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 MusicThroughout 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 UniversityThe 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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Mitchell, Helen Frances. "Defining vocal quality in female classical singers: pedagogical, acoustical and perceptual studies." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/710.
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The technique of 'open throat' is a pedagogical concept transmitted through the oral tradition of singing. This thesis explored the pedagogical perceptions and practices of 'open throat' using empirical methodologies to assess technical skill and associated vocal quality. In the first study (Mitchell, Kenny, Ryan, & Davis, 2003), we assessed the degree of consensus amongst singing pedagogues regarding the definition of, and use in the singing studio of the technique called 'open throat.' Results indicated that all fifteen pedagogues described 'open throat' technique as fundamental to singing training and were positive about the sound quality it achieved, especially in classical singing. It was described as a way of maximising pharyngeal space or abducting the false vocal folds. Hypotheses generated from pedagogical beliefs expressed in this first study were then tested acoustically (Mitchell & Kenny, 2004a, 2004b). Six advanced singing students sang in two conditions: 'optimal' (O), using maximal open throat, 'sub-optimal' (SO), using reduced open throat and loud sub-optimal (LSO) to control for the effect of loudness. From these recordings, acoustic characteristics of vibrato (Mitchell & Kenny, 2004b) and energy distribution (Mitchell & Kenny, 2004a) were examined. Subsequent investigations of the vibrato parameters of rate, extent and onset, revealed that extent was significantly reduced and onset increased when singers did not use the technique. As inconsistent vibrato is considered indicative of poor singing, it was hypothesized that testing the energy distribution in these singers' voices in each condition would identify the timbral changes associated with open throat. Visual inspection of long term average spectra (LTAS) confirmed differences between O and SO, but conventional measures applied to long term average spectra (LTAS), comparing energy peak height [singing power ratio (SPR)] and peak area [energy ratio (ER)] were not sensitive to the changes identified through visual inspection of the LTAS. These results were not consistent with the vibrato findings and suggest that conventional measures of SPR and ER are not sufficiently sensitive to evaluate LTAS. In the fourth study, fifteen expert listeners consistently and reliably identified the presence of open throat technique with 87% accuracy (Mitchell & Kenny, in press). In the fifth study, LTAS measurements were examined with respect to the perceptual ratings of singers. There was no relationship between perceptual rankings of vocal beauty and acoustic rankings of vocal quality (Kenny & Mitchell, 2004, in press). There is a vast literature of spectral energy definitions of good voice but the studies in this thesis have indicated that current acoustic methods are limited in defining vocal quality. They also suggest that current work in singing has not sufficiently incorporated perceptual ratings and descriptions of sound quality or the relationship between acoustic and perceptual factors with pedagogical practices.
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Mitchell, Helen Frances. "Defining vocal quality in female classical singers: pedagogical, acoustical and perceptual studies." University of Sydney. Australian Centre for Applied Research in Music Performance, 2005. http://hdl.handle.net/2123/710.
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The technique of �open throat� is a pedagogical concept transmitted through the oral tradition of singing. This thesis explored the pedagogical perceptions and practices of �open throat� using empirical methodologies to assess technical skill and associated vocal quality. In the first study (Mitchell, Kenny, Ryan, & Davis, 2003), we assessed the degree of consensus amongst singing pedagogues regarding the definition of, and use in the singing studio of the technique called �open throat.� Results indicated that all fifteen pedagogues described �open throat� technique as fundamental to singing training and were positive about the sound quality it achieved, especially in classical singing. It was described as a way of maximising pharyngeal space or abducting the false vocal folds. Hypotheses generated from pedagogical beliefs expressed in this first study were then tested acoustically (Mitchell & Kenny, 2004a, 2004b). Six advanced singing students sang in two conditions: �optimal� (O), using maximal open throat, �sub-optimal� (SO), using reduced open throat and loud sub-optimal (LSO) to control for the effect of loudness. From these recordings, acoustic characteristics of vibrato (Mitchell & Kenny, 2004b) and energy distribution (Mitchell & Kenny, 2004a) were examined. Subsequent investigations of the vibrato parameters of rate, extent and onset, revealed that extent was significantly reduced and onset increased when singers did not use the technique. As inconsistent vibrato is considered indicative of poor singing, it was hypothesized that testing the energy distribution in these singers� voices in each condition would identify the timbral changes associated with open throat. Visual inspection of long term average spectra (LTAS) confirmed differences between O and SO, but conventional measures applied to long term average spectra (LTAS), comparing energy peak height [singing power ratio (SPR)] and peak area [energy ratio (ER)] were not sensitive to the changes identified through visual inspection of the LTAS. These results were not consistent with the vibrato findings and suggest that conventional measures of SPR and ER are not sufficiently sensitive to evaluate LTAS. In the fourth study, fifteen expert listeners consistently and reliably identified the presence of open throat technique with 87% accuracy (Mitchell & Kenny, in press). In the fifth study, LTAS measurements were examined with respect to the perceptual ratings of singers. There was no relationship between perceptual rankings of vocal beauty and acoustic rankings of vocal quality (Kenny & Mitchell, 2004, in press). There is a vast literature of spectral energy definitions of good voice but the studies in this thesis have indicated that current acoustic methods are limited in defining vocal quality. They also suggest that current work in singing has not sufficiently incorporated perceptual ratings and descriptions of sound quality or the relationship between acoustic and perceptual factors with pedagogical practices.
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Kennerley, David Thomas. "'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:abea8ab2-2c48-46bb-b983-626a7b8d12b8.
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Existing accounts of the music profession argue that between 1750 and 1850 musicians acquired a new identity as professional ‘artists’ and experienced a concomitant rise in their social and cultural status. In the absence of sustained investigation, it has often been implied that these changes affected male and female musicians in similar ways. As this thesis contends, this was by no means the case. Arguments in support of female musical professionalism, artistry, and their function in public life were made in this period. Based on the gender-specific nature of the female voice, they were an important defence of women’s public engagement that has been overlooked by gender historians, something which this thesis sets out to correct. However, the public role and professionalism of female musicians were in opposition to the prevailing valorisation of female domesticity and privacy. Furthermore, the notion of women as creative artists was highly unstable in an era which tended to label artistry, ‘genius’ and creativity as male attributes. For these reasons, the idea of female musicians as professional artists was always in tension with contemporary conceptions of gender, making women’s experience of the ‘rise of the artist’ much more contested and uncertain compared to that of men. Those advocating the female singer as professional artist were a minority in the British musical world. Their views co-existed alongside very different and much more prevalent approaches to the female singer which had little to do with the idea of the professional artist. Through examining debates about female singers in printed sources, particularly newspapers and periodicals, alongside case studies based on the surviving documents of specific singers, this thesis builds a picture of increasing diversity in the experiences and representations of female musicians in this period and underlines the controlling influence of gender in shaping responses to them.
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Indraganti, Kiranmayi. "Unheard voices : a social and cultural history of female playback singers in Indian (Telugu) cinema." Thesis, University of Nottingham, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546480.
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Waddell, Simone. "Communicating artistry through gesture by legendary Australian jazz singer Kerrie Biddell." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18635.
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Singers communicate with audiences using a sophisticated blend of vocal, musical and physical gestures. While gestures appear naturalistic and spontaneous, they are the culmination of extensive preparation, reflection and rehearsal. The late Kerrie Biddell, (1947-2014) was arguably the most influential jazz singer in Australian Jazz history (Carriage 2000) and an expert in communication with her audiences. The aim of the study was to explore how Biddell designed and transmitted vocal, musical and physical gestures in performance and how she transmitted these to her colleagues and students. Five of Biddell’s former singing students and professional musical colleagues were invited to participate in an interview to explore the way in which Biddell utilised gestures and techniques to maximise her performance presentation. Each participant recounted their personal knowledge and history of working with Biddell, and analysed a video of Biddell performing live on Australian television to document how she effortlessly translated gestures into captivating performance. Participants reflected on their experience working with Biddell, and described how she was renowned for her stage presence, physical gestures, and facial animation. All described the way in which Biddell would create a scenario to depict the text of the song, and prepare a character to ensure her gestures were authentic and genuine to her audiences. Findings will be considered in the context of recent studies in performance and non-verbal communication. Future work on gesture must consider the work of leading performer/teachers and discover how they conceptualise and communicate gesture to audiences.
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Yu, Tik-yin Grace. "Perception of voice use and problems in female singers and broadcasters an impairment, activity limitation and participation restriction perspective /." Click to view the E-thesis via HKUTO, 2001. http://sunzi.lib.hku.hk/hkuto/record/B36208115.
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Thesis (B.Sc)--University of Hong Kong, 2001."A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, May 4, 2001." Also available in print.
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Kayes, Gillyanne. "How does genre shape the vocal behaviour of female singers? : empirical studies of professional female singing in western lyric and contemporary commercial music genres." Thesis, UCL Institute of Education (IOE), 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.690905.
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Tse, Wai-lok. "Female singers and the ci poems of the Tang and Song periods Ge ji yu Tang Song ci /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38322110.
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Stephen, Roberta M. (Roberta Mae). "A Survey of the Research Literature on the Female High Voice." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc501208/.
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The location of the available research literature and its relationship to the pedagogy of the female high voice is the subject of this thesis. The nature and pedagogy of the female high voice are described in the first four chapters. The next two chapters discuss maintenance of the voice in conventional and experimental repertoire. Chapter seven is a summary of all the pedagogy. The last chapter is a comparison of the nature and the pedagogy of the female high voice with recommended areas for further research. For instance, more information is needed to understand the acoustic factors of vibrato, singer's formant, and high energy levels in the female high voice.
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Lamarche, Anick. "Putting the Singing Voice on the Map : Towards Improving the Quantitative Evaluation of Voice Status in Professional Female Singers." Doctoral thesis, KTH, Musikakustik, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-9976.
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Diagnostic and evaluative methods used in voice care are mostly designedfor the speaking voice, and are not necessarily directly applicable to thesinging voice. This thesis investigated the possibilities of fine tuning, improvingand quantifying the voice status assessment of the singer, focusingespecially on the Western operatic female voice. In Paper I, possible singer-specific Voice Range Profile (VRP) characteristicsand tasks were explored and VRP data for 30 professional female Western opera singers was collected. Vocal productions were controlled for a physiological VRP (VRPphys) and for a stage performance context (VRPperf) and outcome differences were identified. Task design was critical for the(VRPphys) but had very little effect on the VRPperf. Significant voice category differences (between soprano,mezzo-soprano and contralto) were limited to frequencyrelated metrics. Two new VRP metrics, the area above 90 dB (Perc90dB) and the sound pressure level extent (SPLext), were found to be key metrics to the study of VRPs for singers. Paper II investigated, in conjunction with the VRP, whether the sound pressure level (SPL) or the skin acceleration level (SAL) was more correlated to the subglottal pressure (Ps). SAL was much less F0 dependent than SPL and facilitated the interpretation of VRP data. However, the correlation between SAL and Ps was found to be weaker than that between SPL and Ps. Papers III and IV explored the mapping of self-perceived impairmentrelated difficulties into the VRP. A modified phonetograph was tested first with a healthy singer population and then with a singer-patient group. Subjects used a button device to communicate their self-perceptions while singing, and were consistent in task replications as well as across different tasks. Healthy singers pressed mostly at the extreme limits of the VRP, where loss of vocal control could be expected and their presses were mostly concentrated on the periphery of the VRP area. Singer patient button- press patterns were distinct from patterns observed in healthy singers. Singer patients pressed mainly inside the VRP boundaries, in the higher range and at intermediate intensities. In Paper V, the Voice Handicap Index for singers was translated and adapted to Swedish (Röst Handikap Index för sångare or RHI-s). The questionnaire was found to be a reliable and a valid instrument. High correlations between general perceptual patient VAS ratings and the questionnaire scores underscored the instrument’s internal coherence. Overall, patient scores (including subscales) were significantly higher than healthy singer scores. The results showed implicitly the necessity and usefulness of adapting clinical procedures to specific patient populations.Together, the results of these five papers can ultimately be of value tovoice clinicians who are treating singers. The results obtained also contributeto the understanding of the singing voice and underline the importance ofproperly documenting the singing voice.QC 20100726
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Lamarche, Anick M.-J. "Putting the singing voice on the map : towards improving the quantitative evaluation of voice status in professional female singers /." Stockholm : Datavetenskap och kommunikation, Kungliga Tekniska högskolan, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-9976.
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Hawk, Heather L. "“I Gotta Right to Sing the Blues”: Considering the Music of Harold Arlen (1905-1986) for Use by Female Singers in the Classical Voice Studio." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500087/.
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American musical theater and film composer Harold Arlen is largely overshadowed by his contemporaries, such as George Gershwin, Irving Berlin, and Cole Porter. However, his music serves as a viable alternative for singers of all skill level studying a classical technique. By studying the music of Harold Arlen, singers will utilize a wide range, legato line, negotiations of register, mood shifts, and varying tessituras. The following document considers the importance of Arlen’s music by analyzing eight of his songs from three prominent decades of compositional output. The eight songs examined are grouped by the decade of their composition: the 1930s, 1940s, and 1950s. Each song is evaluated by determining the musical benefits included in each song and also the skill level required of the singer.
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Joncus, Berta. "A star is born : Kitty Clive and female representation in eighteenth-century English musical theatre." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:1e03037b-89a3-4b00-a5ae-81229ccdf5c7.
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Catherine ('Kitty') Clive (1711-1785) was the most famous singer-actress of mideighteenth century London, and one of the first women whom Drury Lane managers sought to popularize specifically as a singer. Drawing on theories of star construction in cinema, this thesis explores how the public persona of Mrs Clive 'composed' the music she sang. A key ingredient in star production is the wide-ranging dissemination of the star's image. The first chapter explains how the mid-eighteenth star was produced, outlining the period equivalents to what film scholars consider the sources of modern stardom: promotion, publicity, criticism and the work. This last means of star production is considered according to period traditions of comic writing, acting and spectatorship. These activities were part of the practice, begun in the Restoration, of creating a 'line' or metacharacter to fit the skills, reputation and unique acting mannerisms of principal players. The second chapter examines the vehicle of Mrs Clive's initial success, ballad opera. Ballad opera brought to the London stage the musical and discursive traditions of the street ballad singer, who typically communicated with audiences directly through indigenous, popular tunes. Direct address and native pedigree were to remain key elements in Mrs Clive's music, regardless of the genre she was singing. Chapters 3 to 5 trace three distinct phases in Mrs Clive's star production. Chapter 3 studies her promotion by Henry Carey, who taught her distinctive vocal techniques ('natural' singing; mimicry of opera singers) and supplied a sophisticated ballad-style repertory of which she was the chief exponent, 1728-32. Through Mrs Clive, Carey promoted his music and convictions - song in 'sublimated ballad style', the attractiveness of native traditions, female rights - and these became hallmarks of the Clive persona. Chapter 4 considers Henry Fielding's Clive publicity in his musical comedies and writings for her, 1732-6. Initially, he vivified the impudent nymph of her first 1729 mezzotint through stage characters, songs and epilogues. The criticism she drew for her refusal to join 1733-4 Drury Lane actors' rebellion forced him to re-invent Mrs Clive as a 'pious daughter'. In order to galvanize support for her, he broadened his publicity and made her an icon of conservative patriotic values and an enemy of Italian opera. Chapter 5 investigates Mrs Clive's management of her own image in her 1736 battle to retain the lead role in The Beggar's Opera. After her triumph, the duties of her new writer James Miller were simply to reflect audience perception of her. Chapters 6 and 7 analyse how the Clive persona, now rooted in public fantasy, shaped her two most important 'high style' musical roles, first in Thomas Arne's Comus, and then in Handel's Samson. Chapter 6 shows how the themes and musical procedures typical of the Clive persona were wedded to Milton's Comus, which then became the imaginative touchstone for a 'Comus' environment at the Vauxhall Pleasure Gardens. Chapter 7 examines her history as mediator of, and collaborator with, Handel, and shows how Handel's conceptualization of Dalilah in Samson mirrored that of Arne's Euphrosyne in Comus. Chapter 8 describes her ascendancy into 'polite society' through her friendship with Horace Walpole, and summarizes the means by which Mrs Clive's talents and audience perception of her shaped the works she performed.
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Kochis-Jennings, Karen Ann. "Intrinsic laryngeal muscle activity and vocal fold adduction patterns in female vocal registers chest, chestmix, and headmix /." Diss., University of Iowa, 2008. http://ir.uiowa.edu/etd/21.
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Pagan, Ellen M. "College choir directors' and voice instructors' techniques for classifying female voices." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237398533.
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Jordan, Meggan. "10X THE TALENT = 1/3 OF THE CREDIT: HOW FEMALE MUSICIANS ARE TREATED DIFFERENTLY IN MUSIC." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2289.
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This is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender. Three forms of subtle discrimination are inferred from their narrative histories. First, female musicians are mistaken for non-musicians. They are encapsulated into inferior roles, like "the gimmick," "good for a girl," and "invisible accessory." Second, band mates and band managers control women's space, success, and artistic freedom. Third, their femininity, sexuality, and age are highly scrutinized. The analysis implies that female musicians are tokenized, devalued, and considered inappropriate for their jobs. Particular attention is paid to the similarities between female musicians and women in male dominated work places. I conclude by discussing the larger implications for gender, music, and social change in a sexist, unregulated industry.M.A.
Department of Sociology
Sciences
Applied Sociology
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Figueirêdo, Anne Raelly Pereira de. "A estética vocal de cantoras paraibanas: Marinês, Cátia de França e Elba Ramalho." Universidade Federal da Paraíba, 2010. http://tede.biblioteca.ufpb.br:8080/handle/tede/8674.
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This paper presents the research results who try to comprehend fundamental definitions aspects of vocal esthetics in musical expressions of Paraíba´s female singers, specifically focused at three state musicians with local, regional and national recognition, they are: Marinês, Elba Ramalho and Cátia de França. This work was based with views of ethnomusicology and related fields. The methodological research evolved bibliographical research, record, sound, documental research, participative observation and half-structured interviews, as well data analysis and organization resources which could generate a clear, wide and contextualized view of the researched reality. Based on the research realized, the discussions and analysis done throw the paper became evident that the vocal esthetics of each singer was defined by the inter-relation of multiple aspects linked to physiological dimensions and voice techniques, to the use of recording technological resources, voice effects and amplifications and to cultural background in general that point the history of each female singer studied.
Este trabalho apresenta resultados de uma pesquisa que buscou compreender aspectos fundamentais definidores da estética vocal na expressão musical de cantoras da Paraíba, contemplando especificamente três intérpretes do Estado de grande destaque local, regional e nacional, quais sejam: Marinês, Elba Ramalho e Cátia de França. O estudo foi realizado a partir de perspectivas da área de etnomusicologia e de outros campos afins ao foco do estudo. A base metodológica da pesquisa abrangeu pesquisa bibliográfica, pesquisa sonoro-documental, observação participante e entrevistas semi-estruturadas, bem como instrumentos de organização e análise dos dados que pudessem propiciar uma leitura abrangente e contextualizada da realidade investigada. A partir da pesquisa realizada e das discussões e análises concretizadas ao longo da dissertação ficou evidente que a estética vocal de cada cantora é definida a partir da inter-relação de diversos aspectos ligados às dimensões fisiológicas e técnicas da voz; ao uso de recursos tecnológicos de gravação, efeitos e amplificação vocal; e às influências e bases culturais em geral que marcam a trajetória das três cantoras estudadas.
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Rutherford, Susan Aileen. "The female singer and opera : 1800-1930." Thesis, University of Manchester, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488132.
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Richie, Anne Elise. "The professional female singer and career longevity| Reflections, choices, and challenges." Thesis, The Florida State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564953.
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This study seeks to provide female singers and their teachers with insight on achieving career longevity through the collection of data and commentary from seasoned professional female singers. One hundred artists from the United States and Canada, each with a singing career spanning twenty years or longer, were invited to complete the online survey The Professional Female Singer and Career Longevity via SurveyMonkey.com.
Participants, ages 45-75, responded to an array of questions to create an overview of their vocal careers. Each singer provided answers on physical and vocal health challenges they experienced as well as, the impact of menopause, hormone replacement therapy, and the perceived benefits of teaching to maintain the voice. Respondents also shared information on the lifestyle, dietary, and other choices they believe contributed to career longevity.
The sample population, composed of forty-nine mezzo-sopranos and fifty-one sopranos, is predominantly made up of baby boomers, the generation born between 1946 and 1964. It is significant to note that none of the one hundred singers reported being "retired" from the profession. All continue to engage in performing, teaching, or a combination thereof.
According to the U.S. Census Bureau life expectancy over the past century for women has nearly doubled from an average of 48.3 years in 1900 to 81.3 years in 2010. Women can now expect to live a considerable portion of their life in a postmenopausal state. This document adds first hand reports by female professional singers to the present voice science research on the benefits of diet, exercise, lifestyle choices and hormone therapy. Singers should be educated to the benefits of maintaining hormonal balance and its direct impact on preserving the voice. Further study is warranted to explore which hormone replacement therapies are proving to have the greatest vocal benefit and to disseminate information on which natural/alternative medicines and modalities female singers and voice teachers feel help maintain their voices and contribute to career longevity.
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Cooke, Tracey. "Investigating register preferences in the female singer of contemporary commercial music." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1978.
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The middle register is a region of the voice which has been discussed and disputed for many years in the disciplines of vocal pedagogy and voice science. This project, which was inspired by my own experience as a singing teacher in the private studio, seeks to investigate how female professional and pre-professional vocalists relate to their middle register. For the purposes of this dissertation, the middle register is assumed to refer to an area of the trained voice, or of the voice in training.
The project is composed of three studies. In Study One a pilot questionnaire was distributed to 57 vocalists, ranging from secondary and tertiary students to professional singers. The responses to the questionnaire were analysed and the results used in the design and development of Studies Two and Three.
Study Two was made up of interviews with three professional singers, together with an analysis of their vocal technique in performance.
Study Three consisted of case studies of nine singers: three secondary students, three tertiary students, and three professional singers. The nine subjects recorded an a cappella version of “Scarborough Fair” and answered a short questionnaire. The participants’ questionnaire responses and the expert listeners’ survey results were then analysed to discover whether the singers’ ideas of their performance were traceable in the expert listeners’ interpretations, and whether any register preference expressed by the singers could be detected by the expert listeners.
The results of this project indicate that the listening habits of singers greatly affect the way they approach their middle register. A singer’s ability to express register choice, and the degree to which other listeners were able to discern these choices, was found to correlate with level of training. The results also indicate that a register preference for either chest dominance or head dominance existed for a majority of the singers in this study, all of whom were singers of Contemporary Commercial Music (CCM). The implications for teaching singing to students of CCM with a strong register preference are discussed
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Nakano, Koji. "Time song II : howling through time : for female singer, flutist, and percussionist /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236635.
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Liu, Chu-Ying. "Images of the female singer : the structural characteristics of Taiwanese Mandopop music videos." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/397112/.
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Music video visually communicates with music, in a storytelling manner with direct or subliminal messages to audiences. It encompasses many discourses over different contexts, and often used in contradictory ways to embody gendered aesthetic values of authenticity. This thesis sets out to investigate Taiwanese Mandopop female stars and their representations in the music videos seen in the Mandopop industry. At the heart of the body of work presented in this thesis is an exploration and examination of three case studies, focusing on female singers Winnie Hsin, Cyndi Wang, and Jolin Tsai, situating them within the Taiwanese Mandopop context, and in relation to their music videos: Understanding (1994), Love You (2003), and The Great Artist (2012). The representatives and adaptabilities for analytical interest are in relation to the three major themes, namely sadness, cuteness, and sexiness, meaning that their work can be seen to construct their specific star representation of femininity, feminism and creativity. Writing on the theoretical dialogue between film studies, music video studies, cultural studies, feminism, psychoanalytic theory and postmodernism, the textual analysis, combining the concept of music video detail analysis and the reconstruction of representations of each performer, will show how their images are created, and lead to a discussion of the embedded semiotic meanings, links among audience reception, creative control, and artistic freedom. Finally, these texts, a link to how the representations relate to cultural tradition and social transformation, will offer a dialogue and critique of Taiwanese society, through representations of the female stars they created.
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Bretl, Michelle Mary. "Steadiness of Singing Scales by Untrained Adult Females." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522340508253471.
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Berköz, Levent Donat. "A gendered musicological study of the work of four leading female singer-songwriters : Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos." Thesis, City University London, 2012. http://openaccess.city.ac.uk/1235/.
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This thesis investigates the role of gender in popular music, exploring the possibility of a feminine mode of writing. It focuses on the work of four leading female singer-songwriters, namely Laura Nyro, Joni Mitchell, Kate Bush and Tori Amos, whose songs are analyzed as textual entities. Building a theoretical bridge between musicology and feminist theory, the relationship between the text and the body is examined. The discursive perspective of this research allows pieces of popular music to be considered not only as ideologically signifying cultural commodities but also as textually signifying entities of words, music and images complementing (rather than supplementing) one another; in other words, that their cultural and ideological embodiments may be musicologically interpreted in tandem. My analysis of popular music pieces created and envoiced by these four artists departs from the presumption of the significance of gender-consciousness informing this word-music-image entity, located simultaneously at a representational and textual/musical level. Throughout this thesis, different female subjectivities are discussed, drawing primarily upon French feminism. Theories which establish a foundation for my arguments are Julia Kristeva’s the semiotic, Luce Irigaray’s feminine multiplicity and Hélène Cixous’s écriture féminine, as well as Joan Riviere’s womanliness as masquerade. The resulting multilayered discourse acquires an interdisciplinary character, drawing upon and seeking to contribute to fields such as feminist musicology, popular music studies and gender theory. It also aims to shed light on issues from which gendered discourses arise, both in general terms and in the specific realm of music. This thesis concludes by discussing the extent to which female musicians achieved the feminization of popular music through manipulating both the lyrical and musical structures imposed by dominant discourses.
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Allen, Susanna. "Menopause and the female singer : a survey of physical and psychological changes, and of the available treatments and how these effect the vocal performer." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/7779.
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Includes bibliographical references (leaves 139-146).The purpose of this study is to make singers and their colleagues aware of the functioning of their bodies and of the methods that can be used to care for the singer's body, especially the voice, from an early age so that the influence of menopause will be reduced. The study considers the various systems of the body that are relevant to the singer and details how these systems usually function, before examining the various types and stages of menopause. It looks at how menopause affects a singer's body, addresses the diseases and symptoms that menopause may cause, details possible treatment for these diseases and symptoms, and provides information as to how these treatments may affect the singer as a performer. Various singers were interviewed to establish how their careers as professional singers were affected by the stages of menopause, the treatment they received, and how this treatment affected their careers. Professionals in the fields of gynaeco!ogy, psychology and otolaryngology were interviewed who had treated singers suffering from illnesses that could be attributed to menopause. They were asked to provide details of the treatment that they prescribed and to describe how this treatment influenced the performing careers of these singers.
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Johnson, Beverly Yvonne. "Vocal Self-identification, Singing Style, and Singing Range in Relationship to a Measure of Cultural Mistrust in African-American Adolescent Females." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278339/.
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The purpose was to determine the relationship between high or low cultural mistrust and vocal characteristics in African-American adolescent females. The vocal characteristics were vocal self-identification, singing style, and singing range.
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Lã, Filipa Martins Baptista. "Investigating the female Western classical singer's vocal experience over the menstrual cycle during the use of a third generation oral contraceptive pill : a double blind randomised placebo controlled trial." Thesis, University of Sheffield, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425584.
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Castaneda, Alisha Priolo. "Hues, tresses, and dresses examining the relation of body image, hair, and clothes to female identity in Their eyes were watching God and I know why the caged bird sings /." Lynchburg, Va. : Liberty University, 2010. http://digitalcommons.liberty.edu.
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Turnour, Matthew Dwight. "The stewardship paradigm : an enquiry into the ethical obligation associated with being in control of resorces." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35810/1/35810.pdf.
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The resource allocation and utilization discourse is dominated by debates about rights particularly individual property rights and ownership. This is due largely to the philosophic foundations provided by Hobbes and Locke and adopted by Bentham. In our community, though, resources come not merely with rights embedded but also obligations. The relevant laws and equitable principles which give shape to our shared rights and obligations with respect to resources take cognizance not merely of the title to the resource (the proprietary right) but the particular context in which the right is exercised. Moral philosophy regarding resource utilisation has from ancient times taken cognizance of obligations but with ascendance of modernity, the agenda of moral philosophy regarding resources, has been dominated, at least since John Locke, by a preoccupation with property rights; the ethical obligations associated with resource management have been largely ignored. The particular social context has also been ignored. Exploring this applied ethical terrain regarding resource utilisation, this thesis:
(1) Revisits the justifications for modem property rights (and in that the exclusion of obligations);
(2) Identifies major deficiencies in these justifications and reasons for this;
(3) Traces the concept of stewardship as understood in classical Greek writing and in the New Testament, and considers its application in the Patristic period and by Medieval and reformist writers, before turning to investigate its influence on legal and equitable concepts through to the current day;
4) Discusses the nature of the stewardship obligation,maps it and offers a schematic for applying the Stewardship Paradigm to problems arising in daily life;
and,
(5) Discusses the way in which the Stewardship Paradigm may be applied by, and assists in resolving issues arising from within four dominant philosophic world views:
(a) Rawls' social contract theory;
(b) Utilitarianism as discussed by Peter Singer;
(c) Christianity with particular focus on the theology of Douglas Hall;
(d) Feminism particularly as expressed in the ethics of care of Carol Gilligan;
and, offers some more general comments about stewardship in the context of an ethically plural community.
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Peppard, Robert C. "Effects of aging on selected vocal characteristics of female singers and non-singers." 1990. http://catalog.hathitrust.org/api/volumes/oclc/23592586.html.
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Thesis (Ph. D.)--University of Wisconsin--Madison, 1990.Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 144-151).
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Graham, Felix Andrew. "Singing while female: A narrative study on gender, identity & experience of female voice in cis, transmasculine & non-binary singers." Thesis, 2019. https://doi.org/10.7916/d8-mnh1-st58.
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This study explored the personal narratives of six AFAB (“assigned female at birth”) singers – three cis and three trans/non-binary performers of varying ages, ethnicities and locales – to understand how their experiences informed their musical, vocal and gender identities and shaped their musical and vocal lives. Using semi-structured interview process, the singers recounted their memories and understanding of significant events in their development, and together, each singer and I explored those recollections through a process of collaborative self-exploration. Emerging themes from those narratives underscored the need for further investigation into the intersection of AFAB voice, singing and gender, as both existing literature and the results of this study suggest a deeper understanding of the issues around gender socialization, normative expectations and voice is necessary to appropriately and effectively prepare singers at all levels of their musical and vocal education.
Study results found that there are many sources of socially-mediated influences which shape AFAB singers’ development of self, their individual and social identities, and their perceptions of their voice – particularly in the context of normative expectations that define gender and gender identities. While all study participants clearly experienced pleasure in musical performance, the narratives revealed a complex web of expectations and influences that contributed significant amounts of anxiety, with both physiological and psychological repercussions, to the performers’ lives. The ways in which the singers both fell victim to and addressed these sources of stress suggest many topics for further exploration and discussion within the professional voice and music education community, including the role of expert influence, the development of personal agency and perceived self-efficacy, as well as the need for individualized, holistic approaches to vocal pedagogy.
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Hsu, Fang-Chia, and 許芳嘉. "Performing Work，Performing Gender：The Labor Process of Female Singers in Professional Bands In Taiwan." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/94408110739737579110.
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碩士高雄醫學大學
性別研究所
100
This study aims to explore the workplace situation of the professional female singer in Taiwan, and viewing their work experiences from a gender perspective. The study invoked Joan Acker‘s gendering organizational theory, and the concepts of the emotional labour theory and aesthetic labour theory, to analyze the phenomenon of the gender in professional performing band so as to understand the the labour content of the female leading singers.This study adopts the viewpoint of feminist standpoint ,the use of qualitative research methods in depth interviews and participant observation fieldwork data, visited eight female vocalist, male vocalist two. The results are summarized as follows: First of all, there is an occupational gender segment in the professional band ecology─male musicians and female leading singers are recognized─female leading singers engage into this industry owing to gender advantage,but occupational injury and maintaining a young appearance makes them difficult to keep a long-term career, hence the female leading singer who’s work experience is often less than the male musicians, and it brings about them vulnerable on the reign and usually dominated and controled by male musicians. Second, they who engaged in performing work violates the rule of patriarchal society：women should be conservative, pure and the implementation of the obligations of reproduction.beautiful presence on the stage that is misunderstood as their real life appearance by the public, with irregular working hours and the lifestyle of day and night reversed, making them difficult to operate marriage and child rearing, but the men of the band was not affected, so the professional bands of the default male ideal workers, is not gender neutral, and it closely related with the binary division of public and private sectors. Finally, the main work of the female leading singer is to bring joy to the scene, they develop performance strategies for personal responses to special occasions and including program content ,external dress design and the emotional management strategies for maintaining relations with the masses.In the wake of performance requirements, they must manage their own appearance includive of creating the shape of the stage, as well as body, face management, they develop multiple strategies of dress and consumption, diet and exercise everyday life, even by cosmetic science and technology, to help maintain a young appearance.They must continue to pursue and maintain the finish line for catering the body beautiful of the contemporary social public opinion at work process. From the above study, professional band ecology is a quite gender-based workplace, while the labor process of the female leading singer is also very gendered.Gender ideology of the organization turns the female leading singer into a gender subordinate position.Regardless of at work or in daily life, female leading singer are required to perform emotional labour and aesthetic labour in line with femininity.As a matter of fact, the emphasis on modern professional band performances are also deeply affected by the traditional gender awareness. This study reveals the work of women in public performances, gender factors on the possible impact, thus shaping the content of their work, affecting their workplace situation, but that the situation of gender in the workplace for women, has a critical impact, the study results for future research related to women in the workplace situation of reference.
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Price, K. "The effects of vocal function exercises on the lung function of trained female singers: a pilot investigation." 2003. http://eprints.vu.edu.au/929/1/Price_et.al_2003.pdf.
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Vocal function exercises have been designed to strengthen and tone the muscles of the larynx and supporting musculature to enhance vocal function. The effect of these exercises on lung function is yet to be determined. Ten trained female volunteers participated in the current pilot study. All ten subjects performed vocal function exercises twice daily over a period of four weeks and their lung function was tested at the beginning and end of the four week period using Forced vital capacity (FVC), forced expiratory volume in once second (FEV1), FEV1/FVC ratio. Significant differences were found in both FEV1 (p=0.013) and FEV1/FVC ratio (P=0.009) after the completion of the exercises. This is most likely attributed to an increase in the power of the inspiratory muscles and greater muscular co-ordination, strength and endurance during exhalation. This minor thesis was written by a post-graduate student as part of the requirements of the Master of Health Science (Osteopathy) program.
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Ni, Han-Chih, and 倪涵芷. "Analysis of vocal acoustics, aerodynamics, auditory perception, and voice quality of life in older female choir singers." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3esy63.
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碩士國立臺北護理健康大學
語言治療與聽力研究所
106
With a growing aging population, the number of older adults with presbyphonia is also increasing. This study aims to compare the vocal acoustics, aerodynamics, auditory perception, and voice quality of life between older female choral singers and nonsingers. The impact of choral singing to presyphonia and quality of life is also investigated. The participants of this study included 40 healthy women above the age of 65, and were divided into two groups based on participation in choral singing or not. After collecting all the voice samples, ono speech-language pathologist was recruited to conduct auditory-perceptual evaluation. Mann-Whitney U test and independent t-test were used to analyze the differences of all parameters. The results showed that choral group had significant lower levels of jitter and shimmer, significant higher levels of highest tone and MPFR (maximum phonational frequency range), and significant lower levels of PTP (phonation threshold pressure). However, no statistically significant differences in other parameters, including NHR, SFF (speaking fundamental frequency), lowest tone, MPT, mean airflow rate, and VHI were found between two groups. This study shows that singing training can enhance the periodicity of phonation, enlarge the maximum physiological frequency range, and minimize phonation difficulty in older women. The positive impact of singing training can mitigate vocal aging, and the results can serve as a reference for clinical professionals in planning care and preventive voice program for older adults.
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Price, Kate. "The effects of vocal function exercises on the lung function of trained female singers: a pilot investigation." Thesis, 2003. https://vuir.vu.edu.au/929/.
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Vocal function exercises have been designed to strengthen and tone the muscles of the larynx and supporting musculature to enhance vocal function. The effect of these exercises on lung function is yet to be determined. Ten trained female volunteers participated in the current pilot study. All ten subjects performed vocal function exercises twice daily over a period of four weeks and their lung function was tested at the beginning and end of the four week period using Forced vital capacity (FVC), forced expiratory volume in once second (FEV1), FEV1/FVC ratio. Significant differences were found in both FEV1 (p=0.013) and FEV1/FVC ratio (P=0.009) after the completion of the exercises. This is most likely attributed to an increase in the power of the inspiratory muscles and greater muscular co-ordination, strength and endurance during exhalation.
This minor thesis was written by a post-graduate student as part of the requirements of the Master of Health Science (Osteopathy) program.
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Chang, Huei-Wen, and 張慧文. "A Taiwanese Female Singer: Lin Hau''s Musical Life in Japanese Colonial Period(1932-1937)." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/55879604273905745092.
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碩士國立臺灣大學
音樂學研究所
90
Lin Hau (1907-1991), born in Tainan (southern city of Taiwan), was a female singer who learned vocal professionally in the early 20th century. This thesis attempts to approach Lin’s musical life in 1930’s through two kinds of methods: the interpretation of historical data and the analysis of musical materials. Through the data interpretation, it was found that there were three channels to make Lin access the western music in her music enlightenment: Japanese style school education, church activities in Tainan area, and phonograph records. After married, with the encouragement of her husband, Mr. Lu Bing-Ding, a significant Taiwanese social movement promoter in late 1920’, she luckily had the chance to keep on her music career. Through the music analysis, it was found that the pieces Lin performed included western, Japanese, Taiwanese composers but the texts were sung mainly in the language of Mandarin, Taiwanese, and Japanese. In addition, it was also found that the characteristics of Taiwanese songs melodies which were mainly established on pentatonic scale, and the orchestration which were arranged by western instruments or half-western, half-Chinese traditional instruments. In conclusion, this thesis interpreted not only the Taiwanese Female singer during the Japanese colonial period, but the interactions of music environment among Taiwan, Japan, Mainland China, and western world.
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Chuan, Lo Chih, and 羅志權. "The discourse analysis of Chinese popular music: An exploratory study of the female singer“ Jolin Tsai ”." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/64230199920343514385.
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Huang, Hsiang-Ling, and 黃湘玲. "The Representations of Female Migration Under the Political Violence－ A Discussion of Nie Hua-ling’s Mulberry and Peach, Chu Tienh-sing’s The Old Capital, and Shih Shu-shing’s Dust In The Wind." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/66754127229060939392.
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碩士中興大學
台灣文學研究所
99
My dissertation discuses three writers’ fictions-Nie Hua-ling’s Mulberry And Peach, Chu Tien-hsin’s The Old Capital, and Shi Shu-ching’s Dust In The Wind. Focuses on the inscription of state violence in female fictions, the dissertation analyzes how female resist the violence system through individual migration to seek the possibilities of negotiation. Although those three texts were written at different times, they all have represented how a political system controls individuals in each period. Nie Hua-ling’s Mulberry And Peach reflects KMT government’s violent system in 70’s, moreover, this violent system’s set speaticularly to consolidate KMT’s political power. Chu Tien-hsin’s The Old Capital reveals the anxiety of the second-generation mainlanders in Taiwan, for the transferring political power. The reason that causes the anxiety implies criticism of the local regime. Therefore, my dissertation tries to explore the essence and definition of political violence. Another text－Dust In The Wind, mainly portrays Taiwan society during Japanese colonial period. This dissertation discusses how the state violence causes the female migration through overview of historical contexts from Japanese colonial period to KMT government, and how those female subjects negotiate with the political power by migration. This dissertation explores how those female writers reflect that the individuals are affected by history through their positions in texts. Therefore, I analyses how female resist, question, and negotiate the political system by mapping the state power in those texts. On the other hand, while female writers specifically describe the process of migration indicates that writing is power. Furthermore, those texts reflect female would face the direct ruing by state system and social structure if female cross the boundary from home to society. Hence, my dissertation also discusses how gender system is constructed in a society. Meanwhile, I analyze the gender culture in Taiwan to reveal whether those three writers using the female angle as the narrative theme or as the strategy of their representations.