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Dissertations / Theses on the topic 'Singing technique'
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Detwiler, Gwendolyn Coleman. "Solo Singing Technique & Choral Singing Technique in Undergraduate Vocal Performance Majors: A Pedagogical Discussion." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1226948715.
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Detwiler, Gwendolyn Coleman. "Solo singing technique & choral singing technique in undergraduate vocal performance majors a pedagogical discussion /." Cincinnati, Ohio : University of Cincinnati, 2009. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1226948715.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.Advisors: Barbara Honn M.M. (Committee Chair), Barbara Paver M.M. (Committee Member), Brett Scott D.M.A. (Committee Member). Title from electronic thesis title page (viewed April 25, 2009). Includes abstract. Keywords: voice; choral; choir; vocal; pedagogy; vocal pedagogy; choral pedagogy; music; music education; undergraduate. Includes bibliographical references.
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Guastaferro, D. Domenic. "The coup de glotte in vocal technique and pedagogy /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10857862.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1989.Sponsor: Harold Abeles. Dissertation Committee: Lenore Pogonowski. Typescript; issued also on microfilm. Bibliography: leaves 117-121.
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Sethson, Mea. "The Alexander Technique for a singing actor." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84849.
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Abstract This thesis examines the postural effects of Alexander Technique training on a classical singer. The aim was to see how working with an Alexander Technique instructor would improve my singing. I have been taking lessons in Alexander technique on a weekly basis and practicing Alexander technique for approximately an hour each day. I have conducted an interview with singer and longtime Alexander technique practitioner, Anne Cecilie Røsjø Kvammen. I have talked to my physiotherapist, Carl Colliander, about pain linked to a tight psoas muscle. Four songs were memorized and recorded two times, once in December and once in April. The recordings were analyzed, first by me and then by Barbro Olsson, Alexander technique instructor. I found that my alignment has generally improved and, as a result, my head position has become more stable. I have become better at managing stress during performances. The enhanced awareness of alignment has helped me make more successful choices in the practice rooms. It also has made me better at interpreting my singing pedagogue’s instructions during lessons. Additionally I have less pain, especially in the neck area.
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Pearson, Kathy Shay. "The Alexander Technique and Body Mapping : a strategy for voice teachers and choral directors /." Link to full text, 2009. http://epapers.uwsp.edu/thesis/2009/Pearson.pdf.
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Thesis (M.M.E.)--University of Wisconsin--Stevens Point.Submitted in partial fulfillment of the requirements of the degree Master of Music Education in Studio Vocal Pedagogy. Includes bibliographical references (leaves 39-41).
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Engelhart, Robert James. "An electromyographic study of preparatory set in singing as influenced by the Alexander technique." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1240663537.
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Englehart, Robert James. "An electromyographic study of preparatory set in singing as influenced by the Alexander Technique /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487668215805728.
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Unadkat, Shreena. "Group singing for couples where one partner has a diagnosis of dementia." Thesis, Canterbury Christ Church University, 2015. http://create.canterbury.ac.uk/13855/.
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There is an emerging interest in the literature base around the use of group singing in dementia care. Although studies indicate positive outcomes, limited research has been carried out from a relational perspective. Additionally, theoretical underpinnings of the reported benefits have yet to be explored. This study aims to investigate the key theoretical mechanisms underlying the experience of group singing. Interview data from seventeen couples who sing together in a group is analysed using grounded theory method. Several key aspects of group singing are presented, namely that the positive experience of the act of singing combined with effective group facilitation enables equal participation and a powerful group effect. A further benefit of new learning and creativity is explored. Implications for clinical practice and possible directions for future research are outlined.
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Heaton, Emily Mullins. "Formant Changes in Amateur Singers After Instruction in a Vowel Equalization Technique." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3527.pdf.
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Cioromila, Mariana Doina Herzberg 1952. "A inspiração no canto erudito : um estudo sobre sequências de ações geradas pelo controle mental permanente resultando em eficiência inspiratória." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284417.
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Orientador: Eduardo Augusto OstergrenTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A técnica vocal é uma ferramenta poderosa na construção de um instrumento tão complexo como a voz! Estudar técnica vocal é um caminho que deve ser trilhado, sem que se possa evitá-lo, por todos aqueles que querem estudar canto. O trabalho ora apresentado expõe os resultados de uma pesquisa efetuada com o objetivo de facilitar o ato de inspiração de ar no canto erudito. Uma pesquisa como esta se justifica e, certamente, poderá contribuir para o segmento do canto lírico, sobretudo na área acadêmica. Em busca de uma fundamentação teórica que nos ajude a trazer conclusões para a nossa pesquisa, destacamos uma bibliografia selecionada e adequada aos nossos propósitos. Todavia esta seleção, como não podia deixar de ser, também é limitada. Contudo essa limitação é proposital, tendo em vista não constituir objetivo deste trabalho esgotar a bibliografia pertinente ao tema em questão. Destacamos também a experiência e a pesquisa pessoal desta autora, que nos trouxe ao pensamento conceitual próprio ao que está sendo oferecido pelos cantores e estudiosos do canto lírico. Para fundamentar nosso trabalho, pesquisamos alguns livros de cantores de música erudita e professores de canto, tais como: Lilli Lehmann, Lucien Manén, Franzisca Martinessen-Lohmann, Hilde Sinnek, Harald Stamm, Jon Piso, Paulo L. Moreira, e outros de profissionais da saúde ou médicos que estudaram as questões da voz, como Whitaker. Mostraremos as partes de Anatomia Humana, que confirmam a importância de cada parte do corpo e buscamos explorar ao máximo essa potencialidade desenvolvendo uma sequência de ações conscientes a serem executadas no momento da inspiração para cantar. Colocamos desenhos que vêm apoiar, visualmente, as nossas propostas. Mostramos em dois desenhos de anatomia humana, esta sequência de movimentos que defendemos. E por fim, usando como estudo de caso o papel de Adalgisa, analisaremos dois duetos da Opera Norma de Bellini, demonstrando a aplicação prática dessa sequência pré-determinada e consciente de movimentos no ato de inspiração para o canto erudito, sugerindo, em especial um modo de inspirar o ar para as frases mais longas
Abstract: A vocal technique is a powerful tool when constructing a very complex instrument such as the voice. Studying vocal techniques is a path that must be accomplished without being avoided by whoever wants to study singing. The work presented on this thesis contains a research carried out aiming to make the act of air breathing in easier in the erudite singing. A research like this justifies and, certainly, will be able to contribute to lyrical singing, especially in the academic area. Searching a theoretical foundation which helps us bringing conclusions to our research, we highlight the convenient and specified bibliography (but consciously limited), the experience and personal research that brought to our own conceptual thoughts about what is being offered by singers and students of lyrical singing. To be able to found our work, we have searched among others, books from erudite music singers and singing teachers such as: Lilli Lehmann, Lucien Manén, Franzisca Martinessen-Lohmann, Hilde Sinnek, Harald Stamm, Jon Piso, Paulo L. Moreira, or doctors who study the voice matters such as Whitaker
Doutorado
Praticas Interpretativas
Doutor em Música
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Stenvall, Isak. "HÅRDROCKSSÅNG: Soundet, tekniken, medvetenheten : En kvalitativ studie av professionella hårdrockssångares röstanvändning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-34734.
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Detta examensarbete handlar om hårdrockssångares medvetenhet när det gäller sångteknik. Syftet med arbetet är att få kunskap om vilka tillvägagångssätt de har använt sig av när de skapat sitt sound och hittat sin teknik. Den teoretiska utgångspunkten för studien är det sociokulturella perspektivet. Tidigare forskning inom området behandlar traditionell röstlära, mer moderna sångskolor och socialkulturella normer gällande inlärning. Jag har använt mig av den kvalitativa forskningsintervjun som metod och mina informanter är verksamma inom området. Resultatet visar att hårdrockssångare är väl medvetna om traditionell röstlära, nya rön och vikten av att vårda sin röst. Diskussionen belyser att förebilder är viktiga för framgång.This is a study about heavy rock singer´s awareness of vocal techniques. The intention of the study is to achieve knowledge of which approach they have used to create and find their own technique. The theoretical point of the study is the sociocultural theory. Earlier studies on the subject are about the traditional voice teachings, modern voice schools and the sociocultural behaviour according to the learning process. I have used qualitative interviews, and my informants are professional heavy rock singers. The result shows that heavy rock singers are well aware of traditional voice teachings, new findings and the importance of taking care of the voice. The discussion enlightens that idols and role models are important in term of success.
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Maxfield, Lynn Milo. "Application of principles from motor-learning theory to the studio voice lesson: effects of feedback frequency on retention of classical singing technique." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1021.
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Over the past several decades, cognitive and behavioral scientists have been researching the most effective practices for training muscles to produce specific movements consistently and accurately. That research has led to relatively wide acceptance of several best practices for the training of motor skills. One such practice is the reduction in the frequency with which augmented (external) feedback is provided by the instructor/trainer during skill-acquisition. This theory of low-frequency feedback has been examined by research in a wide variety of fields ranging from exercise and sport to voice therapy and rehabilitation. Prior to the study reported here, however, this theory had not been applied the acquisition of vocal skills associated with classical singing techniques. The current research consisted of an alternating treatment single-subject study, which was conducted on a college campus over the course of a 15-week semester. 8 college voice students (3 male and 5 female) ranging in age from 18 to 25 participated in voice lessons provided by the researcher and aimed at improving the overall quality of the voices of the participants. Over the course of the15 weeks, the instructor alternated between providing a high-frequency feedback (HFF) instruction condition and a low-frequency feedback (LFF) instruction condition. At the beginning of each session, a vocal sample was recorded to test the retention of the skills trained in the previous lesson. Those recordings were evaluated by a panel of five college voice instructors who provided a numerical score (out of a possible 100 pts.) for each sample on the basis of tone quality, breath management, and intonation. The results of this study indicated that three of the eight subjects retained more vocal skill ability during the HFF phases of the study, while the remaining five subjects retained less vocal skill ability during the HFF phases of the study. It was also seen that the three subjects who responded favorably to the HFF instruction condition were also those whose scores were higher throughout the duration of the study. These findings would appear to indicate that an HFF instruction condition may be more beneficial to more experienced or more skilled singers, while an LFF instruction condition may be more beneficial to more novice singers. In the final chapter of this report, several modifications to this study are suggested along with suggestions for future research regarding the application of other principles from motor-learning theory to the acquisition of new vocal skills.
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Ferreira, Carina Isabel Matias. "Relatório da prática de ensino supervisionada na Escola Artística de Música do Conservatório Nacional: análise comparativa das técnicas lecionadas na classe de canto da Escola Artística de Música do Conservatório Nacional." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28721.
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O presente relatório está inserido na unidade curricular Prática de Ensino Supervisionada –
adiante designada por PES – do Mestrado em Ensino da Música, iniciado no ano letivo
2015/2016 na Universidade de Évora.
A PES foi realizada na Escola Artística de Música do Conservatório Nacional, - adiante
designada por EAMCN – em 2016/2017, tendo como professor cooperante o professor José
Manuel Araújo e como orientadora interna a professora Liliana Bizineche.
Este relatório está dividido em duas secções: a primeira sobre a PES realizada, onde estão
inseridas a caracterização da EAMCN, a caracterização dos alunos observados, a descrição das
aulas lecionadas, a análise crítica da atividade docente e uma conclusão. A segunda secção é
composta por uma pesquisa sobre as várias escolas de Canto e de que forma o ensino de canto
na EMCN é ou não influenciado pelas técnicas apresentadas na investigação; Abstract: Report on the Supervised Teaching Practice held at
Escola Artística de Música do Conservatório Nacional –
Comparative Analysis of the Techniques Taught in the Lyrical
Singing Class at Escola Artística de Música do Conservatório
Nacional
This report is inserted in the curricular unit Supervised Teaching Practice of Master in Music
Teaching, which started in the academic year 2015/2016 at the Universidade de Évora.
The PES took place at the Escola Artística de Música do Conservatório Nacional - referred as
EAMCN - during the academic year of 2016/2017, with Professor José Manuel Araújo as a
cooperating professor and Professor Liliana Bizineche as internal mentor.
This report is divided into two sections: the first one is dedicated to the PES analysis, with a
description of the EAMCN, along with the characteristics of the students observed, description
of the classes taught, the critical analysis of the teaching process and, at last, a conclusion.
The second section consists of a wide research on the various singing schools and how singing
teaching at EAMCN may or may not be influenced by the techniques presented in this
investigation.
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Silva, Raquel Antunes da. "O cantor crossover no Brasil: uma abordagem sobre a versatilidade vocal entre o canto lírico e o belting na Contemporary Commercial Music." Master's thesis, Universidade de Évora, 2022. http://hdl.handle.net/10174/31365.
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Este trabalho tem como objetivo analisar, por meio de pesquisas bibliográficas, o estudo e a prática do canto e traçar um comparativo de divergências e similaridades entre as técnicas do canto lírico e do belting na Contemporary Commercial Music1, sendo direcionado a profissionais e estudantes da área da voz cantada que tenham interesse por tais técnicas, bem como por entender a complexidade de transitar entre elas como cantores crossover. Apresentam-se, na metodologia deste trabalho de pesquisa, entrevistas efetuadas a cantores brasileiros profissionais e professores de canto, que são ou foram atuantes na área do canto lírico e do teatro musical, abordando questões sobre as suas próprias experiências como cantores crossover no Brasil. Por fim, uma sugestão de estudo com base na pesquisa artística e na autoetnografia segundo a experiência da autora ao fazer o crossover na canção “The Girl in 14G”; ABSTRACT:
Crossover singer in Brazil: an approach to the vocal versatility between classical singing and belting in Contemporary Commercial Music
This work aims to analyze, through bibliographic research, the study and practice of singing and to draw a comparison of divergences and similarities between classical singing and belting techniques in Contemporary Commercial Music, targeting singing voice professionals and students who are interested in such techniques, as well as in understanding their transitioning complexity as crossovers singers. The methodology used in this research paper includes interviews with professional Brazilian singers and singing teachers who currently work or worked in the field of classical singing and musical theater, addressing questions about their own experiences as crossover singers in Brazil. Finally, a suggestion for a study based on artistic research and autoethnography according to the author's experience in doing the crossover on the song “The Girl in 14G”.
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Nascimento, Carlos Eduardo do [UNESP]. "O cantor crossover: um estudo sobre a versatilidade vocal e algumas diferenças básicas entre o canto erudito e popular." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/148749.
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Este trabalho tem como objetivo, estudar, através de pesquisa bibliográfica e entrevistas com profissionais da área, a versatilidade vocal do cantor crossover ao transitar por vários estilos de canto oriundos de outras culturas e algumas diferenças básicas entre o canto erudito e popular. Essa pesquisa possui caráter descritivo de natureza qualitativa, descrevendo as características e a complexidade do canto crossover, compreendendo os processos dinâmicos vividos pelos profissionais que atuam nessa abrangente área, com o intuito de possibilitar, um entendimento das particularidades desse tipo de canto. Para a investigação do tema deste trabalho, foram feitas entrevistas com profissionais que atuam hoje no mercado como cantores e professores crossover. Como resultado, observamos que esses profissionais, conseguem desenvolver uma voz flexível e versátil através da manipulação do seu trato vocal e que a conscientização do modelo fonte/filtro constitui uma importante ferramenta para ajudar nisso. Outro achado dessa pesquisa, foi destacar algumas características bem específicas e distintas entre o canto lírico e o popular as quais o cantor multi-estilístico precisa estar atento.
The aim of this thesis is to study, through bibliographical research and interviews with professionals in the field, the vocal versatility of the crossover singer when moving through various styles of singing originated from other cultures, and several basic differences between classical and popular singing. This research has a descriptive aspect of qualitative nature, describing the characteristics and the complexity of crossover singing, understanding the dynamic processes experienced by the professionals that work in this wide field, in order to allow comprehension of the peculiarities of this type of singing. For the investigation of the thesis’ theme, interviews were conducted with professionals who currently act in the market as singers and crossover teachers. As a result, it was observed that these professionals are able to develop a flexible and versatile voice through the manipulation of their vocal tract, and that the awareness of the source/filter model is an important tool for achieving it. Another finding of this research was to highlight some very specific and distinct characteristics between classical and popular singing, which the multi-stylist singer needs to be aware.
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Stenqvist, Sandra. "Sångröstens utveckling i körsammanhang : En intervjustudie av körledares syn på och arbete med sångteknik i amatörkörer." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-16387.
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Syftet med studien är att få ökad insikt i körledares förhållningssätt till och hantering av sångtekniska övningar i kör. Bakgrundskapitlet beskriver sångrösten som instrument, och olika – i sångsammanhang – vanligt förekommande begrepp samt ger en presentation av tidigare litteratur och forskning som anknyter till studiens syfte. Vidare presenteras ett sociokulturellt perspektiv i egenskap av teoretisk utgångspunkt. Undersökningen är genomförd med hjälp av den kvalitativa intervjun som metod. Fyra i nuläget aktiva körledare intervjuades och i resultatet beskrivs deras syn på vad röst- och sångteknik innebär och hur de går tillväga för att förmedla detta till sina korister samt vilka redskap som används för ändamålet. I diskussionen förs ett resonemang kring kunskapsförmedling och hur den sker via olika kommunikationsvägar samt vilka olika roller som ryms i körledarrollen.The purpose of this study is to gain further insight into choir conductors' approach to and manage-ment of technical vocal exercises in the choir. The background chapter describes the singing voice as an instrument, different common concepts in song contexts, and gives a presentation of earlier literature and research related to the purpose. Furthermore the study presents a socio-cultural perspective as a theoretical basis. The survey is carried out using the qualitative interview method. Four currently active choir directors were interviewed. The results describes their view of what the voice-singing technique entails, how they convey this to their choir and which tools they use for this purpose. The discussion reflects on the knowledge transmission and communication between choir and choir director.
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Sousa, Cátia Filipa Amaral. "Relatório da prática de ensino supervisionada realizada na Escola Artística de Música do Conservatório Nacional: a importância da postura e dos movimentos corporais como apoio ao progresso da técnica vocal." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28733.
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O presente relatório aborda primeiramente todo o trabalho realizado através da unidade curricular Prática de Ensino Supervisionada do Mestrado em Ensino de Música da Universidade de Évora. Essa primeira secção, além do contexto histórico da Escola Artística de Música do Conservatório Nacional e tudo o que a envolve, contém também toda a observação e intervenção executadas pela mestranda ao longo do ano letivo de 2019/2020, na classe de canto do Professor Doutor José Manuel Araújo. Na segunda secção existe uma investigação aprofundada sobre a importância da postura e dos movimentos corporais como apoio ao progresso da técnica vocal. Em suma, a investigação tem como objetivo não só realçar que o movimento pode ser usado para auxiliar no ato de cantar, envolver ainda mais o aluno no exercício proposto, excluir possíveis tensões físicas criadas inconscientemente, como também resolver questões ao nível da técnica vocal; Supervised Teaching Report held at Escola Artística de Música do Conservatório Nacional: The importance of posture and body movements in support of vocal technique progress
Abstract: This report first addresses all the work done through the Supervised Teaching Practice course of the Master in Music Teaching at the University of Évora. This first section, in addition to the historical context of the Artistic School of Music at the National Conservatory and everything that involves it, also contains all the observation and intervention performed by the master student during the academic year 2019/2020, in the singing class of Professor Doutor José Manuel Araújo. In the second section there is an in-depth investigation of the importance of posture and body movements to support the progress of vocal technique. In short, the investigation aims to not only emphasize that the movement can be used to assist in the act of singing, to further involve the student in the proposed exercise, to exclude possible physical tensions created unconsciously, but also to resolve questions in terms of vocal technique.
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Appelholm, Marika. "Dudeladi vadå? : En studie i hur olika sångpedagoger, inom svensk folkmusik, använder sig av "trall" i sin undervisning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-44426.
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Syftet med denna uppsats är att undersöka hur sångpedagoger inom genren ”svensk folklig sång” använder trall i sin undervisning och om de eventuellt använder den som ett redskap för att förbättra sångteknik. Tre kvalitativa intervjuer med sångpedagoger ligger till grund för undersökningen och ett sociokulturellt perspektiv har varit teoretisk utgångspunkt. Studiens resultat visar att alla informanter använder sig mycket av trall i undervisningen och att de dessutom använder den som ett sångtekniskt redskap. Informanterna anser att trallen har en mängd egenskaper som gör den till ett praktiskt verktyg när de vill öva sångteknik och exempel på områden i vilka trallen kan tjäna som övning är rytm- och puls, andning, artikulation och röströrlighet. Informanterna anser också att trallen har vissa sociala parametrar som gör den till ett bra hjälpmedel för att bli en del av den folkmusikaliska diskursen.The purpose of this essay is to examine how singing-teachers, within the Swedish folk music-genre, use trall when they teach and if they eventually use it as a tool to improve singing technique. The foundation of the research is three qualitative interviews. The socio-cultural perspective has served as the study´s theoretical basis. The result of the study shows that all of the interviewees use trall a lot in their teaching and that they also use it as a tool. The interviewees think that trall has a lot of qualities that makes it a practical tool for practicing singing-technique. Examples of areas where trall can be used as practise is rhythm and pulse, breathing, articulation and movability within the voice. The interviewees also think that trall has social parameters which makes it a good tool for becoming a part of the folk-music discourse.
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Ludvigson, Emma. "Från åkerbruk och fäboddrift : Den svenska vokala folkmusiken nu och då, har sångsättet förändrats?" Thesis, Karlstad University, Division for Ingesund College of Music, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4843.
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Arbetet behandlar sättet att sjunga folkvisan från bondesamhället till modern tid. Mitt syfte är att ta reda på om sättet att sjunga folkvisan har förändrats genom åren, vidare vill jag undersöka hur folksången har förändrats och vad det beror på. Jag har intervjuat fem kvinnor som alla är verksamma folksångerskor, använt mig av litteraturstudium och lyssnat till arkivinspelningar. I mitt arbete har jag kommit fram till att folksången har förändrats under årens lopp. En skillnad som blev tydlig för mig är att sångarna förr generellt sjöng på ett mer osentimentalt sätt och att sångarna i dag ofta lägger större vikt vid att tolka texten och att de drillar mer idag. Att skillnader i sången finns beror på många faktorer, bl.a. på att den vokala folkmusiken förr var funktionsmusik- nu har den blivit medialiserad, institutionaliserad och professionaliserad. Dagens folksångerskor blir även inspirerade av andra kulturers musik och andra musikstilar.
This is a paper discussing the way folksong singing has undergone changes from agricultural society to the present day. The aim of this paper is to discern if the way of singing folksongs has changed through the years. In addition, I want to investigate how folk songs have changed and what these changes depend on. I have interviewed five women, all working as folk singers, as well as studied literature and listened to archive recordings. The conclusion of this paper is that folk songs have changed over the years. A clear difference is that the older singers generally sang in a more unsentimental way compared to the singers today, who often attach great importance to interpreting the text and also using more ornaments. The reasons for these differences depend on many factors, e.g. the vocal folk music used to be functional music, whereas today’s music is much more exposed in the media, more institutionalised and professionalized. The singers of today are also inspired by other music cultures and styles.
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Lilliestierna, Charlotte. "En komplett sångundervisning? : En intervjustudie av fyra sångpedagogers syn på hur fortbildning på ”Complete Vocal Institute” påverkar och bidrar till deras sätt att undervisa." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-30669.
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Syftet med föreliggande studie är att undersöka hur fortbildning på ”Complete Vocal Institute”, CVI, påverkar och bidrar till sångpedagogers undervisningssätt. Bakgrundskapitlet ger en kort beskrivning av den fortbildning på ”Complete Vocal Institute” som informanterna i studien har gått. Vidare följer en presentation av komplett sångtekniks (CVT:s) grundare Cathrine Sadolin, hur CVT växte fram samt av metodens innebörd och funktion. Därefter presenteras tidigare forskning inom ämnesområdet och närliggande områden samt studiens teoretiska utgångspunkt. Studien utgörs av kvalitativa intervjuer med fyra sångpedagoger som fortbildat sig genom CVI:s treåriga utbildning som berättigar till undervisning i CVT. I resultatet presenteras analysen av pedagogernas berättelser kring hur fortbildningen har påverkat och bidragit till deras undervisningssätt. Det framkommer att pedagogerna har tillgodogjort sig flera pedagogiska verktyg och förhållningssätt genom fortbildningen. Bland dessa kan nämnas CVT:s sångtekniska terminologi, olika undervisningssätt samt förhållningssättet att alltid låta undervisningen utgå från elevens smak och motivation. I det avslutande diskussionskapitlet lyfts valda aspekter ur resultatet fram och diskuteras i relation till det sociokulturella perspektivet på lärande samt till tidigare forskning. Aspekter som diskuteras är bland annat pedagogernas berättelser kring verktyget att undervisa utifrån olika undervisningssätt samt det pedagogiska förhållningssättet att ge ansvaret till eleven.The aim of the present study is to explore how training at Complete Vocal Institute, CVI, affects and contributes to singing teachers way of teaching. The background chapter gives a brief description of the training course at CVI, followed by a presentation of the founder of Complete Song Technique (CVT), Cathrine Sadolin, how the technique evolved and its described meaning and function. Previous research in related fields is presented and the chapter concludes with the socio-cultural perspective, which form the basic understanding of this study. The study consists of four interviews with four singing teachers who have participated in a three-year training course at CVI, to become certified CVT-teachers. The result presents the analysis of the teachers' stories about how this training has influenced and contributed to their teaching methods. It appears that they have gained several educational tools and approaches through CVI including the CVT's vocals technical terminology, different teaching methods and a pedagogical approach to always let the student's taste and motivation constitute the base for learning. The concluding discussion highlights selected aspects of the results, which is discussed in relation to the socio-cultural perspective on learning and previous research. Aspects discussed include the teachers' emphasis on the importance of using five described different techniques as pedagogical tools as well as the approach of giving students responsibility for their learning process.
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Hinshaw, Tessa. "Community arts and child wellbeing." Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/12810/.
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There is growing evidence to suggest that group singing in the community can have positive outcomes for physical and psychological wellbeing. To date, research has focused on adult populations. This study aimed to add to existing understanding of the impact group singing can have on children’s psychological wellbeing. A mixed method study was carried out to investigate the impact of a community group singing project on the psychological wellbeing of school children in the London area. Self-rated measures of psychological wellbeing and identity as a singer were administered to 60 children aged 7-11 at three time points. A teacher-rated measure of psychological difficulties was also administered. Finally, a sample of children discussed their experience of the project in focus groups and music teacher interviews were carried out. Quantitative data did not confirm the hypothesis that choir member’s psychological wellbeing would increase following participation in the singing project. Identity as a singer scores were higher for females than males, and correlated with scores of psychological wellbeing. Qualitative data provided evidence for a range of beneficial outcomes for children. Research limitations: The small number of participants recruited for the non-choir control group is a significant limitation of quantitative methods in this study. Originality: Although group singing appears to be a positive experience for children who participate, findings suggest the impact may be more subtle for children with high levels of psychological wellbeing.
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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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Eklöf, Felicia. "En annan form av sånteknik : En kvalitativ studie i hur olika folksångspedagoger använder sig av genrespecifika övningar." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-85439.
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Syftet med studien är att få syn på folksångslärares uppfattningar om genrespecifika övningar, om och hur mycket de används, om lärarna ser ett behov av fler sådana övningar och huruvida de tror att dessa övningar har en påverkan på elevers stilistiska utveckling. Tidigare litteratur och forskning berör definitionen av begreppen tradition och sångteknik samt vad som utgör det svenska folkliga sångsättet. Dessutom redogörs för betydelsen av en genrespecifik sångteknik samt avsaknaden av en folksångsmetodik. Studien har en kvalitativ forskningsansats och tar utgångspunkt i det sociokulturella perspektivet på lärande. Semistrukturerade intervjuer har an- vänts som datainsamlingsmetod vilka sedan har transkriberats och analyserats med hjälp av tematisk analys. I resultatet framgår respondenternas syn på det folkliga sångsättet och hur sy- nen på begreppet tradition avspeglar sig i undervisningen. Dessutom framkommer att genre- specifika övningar används och detta främst på detaljnivå. Diskussionen belyser resultatet i relation till tidigare presenterad litteratur där fyra områden diskuteras; Ett uttalat behov skulle leda till förändring, All form av sångteknik tillhör en genre, En uppdaterad lista, När det ”riktiga” är konstruerat.The purpose of the study is to gain insight into folk song teachers' perceptions of genre-specific exercises, if and how much they are used, if teachers see a need for more such exercises and whether they believe that these exercises have an impact on students' stylistic development. Previous literature and research concern the definition of the concepts of tradition and singing technique as well as what constitutes the Swedish folk way of singing. In addition, the im- portance of a genre-specific singing technique and the lack of a folk singing methodology are explained. The study has a qualitative research approach and is based on the Sociocultural Learning Theory. Semi-structured interviews have been used as a data collection method which have then been transcribed and analyzed using thematic analysis. The results show the respond- ents' views on the folk singing style and how the views on the concept of tradition are reflected in the teaching. In addition, it appears that genre-specific exercises are used, and this mainly at the level of detail. The discussion highlights the results in relation to previously presented lit- erature where four areas are being discussed; A pronounced need would lead to change, All forms of singing technique belong to a genre, An updated list, When the "right way" is constructed.
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Dyo, Vladimir. "The Application of Bel Canto Principles to Violin Performance." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/193273.
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Music PerformanceD.M.A.
Bel canto is "the best in singing of all time." Authors on vocal literature (Miller, Celletti, Duey, Reid, Dmitriev, Stark, Whitlock among others) agree that bel canto singing requires complete mastery of vocal technique. The "best in singing" means that the singer should possess immaculate cantilena, smooth legato, a beautiful singing tone that exhibits a full palette of colors, and evenness of tone throughout the entire vocal range. Furthermore, the singer should be able to "carry the tone" expressively from one note to another, maintain long lasting breath, flexibility, and brilliant virtuosity. Without these elements, the singer's mastery is not complete. In addition, proper mastery of bel canto technique prolongs the longevity of the voice. For centuries, --emulating beautiful singing has been a model for violin performers. Since the late Renaissance and early Baroque periods, a trend toward homophonic style, melodious songs, and arias had a tremendous influence on pre-violin and violin performers, and even on luthiers. The earliest known four-stringed violins created by Andrea Amati, and Gasparo da Saló in the sixteenth century already possessed a tone that resembled the qualities of a human voice. Today, it has become more difficult to differentiate the tone of one violinist from another. The individual quality of the singing tone, which was the hallmark in violin playing of the golden age of Ysaye, Kreisler, Heifetz, Menuhin, Oistrakh etc. has deteriorated. The purpose of this monograph is to analyze the fundamental principles of bel canto and to apply these principles to violin performance. Teachers, students, and performers will find practical ideas to improve or solve various aspects of violin playing. I will focus primarily on tone production and tone formation (breathing, resonance, vibrato etc.), tonal shading (messa di voce), and range (blending positions). Through understanding the bel canto principles of singing and applying those principles to violin performance, one would have more means to give the tone its distinctive qualities.
Temple University--Theses
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Harlow, Sage. "Giving voice to the extra-normal self with the extra-normal voice: Improvised exploration through the realms of shamanic chaos magick, insight meditation and gender performance." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2210.
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This thesis documents practice-led research exploring the intersections of, and tensions between, improvised invocation ritual within a chaos magick paradigm and Buddhist insight meditation. I explore the extra-normal self—those aspects of consciousness not usually present, or not usually accessible, in day-to-day life—by mean of improvised ritual work with the extra-normal voice and seek to maintain a Buddhist ‘witness’ consciousness throughout these explorations. I also explore the tensions between politics, aesthetics and spiritual practice; in particular, queer and trans politics, a timbre-centred vocal aesthetics and chaos magick, shamanic and Buddhist spiritual practices. This work constitutes part of a larger project of attempting to secularise and democratise spiritual practice greatly influenced by Sam Harris’ book Waking Up: A Guide to Spirituality Without Religion (2014) and to some extent from chaos magick, some iterations of which strive to ‘free’ the western esoteric tradition from its religious trappings. I also take cues from Hakim Bey (1985) as one of the few anarchist writers who sees spiritual practice as profoundly important and not at odds with anarchism. I make use of a ‘radical agnosticism’ (Wilson, 1977) in my practice, privileging subjective experience and critical engagement over the search for an objective truth. I take an autoethnographic approach to this project with a focus on process rather than outcome, with the final project consisting of a description of these approaches and their value (and limitations), accompanied by selected musical examples (recordings).
The thesis also explores a practice that functions as a navigation away from the normative, phallogocentric western esoteric tradition taking cues from feminism, trans and queer politics as well as anarchism. My improvised possession rituals seek to give voice to aspects of the extra-normal self and/or spirits or demons. The different Belief Systems used in this work frame these experiences in different language. My practice strives to accept ‘whatever arises’ (a meditation term) with compassion—whatever their ontological status.
The main text of this thesis consists of three sections: Improvising Theory, Workings and Scores. The first section presents some of my thinking through concepts and theoretical paradigms that I have engaged with over the last few years of my research. I explore the illusion of free will, the intersection of gender and timbre theory and the use of the cut-up technique in chaos magick generally and my practice specifically. The second section of the thesis presents in-depth discussion of some of the explicit ritual performances and recordings that I have explored over the course of the research. This section explore more fully concepts central to my practice such as the interweaving of insight meditation and improvised ritual work. I present reflections on my explorations of dada ‘anti-magick’ ritual which critiques the normative, phallogocentric western esoteric tradition, taking cues from feminism, trans and queer politics as well as anarchisms. This culminates in an exploration of the concept of ‘True Shamanic Black Metal’—a tongue-in-cheek gesture towards a serious exploration of rhythm inspired by my understanding of shamanic drumming, particularly from Tuva, Mongolia and Korea, merged with an interest in extreme metal traditions, particularly black metal. I explore what shamanic black metal might sound like, centring the discussion around the album I recorded in 2017 invocations of unknown entities. The third section of this thesis presents thoughts on playing scores and on writing scores. I explore scores as open invitations to explore either extra-normal states of consciousness or particular aesthetic or ethical interests.
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Junior, Wilson Pontes. "História oral temática em arte lírica. A escola de canto de Benito Maresca." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-12092016-140251/.
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Este trabalho centra-se na escola de canto de tenor Benito Maresca. A relevância do tema justifica-se: pela existência de um modelo tradicional e não institucional da educação canto lírico no Brasil; b) pelas leituras conflitantes sobre várias escolas nacionais existentes; c) pela falta de documentação sobre vários artistas e métodos de ensino. Devido a muitos artistas e professores da arte lírica não fazerem parte do ambiente acadêmico, há uma lacuna documental sobre o que ensinavam e seu tipo de produção musical e pedagógico. Assim, o objetivo desta pesquisa é o de discorrer sobre o canto da escola de tenor brasileiro Benito Maresca. Intuindo também avançar na literatura sobre o canto lírico no Brasil, a história oral temática foi escolhida como referencial metodológico. O trabalho apresenta: a) um trajeto pessoal do pesquisador, justificando a escolha do tema e metodologia sobre o mesmo, durante diferentes fases de formação e pesquisa musical; b) os aspectos metodológicos presentes para a realização do trabalho; c) a transcrição das entrevistas que envolveram os colaboradores desse trabalho; d, a análise dos relatos colhidos em discussão paralela com fontes de outra natureza que envolvam o tema do canto lírico; e) um ensaio biográfico sobre o tenor, em anexo; f) o livro de exercícios utilizado por Maresca, também em anexo. Esses elementos foram retirados de entrevistas de pessoas que tiveram contato com o tenor em seus últimos dez anos, durante os quais ele já havia se consolidado tanto como tenor, quanto como professor de canto lírico. Como resultado, foi possível listar uma série de elementos subjetivos, para além da técnica vocal utilizada por Maresca, como dados de personalidade, modelo de classe, e relação professor-aluno.This paper is focused on the tenor Benito Maresca´s singing school. The relevance of the theme is justified by: a) the existence of a traditional, non-institutional model of classical singing education in Brazil; b) the conflicting interpretation about the various singing national schools; c) lack documentation about several artists and teaching methods. Due to the fact that many artists and lyrical art teachers are not inserted in academia, there is a documentary gap about what they taught and their kind of musical and pedagogical production. Thus, the aim of this research is to discourse about the school singing of Brazilian tenor Benito Maresca. Aiming to also advance in the literature on classical singing in Brazil, the thematic oral history was chosen as the methodological framework. The dissertation presents: a) a researcher´s personal statement trajectory, justifying the choice of the subject and the methodology utilized; b, the methodological aspects used; c, the transcription of the interviews with the collaborators; d) an analysis of interviews in a parallel discussion with the sources of other nature involving the theme of classical singing; e) a biographic assay about the tenor and a exercise book used by Mesca, both annexed. These elements were drawn from the interviews with people who had contact with the tenor in his last ten years, when he had already consolidated himself as a tenor and classical singing teacher. As result, it was possible to list a series of subjective elements, in addition to the aspects of vocal technique used by Maresca like the personality data, class model and the relationship between professor and student.
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Felipe, Mábia Regina Aires Mendes. "A escola de canto lírico em Goiânia: fundamentos e práticas pedagógicas." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3616.
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The focus of this research is the basics of the vocal pedagogy developed in Goiânia, Goiás, Brazil. It’s goal is to identify, select and analyze the pedagogical practices of the voice teachers. The main authors who support this work are Behlau (2001), Miller (1996; 2002), Ott & Ott (2006) and ware (1998). This is a qualitative research, based on the phenomenological method (FREIRE, 2007). Therefore, multiple forms of investigation were used to collect data such as revision of literature, interview, questionnaires and observations. The pedagogical approaches of the teachers were compared both to the singing literature and the teaching conceptions of the Italian, German and French schools, named as National Schools of Singing, and to the international principles on Singing. The observations allowed the analysis of the theory-practice relation developed in the context of the voice lessons, according to the methodologies of the national schools and the Internationalism in singing, reporting the teaching practices to bases of the learning cognitive process. Although the methodology of each teacher may be peculiar, the results show that their approaches are somehow related to the National Schools of Singing. However, the teachers demonstrate to be less engaged with any of these schools. They base their methodologies on the studies of vocal physiology and a wide variety of vocal repertoire according to the tonal ideals of International Singing, aiming a better quality of singing.
Esta pesquisa aborda os fundamentos da pedagogia vocal desenvolvida em Goiânia, Goiás, Brasil, buscando identificar, selecionar e analisar as práticas pedagógicas de professores de canto. Os principais autores que dão sustentação ao desenvolvimento da pesquisa são Miller (1996; 2002), Ott & Ott (2006) e Ware (1998). Trata-se de uma pesquisa de cunho qualitativo, usando recursos do paradigma quantitativo, baseada no método fenomenológico (FREIRE, 2007). Sendo assim, múltiplas formas de investigação foram utilizadas para a coleta dos dados, através de revisão de literatura, entrevistas, questionários e observações. As abordagens pedagógicas dos professores foram comparadas com a literatura do canto, com as concepções de ensino das escolas Italiana, Alemã, Francesa e Inglesa, denominadas Escolas Nacionais de Canto, e com os princípios internacionais no canto. Os resultados das observações permitiram a análise sobre a relação teoria-prática desenvolvida no contexto das aulas de canto, de acordo com as metodologias das Escolas Nacionais e do Internacionalismo no canto, reportando as respectivas práticas de ensino às bases cognitivas da aprendizagem. Embora a metodologia de cada professor seja peculiar, os resultados indicam que suas abordagens estão relacionadas de algum modo com as Escolas Nacionais de Canto. Porém, os professores demonstram estar menos comprometidos com qualquer uma destas escolas e embasam suas metodologias nos estudos da fisiologia vocal e numa gama variada do repertório vocal, de acordo com os ideais sonoros do Canto Internacional, tendo em vista uma maior qualidade do canto.
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Hannuch, Sheila Minatti [UNESP]. "A nasalidade do português brasileiro no canto: da representação à aplicação na prática vocal." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151265.
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A nasalidade do português brasileiro cantado e falado se caracteriza por uma grande variação articulatória. Com o objetivo de organizar e esclarecer essas múltiplas possibilidades de tratamento articulatório no canto, o presente trabalho investiga o comportamento e a articulação dos processos nasais na fala em português brasileiro, apresenta uma proposta de transcrição fonética para esses sons no canto e evidencia distintas possibilidades de variação articulatória pertinentes à pratica musical. Dessa maneira, estabelece um trajeto que fundamenta o processo de escolha dos símbolos a serem utilizados na representação fonética dos nasais no canto, baseado em estudos fonético-fonológicos da fala e na abordagem articulatória, até a sua aplicação prática, por meio do uso da sílaba melódica em uma proposta alternativa de representação.
The nasality of the Brazilian Portuguese language sung and spoken is characterized by a great articulatory variation. In order to organize and clarify these multiple possibilities of articulatory treatment in singing, the present work investigates the behavior and articulation of nasal processes in Brazilian Portuguese, presents a proposal of phonetic transcription for these sounds in the singing and shows different possibilities of articulatory variation pertinent to musical practice. In this way, it establishes a path that bases the process of choosing the symbols to be used in the phonetic representation of the nasals in the song, based on phonetic-phonological studies of speech and in the articulatory approach until its practical application, through the use of the melodic syllable in an alternative proposal for representation.
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Arvidsson, Cornelia. "En oförställd röst : En kvalitativ studie i hur tre sångare uppfattar röstmetoden The Voice Work." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3524.
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Syftet med föreliggande arbete var att utforska tre sångares upplevelser av röstmetoden The Voice Work. Forskningsfrågan lyder: Hur uppfattar de intervjuade sångarna röstmetoden The Voice Work? Studien genomfördes genom kvalitativa intervjuer under hösten 2019 i en hermeneutisk analys, och diskuteras mot en bakgrund av samtida erfarenhetsbaserade röstmetoder samt röstforskning inom populärmusikaliska genrer. Resultatet presenteras i tre kapitel: Strävan efter autenticitet, Kropp och psyke – en helhet samt Utveckling. De intervjuade sångarna erfar The Voice Work som en metod med syfte att nå autenticitet i röstbruket. The Voice Work tillhandager ett accepterande förhållningssätt till den egna rösten enligt de intervjuade sångarna. Resultatet visar också att The Voice Work ger en upplevelse av rösten och psyket som en helhet, att röstklangen och intonationen styrs till mindre grad, de upplever sig inte förställa rösten. De intervjuade sångarna berättar även om upplevelser av friare röst, inre närvaro, självinsikter och hur arbetet påverkat dem känslomässigt. Igenom den andningsuppvärmning och det ljudande som sker i The Voice Work tränar de intervjuade sångarna att försöka förhålla sig icke-dömande till sig själv och sin kropp, de upplever en avspänning i röst och andning samt att de sjunger mer skonsamt vilket de använder i sin övning. Den intervjuade sångaren Lisa använder metoden även vid framträdanden för att minska resultatfokus. De intervjuade sångarna menar också att andningsuppvärmningen fått dem att hitta ett mentalt fokus, något som de menar de saknat verktyg för inom andra röstmetoder.The purpose of this study was to explore the experiences of three singers within the voice method The Voice Work. The study was conducted through qualitative interviews in the fall of 2019 through hermeneutic analysis and is discussed against a background of contemporary experience-based voice methods as well as voice research in popular musical genres. The result is presented in three chapters: The quest for authenticity, Body and psyche - a whole and Development. The interviewed singers perceive The Voice Work as a method with the aim of achieving authenticity in using the voice. The interviewed singers experience an accepting attitude to their voice. The Voice Work gives the interviewed singers an experience of the voice and the psychic being as a whole. The sound of voice and intonation is controlled to a lesser extent, helping them not dissembling the voice. The interviewed singers talk about experiences of a freer voice, inner presence, self-insights and how the work affected them emotionally. Through the breathing exercise and sounding that occurs in The Voice Work, the interviewed singers train to try to relate non-judgmentally to themselves and their body, they experience a relaxation in voice and breathing and that they sing more gently which they use in their vocal training. Interviewed singer Lisa uses the method in performances to reduce the focus on results. The interviewed singers also believe that the breathing exercise caused them to find a mental focus, which they lacked tools for in other voice methods.
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Powell, Alyssa Rose. "Making the Clarinet Sing: Enhancing Clarinet Tone, Breathing, and Phrase Nuance through Voice Pedagogy." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1589808462811083.
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Couteiro, Sebastiana Benedita Coelho de Moraes. "O ensino do canto popular brasileiro - abordagem didática: técnica vocal e performance." Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tede/3580.
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Still today, there are few academic works dedicated to the area of the popular singing teaching which take into consideration, taking into consideration the whole breadth and the diversity of the musical language of Brazilian popular music. The teaching of Brazilian popular singing is a topic that should be valued and studied by colleges of music, voice teachers, singers and speech, providing subsidies to students and professional singers for a more complete and more appropriate technical and musical training to their aesthetics. This training encompasses, value of intuition, scenic poise and gesture, development of musicality and culture. To this end, the interviews with professionals in the field, as well as the observation of vocal gestures made by representative singers of the MPB were of the utmost importance to the results found. The vocal studies, vocalizations and music folk songs suggested in the work were designed and cut from the entire musical experience of the researcher and the whole study done.
Ainda, nos dias de hoje, há poucos trabalhos voltados para a área do ensino do canto popular, levando em consideração toda a abrangência e linguagem musical diversificada que a música popular brasileira possui. O ensino do canto popular brasileiro é um tema que deve ser valorizado e estudado pelas faculdades de música, professores de canto, cantores e fonoaudiólogos, oferecendo aos estudantes de canto e cantores profissionais subsídios para uma formação técnica e musical mais completa e mais adequada à sua estética. Esta formação abrange técnica, valorização da intuição, postura cênica, desenvolvimento da musicalidade e cultura. Para tanto, as entrevistas com profissionais da área, assim como, a observação dos gestos vocais realizados por cantores representativos da MPB, foram de suma importância para os resultados encontrados. Os estudos vocais, vocalises e canções folclóricas aqui sugeridos foram criados e recortados a partir de toda a vivência musical do pesquisador e de todo o estudo realizado
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Pasquer, Emma. "L’interdisciplinarité dans la formation de l’acteur : la place et le rôle des disciplines non-théâtrales dans les écoles d’art dramatique en France : enquête sur cinq établissements d’enseignement supérieur (CNSAD, TNS, ENSATT, ESTBA, ESAD)." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100105/document.
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Alors que nombre d’artistes s’emploient à confronter les arts d’interprétation ou à transgresser les catégories de genre sur les scènes européennes, la formation des comédiens, en France, demeure organisée selon une logique disciplinaire. Au cours de son apprentissage, un élève préparant le diplôme national supérieur professionnel de comédien (DNSPC) dans une des écoles habilitées par l’État pratique néanmoins la danse et le chant, s’initie souvent aux arts martiaux et aux techniques somatiques, s’essaie parfois à l’acrobatie ou à la maîtrise d’un instrument de musique. Ces disciplines non-théâtrales intégrées à la formation visent à la fois à lui procurer des aptitudes complémentaires et à l’entraîner à l’exercice de « l’écart » tel que le définit le philosophe François Jullien, pour revenir à son art enrichi et peut-être ressourcé. Cependant, telle qu’elle transparaît dans des programmes et des discours qui la légitiment, la considération dont ces pratiques bénéficient dans des institutions qui s’imposent comme des voies d’accès privilégiées aux carrières théâtrales ne s’avère pas tout à fait équivalente à la place qui leur est réservée dans les cursus. L’enseignement, centré sur l’interprétation du répertoire dramatique, est principalement assuré par des metteurs en scènes invités, qui apportent leur vision du théâtre et leur appréhension du jeu. Il repose sur un système de valeurs dont les maîtres mots sont singularité et liberté. La transmission de techniques centrées sur la respiration, la voix, la concentration, le corps ou le mouvement ne s’articule pas sans difficultés avec une telle conception. Des contradictions surgissent entre la nécessaire adaptation de leur contenu au contexte d’enseignement et la sauvegarde d’une altérité féconde, tant sur le plan artistique que pédagogique. À travers une enquête auprès de cinq écoles supérieures d’art dramatique françaises, de leurs professeurs et de leurs étudiants, la thèse examine la formation de l’acteur au prisme de l’interdisciplinarité, afin de tenter d’en éclaircir les soubassements idéologiques et les enjeux esthétiques, mais aussi les implications dans la vie professionnelle des futurs acteursWhile many artists strive to redefine the performing arts and break through genre-bound approaches on European stages, actor training in France is still structured around strong disciplinary lines. Throughout their training, student-actors who prepare the “diplôme national supérieur professionnel de comédien” (National Acting Degree) in French-government-accredited acting schools, nonetheless take dance and singing classes, often train in martial arts and somatic practices, and sometimes try their hands at acrobatics, or playing an instrument. These non-theatrical disciplines are integrated to their training with a view to complementing the young actors' set of skills but also to make them experience what philosopher François Jullien calls “l'écart”, and come back to their own art enriched and energised by their foray into other disciplines. Even if the interdisciplinary approach is touted in programmes and theoretical literature issued by the most prominent acting schools, that prestige is not reflected in the share given to non-theatrical approaches in actual syllabuses. The teaching in acting-schools is based on performing the repertoire, with master-classes given by guest directors who bring their own vision of theatre and performance. The underlying value system places individual difference and artistic freedom at the top. This conception of acting can make it difficult to teach techniques based on the body, movement, vocal training, breathing, and focusing. The dilemma is that these practices need to be adapted to the overall teaching context, all the while preserving the otherness that makes them such a fruitful alternative both artistically and pedagogically.Thanks to a survey conducted at five French Acting Schools, alongside teachers and students, this thesis explores actor training in the light of interdisciplinarity, as an attempt to clarify its underlying ideological tenets and its aesthetic potential, as well as what it means for the future careers of professional actors
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White, Brian David. "Singing techniques and vocal pedagogy." Thesis, University of Surrey, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371900.
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DeBoer, Amanda R. "Ingressive Phonation in Contemporary Vocal Music." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1353356284.
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Cruz, Tâmara de Oliveira. "O uso de imagens mentais por cantores líricos como recurso técnico na colocação vocal." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8405.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research aimed to investigate the role of mental imagery on teaching and vocal placement domain in lyrical singers. Our first methodological approach consisted in bibliographic research, through which we could observe the importance the resource of mental imagery occupies in human activities as whole, being increasingly scientifically approached in several areas of knowledge; we noted, likewise, the way the issue of vocal placement has been approached in methods, treaties, books and articles since 18th century to nowadays. Afterwards, we used another method, the field research as semi-structured interview, which was applied to seven lyrical singers in different stages of formation and practice, who professionally act such as singers and singing teachers. We aimed to understand the peculiar views of each interviewed about the use of the mental imagery on their activities as singers and teachers, focusing on vocal placement. We concluded that mental imagery are considered an important technical and didactic resource, widely disseminated and accepted among singers and singing teachers as regards vocal placement. We verified, likewise, that these activities are widely supported by the literature, where we can find many studies about the relationship between mental imagery and many aspects of classical singing.
Por meio desta pesquisa investigamos o papel das imagens mentais no ensino e domínio da colocação vocal por parte de cantores líricos. Nossa primeira abordagem metodológica consistiu na pesquisa bibliográfica, por meio da qual pudemos constatar a importância que o recurso de imagens mentais ocupa nas atividades humanas como um todo, sendo cada vez mais abordado cientificamente em várias áreas do conhecimento; constatamos, ainda, a maneira pela qual a questão da colocação vocal foi e vem sendo tratada em métodos, tratados, livros e artigos desde o século XVIII até nossos dias. A seguir empregamos outro método, a pesquisa de campo na forma de entrevista semiestruturada, a qual foi aplicada a sete cantores líricos em diferentes estágios de formação e atuação, que atuam profissionalmente tanto como cantores quanto professores de canto. Buscamos compreender as visões particulares de cada entrevistado acerca da utilização de imagens mentais em suas práticas como cantores e professores, com particular foco na questão da colocação vocal. Concluímos que as imagens mentais constituem um recurso técnico-didático de grande importância, sendo amplamente disseminado e aceito entre cantores e professores de canto, que o utilizam cotidianamente mesmo nos casos em que não o conhecem por este nome, aplicando-o como auxiliar na construção não só da interpretação, mas também da construção técnica, particularmente no que se refere à colocação vocal. Verificamos, ainda, que tal prática é amplamente amparada pela literatura, na qual já podemos encontrar um considerável volume de escritos sobre as relações entre imagens mentais e diversos aspectos do canto lírico.
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Löfberg, Miriam. "Spetskompetens genom breddning? : En observationsstudie med fokus på att sjunga med fyllig klang i högre tonlägen utifrån sångmetoden komplett sångteknik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-68368.
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Syftet med studien är att få en fördjupad insikt i vad lärandet av sångtekniken neutral utan luftinnebär. För att undersöka detta har jag under en fem veckors period övat neutral utan lufti 20-30 minuter, tre dagar i veckan. Under och efter övningspassen har loggbok använts för att dokumentera nya upplevelser av lärandeprocessen och utöver detta har även 5 videodokumentationer av övningspass gjorts. I denna studie utgörs den teoretiska utgångspunkten av ett designteoretiskt perspektiv med fokus på vilka semiotiska resurser som används i lärandet. Studiens frågeställningar är: Vilka teckenskapande resurser används vid inlärningen av den nya funktionen så kalladneutral utan luft? Hur används dessa resurser? Resultatet visar att de viktigaste resurserna är kroppen och de sångtekniska elementen. Dessa resurser används för att åstadkomma ett stadigt och önskvärt resultat på ett oskadligt vis. I diskussionskapitlet diskuterar jag de resurser som krävts i inlärningen av sångtekniken neutral utan luft.The purpose of the study is to gain a deepened insight in what the learning of the singing technique neutral without aircan mean. To study this I have practiced neutral without air20-30 minutes per day, three times a week over a five weeks’ period. During and after every practice session I have written a log to document new personal experiences of the learning process. In addition to this I have documented five practice sessions with a video camera. The theoretical perspective of this study is design theory with focus on the semiotic resources used during the learning process. The study’s research questions are: Which semiotic resources are used during learning the song technique known as neutral without air? How are these resources used? The results show that the most central resources that were used were the body and the vocal elements of the technique. These resources are used to achieve a steady and desirable result in an innocuously manner. In the discussion, I describe the necessary resources for the learning process of the song techniqueneutral without air.
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Jaumard-Hakoun, Aurore. "Modélisation et synthèse de voix chantée à partir de descripteurs visuels extraits d'images échographiques et optiques des articulateurs." Thesis, Paris 6, 2016. http://www.theses.fr/2016PA066223/document.
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Le travail présenté dans cette thèse porte principalement sur le développement de méthodes permettant d'extraire des descripteurs pertinents des images acquises des articulateurs dans les chants rares : les polyphonies traditionnelles Corses, Sardes, la musique Byzantine, ainsi que le Human Beat Box. Nous avons collecté des données, et employons des méthodes d'apprentissage statistique pour les modéliser, notamment les méthodes récentes d'apprentissage profond (Deep Learning).Nous avons étudié dans un premier temps des séquences d'images échographiques de la langue apportant des informations sur l'articulation, mais peu lisibles sans connaissance spécialisée en échographie. Nous avons développé des méthodes pour extraire de façon automatique le contour supérieur de la langue montré par les images échographiques. Nos travaux ont donné des résultats d'extraction du contour de la langue comparables à ceux obtenus dans la littérature, ce qui pourrait permettre des applications en pédagogie du chant.Ensuite, nous avons prédit l'évolution des paramètres du filtre qu'est le conduit vocal depuis des séquences d'images de langue et de lèvres, sur des bases de données constituées de voyelles isolées puis de chants traditionnels Corses. L'utilisation des paramètres du filtre du conduit vocal, combinés avec le développement d'un modèle acoustique de source vocale exploitant l'enregistrement électroglottographique, permet de synthétiser des extraits de voix chantée en utilisant les images articulatoires (de la langue et des lèvres)et l'activité glottique, avec des résultats supérieurs à ceux obtenus avec les techniques existant dans la littératureThis thesis reports newly developed methods which can be applied to extract relevant features from articulator images in rare singing: traditional Corsican and Sardinian polyphonies, Byzantine music, as well as Human Beat Box. We collected data, and modeled these using machine learning methods, specifically novel deep learning methods. We first modelled tongue ultrasound image sequences, carrying relevant articulatory information which would otherwise be difficult to interpret without specialized skills in ultrasound imaging. We developed methods to extract automatically the superior contour of the tongue displayed on ultrasound images. Our tongue contour extraction results are comparable with those obtained in the literature, which could lead to applications in singing pedagogy. Afterwards, we predicted the evolution of the vocal tract filter parameters from sequences of tongue and lip images, first on isolated vowel databases then on traditional Corsican singing. Applying the predicted filter parameters, combined with the development of a vocal source acoustic model exploiting electroglottographic recordings, allowed us to synthesize singing voice excerpts using articulatory images (of tongue and lips) and glottal activity, with results superior to those obtained using existing technics reported in the literature
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Krige, Willie. "An HMM-based automatic singing transcription platform for a sight-singing tutor." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2687.
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Thesis (MScEng (Electrical and Electronic Engineering))--Stellenbosch University, 2008.A singing transcription system transforming acoustic input into MIDI note sequences is presented. The transcription system is incorporated into a pronunciation-independent sight-singing tutor system, which provides note-level feedback on the accuracy with which each note in a sequence has been sung. Notes are individually modeled with hidden Markov models (HMMs) using untuned pitch and delta-pitch as feature vectors. A database consisting of annotated passages sung by 26 soprano subjects was compiled for the development of the system, since no existing data was available. Various techniques that allow efficient use of a limited dataset are proposed and evaluated. Several HMM topologies are also compared, in analogy with approaches often used in the field of automatic speech recognition. Context-independent note models are evaluated first, followed by the use of explicit transition models to better identify boundaries between notes. A non-repetitive grammar is used to reduce the number of insertions. Context-dependent note models are then introduced, followed by context-dependent transition models. The aim in introducing context-dependency is to improve transition region modeling, which in turn should increase note transcription accuracy, but also improve the time-alignment of the notes and the transition regions. The final system is found to be able to transcribe sung passages with around 86% accuracy. Finally, a note-level sight-singing tutor system based on the singing transcription system is presented and a number of note sequence scoring approaches are evaluated.
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Buchholz, Timothy C. "Analysis and Categorization of Selected Musical Elements within Forty-three Solo Jazz Vocal "Standards" with Pedagogical Application to Repertoire Selection and the Teaching of Jazz Concepts in the Jazz Voice Lesson." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/386.
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While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.
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Silva, Caiti Hauck da. "Preparação vocal em coros comunitários: estratégias pedagógicas para construção vocal no Comunicantus: laboratório coral do departamento de Música da ECA-USP." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-143458/.
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Este trabalho é fruto de uma pesquisa-ação associada às atividades de preparação vocal realizadas com o Coral Escola e o Coral Oficina do Comunicantus: Laboratório Coral do Departamento de Música da ECA-USP. Os objetivos dividiram-se em duas perspectivas: a formação do estagiário em preparação vocal e o desenvolvimento da técnica vocal nos coros Escola e Oficina. A coleta de dados foi feita por meio da participação nos ensaios destes dois grupos no ano de 2010 e da análise do protocolo de documentação do Comunicantus: Laboratório Coral. O capítulo 1 inicia-se com uma explanação sobre o funcionamento do Comunicantus: Laboratório Coral e sobre o conceito de Coral Escola, no qual todas as atividades estão fundamentadas; segue com uma discussão a respeito dos desafios da educação coral no século XXI e encerra-se expondo saberes e habilidades que fazem parte da formação dos estagiários em preparação vocal, como a classificação vocal, a percepção vocal e a pedagogia. No capítulo 2, são descritas as principais características vocais dos coralistas iniciantes dos coros Escola e Oficina em relação a postura, respiração, apoio, ressonância, articulação, assim como as dificuldades mais frequentes com afinação. No capítulo 3, por meio de uma confrontação entre as práticas do Comunicantus: Laboratório Coral e a literatura sobre regência coral e pedagogia vocal, são apresentados e discutidos os exercícios mais usados na preparação vocal destes grupos, visando trabalhar aspectos como postura, respiração e apoio, ressonância, diferenciação de vogais, agilidade, staccato, sustentação, homogeneidade de registros vocais, extensão e escuta harmônica. Nas considerações finais, discute-se a perspectiva da preparação vocal como uma atividade complexa, na qual diversos saberes, habilidades e ferramentas são empregados conjunta e interativamente como parte de estratégias que visam à consecução de objetivos artísticos e educativos.This work is the result of an action research associated to voice building activities performed at the Coral Escola and the Coral Oficina of Comunicantus: Choral Laboratory of the Music Department at ECA-USP. The goals were divided into two perspectives: the training of the trainee in voice building and the development of vocal technique in the choirs Escola and Oficina. Data collection was done through participation in the rehearsals of these two choirs in 2010 and analysis of Comunicantus: Choral Laboratory\'s protocol documentation. Chapter 1 begins with an explanation about the functioning of Comunicantus: Choral Laboratory and about the concept of Choir-School, in which all activities are based; it follows with a discussion about the challenges of choral education in the twenty-first century and it ends exposing knowledge and skills that are part of the training of trainees in voice building, such as vocal classification, vocal perception and pedagogy. Chapter 2 describes the main vocal characteristics of the beginners in the choirs Escola and Oficina regarding posture, breathing support, resonance, articulation, as well as the most frequent difficulties concerning intonation. By confronting the practices of Comunicantus: Choral Laboratory and the literature on choral conducting and vocal pedagogy, Chapter 3 presents and discusses the most used exercises in the voice building activities of these groups, aiming to work aspects such as posture, breathing and support, resonance, vowel differentiation, agility, staccato, sostenuto,homogeneity of vocal registers, extension and harmonic hearing. In the final considerations, voice building is discussed as a complex activity, in which different knowledge, skills and tools are used together and interactively as part of strategies that aim the achievement of artistic and educational goals.
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Conrad, Wendie Joyce. "Music Literacy and Sight-Singing Techniques Used by Elementary and Middle School Music Teachers." Cleveland, Ohio : Cleveland State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=csu1198290006.
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Thesis (M.M.)--Cleveland State University, 2007.Abstract. Title from PDF t.p. (viewed on May 8, 2008). Includes bibliographical references (p. 75-82). Available online via the OhioLINK ETD Center. Also available in print.
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Jenkins, Bonnie L. "Beautiful choral tone quality rehearsal techniques of a director." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4126.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2005.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (November 8, 2006) Vita. Includes bibliographical references.
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Root, Rachel Lorraine. "Choral rehearsal memory techniques /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11251.
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Thibault, François. "High-level control of singing voice timbre transformations." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81514.
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The sustained increase in computing performance over the last decades has brought enough computing power to perform significant audio processing in affordable personal computers. Following this revolution, we have witnessed a series of improvements in sound transformation techniques and the introduction of numerous digital audio effects to modify effectively the time, pitch, and loudness dimensions of audio signals. Due to the complex and multi-dimensional nature of timbre however, it is significantly more difficult to achieve meaningful and convincing qualitative transformations. The tools currently available for timbre modifications (e.g. equalizers) do not operate along perceptually meaningful axes of singing voice timbre (e.g. breathiness, roughness, etc.) resulting in a transformation control problem. One of the goals of this work is to examine more intuitive procedures to achieve high-fidelity qualitative transformations explicitly controlling certain dimensions of singing voice timbre. Quantitative measurements (i.e. voice timbre descriptors) are introduced and used as high-level controls in an adaptive processing system dependent on the characteristics observed in the input signal.The transformation methods use a harmonic plus noise representation from which voice timbre descriptors are derived. This higher-level representation, closer to our perception of voice timbre, offers more intuitive controls over timbre transformations. The topics of parametric voice modeling and timbre descriptor computation are first introduced, followed by a study of the acoustical impacts of voice breathiness variations. A timbre transformation system operating specifically on the singing voice quality is then introduced with accompanying software implementations, including an example digital audio effect for the control and modification of the breathiness quality on normal voices.
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Cobb-Jordan, Amy. "The study of English, French, German and Italian techniques of singing related to the female adolescent voice." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20011/cobb-jordan%5Famy/index.htm.
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Su, Wen-hui. "An acoustic study of the singer's formant the comparison between Western classical and traditional Chinese opera singing techniques /." [Bloomington, Ind.] : Indiana University, 2009. 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:3354922.
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Thesis (Ph.D.)--Indiana University, Dept. of Speech and Hearing, 2009.Title from PDF t.p. (viewed on Feb. 4, 2010). Source: Dissertation Abstracts International, Volume: 70-04, Section: A, page: 1098. Adviser: Karen Forrest.
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Clarke, Steven Douglas. "Eph Ehly, all-state choir conductor : a video presentation of his philosophy and rehearsal techniques." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063298.
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Dr. Eph Ehly is one of the most sought after choral conductors in the United States today. Ehly has conducted over seventy All-State choirs. However, no previous source outlines the fundamental principles of his philosophy and rehearsal techniques.This study was designed to capsulize Ehly's contributions. The writer produced a videotape entitled, "Eph Ehly: A Source of True Inspiration." This video captures Dr. Ehly's philosophy regarding the All-State choir experience and demonstrates his rehearsal techniques. The author attended three All-State festivals where Ehly was the guest conductor (Indiana, New York, and Oklahoma). The video contains rehearsals and performances and videotaped interviews with Dr. Ehly.The cornerstone of Ehly's approach is this: using music to express. There are three components to Ehly's philosophy: 1) the physical component, 2) the emotional component, and 3) the spiritual component. The writer identified four forms of the physical component: 1) handshake, 2) hug, 3) clapping, and 4) other spontaneous physical gestures. The writer identified eight aspects of the emotional component: 1) expressivity, 2) sensitivity to the world, themselves, and their own emotions, 3) sympathy, 4) reality of emotions, 5) creating mood, 6) building ensemble, 7) music as a reflection of life, and 8) awareness of a "sixth sense." In describing the spiritual component, two divisions were identified: 1) the development of character, and 2) reaching a level of spirit-awareness.The study also summarizes Ehly's rehearsal techniques by outlining his idiosyncratic approach to the treatment of traditional musical elements. The video presentation highlights nine technical concerns and demonstrates Ehly's approach to these common problems. The areas addressed are: 1) tone quality, 2) diction, 3) rhythm, 4) dynamics, 5) phrasing, 6) articulation, 7) breathing, 8) vowel modification, and 9) vibrato. The videotape is supported by a written document containing background information, a script of the video, a summary by the author, a representative list of programs from AllState choirs conducted by Dr. Ehly, and transcripts of the interviews with Dr. Ehly. Church musicians, professional conductors, educators, and students of conducting can all benefit from the opportunity to view and evaluate Ehly's approach.School of Music
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Dargie, David John. "Techniques of Xhosa music: a study based on the music of the Lumko district." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1001975.
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Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study
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Johnson, Brock. "The Use of Classic Musical Theatre Repertoire for Training Bel Canto Techniques in the Undergraduate Baritone Voice." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984217/.
Full textAbstract:
For applied teachers of the bel canto method of singing, classical musical theatre repertoire provides an abundant resource of material for teaching the undergraduate baritone voice. Select classic musical theatre repertoire, fitting within the parameters of suitable range, tessitura, duration, and thematic material for an undergraduate baritone, will be used to demonstrate the application of bel canto techniques such as: glottal onsets, the connection between the speaking voice and singing voice, suitable vowels in building the upper range, and teaching sostenuto and legato. This dissertation serves as a guide for teaching sound vocalism through classic musical theatre repertoire.