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Journal articles on the topic 'Singing technique'
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LUMBAN GAOL, DEDI BENSAMAS. "ANALISIS TEKNIK BERNYANYI DIANA DAMRAU PADA OPERA “THE MAGIC FLUTE ARIA QUEEN OF THE NIGHT” KARYA WOLFGANG AMADEUS MOZART." Grenek Music Journal 7, no. 2 (October 11, 2018): 224. http://dx.doi.org/10.24114/grenek.v7i2.10987.
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This study aims to analyze, Technique of Singing Diana Damrau oin Opera TheMagic Flute Aria Queen Of The Night Works Wolfgang Amadeus Mozart. Thepurpose of this research is to know Technique of Singing, how to interpret andartistic overall Diana Damrau sing Opera The Magic Flute Aria Queen Of TheNight.The theory used is analyze, vocal technique, sound processing, sound formation,breathing, frasering, head voice, powering, vibrato, interpretation, singing, opera,aria,The method used in this research is qualitative descriptive method, namely aresearch method that aims to describe in detail and clearly about a phenomenonthat became the focus of research. This research is a qualitative descriptivelaboratory works, thus this research is held in the laboratory of sendratasik musiceducation program of state university of Negeri Medan. The results showed thatDiana Damrau sang aria by using singing technique that is base of vocaltechnique. The achievement of singing technique has been applied verry well,where the singging technique is articulation, breathing, posture, resonance,vibrato, intonation. This factor becomes the main point that from the analysis, ithas a verry high singing technique singing aria Queen Of The Night. DianaDamrau had application interpreation that is, the dynamics of mp, mf, f, ff, ff,aksen, sfz, fp, cressendo, descressendo. Tempo allegro assai, ad libitum,allargando.Style singging marcatto, alla marcia, legato, recitaive, ekspreso,stacatto, sustenuto, emozione. Angry authoritarian, direspectful and desire is anexpression Diana to sing the aria. On the basis of it can be started that the overallappearance of Diana Damrau is interconnected to build on the builder’s point tomake the appearance of Diana Damrau towards spectaculer.
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Willman, Fred. "Technique in Singing." Music Educators Journal 71, no. 8 (April 1985): 72–73. http://dx.doi.org/10.2307/3396502.
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Wadiyo, Wadiyo, Udi Utomo, and Slamet Haryono. "Western Song Singing Model to Improve Junior High School Students’ Singing Ability in Indonesia." Harmonia: Journal of Arts Research and Education 19, no. 1 (June 24, 2019): 48–54. http://dx.doi.org/10.15294/harmonia.v19i1.23490.
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Singing activities are general activities that seem very easy. It could be said that anyone can sing. However, to be able to sing well and correctly seems to need to be learned. For Junior High Schools in Indonesia, singing activities are included in the teaching material of cultural arts sub music material. This study aims to “analyze how singing activities are taught in classes on learning Art and sub music material”. The approach of this research is interdisciplinary which involves music disciplines and music learning. The research method applied is interpretive qualitative. The research location is Semarang, by involving Semarang Junior High School Students and Teachers as the subject of research. Data collection techniques used in this research is observation, interviews, and documentation studies. The data validity technique is using data source triangulation. Data analysis techniques used in this research are interactive flow. The results showed that teachers taught singing, both in classes Vll, Vlll, and Vlll. Singing activity for class Vll focused on basic singing techniques. The eighth grade is focused on singing, whose vocals or singing techniques are more applied to singing local songs and Nusantara songs. Meanwhile, singing activity in class VIII is more focused on improvising any song. This study concludes that teachers always emphasize the use of western song singing models as a basic technique, regardless of the type of song used in the learning process.
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Lai, Wen-Hsing, Siou-Lin Wang, and Zhi-Yao Xu. "CycleGAN-Based Singing/Humming to Instrument Conversion Technique." Electronics 11, no. 11 (May 30, 2022): 1724. http://dx.doi.org/10.3390/electronics11111724.
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In this research, singing/humming to instrument conversion techniques are proposed. In humming to instrument, two models based on cycle-consistent adversarial networks (CycleGAN) on viola are experimented. From the objective and subjective evaluations conducted, the converted audio is more similar to viola compared to humming, and the quality of the converted sound is fair to listeners. In singing to instrument, to fix the problem of the gap between singing and instrument, a dual conversion model consisting of singing to humming and humming to instrument is proposed. The objective and subjective experimental results show that the dual conversion has better converted audio quality than conversion by singing to instrument directly.
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Ridwan, Ridwan, and A. Fajar Awaluddin. "PENERAPAN METODE BERNYANYI DALAM MENINGKATKAN PENGUASAAN MUFRADAT DALAM PEMBELAJARAN BAHASA ARAB DI RAODHATUL ATHFAL." DIDAKTIKA : Jurnal Kependidikan 13, no. 1 (August 16, 2019): 56–67. http://dx.doi.org/10.30863/didaktika.v13i1.252.
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This study aims to improve the acquisition of Arabic vocabulary in early childhood with singing techniques. Children of all ages are basically happy to listen, sing and learn with songs. Therefore, music in general is an important part of the teaching-learning process for young students. The results showed that early childhood students enjoyed learning Arabic by singing and it was easier to remember the vocabulary taught by the teacher. Thus, it can be concluded that the singing technique is able to improve the mastery of early childhood Arabic vocabulary especially for students of the Raodhatul Athfal Ma'had Hadits Al-Junaidiyah Blue Bone.Keywords: Singing technique, vocabulary mastery, Arabic
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Lyu, Jiayin. "SINGING TECHNIQUE IN THE CHINESE VOCAL TRADITION." Manuscript, no. 11 (November 2019): 278–82. http://dx.doi.org/10.30853/manuscript.2019.11.52.
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Gong, Ni. "Discussion on the “Localization” Singing Technique Transformation of Opera in the Background of Chinese Culture." Review of Educational Theory 2, no. 1 (January 22, 2019): 16. http://dx.doi.org/10.30564/ret.v2i1.221.
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Opera has been developed in China for more than a hundred years as an “imported product” in the West. But the deep-rooted traditional ideas and the artistic aesthetics accumulated over thousands of years have also given the opera a new youth in China. Among them, the most affected area is singing technique. As one of the most intuitive external performance features of opera, singing technique has been the most affected by “localization” and has created a unique singing method belonging to China. Of course, this method is not formed in one fell swoop. The purpose of this paper is to explore the process of “localization” of opera singing technique in the context of Chinese culture, and to demonstrate it completely from the forms, methods, ideas and systems of change, so as to apply the theory more deeply to practical singing and teaching.
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GIOL-CALEFARIU, Emilia. "Vocal technique in the formation stages of the lyric artist." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 79–84. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.8.
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Singing is the way of expression through which feelings, experiences, an ideational content are poetically expressed; in its absence the vocal qualities cannot justify the purpose of the interpretation. The topicality of music education for young performers is determined by an appropriate approach to the process of knowing the essential structure of singing, by understanding and mastering the multiple styles and ways of interpreting each genre, all in conjunction with an integration of historical views on the art of singing. Finding directions of orientation and thinking in the field of vocal interpretation, corroborated with the identification of some intrinsic values of it will contribute to achieving a stable foundation on which the lyrical artist can build a career in interpretation.
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Sinaga, Theodora. "Dasar-Dasar Teknik Bernyanyi Opera." Gondang: Jurnal Seni dan Budaya 2, no. 2 (December 19, 2018): 75. http://dx.doi.org/10.24114/gondang.v2i2.11284.
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This study aims to analyze, Technique of Singing in Opera. The purpose of this research is to know Technique of Singing. The theory used is vocal technique, sound processing, sound formation, breathing, frasering, head voice, powering, vibrato, interpretation, singing, opera, aria, The method used in this research is qualitative descriptive method, namely a research method that aims to describe in detail and clearly about a phenomenon that became the focus of research. On the basis of it can be started that the overall appearance of Diana Damrau is interconnected to build on the builder’s point to make the appearance of Diana Damrau towards spectaculer.
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Kumar Chopra, Pradeep. "MODERN TECHNIQUE OF INNOVATION PLATFORM IN SINGING MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3436.
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Music is a medium that binds both the seeker and the listener under a hypnosis, but there are some limits to the sound of a human being, and as far as his sound goes naturally, it is effective only in that, Hence recording is called dead music. In the old times, what used to be stage in music had some limitations, only that many people could benefit from it, as far as the sound of the seeker (musician / player) can reach. But it is true that at that time the power of man (physically) was more than that of man today. Evidence of this is found in ancient texts like Ramayana, Mahabharata etc. So it is a simple matter that the voice of the man of that time would also be more effective than the man of today. But he also had limitations. But today, where science has made so much progress, today's stage has also become very influential, in which the modern instruments used are very powerful, the instruments available to artists are so effective, that they listen to the programs presented by them. Is able to reach that way.
संगीत एक ऐसा माध्यम है, जो साधक और श्रोता दोनों को एक सम्मोहन मंे बाँध कर रखता है, पंरन्तु मनुष्य की ध्वनि की कुछ सीमायंे होती है, और जहाँ तक उसकी ध्वनि प्राकृतिक रूप से जाती है, वहाँ तक ही वह असरदार सिध्द होती है, इसलिए रिकाॅर्डिंग को मृत संगीत कहा जाता है । पुराने समय मे संगीत में जो, मंच होता था उसकी कुछ सीमायें थी, उससे सिर्फ उतने ही लोग लाभ उठा पाते थे, जहाँ तक साधक (संगीतकार/ वादक) की ध्वनि पहुॅंचें । परन्तु यह बात सही है, कि उस समय मनुष्य की शक्ति (भौतिक रूप से ) आज के मनुष्य की तुलना में ज्यादा होती थी । इसके प्रमाण रामायण, महाभारत आदि प्राचीन ग्रंथो में देखने को मिलते है । तो यह सीधी सी बात है कि उस समय के मनुष्य की आवाज भी आज के मनुष्य की अपेक्षा ज्यादा असरदार होती होगी । पर उसकी भी सीमायंे थी । पर आज जहाँ विज्ञान ने इतनी उन्नति की है, वही आज का मंच भी बहुत प्रभावशाली बना है, जिसमें उपयेाग होनेवाले आधुनिक यंत्र अत्यधिक शक्तिशाली है, कलाकारांे को मिलने वाले यंत्र इतने प्रभावशाली होते हैं, कि वह उनके द्वारा प्रस्तुत कार्यक्रमों को श्र¨ताअ¨ तक वैसे को वैसा पहुॅचाने में सक्षम है ।
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He, Zhuang, and Yin Feng. "Singing Transcription from Polyphonic Music Using Melody Contour Filtering." Applied Sciences 11, no. 13 (June 25, 2021): 5913. http://dx.doi.org/10.3390/app11135913.
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Automatic singing transcription and analysis from polyphonic music records are essential in a number of indexing techniques for computational auditory scenes. To obtain a note-level sequence in this work, we divide the singing transcription task into two subtasks: melody extraction and note transcription. We construct a salience function in terms of harmonic and rhythmic similarity and a measurement of spectral balance. Central to our proposed method is the measurement of melody contours, which are calculated using edge searching based on their continuity properties. We calculate the mean contour salience by separating melody analysis from the adjacent breakpoint connective strength matrix, and we select the final melody contour to determine MIDI notes. This unique method, combining audio signals with image edge analysis, provides a more interpretable analysis platform for continuous singing signals. Experimental analysis using Music Information Retrieval Evaluation Exchange (MIREX) datasets shows that our technique achieves promising results both for audio melody extraction and polyphonic singing transcription.
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Devi, Rajeshwari. "IMPORTANCE OF PROPER BREATHING IN SINGING." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (October 20, 2021): 67–71. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.39.
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There is much truth in the statement that ‘breathing is singing’ proper breathing is essential for singing and learning of breath correctly is actually one of the most important aspect to improve the singing voice. Improving breathing technique allows a singer to have more control over their voice and enable them to explore a broader range of notes and to have greater capacity of air and it gives control to expel the breath in order to sustain on the notes for a longer period. The intensity of the voice depends upon the breath forces which regulate the amplitude of the vibrations of the vocal chords. If the foundation of breathing technique is not proper a singer will have poor results, and later will suffer. Good breath management skills are necessary if a singer hopes to be able to sing great wilt skill. So breathing exercise are critical for any aspiring vocalist to achieve singing success. This paper try to discuss on the Important of proper breathing in singing.
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Suwarno, Suwarno, Akrima Dini, Maulida Yani, Sahria Nurul Yana, and Susilawati Susilawati. "PEMBELAJARAN AQIDAH AKHLAK MENGUNAKAN METODE BERNYANYI UNTUK MEMBANTU DAYA INGAT SISWA KELAS III DI MADRASAH IBTIDAIYAH NEGERI (MIN) 1 ACEH TENGAH." TA'LIM : Jurnal Studi Pendidikan Islam 5, no. 2 (July 23, 2022): 124–39. http://dx.doi.org/10.52166/talim.v5i2.3108.
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Learning is a process of interaction between teachers and students to achieve learning objectives. In performing these learning objectives, the teacher will strive optimally by carrying out various strategies and learning methods. This study focuses on using the singing method to help students' memory. This study aimed to discover the technique of singing in growing students' memory in the subjects of aqidah morality at MIN 1 Aceh Tengah. The research method used is qualitative. Sources of data in the form of primary data and secondary data. Data collection techniques using observation and interviews. Meanwhile, data analysis uses analysis according to Miles and Huberman, including data reduction, display, and verification. The results showed that the singing method in learning aqidah akhlaq in class III MIN 1 Aceh Tengah could help students' memory.
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Roux, Franck-Emmanuel, Stefano Borsa, and Jean-François Démonet. "“The Mute Who Can Sing”: a cortical stimulation study on singing." Journal of Neurosurgery 110, no. 2 (February 2009): 282–88. http://dx.doi.org/10.3171/2007.9.17565.
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Object In an attempt to identify cortical areas involved in singing in addition to language areas, the authors used a singing task during direct cortical mapping in 5 patients who were amateur singers and had undergone surgery for brain tumors. The organization of the cortical areas involved in language and singing was analyzed in relation with these surgical data. Methods One left-handed and 4 right-handed patients with brain tumors in left (2 cases) and right (3 cases) hemispheres and no significant language or singing deficits underwent surgery with the “awake surgery” technique. All patients had a special interest in singing and were involved in amateur singing activities. They were tested using naming, reading, and singing tasks. Results Outside primary sensorimotor areas, singing interferences were rare and were exclusively localized in small cortical areas (< 1 cm2). A clear distinction was found between speech and singing in the Broca region. In the Broca region, no singing interference was found in areas in which interference in naming and reading tasks were detected. Conversely, a specific singing interference was found in nondominant middle frontal gyri in one patient. This interference consisted of abrupt singing arrest without apparent face, mouth, and tongue contraction. Finally, nonspecific singing interferences were found in the right and left precentral gyri in all patients (probably by interference in final articulatory mechanisms of singing). Conclusions Dissociations between speech and singing found outside primary sensorimotor areas showed that these 2 functions use, in some cortical stages, different cerebral pathways.
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VARI, Orsolya, and Stela DRAGULIN. "The appropriation of the necessary technique in singing performance." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 321–30. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.35.
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This article wants to highlight the fact that for an opera/operetta performer, just talent and voice are not enough, he must have a multilateral, detailed and disciplined training. Of course, the nature of the voice is the starting point of any path in subsequent evolution. To reach a high level of interpretation you have to go through certain stages of approaching an opera/operetta role. You can't start the road without knowing your vocal apparatus, its components and how to use it, for later to be able to get to the interpretation, style and personal note. A perfect opera/operetta performer will be the one who, in addition to his voice, is able to understand the subtleties of music and implicitly of the libretto, and will also have a very fair and organized technical and informational training, "The sincerity of the expressiveness of a voice that does not take into account the real personal potentials, she will be doubtful” (Cîmpeanu 1975, 28).
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Mercado, Eduardo. "A technique for characterizing rhythms produced by singing whales." Journal of the Acoustical Society of America 138, no. 3 (September 2015): 1761. http://dx.doi.org/10.1121/1.4933564.
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Saitou, Takeshi, and Ken-Ichi Sakakibara. "Abrupt register changing technique “Atari” in traditional Japanese singing." Journal of the Acoustical Society of America 131, no. 4 (April 2012): 3377. http://dx.doi.org/10.1121/1.4708732.
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Jamison, Ward. "Some Practical Considerations When Evaluating the Exceptional Adolescent Singing Voice." Language, Speech, and Hearing Services in Schools 27, no. 3 (July 1996): 292–300. http://dx.doi.org/10.1044/0161-1461.2703.292.
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This article examines possible causes or intensifications of vocal fatigue in adolescent singers. Factors considered include the adequacy of the singing technique, the strenuousness of the musical task, the physical singing environment, the singer's general condition, and the expectations imposed by the musical leader. Possible management strategies are proposed.
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Husna, Annisa Hayatul, and Esy Maestro. "PEMBELAJARAN BERNYANYI SECARA UNISONO DI KELAS VII-1 SMP NEGERI 1 PAINAN KABUPATEN PESISIR SELATAN." Jurnal Sendratasik 9, no. 1 (May 1, 2020): 27. http://dx.doi.org/10.24036/jsu.v8i3.108144.
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AbstractThis study aimsto explain the implementation of Unisono singing learning at class VII-1 in SMP Negeri 1 Painan, Pesisir Selatan District. Type of this research wasa qualitative research with using a descriptive approach, so it was called qualitative-descriptive analysis research. By using this research method, the research process and results provided the complete and the real picture of the object under study from several points of view with a description. Techniques of data collection were collected by taking observation, interviews and documentation. Techniques of data analysis were done by collecting, identifying, classifying, describing, and finally drawing final conclusions of the research. After taking notes during the data collection including doing the interviews and document studies, the results obtain that the implementation of cultural art (music), especially on the topic of unisono singing at class VII-1 SMP Negeri 1 Painan found that the teacher still uses the usual learning methods or conventional, namely the lecture method, question and answer, and discussion. In fact, in the learning to unisono singing which requires demonstrations in the form of demonstration activities and exercises, it is rarely shown or done by the teacher in front of the students. Even if there is a pilot, the teacher only exemplifies the song to the students without demonstrating it completely, but instead sing a piece. As a result, unisono singing learning becomes subject matter of knowledge, without knowing clearly how the correct vocal technique to sing it.Keywords: learning, singing, unisono
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Tat’yana Vladimirovna, Shastina. "Praxiological approach to the organization of ethno-singing activity of a student in the University of Culture." Vestnik of Saint Petersburg State University of Culture, no. 2 (51) (2022): 146–52. http://dx.doi.org/10.30725/2619-0303-2022-2-146-152.
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Ethno-singing activity in modern culture is conditioned by objective processes related to the effectiveness of pedagogical technologies and the prospects of folk vocal performance, which makes it necessary to generalize pedagogical experience and requires the development of new strategies in the field of ethno-local education aimed at training a professional – a versatile, highly educated person capable of successfully acting in modern culture. The praxiological model of the organization of ethno-singing activity contributes to increasing the productivity of the student’s educational activity, corresponding to the norms and rules of folk singing, possessing such qualities as validity, expediency, rationality. The purpose of organizing the student’s ethno-singing activity based on a praxiological approach is to increase the professional level of students’ ethno-singing practical skills, their effectiveness, knowledge of ethnovocal pedagogy and proficiency in singing technique. The singing activity of students is the main one in the formation of the professional qualities of the future teacher of folk singing. The praxiological approach assumes the expediency of actions, the correspondence of vocal training to the natural data of the student, time, place of training.
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McConville, Katherine. "Navigating the “Passaggio” Between Voice Therapy and a Singing Lesson: Ethical Considerations for the Speech-Language Pathologist." Perspectives of the ASHA Special Interest Groups 5, no. 3 (June 30, 2020): 658–61. http://dx.doi.org/10.1044/2020_pers-20-10003.
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Purpose The purpose of this article is to discuss factors that guide ethical decision making in determining what constitutes medically necessary voice therapy that involves or targets singing, which is distinct from a singing lesson. Method Different treatment tasks and scenarios are identified, and their rationales are compared with deference to precedent literature and relevant portions of the American Speech-Language-Hearing Association Code of Ethics. These materials are referenced in an effort to define the boundaries between voice therapy involving singing technique and a singing lesson. Results Suggestions regarding goal writing and documentation to highlight apparent boundaries are made. Conclusions In the care of injured voices, both precedent and ethical principles support speech-language pathology treatment that targets singing. However, it is incumbent upon the treating speech-language pathologist to determine when they are venturing into tasks that no longer serve a therapeutic purpose and to refer the patient for voice lessons as appropriate.
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Krebill, Kerry L. "The Structure of Singing: System and Art in Voice Technique." Music Educators Journal 74, no. 3 (November 1987): 61–62. http://dx.doi.org/10.2307/3397945.
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Halstead, Lucinda A., Deanna M. McBroom, and Heather Shaw Bonilha. "Task-Specific Singing Dystonia: Vocal Instability That Technique Cannot Fix." Journal of Voice 29, no. 1 (January 2015): 71–78. http://dx.doi.org/10.1016/j.jvoice.2014.04.011.
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Jones, Sam. "Death metal singing technique is also used by chatty bats." New Scientist 256, no. 3415 (December 2022): 11. http://dx.doi.org/10.1016/s0262-4079(22)02151-0.
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Serrano Montero, Lucía. "La técnica vocal en el cante flamenco: su relación con el canto clásico y el canto popular." Revista de Investigación sobre Flamenco "La madrugá", no. 19 (December 28, 2022): 49–69. http://dx.doi.org/10.6018/flamenco.533371.
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The voice is the first recorded musical instrument, considered the most expressive and the communication tool par excellence. In flamenco it occupies an indispensable place but, while in classical singing there are certain pedagogical methodologies that govern vocal technique and even flamenco guitar and dance have their own pedagogical methodologies, there is no defined technique for flamenco singing, as its learning has not been treated as a fundamental element of this art. The bases of vocal technique in classical singing date back to the Renaissance period and have evolved up to the present day, while flamenco acquired its own personality at the end of the 19th century, although its antecedents include classical and popular music. The aim of this article is to investigate about the vocal technique in flamenco singing, making an approach to its most relevant aspects, relating it to both classical and popular singing. Likewise, a comparative journey between traditional and contemporary vocal pedagogy is approached. La voz es el primer instrumento musical del que se tiene constancia, considerado el más expresivo y la herramienta de comunicación por excelencia. En el flamenco ocupa un lugar indispensable pero, mientras que en el canto clásico existen determinadas metodologías pedagógicas que rigen la técnica vocal e incluso la guitarra y el baile flamencos cuentan con metodologías pedagógicas propias, no existe una técnica definida de cante flamenco, al no haberse tratado su aprendizaje como un elemento fundamental de este arte. Las bases de la técnica vocal en el canto clásico se sitúan en la época del Renacimiento y han evolucionado hasta la actualidad; mientras, el flamenco adquiere personalidad propia a finales del XIX, si bien entre sus antecedentes están la música clásica y la música popular. El objetivo de este artículo es investigar acerca de la técnica vocal en el cante flamenco, realizando una aproximación a sus aspectos más relevantes, relacionándolo a la vez con el canto clásico y el canto popular. Asimismo, se aborda un recorrido comparativo entre la pedagogía vocal tradicional y la contemporánea.
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Zan, Luiza, and Stela Drăgulin. "Vocal Depersonalization in Scat Singing." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 195–212. http://dx.doi.org/10.24193/subbmusica.2022.1.13.
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"The purpose of this paper is to question the amount of personal investment in exploring the voice as an impersonal sound, in scat singing. Jazz singers and jazz voice teachers follow vocal practices that aim to control and distort the vocal timbre, to master microtonal intervals, to push and eventually overcome the voice’s limits. In scat singing, the boundaries of gender are subdued to the impulse of improvisation, thus, even though the timbre is a biological and a physical memory, influenced by the singer’s culture and experiences, the gender encoding can be reshaped inside the licks and patterns of the improvisation section. The current paper aims to prove that scat singing is the neutral ground where aspects of the voice can blend and disappear into one another: voice gender, vocal timber, technique, individual materiality, experimentation. Keywords: scat, improvisation, jazz, vocalists "
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Phelan, Louise. "Vocal Pedagogy and the Alexander Technique: a reflection." Revista de Investigación e Innovación en Ciencias de la Salud 3, no. 2 (December 18, 2021): 128–35. http://dx.doi.org/10.46634/riics.83.
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This article is a reflection about the role of the Alexander Technique and its application and influence in vocal pedagogy. It is based on more than seventeen years of active teaching as a qualified Alexander Technique Teacher and as a professional singer, working alongside vocal pedagogues, teachers, students and professionals. Its objective is to reflect upon the role of body awareness, psychophysical and emotional consciousness, and wellbeing in the realms of vocal pedagogy and singing.
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., Anjarnawi. "TEKNIK VOKAL QORI’AH USTADZAH NURHAMIDAH DALAM SENI TILAWATIL QUR’AN SEBAGAI PEMENANG PERTAMA PADA LOMBA MTQ DI KOTA BINJAI TAHUN 1991." Grenek Music Journal 8, no. 1 (May 7, 2019): 1. http://dx.doi.org/10.24114/grenek.v8i1.13021.
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Vocal Technique of Qori’ah Ustadzah Nurhamidah in Qur’anic Tilawatil Art as The First Winner in MTQ Competition at Binjai City in 1991. Study Program of Music Education. Sendratasik Department. Faculty of Language and Art. State University of Medan. 2018.This research aims to find out the vocal techniques of Qori'ah Ustadzah Nurhamidah in the Qur'anic tilawatil art, Maqam used by Qori'ah Ustadzah Nurhamidah in tilawatil Qur'an, as well as the similarities and differences in the Qur'anic tilawatil vocal techniques with vocal singing techniques. This study used descriptive qualitative method. This research was conducted at the residence of Ustadzah Nurhamidah on Jl. Gaperta Ujung Gang Wakaf No.7 Medan City. Based on the results of the research conducted, it can be explained that the vocal technique of Ustadzah Nurhamidah in the tilawatil Qur'an art includes heating techniques before appearing in the Al-Qur'an reading competition by observing 4 (four) elements, namely: articulation, breathing, resonance, and appreciation. Besides that, the maqam used by Ustadzah Nurhamidah in tilawatil Qur'an in Surah An Nisa chapter 1-5 is 3 maqam, namely: maqam bayyati, maqam Rast, and maqam Hijaz. Furthermore, the prominent difference is in the position of the body when doing breathing, in singing the position of the body standing or sitting, but in the Qur'anic tilawatil the body position have to sit. In addition, both of them have the same vocal technique but it's just a different way of practicing.
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Ivane, Madara, and Baiba Trīnīte. "DEVELOPMENT OF COORDINATION BETWEEN HEARING AND VOICE IN SINGING: REVIEW OF METHODICAL LITERATURE IN THE LATVIAN LANGUAGE." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 3 (May 20, 2020): 223. http://dx.doi.org/10.17770/sie2020vol3.5080.
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The aim of the study is to examine the reflection of the processes of formation of musicality, musical hearing and vocal skills in methodological materials published in Latvia. The aim of the study is to analyse the existing methodological materials from 21st century that deal with the development of children’s musical hearing as described by various authors. The study focuses on the primary school age, pre-mutation period children who, in addition to general education, are learning singing in vocational or interest education during individual or group lessons (ensembles and choirs). The research method used is the selection and summarization of opinions and recommendations of teachers of music subject, singing teachers and conductors in the work with children – soloists and choir singers, who are gaining their first skills in singing and intonative hearing, as described in various literature sources. The results of the study show that all of the examined materials conceptually coincide, but often different terminology and explanation of techniques is used, which does not always reveal the nature of each expression and technique, thus preventing the theoretically expressed knowledge from being put into practice. Many explanations are based on the empirical work by the authors of the source. There is a lack of methodological techniques that are based on scientifically proven facts.
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Alessandroni, Nicolás, Camila Beltramone, and Laura Sanguinetti. "SINGING PEDAGOGY AND CONTEMPORARY VOCAL MUSIC: A TROUBLED RELATIONSHIP." Revista Europeia de Estudos Artisticos 8, no. 2 (June 30, 2017): 1–16. http://dx.doi.org/10.37334/eras.v8i2.125.
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In this paper, we explore the interrelationships between knowledge construction in the field of Vocal Pedagogy and compositional forms of the academic music of the 20th century. We propose that research logics within Vocal Technique contributed to the thinking of the time providing a matrix to consider the vocal instrument from an objectivist position. The importance of the inquiries presented lies on the slow expansion that contemporary vocal music acquired in the last years, and in the absence of a Vocal Technique teaching method that considers the particular characteristics of this repertoire. As a current challenge, we consider necessary to chart a new model in Vocal Technique that favors the interpretation of the vocal repertoire of the 20th Century, and to establish a corpus of knowledge about (i) which are the new required skills and abilities, (ii) how they are produced, and (iii) how they should be taught.
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Beltramone, Camila, Nicolás Alessandroni, and Laura Sanguinetti. "SINGING PEDAGOGY AND CONTEMPORARY VOCAL MUSIC: A TROUBLED RELATIONSHIP." ERAS | European Review of Artistic Studies 8, no. 1 (June 30, 2017): 1–16. http://dx.doi.org/10.37334/eras.v8i1.60.
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In this paper, we explore the interrelationships between knowledge construction in the field of Vocal Pedagogy and compositional forms of the academic music of the 20th century. We propose that research logics within Vocal Technique contributed to the thinking of the time providing a matrix to consider the vocal instrument from an objectivist position. The importance of the inquiries presented lies on the slow expansion that contemporary vocal music acquired in the last years, and in the absence of a Vocal Technique teaching method that considers the particular characteristics of this repertoire. As a current challenge, we consider necessary to chart a new model in Vocal Technique that favors the interpretation of the vocal repertoire of the 20th Century, and to establish a corpus of knowledge about (i) which are the new required skills and abilities, (ii) how they are produced, and (iii) how they should be taught.
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Wulandari, Monica Niken, Farid Ahmadi, and Djuniadi Djuniadi. "Instrument Of Singing Performance Assesment With The Android Based Inventor App." Jurnal Seni Musik 9, no. 2 (December 30, 2020): 95–98. http://dx.doi.org/10.15294/jsm.v9i2.40592.
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Singing performance assessment still subjectively graded by jury, teacher, or committee. To understand assessment aspects in singing, the information was obtained from two experts one from junior high school 24 Semarang and the other a musician, Purwacaka, who has Musical School Purwacaka in Indonesia. This research aimed to produce singing performance assessment application with App Inventor 2 (AI2) that managed by Massachussetts Institute of Technology (MIT). AI2 is a cloud-based saving that could be accessed from internet browser. ADDIE development model with 5 steps, which are: Analysis, Design, Develop, Implementation, and evaluate. Indicators in this research were practicality, attractiveness, accuracy, and quickness in assess. Data collection for needs analysis taken qualitatively by interview and documentation. The singing assessment application consist of four assessment criteria, there are: technique, expression, song interpretation, and demonstration that form 18 items. This application has been tested by three experts by result: attractive, accurate score, and faster score calculation. The improvement for this application was score that could only be seen one by one later should be showed entirely and could be printed
Keywords: Performance Assesment, Singing, Based on Android, ADDIE
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Shulyaeva, O. V. "Phoneme and Acoustic Method of Teaching the Technique of Resonant Singing." Musical Art and Education 10, no. 2 (2022): 116–27. http://dx.doi.org/10.31862/2309-1428-2022-10-2-116-127.
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Bennett, Leslie. "Inspired states: adapting the Michael Chekhov Technique for the singing actor." Theatre, Dance and Performance Training 4, no. 2 (July 2013): 146–61. http://dx.doi.org/10.1080/19443927.2013.794157.
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Firgina Aura, Fanny, and Jagar Lumbantoruan. "PELAKSANAAN BINA VOKALIA DI SANGGAR PARINTANG BUKITTINGGI." Jurnal Sendratasik 9, no. 3 (September 15, 2020): 9. http://dx.doi.org/10.24036/jsu.v9i1.109437.
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Abstract This study aims to reveal the phenomena related to vocalia building at Parintang Studio Bukittinggi. These phenomena include sound production techniques, breathing, resonance, intonation, articulation, phrasering, and expression.This study uses a qualitative approach with the object of research was vocalia building at Parintang Studio Bukittinggi. The types of data used were primary and secondary data. The data were collected through literature study, observation, interviews, and documentation. The data analysis was conducted by identifying data, classifying data, clarifying data, analyzing data, describing / explaining data, and concluding.The results of the implementation of vocalia building in Parintang Studio are as follows. The training process at Parintang Studio is doing warming up as basic vocal technique exercise. It includes breathing exercises which are useful for regulating the right breath when singing, resonance exerciseswhich are useful for widening the range of sound, articulation exerciseswhich are useful for clarifying the pronunciation of words, intonation exercises which are useful for improving the ability to read tones, phrasering exerciseswhich are useful for keeping sentences intact, and expression exercises which are useful for expressing the meaning or atmosphere of a song sung. All vocal technique exercises are taught so that students can improve voice processing skills in singing. The obstacle found in the vocational training at Parintang studio is that there are still some student’s voices that are false and not in line with the tempo in singing. The students also do not have confidence. Repeating exercises is the solution made by the instructor to deal with students’ difficulties.Keywords: Studio, Vocalia Building, Parintang.
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Lei, Nu. "FEATURES OF GUO SHUZHEN'S PEDAGOGICAL STYLE." Arts education and science 2, no. 31 (2022): 36–41. http://dx.doi.org/10.36871/hon.202202005.
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Guo Shuzhen's creative and pedagogical heritage is a unique phenomenon in Chinese and world musical culture. However, only a small part of it has been studied to date, and all of these materials are in Chinese and are little accessible to the Russian reader. The purpose of this article is to reveal the basic principles of the singer's pedagogical practice. The study discusses some provisions of Guo Shuzhen's teaching method based on the unity of the development of the singing technique and the singer's figurative and emotional sphere. The author traces the professional path of Guo Shuzhen from her studies at the Moscow Conservatory to the height of her creative and pedagogical career. Special emphasis is placed on those aspects of the Moscow Conservatory vocal school that were directly applied in the singer's pedagogical activities — immersion into the culture of the country of the composer, development of professional singing technique, and psychological preparation of students to perform on the concert stage. Finally, conclusions are drawn about the effectiveness of Guo Shuzhen's method of teaching academic singing, as well as her role in the formation of the Chinese national vocal school.
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Wati, Ning Setio. "PENGARUH STIMULASI MENDENGARKAN LAGU DAN BERNYAYI TERHADAP PERKEMBANGAN BERBAHASA PADA ANAK USIA DINI." Elementary: Jurnal Ilmiah Pendidikan Dasar 4, no. 1 (June 7, 2018): 75. http://dx.doi.org/10.32332/elementary.v4i1.1081.
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Language is one of aspects that needs to be incressed for the development of early childhood. This study aims at determining the effect of listening and singing the songs on language development in early childhood at TPA Permata Bunda Metro. The design of this research is Quasi experiment with Nonequivalent control group pretest - postest design. The data collecting technique used observation sheet with a population of 10 children. The sampling technique was sampling random of 5 children. The normality test used Shapiro wilk. The data analized use Mann Whiney U test. The result shows that the value of Mann Whiney U test on language development with significant value 0.01 (P<0.05), it can be concluded that listening and singing the song activity can influence to language development for early childhood.
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Yuntina, Lily. "IMPROVEMENT OF CHILDREN’S LANGUAGE SKILLS THROUGH SINGING ACTIVITIES." Dialectical Literature and Educational Journal 6, no. 1 (June 30, 2021): 27–35. http://dx.doi.org/10.51714/dlejpancasakti.v6i1.42.pp.27-35.
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Education as a dynamic process in which children develop according to the inner terms of their lives, with their "voluntary work" when placed in an environment that is prepared to give them freedom of self-expression. One aspect that needs to be developed from an early age is language, the most ideal for learning a language other than the mother tongue (first language). The purpose of this research was to find out and get information about children's language improvement through singing activities, Research Subject was students at Kindergarten Al Marjan Bekasi. The type of research methodology is a descriptive qualitative method. Source of the data for this research took from the principal and teachers. The object were 26 students of Group B. Data collection technique through the results of the observations, interviews, documentation and field notes as data supporting. The type of observation used is passive participation observation. The stages of data analysis were consisted of data before, data in the field, and after completion of the field. Data validity checking techniques are based on credibility, transferability, dependability, confirmability. In checking the validity researcher used a degree of trust, with platform learning at home using social media as a communication tool between teachers and students. The result of this research, there is a significant increasing children’s language skill through singing activities.
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Sejati, Irfanda Rizki. "Bina Vokalia Learning As Extracurricular Activities In The Integrated Early Chilhood Education (PAUD) Of Salatiga Children Center." JURNAL SENI MUSIK 9, no. 1 (June 18, 2020): 83–87. http://dx.doi.org/10.15294/jsm.v9i1.29450.
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The process of learning in early childhood education and kindergarten is never apart from musical activities, although it is mostly just singing and dancing. Singing is one of the learning activities that is carried out daily from beginning of class to the end of class. Integrated PAUD Satya Wacana Children Center Salatiga provides a form of extracurricular Bina Vokalia at school to support learning, improve and develop student talent in singing. Vocal teaching of children is definitely different than adults, the delivery of the song material should be interesting to learners and in teaching the child's vocal techniques is need patience and technique. In view of today's modern times, many parents are increasingly giving their children activities outside school, especially music. Integrated PAUD Satya Wacana Children Center provides a vocal building learning facility that might develop a child's talent for music. The problem considered in the study is "how the learning process of Bina Vokalia and how the obstacles and solutions to delivering vocal materials in integrated PAUD Satya Wacana Children Center "
The study employs qualitative research methods with descriptive exposure. Research subjects are students and teachers of integrated PAUD Satya Wacana Children Center salatiga. Data collection results with observation techniques, interviews, documentation and data analysis. Data analysis techniques divide into three phases that are data reduction, data presentation, and conclusions. The results of the interviews and observations already collected include the documentation, pictures, photographs, field notes, personal notes, and other documents after studied and researched than reduced to an abstraction.
As the results of research, researchers concluded that the Bina Vokalia PAUD activities could help students develop singing skills early on, not only good vocal techniques but training children to be bolder and more confident in the activities organized by the foundation. The advice is that music teachers should not be absent too often, requiring an additional event of school in order to make children more active and creative. It is necessary to increase the practice time and musical facilities so the children do not become bored prematurely.
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Melton, Joan. "Essay Sing Better, Work More: Integrating Singing Technique into Theatre Voice Training." Voice and Speech Review 2, no. 1 (January 2001): 312–14. http://dx.doi.org/10.1080/23268263.2001.10761484.
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Mavaddati, Samira. "A Novel Singing Voice Separation Method Based on a Learnable Decomposition Technique." Circuits, Systems, and Signal Processing 39, no. 7 (January 8, 2020): 3652–81. http://dx.doi.org/10.1007/s00034-019-01338-0.
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Safronova, O. L. "Basic principles of articulation development in the pop and jazz vocal." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 136–39. http://dx.doi.org/10.30725/2619-0303-2020-4-136-139.
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In this paper we will look at important issue of articulation in the pop and jazz vocal. The author touches upon the correlation and interaction of articulation skills and other components of the singing apparatus. Special attention is paid to the scat technique, which is considered through the prism of analyzing the improvisation techniques inherent in the jazz style. Author’s experience with this method provides students with effective exercises for the articulation apparatus development, and offers valuable articulation tips, both in the technical and creative areas. As a result of these exercises, students will fully develop their creative potential and master the technique of pop and jazz vocals.
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Agheana, Viorel, and Ligia Mircea. "Effectiveness of using the resonant vocal techniques in singing voice disorders." Review of Psychopedagogy 11, no. 1 (December 14, 2022): 88–97. http://dx.doi.org/10.56663/rop.v11i1.45.
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Singing voice disorders are an important segment of vocal pathology, targeting a niche of professional and amateur singers of all musical genres. The aim of this study is to evaluate the effectiveness of using the principles of vocal hygiene and the eclectic vocal therapy model by combining three resonant vocal techniques: humming, the method of disguised yawning and the chewing technique, in the corrective-recuperative vocal therapy program. The positive effects of the vocal therapy used in all five case studies were observed. If the initial assessment relates to altered vocal parameters, pain in the laryngeal muscles and a negative influence of vocal problems on quality of life, the final assessment found normalization of vocal parameters, decreased pain and improved the quality of life.
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Sonhaji, Sonhaji, and Roland Lekatompessy. "Efektifitas Spiritual Emotional Freedom Technique (SEFT) dan menyanyi terhadap tekanan darah lansia di rumpelsos pucang gading semarang." Health Sciences and Pharmacy Journal 3, no. 1 (August 2, 2019): 14. http://dx.doi.org/10.32504/hspj.v3i1.93.
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The result of statistical analysis obtained data on the average blood pressure inthe left group before being given the intervention of 173,76/96,41 while after being given the intervention of 170,29/93,82. On the singing group before being given intervention, the average of blood pressure of 153,06/87,41 and after being given intervention tobe 168/87. Camparative test results in both groups between before and after ihe invention were obtained p – value = 0,00 (p- value p < 0,05). Conclusion was spiritual emotional freedom techneque (SEFT) is more effective than singing to reduce the blood pressurenof the elderly with hypertension in social service home, Pucang Gading, Semarang. One of the body system disorders that is often experienced by the elderly. Namely the cardiovascular system such as hypertension. Hypertension of elderly can caused bad condition such as heartdiscase, stroke and kidney failure, there fore, intervention is needed to maintain blood pressure within normal himits.
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Goldsby, Tamara L., Michael E. Goldsby, Mary McWalters, and Paul J. Mills. "Sound Healing: Mood, Emotional, and Spiritual Well-Being Interrelationships." Religions 13, no. 2 (January 27, 2022): 123. http://dx.doi.org/10.3390/rel13020123.
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Psychosocial stress, tension, and depression are quite common in many parts of the developed world. Integrative medicine techniques which may potentially increase spiritual and emotional well-being may be useful in combating chronic psychosocial stress, as well as challenges with depression and excessive tension. The present observational study examines the effect of singing-bowl sound healing on emotional and spiritual well-being and particularly examines interrelationships between changes in spiritual well-being with changes in tension and depressed mood post-sound healing. Participants experienced a sound healing environment of vibrational musical instruments such as singing bowls (bell-like instruments), gongs, and other vibrational instruments. Sixty-two participants were examined in an observational study using singing-bowl sound healing. Emotional and spiritual well-being were examined by utilizing standardized questionnaires. Results revealed significant correlations between improvements in scores of spiritual well-being and reductions in scores of tension and depression post-sound healing. Moreover, effects varied by age of the study participants. Specifically, the association between spiritual well-being improvement and depression improvement was strongest for ages 31–40, while spiritual well-being improvement and tension improvement associations were strongest for ages 51–60. Implications for applying sound healing meditations as a potential low-cost, low-technology therapeutic technique are discussed for emotional and spiritual well-being.
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Ilić, Miona. "The presence and importance of choirs made up of students from younger grades of primary school in Serbia." Norma 25, no. 1 (2020): 93–108. http://dx.doi.org/10.5937/norma2001093i.
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Considering the fact that the elementary school students do not have enough information on proper singing, vocal technique and using and taking care of their voice, this paper analyzes the importance of choir singing at this age, the presence of such choirs in Serbian elementary schools, and the reasons that make their formation difficult. Relying on the relevant literature, the paper analyzes the data obtained through a questionnaire on the presence of choirs made up of pupils from younger grades of primary school, as well as on the views of teachers on the reasons for the current situation. The research has shown that in the majority of schools in Serbia choir singing is not taught at all, due to the lack of motivation of teaching staff resulting from unfavorable financial circumstances. Such data are of vital importance, since only an insight into the actual situation can enable us to work on the improvements in the pedagogical practice.
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Blakeslee, Sarah D. M. "Special Considerations When Working With the Pediatric Vocal Performer." Perspectives on Voice and Voice Disorders 23, no. 1 (March 2013): 22–27. http://dx.doi.org/10.1044/vvd23.1.22.
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Providing care to a performer with vocal injury requires an understanding of the physiology of the singing voice and appreciation for the complexities of the life of a performer. However, when the performer who presents to the clinic is a child or teenager, there are additional challenges, and providing appropriate care requires a special understanding of the changes that take place during vocal development across childhood and adolescence. This includes the physical changes that occur in the respiratory, phonatory, and resonatory systems; the effects of these changes on the singing voice especially in regards to puberty; and additional challenges ones faces when working with a performer who may have minimal training and whose instrument is continuing to develop. A thorough evaluation is necessary before recommending voice therapy. Voice therapy with pediatric vocal performers is similar to voice therapy with adults, but may have a larger focus on education regarding normal anatomy and physiology of the vocal mechanism, vocal hygiene, vocal warm-ups, and basic singing technique.
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Fitri, Aida, and Suci Fitriani. "IMPLEMENTATION OF LEARNING OF VOCAL PROCESSING TECHNIQUES USING THE NHT MODEL IN SD NEGERI 10 LUT TAWAR ACEH CENTRAL." Jurnal Pesona Dasar 10, no. 2 (November 12, 2022): 28–42. http://dx.doi.org/10.24815/pear.v10i2.28393.
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The learning model is a plan or pattern that can be used to desaign learning, materials, and guide learning the classroom. This study aims to describe the implementation of vocal technique learning using the NHT model fourth grade of SD Negeri 10 central Aceh. This research approach is qualitative with descriptive type. Data collection techniques by observation, interviews. Data analysis technique is done by data reduction, data presentation, data verification. Based on research data that the implementation of learning technique using the NHT model has been going well. The use of the NHT model when learning motivates students in learning vocals processing techniques. Students are divided in to several groups and given assignments as ccording to initials or number. Each groups completes its task and presents the result of the task. They can also demonstrate in the form of singing practise by applying the corect vocal techniques. Keywords: Learning, NHT Model, Vocal Processing
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Mistortoify, Zulkarnain, Timbul Haryono, Victor Ganap, and G. R. Lono L. Simatupang. "Pola Kellèghãn dan Teknik Vokal Kèjhungan Representasi Ekspresi Budaya Madura dan Pengalaman Estetiknya." Resital: Jurnal Seni Pertunjukan 15, no. 1 (November 10, 2014): 1–17. http://dx.doi.org/10.24821/resital.v15i1.796.
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Kèjhungan adalah gaya nyanyian Madura yang memiliki ciri-ciri kontur melodi dengandidominasi nada-nada tinggi, penuh dengan ketegangan suara (nyaring), ekspresif, dan terpola.Kèjhungan seringkali dianalogikan sebagai sebuah bentuk ekspresi “keluh-kesah” semata. Kelantangansuara, ketinggian nada, dan pengolahan melodi yang penuh melismatis mengesankan nyanyian iniseperti orang yang sedang berteriak, membentak, dan merintih-rintih. Penelitian ini dilakukan untukmengungkap hubungan antara karakteristik kèjhungan dengan dunia pengalaman manusia pemiliknya.Oleh karenanya, aspek yang dikaji tidak hanya melihat aspek materi nyanyian itu sendiri, melainkanmelihat pula perilaku menyanyikannya. Melalui analisis struktural-hermeneutik dan pendekatanetnoestetik, ditemukan bahwa kellèghãn (pola-pola kalimat lagu) menjadi karakteristik pokok daribentuk kèjhungan dan teknik vokalnya yang bertumpu pada capaian ekspresi yang “menggebu-gebu”.Ide dan konsep yang tergali dibalik itu menunjukkan adanya relasi antara kebiasaan menyanyi orangMadura dengan pengalaman sejarah sosial-budayanya. Hasil penelitian ini menunjukkan bahwanyanyian Madura secara fenomenologis memberikan petunjuk yang sangat jelas sebagai representasidari ekspresi budaya dan pengalaman estetik, khususnya pada sub kultur barat Madura. Kellèghãn Pattern and Kèjhungan Vocal Technique, the Representation of Madurese CulturalExpression and Aesthetic Experience. Kèjhungan is a singing style specific to Madurese. It features thepatterned melodic contour dominated by high pitch vocal, expressiveness, and full of vocal intensity. Maduresekèjhungan is often misperceived only as a form of “moaning” due to its piercing sound, high pitch note, andmelismatic melody. Kèjhungan gives an impression of a person shrieking and moaning at the same time. Thestudy of kèjhungan was conducted to reveal the relationship between the singing characteristic and humanexperiences. Therefore, kèjhungan aspects should not only focus on the singing material itself, but it shouldalso include a study on how people sing it. Using the structural-hermeneutic analysis and ethno aestheticapproach, the kellèghãn (patterns of musical phrase) and vocal techniques that rest upon volatile expressionare the basic characteristics of kèjhungan. The idea and concept behind those techniques show a connectionbetween Madurese singing practice and the chronicle of their socio-cultural experience. Finally, this researchshows that in phenomenological aspect it gives a very clear clue on the representation of the Madurese cultureexpression and aesthetic experience, especially the sub-culture of West Madura.
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Czajkowski, Anne-Marie Louise, Alinka Elizabeth Greasley, and Michael Allis. "Mindfulness for Singers: A Mixed Methods Replication Study." Music & Science 4 (January 1, 2021): 205920432110448. http://dx.doi.org/10.1177/20592043211044816.
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Objectives: Mindfulness has been explored in the clinical and educational fields but has rarely been studied in the music domain. This study investigated the effects of teaching eight-week Mindfulness for Singers courses on vocalists’ music education and performance. Methods: A mixed methods approach was utilized, which included controlled and randomized controlled trials using standardized and novel mindfulness measures pre- and post-intervention, interviews post-intervention and three months later, concurrent diaries, and a blinded teacher study. Participants included singing students (total n=52) and their teachers ( n=11) from a university and a music college over a period of two years. Results: Levels of mindfulness increased over the intervention for experimental participants in comparison to controls. Considering their total student cohort, teachers identified 61% of eligible mindfulness singing participants as having completed the mindfulness intervention. Experimental participants reported that learning mindfulness had positive effects in lessons, solo and group instrumental practices, and when performing on stage. They described more focus and attention, positive effects of increased body awareness on singing technique, enhanced socio-collaborative relationships, reductions in performance anxiety, and beneficial effects whilst performing, such as more expressivity and enjoyment. Conclusions: Learning mindfulness had positive holistic effects on vocal students and was well received by their mindfulness-naïve singing teachers. Findings suggest that it would be highly beneficial for mindfulness to be made available in music conservatoires and university music departments alongside singing lessons for singers to enhance their present experience as vocal students and their futures as performers and teachers.