Academic literature on the topic 'Singing Instruction and study Juvenile Case studies'

This is an analysis of how specialist music teachers sing and teach how to sing, based on data collected from six case studies carried out in Spanish primary schools. The study aimed at understanding classroom singing practices, and in particular the provision or absence of vocal instruction in relation with teachers’ singing models. The findings support claims for thorough vocal training in the preparation of music teachers to enable them to face the challenges of the profession. Also suggested is the need to provide them with a coherent theoretical framework about the teaching and learning of singing.

Musical compositions require genre-specific sophisticated performance techniques. This paper focuses primarily on the features of Chinese pop and traditional music, based on the music genre’s influence on the vocal music. To achieve this goal, the analysis methods and the Shapiro-Wilk test were used. The study involved 218 music major students from the Beijing International Art School, Shanghai Normal University, and Guangzhou College of Music. The audience and respondents gave less preference to pop music (47% and 39%) compared to the traditional music (53% and 61%). The Shapiro-Wilk test revealed that, when it comes to pop music, the strongest preference was attributed to music geographical spread (0.867), and in the case of traditional music the strongest preference was for higher education (0.927). The paper established the specific features of different genres of music. The most common elements pertaining to pop music include: the option to apply a variety of music elements and singing techniques; rhythm stability; a simple form of vocal performance; extreme sound techniques; preserving the emotionality of the singing; a combination of Western and Chinese elements. Traditional music is characterized by a harmony of music elements and voice timbres, maintenance of the high-pitched voice, natural sound, throat singing, performance quality, preservation of Chinese traditional music elements. Traditional music instruction was the best thing for improving intonation (0.815), maintenance of sound quality (0.806), and development of vocal range (0.718). Pop music is known for a combination of various music elements (0.901), conveyance of the performance style (0.312). The paper’s practical implications boil down to determining the characteristic features of pop and traditional music, as well as elements describing vocal music. Further studies might involve a comparative analysis between Chinese pop music, traditional music, and Western pop and traditional music.

This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.

This qualitative, multi-case study examined trans and non-binary singers in the applied voice studio. The purpose of this study was to explore (1) the impact of music participation on the identities of trans and non-binary singers, (2) the experiences of trans and non-binary singers taking private singing lessons, and (3) the strategies and practices of their voice teachers. Purposeful sampling of four singers included two trans men and two non-binary individuals. Four teachers with prior experience in teaching trans or non-binary singers included two teachers identifying as trans men, and two cisgender (one female, one male) teachers. Data were collected through interviews and lesson observations, presented through portraiture analysis to provide an insider’s view of the experiences, perspectives, and practices of the participants. Findings and implications emerged through cross-case analyses.

The results indicate that gender impacts musical spaces. While participation in musical activities created an outlet for some singers to explore their trans or non-binary identity, the reification of the gender binary in musical spaces was oppressive for others. Students modeled high self-efficacy by showing perceived competence to change discriminatory policies and practices in music and the performing arts.

Teachers demonstrated emotional support in the applied studio by being cognizant of student needs. While the training of each student looked distinct, teachers affirmed students through student-centered pedagogical approaches, allowing students to guide their vocal training and development. Teachers discussed the need for adept understanding of vocal technique in training trans and non-binary singers. All four trans men (two students and two teachers) discussed their voice modification through testosterone replacement therapy. The two non-binary singers, not engaged in medical voice modulation, discussed changes in their voices through singing lessons.

The research posits that curricular development in vocal pedagogy courses is needed to educate singing teachers on cultural competency and trans and non-binary vocality. This study revealed the need to examine applied teacher readiness in educating trans and non-binary singing. Research on the longitudinal effects of testosterone on the voice is warranted. Additional scholarship is needed in working with trans or non-binary voices not engaging in hormone replacement therapy.