Relevant bibliographies by topics / Female singers

Academic literature on the topic 'Female singers'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Female singers"

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Bandhopadhyay, Ankur, Indranil Chaterjee, and Sanghamitra Dey. "A comparative study of phonetogram parameters among female trained Hindustani classical singers, untrained singers and non-singers." International Journal of Otorhinolaryngology and Head and Neck Surgery 5, no. 6 (October 23, 2019): 1527. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20194922.

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<p class="abstract"><strong>Background:</strong> Vocal sound is based on the complex yet co-ordinated interaction of phonatory system, resonatory system and respiratory system. Phonetography is a practicable and readily accessible method to investigate and map the quantitative potentialities of vocal output. The objectives of the present study were to determine the phonetogram of trained (Hindustani classical) singers, untrained singer sand non-singers elicited from singing as well as speech task to see if statistically significant differences were present which may indicate an effect of training.</p><p class="abstract"><strong>Methods:</strong> 90 female subjects between the ages 20-45 (mean age 34.2 years for trained subjects, 26.3 years for untrained subjects and 25.8 years for non-singers) divided into three groups each group consisting of 30 subjects. For the singing task, the individuals had to phonate |a| at habitual level by traversing through eight musical scales. In the speech task, the subjects were asked to count from one to twenty in Bengali at habitat level and at Sustainable cohorts of intensity. This was recorded using phonetogram software Dr. Speech (version 4). The parameters considered were fundamental frequency, intensity, semitones and area. </p><p class="abstract"><strong>Results:</strong> The study revealed that in both tasks singing and non-singing task for all three groups in all the four parameters of phonetogram significant differences were seen (p=0.000) at 95% level of confidence.</p><p class="abstract"><strong>Conclusions:</strong> The present study depicted the phonetographic profile of a genre of trained singers and tracked out the parameters on which differences are pronounced between a trained and untrained singer and non-singer.</p>
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Santos, Sabrina Silva, Thaynara Montagner, Gabriele Rodrigues Bastilha, Letícia Fernandez Frigo, and Carla Aparecida Cielo. "Singing Style, Vocal Habits, and General Health of Professional Singers." International Archives of Otorhinolaryngology 23, no. 04 (October 2019): e445-e450. http://dx.doi.org/10.1055/s-0039-1693140.

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Introduction For the singer, the voice is a medium used to express feelings that capture the listener. Every singing style has specific demands, and a vocal alteration may prevent the singer from meeting them. Objective To compare the singing style, the vocal habits, and the general health data of professional singers. Methods Cross-sectional, quantitative and retrospective study of a survey database. Data on the singing style, the vocal habits, and the health conditions and history of 57 professional singers, 31 female singers and 26 male singers, aged from 19 to 57 years old (average of 32 years old), from a mid-sized town were analyzed Results There was a prevalence of female (54 ± 2%) popular singers (91 ± 2%), in the adult age (51 ± 2%), nonsmokers (89 ± 2%), nonusers of alcohol (77 ± 2%), with respiratory problems (53 ± 2%), mainly rhinitis (23 ± 2%), and without other health problems. There was a significant use of alcohol in males (p = 0.010); among the alcohol users, there was a significant presence of respiratory problems (p = 0.046), of pharyngitis/tonsillitis (p = 0.003), and of gastroesophageal reflux (GER) (p = 0.043); there was a significant presence of GER in subjects reporting endocrine problems (p = 0.023), of gastritis (p = 0.023), and of pharyngitis/tonsillitis (p = 0.030). Conclusion There was a predominance of adult professional popular female singers, with complaints of respiratory issues (with a higher prevalence of rhinitis), without other general health issues, of nonsmokers, and of nonusers of alcohol.
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Sobolewska, Aleksandra, Pedro Claros, Carmen Pujol, Astrid Claros-Pujol, and Andres Claros. "Ageing of professional opera singer’s voice- preliminary findings." Otolaryngologia Polska 73, no. 2 (March 20, 2019): 1–5. http://dx.doi.org/10.5604/01.3001.0013.1002.

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Objectives. The main goals of this study were to assess the most significant morphological changes and acoustic measures for the ageing process of a professional opera singer’s voice. Design. This investigation included 58 healthy professional opera singers, who were compared with 42 young opera singers from a control group. Methods. All participants underwent a voice assessment protocol: an ENT specialist examination and a speech therapist evaluation. Acoustic parameters and subjective observations were obtained, and then analysed. Results. The fundamental frequency (F0) level was distinctly decreased in the case of older female singers, but F0 in older male singers had stable levels in comparison to that in younger singers. Older singers were found not to have substantially different values of jitter than younger ones. Maximal phonation time (MPT) was longer in the older women group when compared to younger singers, but not relatively different in the men group. Shimmer value presented no age related change. Morphological changes seem to correlate with the age of subjects. Conclusions. The main characteristic of voice change over age was a decreased F0 level among older female professional singers and rather stable F0 levels in male singers. This study gives preliminary results on ageing voice in the population of professional opera singers.
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Lã, Filipa, Jane W. Davidson, William Ledger, David Howard, and Georgina Jones. "A Case-Study on the Effects of the Menstrual Cycle and the Use of a Combined Oral Contraceptive Pill on the Performance of a Western Classical Singer: An Objective and Subjective Overview." Musicae Scientiae 11, no. 2_suppl (July 2007): 85–107. http://dx.doi.org/10.1177/10298649070110s205.

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This case study explores the objective and psychologically perceived effects of the menstrual cycle and the use of a combined oral contraceptive pill on the singing performance of a western classical female singer. Objective measures of vocal parameters and hormonal concentrations were assessed during her natural menstrual cycle and during the use of an oral contraceptive pill. A diary was kept throughout the six months duration of the study and one lengthy semi-structured interview was also carried out with the singer, focussing on perceptions of her singing quality over the entire study. Aural analyses of the singing recordings were also undertaken by two independently qualified judges to see whether or not vocal changes were perceptible to listeners. The results suggest that: (i) hormonal variations during the natural menstrual cycle affected physiological and psychological aspects of the singer's performance; (ii) the pattern of vibration of the vocal folds seems to be more regular, and vocal control seems to be improved during oral contraceptive pill use; (iii) the singer reported better voice control during oral contraceptive pill use; (iv) listeners perceive intonation problems and wider vibrato during the natural menstrual cycle. This study suggests that further research on the effects of female sexual hormones on the singer's voice is necessary, and that female singers should be educated regarding these matters, in order to protect their voices and careers.
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Ouyoung, Laishyang (Melody), Brenda Capobres Villegas, Changxing Liu, Guy Talmor, and Uttam K. Sinha. "Effects of Resonance Voice Therapy on Hormone-Related Vocal Disorders in Professional Singers: A Pilot Study." Clinical Medicine Insights: Ear, Nose and Throat 11 (January 2018): 117955061878693. http://dx.doi.org/10.1177/1179550618786934.

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Background: Menstruation-related hormonal alteration can be detrimental to the professional singing voice of women. Resonance Voice Therapy (RVT) has been proven to improve vocal production. However, no research to date has been conducted examining the subjective, acoustic, and stroboscopic effects of RVT on professional female singers having premenstrual or postmenopausal voice disorders. Aim: The aim of this study is to compare the vocal effects of RVT with a control cervical-thoracic intervention in healthy female singers during the premenstrual phase as well as in postmenopausal singers and to evaluate which intervention will allow singers to improve vocal performance regardless of changes in hormonal status. Design: A randomized study was designed for this research. The research subjects were 20 professional female singers from the Southern California area, USA, with 10 premenstrual subjects in one group and 10 postmenopausal subjects in the other group. Among each group, 5 subjects were randomly selected to receive RVT and the remaining subjects received cervical-thoracic–focused exercises. The therapies consisted of 1 month of daily 15-minute sessions. For premenstrual subjects, voice data were collected at days 25 to 27 of the premenstrual phase during a scheduled initial voice evaluation. Follow-up data were collected during the same phase of the menstrual cycle (days 25-27) after 1 month of exercises. For postmenopausal subjects, voice data were collected at an initial voice evaluation with follow-up after 1 month of the assigned voice treatment. Outcomes were assessed with the singer’s voice handicap index (VHI), laryngeal videostroboscopic examination, maximum phonation time (MPT), relative average perturbation (RAP), and pitch range before and following completion of therapies. Alleviation or deterioration percentages were used for statistical analysis. Student t test was used for statistical comparison between therapies. Results: The RVT decreased singer’s VHI for both premenstrual and postmenopausal subjects by an average of 67%, compared with 7.8% for the cervical-thoracic therapy. The RVT also effectively decreased RAP by an average of 57% when combining the premenstrual and postmenopausal groups. The RVT increased MPT and pitch range among both premenstrual and postmenopausal subjects. The stroboscopic examination did not detect any significant differences between the 2 interventions. Conclusions: The RVT is effective for professional female singers with hormone-related premenstrual and postmenopausal vocal changes. The RVT is suggested as one of the therapeutic approaches for vocal abnormalities in such a population. A larger cohort may be needed for future research. Level of Evidence: 1b
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Kosek, Jakub. "Transfigurations of the Emploi and Artistic Manifestations of Female (Heavy) Metal Singers." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 13, no. 2 (June 30, 2021): 35–46. http://dx.doi.org/10.24917/20837275.13.2.3.

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The studies of (heavy) metal culture, the oeuvre of female artists, singers, lyricists, etc., still await in-depth interdisciplinary research endeavours. This article devoted special attention to female artists whose artistic, stage and image activities largely employ strategies of provocation, scandalisation, “ceremonial profanation.” When it comes to image (self)creation, an interesting category is the process of variability and fluidity of the emploi, especially in relation to subversive and transgressional activities. Wendy Orlean Williams, Heidi Shepherd and Carla Harvey from Butcher Babies discussed here have aroused frequent controversies in their activity in the patriarchal system of popular culture. The subversive artistic and image strategies used by the singers are nevertheless a part of the over fifty-years-long history and aesthetics of metal culture. The oeuvre of the Californian band forms an evident dialogue with the provocative art of the eccentric singer Williams. The colourful artistic emploi of those female artists attests to the diversity and complexity of metal culture.
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Toles, Laura E., Nelson Roy, Stephanie Sogg, Katherine L. Marks, Andrew J. Ortiz, Annie B. Fox, Daryush D. Mehta, and Robert E. Hillman. "Relationships Among Personality, Daily Speaking Voice Use, and Phonotrauma in Adult Female Singers." Journal of Speech, Language, and Hearing Research 64, no. 12 (December 13, 2021): 4580–98. http://dx.doi.org/10.1044/2021_jslhr-21-00274.

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Purpose: This study sought to determine whether personality traits related to extraversion and impulsivity are more strongly associated with singers with nodules compared to vocally healthy singers and to understand the relationship between personality and the types of daily speaking voice use. Method: Weeklong ambulatory voice recordings and personality inventories were obtained for 47 female singers with nodules and 47 vocally healthy female singers. Paired t tests investigated trait differences between groups. Relationships between traits and weeklong speaking voice measures (vocal dose, sound pressure level [SPL], neck surface acceleration magnitude [NSAM], fundamental frequency, cepstral peak prominence [CPP], and the ratio of the first two harmonic magnitudes [ H 1 –H 2 ]) were examined using pairwise Pearson r coefficients. Multiple regressions were performed to estimate voice parameters that correlated with two or more traits. Results: Singers with nodules scored higher on the Social Potency scale (reflecting a tendency toward social dominance) and lower on the Control scale (reflecting impulsivity) compared to the vocally healthy singers. In vocally healthy singers, vocal dose measures were positively correlated with a combination of Wellbeing (i.e., happiness) and Social Potency, mean SPL was positively correlated with Wellbeing, SPL variability was positively correlated with Social Potency and negatively with Harm Avoidance, and CPP mean was positively correlated with Wellbeing. Singers with nodules had a negative correlation between NSAM skewness and Social Potency. Both groups had negative correlations between H 1 –H 2 mean and Social Potency and Social Closeness. Conclusions: Singers with nodules are more socially dominant and impulsive than vocally healthy singers. Personality traits are related to daily speaking voice use, particularly in vocally healthy singers. Individuals with higher levels of traits related to happiness and social dominance and lower Harm Avoidance tended to speak more, with higher laryngeal forces, with more SPL variability, and with more pressed glottal closure, which could increase risk of phonotrauma.
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Watson, Peter J., Thomas J. Hixon, Elaine T. Stathopoulos, and Daniel R. Sullivan. "Respiratory kinematics in female classical singers." Journal of Voice 4, no. 2 (January 1990): 120–28. http://dx.doi.org/10.1016/s0892-1997(05)80136-5.

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McCrea, Christopher R., and Christopher Watts. "Relations of Singing Talent with Voice Onset Time of Trained and Untrained Female Singers." Perceptual and Motor Skills 105, no. 1 (August 2007): 133–42. http://dx.doi.org/10.2466/pms.105.1.133-142.

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This study examined phonatory-articulatory timing during sung productions by trained and untrained female singers with and without singing talent. 31 untrained female singers were divided into two groups (talented or untalented) based on the perceptual judgments of singing talent by two experienced vocal instructors. In addition to the untrained singers, 24 trained female singers were recorded singing America the Beautiful, and voice onset time was measured for selected words containing /p, b, g, k/. Univariate analyses of variance indicated that phonatory-articulatory timing, as measured with voice onset time, was different among the three groups for /g/, with the untrained-untalented singers displaying longer voice onset time than the trained singers. No other significant differences were observed across the other phonemes. Despite a significant difference observed, relatively small effect sizes and statistical power make it difficult to draw any conclusions regarding the usefulness of voice onset time as an indicator of singing talent.
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KENNERLEY, DAVID. "DEBATING FEMALE MUSICAL PROFESSIONALISM AND ARTISTRY IN THE BRITISH PRESS, c. 1820–1850." Historical Journal 58, no. 4 (October 29, 2015): 987–1008. http://dx.doi.org/10.1017/s0018246x14000740.

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AbstractThe entrance of women into the male-dominated spheres of the professions and the arts has been a major theme of women's and gender history in nineteenth-century Britain. In general, historians have located this development primarily in the second half of the century and depicted it as an important corollary to the political aims of the wider women's movement. In contrast, this article contends that an overlooked earlier context for the formation and emergence of ideas of female professionalism and artistry were the debates surrounding female singers in the press between c. 1820 and 1850. In this era, writers in newly emerging specialist music periodicals increasingly advocated a view of female singers as both professionals and artists. Such views did not dominate discourse, however. There remained a great deal of ambivalence even in specialist publications about just how far female singers should pursue the lifestyle of the professional artist, while in the mainstream press very different attitudes towards female singers prevailed. Although female musical professionalism and artistry therefore remained contested concepts, this article highlights the significance of these debates about female singers as an important source for the new ideas about women's professional and artistic work emerging in nineteenth-century British society.
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Dissertations / Theses on the topic "Female singers"

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Musselman, Susan Joanne. "Cohesion of composer and singer the female singers of Poulenc /." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1196185791.

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Ryan, Maree. "Effects of premenstrual symptoms on young female singers." Connect to full text, 2006. http://hdl.handle.net/2123/1432.

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Thesis (M. Mus. (Perf.)) -- University of Sydney, 2006.
Title from title screen (viewed September 4, 2008). Submitted in fulfilment of the requirements for the degree of Master of Music (Applied Research in Music Performance), Sydney Conservatorium of Music, University of Sydney. Includes tables, diagrs. and graphs. Includes bibliographical references. Also available in print form.
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Ryan, Maree Carol. "Effects of premenstrual symptoms on young female singers." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1432.

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Throughout the 20th Century, female operatic singers in most of the major European opera houses were given “grace days” (where they were not required to sing) in recognition of the effect of hormonal changes on the singing voice. Financial constraints in professional companies have resulted in a reduction of such considerations, but to date, there has been no systematic study of the effects of hormonal fluctuations on the quality of the female singing voice, or of its potential adverse effects on the vocal apparatus for singers who are affected by pre-menstrual syndrome. This study investigated the effects of hormonal fluctuations on young professional female classical singers. Female and male professional singers in training (students) at the Sydney Conservatorium of Music, University of Sydney, were asked to participate as volunteers in the study by keeping daily diaries. The female singers kept a diary for two separate months beginning on the first day of menstruation, in which they recorded their daily basal temperature, mood, voice state and physical well being. The male control subjects kept daily diaries for one month. Acoustic analysis of two vocal samples taken during the second month, on days 1 and 14 of the cycle, were completed on the six most severely affected female subjects, who were identified through their diary ratings of changes in vocal quality during menstruation. The selected students assessed their own vocal samples, presented in random order, to determine whether they could reliably identify which of their samples were affected by menstruation. Vocal staff at the Conservatorium (pedagogues), who were blind to the purpose of the study, also assessed recordings presented randomly. Results indicated that self-perceived vocal quality varied over the course of the menstrual cycle, particularly during the first seven days of the cycle, that negative changes in mood affected the voice, and that fatigue, effort, hoarseness, weakness & peak performance were the most frequently affected vocal states. A surprising finding was that male self-perceived voice quality also varied over the course of one month of diary keeping. There was no consistent change in direction of scores during menstrual and non-menstrual phases. Five of the six most affected singers correctly identified their performance during menstruation but pedagogues were not consistently able to do so.. These results indicate that perceived quality of the voice through changes in the menstrual cycle may not be as obvious to a highly trained observer even though they were reliably perceived by the singer. This study demonstrates that menstruation has a discernible impact on the self-perception of female singers’ vocal quality and implies that the premenstrual or menstrual female may not feel able to present her peak performance at these times of hormonal fluctuation. Further detailed research in this area may be warranted on a larger scale to elaborate a more precise clinical management of the problem.
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Ryan, Maree Carol. "Effects of premenstrual symptoms on young female singers." University of Sydney, 2006. http://hdl.handle.net/2123/1432.

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Master of Music
Throughout the 20th Century, female operatic singers in most of the major European opera houses were given “grace days” (where they were not required to sing) in recognition of the effect of hormonal changes on the singing voice. Financial constraints in professional companies have resulted in a reduction of such considerations, but to date, there has been no systematic study of the effects of hormonal fluctuations on the quality of the female singing voice, or of its potential adverse effects on the vocal apparatus for singers who are affected by pre-menstrual syndrome. This study investigated the effects of hormonal fluctuations on young professional female classical singers. Female and male professional singers in training (students) at the Sydney Conservatorium of Music, University of Sydney, were asked to participate as volunteers in the study by keeping daily diaries. The female singers kept a diary for two separate months beginning on the first day of menstruation, in which they recorded their daily basal temperature, mood, voice state and physical well being. The male control subjects kept daily diaries for one month. Acoustic analysis of two vocal samples taken during the second month, on days 1 and 14 of the cycle, were completed on the six most severely affected female subjects, who were identified through their diary ratings of changes in vocal quality during menstruation. The selected students assessed their own vocal samples, presented in random order, to determine whether they could reliably identify which of their samples were affected by menstruation. Vocal staff at the Conservatorium (pedagogues), who were blind to the purpose of the study, also assessed recordings presented randomly. Results indicated that self-perceived vocal quality varied over the course of the menstrual cycle, particularly during the first seven days of the cycle, that negative changes in mood affected the voice, and that fatigue, effort, hoarseness, weakness & peak performance were the most frequently affected vocal states. A surprising finding was that male self-perceived voice quality also varied over the course of one month of diary keeping. There was no consistent change in direction of scores during menstrual and non-menstrual phases. Five of the six most affected singers correctly identified their performance during menstruation but pedagogues were not consistently able to do so.. These results indicate that perceived quality of the voice through changes in the menstrual cycle may not be as obvious to a highly trained observer even though they were reliably perceived by the singer. This study demonstrates that menstruation has a discernible impact on the self-perception of female singers’ vocal quality and implies that the premenstrual or menstrual female may not feel able to present her peak performance at these times of hormonal fluctuation. Further detailed research in this area may be warranted on a larger scale to elaborate a more precise clinical management of the problem.
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Monzon, Kimberly Dawn. "Vascularity and the Hormonal Cycle in Female Classical Singers." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562255094732137.

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Durham-Lozaw, Susan. "Toward a music theater vocal pedagogy for emerging adult female singers." Thesis, Boston University, 2014. https://hdl.handle.net/2144/12091.

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Thesis (D.M.A.)--Boston University
The purpose of this study was to develop a case of contemporary belting pedagogy for emerging adult, female singers. Informants for the case included Jeannette LoVetri and Lisa Popeil, two well-respected pedagogues in both contemporary commercial and classical styles of singing. Data were collected through interviews with the pedagogues and observations of their teaching. The pedagogues' practices confirmed findings from prior research that three facets of singing differentiated contemporary belt singing from classical singing: (a) increased subglottal pressure coupled with increased closed quotient; (b) thyroarytenoid-dominant vocal production; and (c) resonance strategies involving a narrowed pharynx or oral cavity. LoVetri and Popeil characterized pedagogy for emerging adult singers as similar to pedagogy for classical singing in that it ought to be built on breath support and avoidance of vocal fold pressing. Further, the pedagogues recommended utilizing repertoire with moderate demands. However, they emphasized beginning with resonance strategies such as widening the mouth and lowering the velum. To teach emerging adult female singers, vocal music educators must: (a) be able to model appropriate music theater sounds for their students, (b) understand the shows and repertoire of music theater, (c) assign developmentally appropriate music theater literature to individual students; (d) expose students to a variety of musical styles, and (e) impart a functional understanding of voice science related to music theater vocal pedagogy in a way that emerging adult singers can understand. Emerging adult students should commit to performing in a healthy and sustainable way, and voice teachers should be a primary resource for reliable information about vocal health. Beyond this foundational pedagogy, teachers who prepare emerging adults for a career in music theater must ensure that their students receive significant training in acting and dance in addition to singing. Teachers must also help such students gain understanding of the casting process and their own casting strengths. Finally, because music theater is such a challenging industry, teachers should encourage their students to develop skills related to music theater so that they can earn a living, and teachers should highlight the importance of strong emotional, psychological, and financial support systems.
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Goosen, Gysbert Jacobus. "A critical study in the management of the female adolescent voice." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/3438.

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This treatise is a qualitative study that critically explores a current body of knowledge significant to the development of the female adolescent voice. The female adolescent voice is a field that is relatively under-researched in comparison to the male adolescent voice, although research in this regard has shown an increase in interest in the last two decades (Gackle 2011: 11). However, information related to the male adolescent voice still far outweighs the female adolescent voice. This study, through the use of six secondary objectives, identifies and highlights areas of the female adolescent voice development, where much of the current research lacks depth and insight. It therefore analyses and compares applicable literature in an attempt principally to contribute to a more structured and academic approach in this field. Insight into the auditory effects that occur during physiological mutation is further supported by investigating the functioning of the female voice registers and the respective influences of these on the different phases of vocal development of the female adolescent. The assistance and expertise of the conductor in this process, as well as in common areas such as voice classification, auditioning, voice placement, and repertoire selection are investigated to further consolidate and compare possible interventions for problems pertaining specifically to the female adolescent voice. The study concludes with a summary of the treatise and proposes suggestions for further study in this field.
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Tse, Wai-lok, and 謝煒珞. "Female singers and the ci poems of the Tang and Song periods=." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38322110.

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Duran, Lucy. "Stars and songbirds : Mande female singers in urban music, Mali 1980-99." Thesis, SOAS, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340348.

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Durán, Lucy. "Stars and songbirds Mande female singers in urban music, Mali 1980-99 /." Boston Spa, U.K. : British Library Document Supply Centre, 1999. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.340348.

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Books on the topic "Female singers"

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Five centuries of female singers. Westport, CT: Praeger, 2004.

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Emerson, Isabelle Putnam. Five centuries of female singers. Westport, CT: Praeger, 2005.

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Moanin' low: A discography of female popular vocal recordings, 1920-1933. Westport, Conn: Greenwood Press, 1996.

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Angels of the night: Popular female singers of our time. New York: B. Blackwell, 1986.

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Mellers, Wilfrid. Angels of the night: Popular female singers of our time. Oxford: Blackwell, 1986.

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Angels and monsters: Male and female sopranos in the story of opera, 1600-1900. New Haven: Yale University Press, 2004.

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Faith singer. Auckland, N.Z: Vintage, 2001.

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Nieuwkerk, Karin Van. A trade like any other: Female singers and dancers in Egypt. Cairo: American University in Cairo Press, 1996.

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Nieuwkerk, Karin van. A trade like any other: Female singers and dancers in Egypt. Austin: University of Texas Press, 1995.

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Jazz is a woman: 39 interviews with female jazz singers and players. Milano: EDUCatt, 2010.

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Book chapters on the topic "Female singers"

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Müller, LJ. "Chapter 3: Alternative Aesthetic Strategies of Female Singers." In Studien zur Popularmusik, 127–72. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839458518-005.

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"The Reticence of Female Singers." In Scots Folk Singers and their Sources, 75–94. BRILL, 2021. http://dx.doi.org/10.1163/9789004464414_006.

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Firpo, Christina Elizabeth. "Ả Đào Singers." In Black Market Business, 136–61. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752650.003.0005.

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This chapter is a study of the sale of sex in ả Đào singing houses, a form of female performance art dating back to the fourteenth century. In its twentieth-century iteration, sex work in ả Đào singing houses appealed to those with a taste for traditional culture in an era of dynamic cultural change. The success of clandestine sex work in ả Đào venues lay in the ability of sex workers and their managers to capitalize on both the sensuality inherent to this genre of female performance art and the legitimacy associated with a revered traditional art form. The result was that ả Đào venues operated as ambiguous spaces that blurred the traditional lines separating art, sex, and commerce.
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Kennerley, David. "The Lives and Voices of Professional Female Singers." In Sounding Feminine, 156–80. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190097561.003.0006.

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This chapter explores the meaning of the professional female voice through the experiences of three singers from the 1830s and ’40s: Adelaide Kemble, Clara Novello, and Marianne Lincoln. It continues the argument of Chapters 2 and 3 by exploring how contemporary divisions over the sound of femininity affected the ways singers chose to use their voices. Their letters and diaries show how they were caught between a desire to develop their professional technique and artistry, and an equally strong anxiety that, in doing so, they might contravene feminine norms expected by important sections of the public and even by family and friends. These case studies thus expose the ongoing tensions between the ideals of the professional singer and of femininity in British musical life, but they also indicate that, through complex, sometimes agonising negotiation, it was increasingly possible for these women to develop successful careers as professional female musical artists.
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5

"Poetic Singers in the Book of Jeremiah: The Prophet (Rendering the City as Female) and the City's Female Poet." In The Singers of Lamentations, 47–73. BRILL, 2002. http://dx.doi.org/10.1163/9789004497191_005.

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Sweet, Bridget. "Anatomy and Physiology." In Thinking Outside the Voice Box, 39–60. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190916374.003.0003.

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The chapter describes how an understanding of the way the voice operates can empower both female and male adolescent singers as well as the teachers assisting them through the voice change process. It unpacks basic vocal anatomy and physiology, and then overlays physiological transformations that occur in the larynx during female and male voice change. A special section addresses the impact of hormones on the adolescent voice (especially for females) and promotes awareness of premenstrual vocal syndrome. The chapter encourages music educators to frequently discuss and reference vocal anatomy and physiology with adolescent singers in order to demystify vocal challenges and dispel myths and misunderstandings about how the voice and body function.
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Fiol, Stefan. "Professional Female Singers and the Gendering of Folk." In Recasting Folk in the Himalayas. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041204.003.0006.

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In much scholarly discourse there is an assumption that women are the natural repositories of folk culture. Although this assumption is often rooted in an important feminist motivation to challenge oppressive ideologies within patriarchal societies, this chapter argues that it is ultimately unhelpful to think about folk culture as an inherently male or female domain of cultural production. Chapter five critiques the gendering of the folk concept by comparing and contrasting the experiences of two professional female artists in Uttarakhand, Meena Rana and Bachan Dei. Both women have established their professional identities through interpretations of village-based repertories of song and dance, but each performer has experienced a different degree of acceptance and inclusion within the vernacular music industry as a result of her social position and caste background.
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"Chapter 3: Alternative Aesthetic Strategies of Female Singers." In Hearing Sexism, 127–72. transcript Verlag, 2022. http://dx.doi.org/10.1515/9783839458518-005.

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9

Kennerley, David. "Instructing Women’s Voices in Conduct Literature." In Sounding Feminine, 29–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190097561.003.0002.

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This chapter explores the guidance regarding the use of the female voice that was a common feature of conduct literature in circulation in Britain between 1780 and 1850. Such works place a heavy emphasis on the restraint of the female voice, seeing it as an aural sign of a young woman’s modesty, diffidence, and chastity. Concomitantly, they characterised the technique, power, and skill displayed by many contemporary female singers’ voices (especially, but not exclusively, the professional singers of Italian opera) as signs of moral corruption and/or the neglect of feminine domestic and religious duties. However, this chapter stresses that this conduct literature was primarily written for a middle-class, evangelical readership. Consequently, it represents a particular perspective on the female voice, one that was certainly gathering steam in these years, but which was by no means universally dominant.
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Parr, Sean M. "Epilogue." In Vocal Virtuosity, 261–70. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542644.003.0008.

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This brief closing section of the book explores how three recent examples of coloratura singing by the rising generation of singers reflects the relevance, importance, and power of the melismatic female singer. Rather than serving as a general sign of technical skill, decoration, or word painting, coloratura now also signals particular intensities, emotions, inflections, madness, and even death, depending on the performer and composer involved. And current coloraturas such as Natalie Dessay, Diana Damrau, Lisette Oropesa, Erin Morley, and so many more continue to revivify the power of the singing voice.
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Conference papers on the topic "Female singers"

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Bernadin, Shonda, Richard J. Morris, David Okerlund, Lance Ellerbe, and Demissew W. Kessela. "Investigating acoustic and electroglottograph features to characterize passaggio in female singers." In 167th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/2.0000037.

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Yan, Nan, Steve An Xue, and Mok Ka Man. "Vocal tract dimensional characteristics of professional female singers with different types of singing voices." In 2011 4th International Conference on Biomedical Engineering and Informatics (BMEI). IEEE, 2011. http://dx.doi.org/10.1109/bmei.2011.6098560.

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Li, Yueling. "Diego Velázquez and John Singer Sargent: The Hidden Social Expectations in Female Portraits." In 2020 International Conference on Language, Art and Cultural Exchange (ICLACE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200709.005.

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Bajaj, Kanika. "Poster Abstract." In 16th Annual International Conference RGCON. Thieme Medical and Scientific Publishers Private Ltd., 2016. http://dx.doi.org/10.1055/s-0039-1685361.

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Tuberous sclerosis (TS) is a genetic disorder that is inherited in an autosomal dominant fashion with variable clinical manifestations including seizures, mental retardation, renal failure and pneumothorax. The literature on TS in pregnancy is largely based upon case reports which have shown a 43% complication rate including oligohydramnios, polyhydramnios, IUGR, hemorrhage from ruptured renal tumors, PPROM, renal failure, placental abruption and perinatal demise. We reporting a case of 33 yr old female with gravida 3 para 2 and live 2 with period of gestation 9 months with tuberous sclerosis, with severe oligohydramnios with fetal cardiomegaly and mild pericardial effusion and pleural effusion. She had facial angiofibromas along with bilateral renal angiomyolipomas. The previous fetal outcomes were normal, with facial angiofibroma. We report such a unique case having all clinically diagnostic physical sings of tuberous sclerosis with good fetal outcomes.
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