Dissertations / Theses: 'Singers'

1

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Fulton, Kristi Sue. "Vocal efficiency in trained singers vs. non-singers." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1961.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Whitaker, Sandra S. "Singers' resonance." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118238.

Full text

Abstract:

The primary purpose of this study was to clarify the underlying principles of singers' resonance and to examine some of the pedagogical practices associated with the traditional schools of singing and contemporary voice science. The secondary purpose was to determine which principles should be retained, discarded, or altered.An examination of the voice pedagogy literature revealed recurrent references to resonance. This implied that the concept is of some importance to voice pedagogy. Singers' resonance has, however, been presented in diverse contexts indicating that (1) it has a number of denotations and connotations, (2) it is sometimes used ambiguously, or inaccurately, and (3) a further investigation of the topic might yield clarity to the field of voice pedagogy.It was determined that though there are many important voice pedagogy methodologies, classically trained professional concert and opera singers of international reputation are taught to optimize singers' resonance both in order to be heard and to produce the accepted tone. It was found that those precepts which are based upon acoustic laws should be conserved and those which are not should be abandoned, altered, or when appropriate, acknowledged as metaphorical.
School of Music

APA, Harvard, Vancouver, ISO, and other styles

4

Prakup, Barbara L. "Acoustic measures of the voices of older singers and non-singers." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1239673429.

Full text

Abstract:

Thesis (Ph.D.)--Kent State University, 2009.
Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Peter Mueller. Keywords: acoustic measures, voice, older singers, non-singers. Includes bibliographical references (p. 78-91).

APA, Harvard, Vancouver, ISO, and other styles

5

Cotterell, Leah F. "The Singer's Anatomy: investigating singers' experiences of performance through reflection on underlying processes." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/402268.

Full text

Abstract:

Considering the ubiquitous nature of singing performance, and how celebrated the singer’s role is in our culture, it is surprising that singers’ experiences seem to be so poorly represented in academic research. This doctoral study investigates the view that singing performers may share common experiences that transcend matters of style or context, and that an understanding of such common ground may offer valuable information about the performer’s experience of performance states, thereby assisting a developed sense of wellbeing. In this study three distinct approaches were employed to gather information on the experiences of singers as performers. This data was triangulated through the application of a novel framework that explicated seven processes of performance to enable the systematic analysis of the singers’ experiences. In addition to an autoethnographic account, a survey was used to gather the reflections of 33 singers who perform across diverse music styles, and a third method collected interviews with three experienced singing teachers (specialising in jazz, classical, and musical theatre). Together these methods generated rich, detailed descriptions of the underlying processes of singers’ lived experiences of performance. At multiple levels the results generated useful insights for both the study participants and the researcher, and point to the need for further investigation of the complexities of singers’ experiences of performance.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
Full Text

APA, Harvard, Vancouver, ISO, and other styles

6

Brenner, Phyllis Ann. "The emergence of the English contralto /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10909540.

Full text

Abstract:

Thesis (Ed.D)--Teachers College, Columbia University, 1989.
Typescript; issued also on microfilm. Includes appendices. Sponsor: Hal Abeles. Dissertation Committee: Robert Pace. Bibliography: leaves 195-212.

APA, Harvard, Vancouver, ISO, and other styles

7

Ellis, Elspeth C. "Droners and singers : a comparison of poor pitch singers and good singers in selected Belfast primary schools with respect to cognitive, affective, social and attitudinal factors." Thesis, University of Ulster, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333971.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Paver, Barbara E. "Reconsidering Language Orientation for Undergraduate Singers." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1258478129.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Gagua, Zaza. "Practical advices for young Opera singers." Thesis, Stockholms konstnärliga högskola, Operahögskolan, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-624.

Full text

Abstract:

Opera itself is a combination of music, poetry, acting and plastic where the central role-plays singer-actor. Each singer should try to develop itself every time. During my study period, I have learned a lot from the reading books of successful and famous opera singers; I noted recommendations of my teachers, professors, opera singers I have met; and tried to follow their recommendations. As you have already read, it really affected me. I hope that my work will be useful for the beginners since several year ago I was beginner too, studied a lot, and worked a lot for my future career.As I have already mentioned below I have played the role of Masetto and Commendatore during performance of Mozart’s Don Giovanni. And from my point of view it is quite hard to play both roles but if you will follow the advices that I have mentioned here ineach my chapter I am sure that it will help you to sing properly during your entire singing career. Since when I started to practice thesetwo roles I had quite few time to study and met a lot of challenges. Hoverer I started to look for the solutions howto overcome challenges. First of all I have started to observe why I couldn’t sleep sometimes well, why I had reflux, why my voice wasn’t in a good condition and also I have started to think about faster ways of studying and started to think how I could learn faster and what are the important keys. I am always trying to follow the advices of the famous singers and trying to fit it to myself. I do not tell you how you should develop your voice skills or singing technique because I think that it is up to your voice technique teacher’s job but what I am trying to share with you is that all my selected chapters will help and do not heart you.

APA, Harvard, Vancouver, ISO, and other styles

10

VanEaton, Sunny F. C. "An investigation of the attitudes of selected professional classical solo singer-actors toward specific concerns of the music profession." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332850/.

Full text

Abstract:

The purpose was to investigate attitudes of successful full-time performing classical singer-actors toward career concerns of the music profession. Five research problems were formulated to: (1) describe attitudes toward control of work conditions; (2) describe attitudes toward entrapment; (3) describe attitudes toward dependency; (4) report attitudes concerning current practices of training the solo singer; and (5) identify commonalities among the subjects regarding demographic, the attitudes described in problems one through four, and demeanor during the interviews.

APA, Harvard, Vancouver, ISO, and other styles

11

Gould, Gaye Elizabeth. "Constructing lyrical heroes : Verdian tenors and their literary sources /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19912286.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Stark, Deborah L. "A comparison of multiple intelligence profiles in college singers and non-singers with implications for teachers of singing." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285409.

Full text

Abstract:

The purpose of this study was to compare the multiple intelligence (MI) profiles of college undergraduate singers and non-singers in an effort to define patterns attributed to singing involvement, age, gender, and ethnicity, and to determine if these patterns old significance for teachers of singing. This study consisted of 233 subjects from three mid-west colleges. The MIDAS® (Multiple Intelligence Development Assessment Scales) instrument was used to determine the profiles of the eight specific areas of intelligence: verbal-linguistic, logical-mathematical, spatial, musical, bodily-kinesthetic, intrapersonal, interpersonal, and naturalist. Evaluation of the hypotheses resulted in the following conclusions:1. Differences exist in the multiple intelligence mean profiles of singers and non-singers with significant findings in the areas of musical intelligence (p =.000) and linguistic intelligence (p = .012). In both cases, singers scored significantly higher than non- singers. Further analysis indicates that the difference in linguistic intelligence is attributable to the male subjects only.2. No significant differences exist in the means of singers' MI profiles with respect to age.3. Significant differences exist between the means of singers' gender with respect to multiple intelligences as measured by the MIDAS in the areas of mathematical/logical intelligence (p = .021) and intrapersonal (p =.004) intelligence. Males scored significantly higher in both areas.4. Significant interactions exist between singers' and non-singers' gender and age (p =. 028) in spatial intelligence. The mean scores indicate that female spatial mean scores are higher with age and male spatial mean scores are lower with age.5. Significant interactions exist between singing involvement and age in intrapersonal intelligence (p =.033). Mean scores reveal that non-singers' intrapersonal mean scores are higher with age while singers' scores are lower with age.These findings suggest that MI profiles can be used by teachers of singing to create increasingly effective and individualized curriculum models. Singers' MI profiles are determined, ranking highest to lowest, as: musical, interpersonal, linguistic, intrapersonal, spatial, logical-mathematical, kinesthetic, and naturalist. Practical and specific suggestions for MI method implementation are offered. Further research is suggested for the ongoing development of MI-based voice curriculum and materials.
School of Music

APA, Harvard, Vancouver, ISO, and other styles

13

Fund-Reznicek, Ella. "Communication and coordination between singers performing duets." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/57098.

Full text

Abstract:

How do singers communicate with each other while performing? In this study, pairs of singers rehearsed three duets separately, and then performed them together for the first time in the lab. Since singers cannot talk to one another during a performance to assist in coordinating their actions, they must use other modes of communication to synchronize their performances. Correlation map analysis and transfer entropy analysis of video and audio recordings of these performances examined how the singers coordinated their performances non-verbally over the course of each recording session.
Arts, Faculty of
Linguistics, Department of
Graduate

APA, Harvard, Vancouver, ISO, and other styles

14

Brisita, Artur Emmanuel. "Character Development and Performance Practices for Singers." Thesis, The University of Arizona, 2011. http://hdl.handle.net/10150/144182.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Parkman, Mikael. "Cultivating Otherness : Dormatory for 32 choir singers." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-160017.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Collyer, Sarah. "Yoga for singers: A holistic practice tool." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/121491/1/Sarah%20Collyer%20Thesis.pdf.

Full text

Abstract:

This thesis explored the design and implementation of a holistic practice tool for singers, utilising the principles and practices of Hatha yoga and an experiential person-centered education model within a mixed-methods action research design. Singers participating in the program reported a range of positive, wellbeing related outcomes and the results of the study revealed three principle considerations for conducting holistic, person-centred education in the performing arts: process before product, integrated experiential learning and reflection in action. These three considerations can be used to design future educational programs addressing the health and wellbeing of singers and other performing artists.

APA, Harvard, Vancouver, ISO, and other styles

17

Barber, Carol H. (Carol Hansell). "Practices of English Diction for Singers 1900-1971." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500330/.

Full text

Abstract:

Specialized training in English diction for singers became increasingly prevalent in the twentieth century. Along with this growth, a small but significant literature on the subject developed. There are divergent practices recommended for American singers, displayed by nine authors in ten books published between 1900 and 1971. A comparative study yields pedagogies of vowel and consonant production. Issues of sounds in context, including proper linkage and stress, adjustments from speech to song, and practices dictated by musical style, are paramount. The literature demonstrates an increased use of International Phonetic Alphabet symbols as a pedagogical tool. The areas of kinesiology and acoustical research are suggested for further study.

APA, Harvard, Vancouver, ISO, and other styles

18

Knight, Susan Dyer. "A study of adult 'non-singers' in Newfoundland." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/10006515/.

Full text

Abstract:

Adults self-labelling as 'non-singers' (`NS') appear to be an ubiquitous phenomenon. Whilst the literature yields rich evidence about children's impeded singing development, it is sparse concerning adult 'non-singers'. This Newfoundland-based study sought explanations about childhood-attributed adult 'non-singers', and how such self-perception had affected their lives from personal and socio-cultural perspectives. The study proceeded in two connected, consecutive phases. Phase I comprised case-studies of nine self-attributed 'NS', including group discourse and empirical measures of individual singing ability. Phase I evidence informed a survey instrument, (Phase II), administered to a wider cross-section of the public (neither pre-designated as singers or `non-singers'). This survey sought to identify experiences, self-concepts and perceptions about singing for possible wider applicability of Phase I findings. An autobiographical, socially-located and developmental view of singing emerged. Festinger's (1957) 'cognitive dissonance' theory elucidated non-singers' homeostatic attributional accommodations. Dweck's (1998) 'self-theories of intelligence' (entity/incremental) helped illuminate understanding of their non-singing experience. Weiner's (1986) 'attributional' theory provided causal and consequential insight into their management of their non-singing reality and Bronfenbrenner's (1979) 'ecological theory of human development' contextualized the sociocultural nature of the non-singing phenomenon. Case-study data revealed common childhood experiential profiles which influenced participants' identity formation as 'non-singers', with ensuing lifelong personal and sociallydetrimental effects. A shared profile also emerged in participant-evolved strategies to ameliorate these negative effects. Nevertheless, participants' empirically-assessed singing behaviour exceeded their own self-predicted ratings. Survey data confirmed case-study findings. Other key survey findings were: non-singing is a common, well-established phenomenon in Newfoundland; teachers/schools appeared as foremost attributional factors in non-singing designations; instructional intervention/facilitation for non-singing was lacking or absent; and a majority of participants favoured a 'developmental' view of 'non-singers', but projected a 'fixed' view in others. Findings recommend further research regarding teachers' preparation/support in developmental singing pedagogy, singing education practice, child/adult 'non-singers' and societal views on 'NS'.

APA, Harvard, Vancouver, ISO, and other styles

19

Volkar, Carie L. "Patterns of Vocal Fold Closure in Professional Singers." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1494258620137297.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

21

Ryan, Maree Carol. "Effects of premenstrual symptoms on young female singers." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1432.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

22

Ryan, Maree Carol. "Effects of premenstrual symptoms on young female singers." University of Sydney, 2006. http://hdl.handle.net/2123/1432.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

23

Robinson, Daniel Keith. "Contemporary Worship Singers: Construct, Culture, Environment and Voice." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367949.

Full text

Abstract:

Singing is an integral part of Christian worship. Recent developments in the practice of western Christian worship over the last half-century have led to a surge in prominence of the role and of those individuals who lead the singing; yet their characteristics, and that of their role, have been relatively under-researched. This study reviews the multiplicity of current Australian Christian worship settings and studies the collective voice of those who participate in the role in order to understand the construct, culture, environment and vocal task of the Contemporary Worship Singer. The research is designed around an in-depth review of the literature followed by the ethnography techniques; survey and interviews. The first phase (survey) harvested 85 responses from across Australia via an online questionnaire. The data was analysed and emerging questions were developed for phase two (interviews). Subsequently, nine participants from five churches responded to a semi-structured interview and follow-up. The research design purposefully engaged the average voice of the Contemporary Worship Singer by randomly selecting the participants for both survey and interview. The voice of the data cohort is triangulated against the literature review and the voice of the researcher in order to cultivate qualitative analysis and subsequent conclusions.The overall research project reveals that the role and the vocal task of the Contemporary Worship Singer lacks general understanding by key stakeholders: church music directors, professional singing teachers and the Contemporary Worship Singers themselves. Consequently, individual singers are confronted by a confused state of parameters as they attempt to engage in the role and the vocal task. Cultural considerations such as performance orientation and theological concerns including the ‘anointing’ require greater levels of instruction. Accompanying these requirements is the need for Contemporary Worship Singers to receive vocal instruction in accordance with their worship setting. Commonly, conservative worship settings will require a classically informed vocal discipline and progressive worship settings necessitate contemporary voice instruction. The study draws conclusions from the four structural pillars of enquiry (construct, culture, environment and voice) and delivers nineteen distinctive features that distinguish the Contemporary Worship Singer as a unique vocalist in the wider community of singers. The implications of the study find their climax in the ‘Contemporary Worship Singer Assessment Tool’. The practical implications of the Contemporary Worship Singer Assessment Tool empower key stakeholders (especially singing teachers) to correctly identify the individual singer’s worship setting and correctly nominate the most appropriate vocal discipline. The study highlights the Contemporary Worship Singer as an active, vibrant and highly populated demographic in the wider community of singers.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
Full Text

APA, Harvard, Vancouver, ISO, and other styles

24

Burdumy, Michael [Verfasser], Jan G. [Akademischer Betreuer] Korvink, and Jürgen [Akademischer Betreuer] Hennig. "Dynamic imaging of singers using magnetic resonance tomography." Freiburg : Universität, 2016. http://d-nb.info/1137466170/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Nanayakkara, Gauri. "Performers' Rights Regime in Sri Lanka : singers' melancholia." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/54508/.

Full text

Abstract:

The recently institutionalised global Performers’ Rights Regime (PRR) aims to improve the economic position of those performers whose work can be audio-recorded and reproduced. This thesis asks whether the PRR achieves this aim. The thesis investigates this question through a case study of Sri Lankan vocalists. Vocalists in Sri Lanka are a significant constituent within the music industry, and they had hoped that the PRR would make their work more economically secure. However, this thesis finds that the PRR, as developed internationally and implemented in Sri Lanka, is predicated on a particular understanding of the role of performers and their relationships with other actors in the music industry; that this understanding of performers’ roles and relationships does not reflect established practices and relationships within Sri Lanka’s contemporary music industry; and that consequently the PRR fails to deliver the improved economic security that Sri Lankan singers had sought.

APA, Harvard, Vancouver, ISO, and other styles

26

Lister, Michael C. "Male choristers' perceptions of and preferences for choral formations based on individual singer placement within the ensemble." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/761.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

de, Jong Susan Johanna. "The Art Of Lyric Improvisation: A Comparative Study of Two Renowned Jazz Singers." Thesis, University of Canterbury. School of Music, 2008. http://hdl.handle.net/10092/1666.

Full text

Abstract:

This research is an analysis of the range of skills and knowledge required to produce, effectively, results in the Art of Lyric Improvisation in the field of jazz singing. Lyric Improvisation is the art of retaining the primary lyrics of a song but, using improvisational inventiveness, changing every other aspect. The study focuses on the manipulation of melody, rhythm, time feel, style, range, articulation and improvisation in the performances of renowned jazz vocalists Sarah Vaughan and Carmen McRae. The research is based on their multiple recordings of "Sometimes I'm Happy" (Youmans/Caesar) between the years1955-1965. The method compares different elements of the individual singers' improvisations to the published notation. These elements include: syncopation of the rhythm, motific development, expanding the range of pitch, variances in timbre and articulation and spontaneous re-composition of the melody all while maintaining the original lyric. The outcomes, however, can be applied over a multitude of tunes from any American Song Book composer or jazz standard sung in historically swing styles of the past century, or with contemporary developments.

APA, Harvard, Vancouver, ISO, and other styles

28

Williams, David J. "Songworld : for 7 amplified singers and digital audio tape." Thesis, Keele University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323713.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Eke, Norbert Otto. "Drei im gestimmten Raum: Lea Singers Verdis letzte Versuchung." Allitera Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A21180.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Mowery, Samantha Renee. "Stephen Foster and American Song: A Guide for Singers." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1234810817.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Lourenço, João Miguel. "Singing in Portuguese : a study of diction for singers /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/fullcit?p9937173.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Mowery, Samantha. "Stephen Foster and American song a guide for singers /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234810817.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Svenningsen, Russell Paul. "This singing: the Norwegian Singers through a Gramscian lens." Thesis, Boston University, 2013. https://hdl.handle.net/2144/12859.

Full text

Abstract:

Thesis (D.M.A.)--Boston University PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
The Singers is a term used to refer to a volunteer chorus association in existence for nearly one hundred and fifty years in the U.S.A. The official names of the two organizations to which the term refers are the Norwegian Singers Association of America and the Pacific Coast Norwegian Singers Association of America. This thesis presents the results of ethnographic case study research completed on the Singers via a conceptual framework, grounded in the ideas of Italian philosopher Antonio Gramsci, of and about cultural hegemony. The purpose of this study was to encounter the Singers through a Gramscian framework and in so doing, discern ways in which the practices and functioning ofthe Singers might suggest alternatives (philosophical and practical) to those extant in music education where issues of cultural diversity are concerned. The questions that guided the study were: 1. In what ways can the organization and practices of the Singers be disentangled and understood through the concepts and ideas of cultural hegemony, folklore and common sense as developed and articulated by Italian philosopher Antonio Gramsci? 2. By undertaking a study of the Singers from a Gramscian perspective what suggestions can be discerned for contemporary music education in the U.S.A. insofar as it seeks to address issues of difference in a culturally-diverse environment? This analysis of the Singers endeavored to discover ways in which the organization embodied Gramsci's ideas about organic intellectuals, for example, the Singers' usage of terminology; generally, those in charge ofthe musical development of an ensemble are referred to as the "conductor" but in the case of this organization are spoken about as the "leader." Gramsci's concepts offer a perspective from which these related but separate ideas can be contextualized and the significance of their distinction understood. The Singers exhibit much greater ethnic and cultural diversity now than when the choruses first appeared in the U.S.A.; that is, they are far less explicitly Norwegian. Therefore, the overall organic functioning of the Singers was analyzed via a Gramscian framework in order to uncover the ways in which Norwegian-ness is interpreted and understood by the group in the present, how it has changed and reasons as to why this may have occurred. Gramsci's ideas about the intersections of political and civil life address the ways in which hegemony is expressed and experienced by the non-dominant through the institutions of society. The implications of this study for music education can be located in what it suggests for advancing a philosophical perspective from which issues of cultural diversity are considered, spoken about, and eventually incorporated in the education of students. This is to suggest that Gramsci' s ideas, manifested in this case as a study of the Singers, offer for music education ways in which to broaden understandings of the subtle ways hegemony operates in everyday life and thus, for countering and mitigating its effects in the musical education of students.

APA, Harvard, Vancouver, ISO, and other styles

35

Wright, Delane E. (Delane Elizabeth). "Poppin' Their Thang: African American Blueswomen and Multiple Jeopardy." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278053/.

Full text

Abstract:

This ethnographic analysis examines the life stories and lyrics of four African blues singers. Specifically, it compares the cultural themes that emerge their life stories to the cultural themes at emerge from their commercially released music. The findings suggest that the singers recognize, to varying degrees, the impact of racism, sexism, and classism on their personal and careers. These same themes, however, are not present in the lyrics of the music that they choose to sing. Both the stories and the lyrics reveal internal inconsistencies that mirror one another. The conclusion suggests that the inconsistencies within their stories and music are consistent with their liminal position with regard to dominant and subordinate cultures.

APA, Harvard, Vancouver, ISO, and other styles

36

Mahaney, Cynthia Lynn. "Diction for singers a comprehensive assessment of books and sources /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148931700.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Wells, James Bradley. ""Singers heed the signs" : speech and performance in Pindar's epinikia /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3220179.

Full text

Abstract:

Thesis (Ph.D.)--Indiana University, Dept. of Classical Studies, 2006.
Source: Dissertation Abstracts International, Volume: 67-05, Section: A, page: 1721. Adviser: William Hansen. "Title from dissertation home page (viewed June 20, 2007)."

APA, Harvard, Vancouver, ISO, and other styles

38

Raver, Debra Marie. "Song weaving| The multivocal performance patterns of Lithuanian Sutartine singers." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1558015.

Full text

Abstract:

This thesis explores the distinct two-part polyphonic patterning in Lithuanian Sutartines to reveal how singers shape and/or experience their songs as musical weaves. The findings are based on original fieldwork as well as old ethnographic sources, which are (re)examined and interpreted through the lens of metaphor as a methodology.

APA, Harvard, Vancouver, ISO, and other styles

39

Lloyd, Adam Thomas. "The relationship among perceptual and objective reflux measures in singers." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4787.

Full text

Abstract:

Laryngopharyngeal reflux (LPR) is currently one of the most prevalent conditions associated with voice disorders being treated in voice care centers worldwide. Many singers experience voice related disturbances but are unaware that these disturbances may be the result of LPR. The purpose of this study was to quantify the perceptual symptoms and objective measures of LPR in a population of singers in order to understand the relationship between perceived symptoms, laryngeal findings, and evidence of acid exposure to the larynx. The Reflux Symptom Index (RSI), Reflux Finding Score (RFS), and the Dx-pH monitoring system were used to quantify participant symptoms, endoscopic findings, and pH levels in the oropharynx. The population included 12 semi-professional and professional singers. Significant correlations were found between the RFS, RSI and pH mild and moderate pH levels. This indicates that singers are sensitive to even small deviations of pH and this should be taken into consideration when evaluating a singers who have suspected LPR. Due to the variety of etiologies that can produce the symptoms and physical findings mentioned in this study, it is imperative that more objective data be obtained to confirm the presence of reflux in the oropharynx. As such, endoscopic findings and symptoms alone are not a good indication of reflux exposure and more objective data, like an oropharyngeal pH measurement system, should be implemented to quantify reflux in the oropharynx. The RSI and the RFS are valid tools for qualifying perceptions and physical findings however they are not without flaws.
ID: 030646265; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 64-69).
M.A.
Masters
Comm Sciences and Disorders
Health and Public Affairs
Communication Sciences and Disorders

APA, Harvard, Vancouver, ISO, and other styles

40

Jordan, Nicole Denise. "Musical identity of classical singers : musical labels, stereotypes, and behaviour." Thesis, University of Sheffield, 2010. http://etheses.whiterose.ac.uk/14650/.

Full text

Abstract:

The aim of this research was to investigate the nature of singers' musical group identity from the perspective of singers themselves. This examination is the first of its kind to show that singers' behaviour may be influenced by musical m-group identification. Singers do not fit the typical definition of "musician" (i.e. plays an instrument) and have been largely neglected as musicians in the research literature. This thesis examines whether singers label themselves as "musicians" or as "singers". It explores the stereotypes associated with the two labels, how singers themselves respond to group stereotypes, and how and why these stereotypes emerge. An initial qualitative investigation of singers' musical identity found that some singers see themselves as musicians whilst others see themselves as singers. These different selflabels appeared to influence singers' self-perceptions as singers were seen to have poor musicianship when compared with musicians. A closer examination of stereotypes showed that singers themselves believe that musicians engage in musical practice, whilst singers do not. Using social identity theory (Tajfel & Turner, 1979) as a framework, two studies involving 161 singing student participants showed how group identification can cause singers to self-stereotype and influence their attitudes towards stereotyped behaviours. The results suggest that a strong singer identity may result in stronger adherence to singer-stereotyped behaviours such as individuality, whilst a strong musician identity may lead to more musical practice. A final qualitative interview of professional singers revealed that although some singer stereotypes may be perceived as negative, they may provide an adaptive function, and emerge as a consequence of behaviours which are necessary for achieving a successful singing career. These results, combined with those found in previous research, made it possible to theorise a novel Singer Identity Model based on aspects of singers' personality, motivation, and behaviours arising from these factors.

APA, Harvard, Vancouver, ISO, and other styles

41

Ray, Christin. "Effects of Respiratory Muscle Strength Training in Classically Trained Singers." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405505205.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Moorcroft, Lynda. "Pre-Performance Practices: Breathing Imagery and Warm-Up For Singers." Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/7870.

Full text

Abstract:

Research clarifying whether silent warm-up is possible and what constitutes a warmed-up voice is lacking. The acoustic correlates of a warmed-up voice are not clear, and perceptual correlates have centred on singers’ rather than both singers’ and listeners’ perceptions. This thesis therefore investigates acoustic and perceptual changes following vocal warm-up and breathing imagery, and whether breathing imagery may serve as a silent warm-up for singers. The literature review covers the acoustic and perceptual factors critical to optimal tone quality in singing, and the challenges of vocal assessment. It presents an historical survey of imagery and discusses the role of imagery in singing. It also investigates the relationship between optimal performance and vocal warm-up. As both imagery and warm-up for the voice are lacking thorough investigation, the review is supplemented with findings from sports psychology and sports medicine. In study 1, singers were recorded before and after three non-vocal 25 minute tasks. One task involved imagery of the breath directed upwards and downwards as far from the larynx as possible. Such imagery has played an important role in voice teaching since at least the 16th century. Another 25 minute task used Braille script as employed in the reading of music by the visually impaired. This provided the opportunity for the singer to engage in tactile, kinaesthetic and visual imagery related to music yet unrelated to breath function. A third task was a non-imagery breath-related activity that required the completion of a cloze passage about breath function for singers. In study 2, singers were recorded before and after a 25 minute vocal warm-up. The singers’ vocal signals were acoustically analysed for pre- to post-test changes in vibrato rate, vibrato extent and sound pressure level. Singer-subjects self-assessed their performances, and listener-judges perceptually rated the vocal samples presented in a fully randomised block design. Acoustic results for both breathing imagery and vocal warm-up produced three notable changes in vibrato rate: (i) more regularity in the cyclic undulations comprising the vibrato rate of a note, (ii) more stability in mean vibrato rates from one sustained note to the next, and (iii) a moderating of excessively fast and excessively slow mean vibrato rates for solos. The alternate imagery task based on Braille music code produced slower, less regular vibrato rates. This may have been due to the singers becoming too relaxed, as links are sometimes noted between imagery and relaxation. The non-imagery cloze passage task produced no significant change in vibrato from pre-test to post-test. Singers indicated that they sang better and felt warmed up after both the breathing imagery and vocal warm-up. The majority of listener-judges, however, concurred only in cases where the singer’s pre-test vibrato rate was either the fastest for the group, the slowest for the group or the most unstable for the group. Unlike vibrato rate, vibrato extent showed no consistent patterns of change acoustically as a result of any intervention. This thesis attempts to broaden our understanding of the relationships between imagery, warm-up and vibrato change. The findings support the use of vibrato analysis in the investigation of pedagogical practices. Furthermore, they indicate that change in the quality of vibrato, which impacts on tone quality, is central to both vocal warm-up and the long-standing use of directional imagery by singers. The findings of these studies may have direct bearing on teaching practice, physical and mental preparation, and the quality of vocal performance.

APA, Harvard, Vancouver, ISO, and other styles

43

Lau, Timothea Tin Luen. "Vocal Health of tertiary students, choral and solo classical singers." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25119.

Full text

Abstract:

Singers require good health to perform and have needs unique to their instrument. There is evidence that singing students studying at a conservatorium are more concerned and stressed about their voices than their elite choral singers, which may be related to the expectations and pressure of their degree. The increased vocal load means tertiary singers are at risk of injury. It is important to gain a better understanding of students’ attitudes and beliefs towards vocal hygiene to better inform the support required to help students’ voices. This study aimed to investigate tertiary singing students, choral and solo classical singers, behaviours and confidence in vocal health. Thirty-three singers attending a conservatorium or Sydney-based elite youth choir took part in a questionnaire about voice use; confidence in seeking and following vocal health information; and risk factors for voice difficulties. Eight singers participated in two semi-structured focus groups to explore and expand on themes revealed in the questionnaire. Responses from the focus groups were analysed through content analysis. The majority of singers were aged between 18-22 years with 84.4% (n=28) female. Fifteen participants were solo singers and 18 were elite choral singers. Over half (70.6%) of conservatorium singers reported experiencing voice difficulties compared to 46.7% of elite choral singers. They also engaged in potentially voice harming behaviours more frequently than elite choral singers (i.e. long periods of speaking, 83.3% vs. 66.7%; voice use at work, 77.8% vs. 46.7%). Conservatorium singers dedicated a significant amount of time to maintaining their vocal health compared to elite choral singers (p= 0.03) but were similar in judging the appropriateness of vocal health information compared to elite choral singers (35.3% vs 33.3%). Participants in the focus groups reported a disparity between their speaking and singing voices use. Singers struggled to judge poor vocal behaviours and did not have a good grasp of vocal health/hygiene. Participants’ primary concern was permanent voice loss and an inability to perform. They were also unsure where to find reliable sources of vocal health information or access to appropriate health professionals. Future university singing training should include education on vocal hygiene and provide a vocal health support system for singing students to prevent the development of harmful behaviours and reduce the chance of voice disorders.

APA, Harvard, Vancouver, ISO, and other styles

44

Burdumy, Michael [Verfasser]. "Dynamic Imaging of Singers Using Magnetic Resonance Tomography / Michael Burdumy." München : Verlag Dr. Hut, 2016. http://d-nb.info/1115549804/34.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Bartlett, Irene Mary. "Sing Out Loud, Sing Out Long - A Profile of Professional Contemporary Gig Singers in the Australian Context." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367201.

Full text

Abstract:

Globally and nationally, the vast majority of professional singers work in the contemporary commercial music industry, yet little is known about them as a population. This research project sought to create an accurate profile of professional contemporary gig singers (PCGS) as a population in the Australian context by giving voice to the livedexperience of PCGS. Using a mixed-methods model, the study collected data from 102 PCGS who met the criteria for inclusion by performing, “6 or more hours per week” calculated as an annual average. The participants provided information about current and past career characteristics including: singing training and performance styles, performance environments, on the gig and after the gig behaviours, voice problems and symptomology, and beliefs about factors which affected their vocal health. They did this by completing a survey questionnaire and their responses to the closed and open question format were analysed using quantitative and qualitative methods. This research led to a number of outcomes. It provides the first profile of the professional attributes and experiences of a representative group of Australian PCGS. Importantly, the knowledge gained from the self-reports of the 102 PCGS participants in this study highlights the complexities of their performance working lives and challenges the widely asserted view in the literature that there is an ‘inevitability of vocal damage’ resulting from the performance of contemporary music styles. In so doing, it provides an important context for the development of an effective and appropriate pedagogy for PCGS and all singers of Contemporary Commercial Music styles.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
Full Text

APA, Harvard, Vancouver, ISO, and other styles

46

Keown, Daniel J. "The effects of projected films on singers' expressivity in choral performance." Thesis, University of Missouri - Kansas City, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3588454.

Full text

Abstract:

The purpose of this study was to investigate the effects of projected film visuals on singers' expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments.

In Phase Two, a different group of university choir singers ( N = 116) rehearsed and prepared both of the selected choral etudes referred to as "Doh" and "Noo." Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (N = 8) rated performance expressivity and reported personal preference for each audio-recorded performance.

A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants' expressivity ratings (p < .001). Additionally, a significant etude x film visual performance condition interaction was discovered (p = .001). Participants rated self-expression significantly higher when singing with a congruent film compared with other conditions for both etudes (p < .001). Chi-square tests found most preferred experiences during congruent performances, and least preferred experiences during incongruent performances for both etudes (p < .001). Expressivity ratings for audio-recorded performances indicated significantly higher expressivity ratings for the performances influenced by the congruent film visual of etude "Doh" (p < .05), while no significant differences were found for etude "Noo" (p > .05). Implications of these findings are discussed in relation to filmmaking techniques, music education curriculum, choral rehearsal pedagogy, and composition/performance practice, with recommendations for future research.

APA, Harvard, Vancouver, ISO, and other styles

47

Schimmelpenninck, Antoinette Marie. "Chinese folk songs and folk singers : Shan'ge traditions in Southern Jiangsu /." Leiden : Universiteit, 1997. http://catalogue.bnf.fr/ark:/12148/cb36967334t.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

49

Morris, Ronald. "The Effects of Accent Method Breathing on the Development of Young Classical Singers." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367773.

Full text

Abstract:

Breathing and support are considered cornerstones of a secure vocal technique for classical singing. No area of vocal pedagogy has been more controversial and, despite recent advances in the understanding of how the respiratory system functions both in speech and song, some breath management strategies for singing continue to be at odds with scientific fact. Furthermore, many students find the development of these skills a challenge. Accent Method Breathing is a technique that is well grounded in science as it is based on the structure and function of the respiratory system. Accent Method was developed for the remediation of speech and voice difficulties but in the past 20 years it has also been used to help develop breathing and support in singers. The method has been used in both private singing studios and in institutions such as the Queensland Conservatorium Griffith University. Extant research in to Accent Method has focussed on its use in clinical populations and on its effects on the voices of normal speakers. Accent Method has never been evaluated specifically on singers though anecdotal evidence and clinical experience attest to its efficacy with this population. The current study aimed to evaluate the efficacy of Accent Method Breathing with students of classical singing in the early years of their training. A group of students underwent a 10 week group instruction in Accent Method with a matched group of students acting as controls. Measures were taken pre and post intervention consisting of Maximum Phonation Time (MPT), Mean Air Flow Rate through steady state vowels (MFR) and a Phonetogram. The students were also recorded singing a standard passage that was later judged by an expert panel.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text

APA, Harvard, Vancouver, ISO, and other styles

50

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Singers'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles