several (mostly tenor) participants in well-known crossover productions and groups. Popera, in the end, is sold as a neoliberal expansion of consumer choice by virtue of conflation, courting the tastes of pop fans and opera fans alike in one place. And it provides an acoustic space for the reunion of classical and popular musics and their social registers, and for the negotiation of alterity.

Abstract Oscar Levant claimed that Hollywood miscast him as himself. The joke speaks to how closely intertwined failure, achievement, and identity were interwoven for Levant, whose many occupations (pianist, composer, actor, and comic writer) reflected both the opportunities and liabilities of such multifaceted talent. But unlike other secondary characters, Levant brought with him a crossover star persona that served as foil and ballast for the marquee stars he supported. This chapter argues that while Levant’s performances of himself changed only slightly, the shifting emphasis he received across these films through musical performances presented competing solutions to the problem that Levant’s characters posed. How does a cynical, marginalized pianist “play” in the earnest, optimistic genre of the Hollywood film musical, where singing and dancing drive the entertainment? This chapter addresses this question by setting analysis of his onscreen roles within the context of his broader celebrity. Levant’s work as a concert artist and writer, his close relationship with the Gershwins, and his struggles with mental health informed his onscreen roles and characterized the peculiar authenticity that Levant’s characters embodied within the film musical.