Academic literature on the topic 'Vocal activities'
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Journal articles on the topic "Vocal activities"
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Chen, Jianying. "Communicative Potential of Students’ Vocal Ensemble Activities." Research Notes, no. 1 (March 26, 2018): 74–79. http://dx.doi.org/10.31654/2663-4902-2018-pp-1-74-79.
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Guntara, Danil, and Irdhan Epria Darma Putra. "PEMBELAJARAN VOKAL DI SMP NEGERI 1 PAYAKUMBUH." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 433. http://dx.doi.org/10.24036/jsu.v9i2.110595.
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This study aims to describe Vocal Learning in SMP 1 Payakumbuh. This research used qualitative approach, and it belongs to descriptive research. The data were collected through observation, interview, and documentation. The data analysis was conducted through data collection, data reduction, data presentation, and conclusion drawing .Data validity test was done by extending observations and increasing persistence. The results of this study indicate that: (1) lesson planning includes: a. The material being taught is provided in stages, b. The methods used are the lecture method, demonstration method, question and answer method, and assignment method, (2) the implementation of vocal learning includes: initial activities, core activities, and final activities, (3) learning evaluation includes process evaluation seen from students’ discipline, activeness, and seriousness. In addition, evaluation of results seen from the activities when students demonstrate. It uses indicators of techniques, material, and appearance.Keywords: Vokal, Materials, and learning outcomes
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Limarenko, Valerii. "Methodical competence of the future leader of the vocal ensemble: categorical analysis of the problem." Academic Notes Series Pedagogical Science 1, no. 189 (August 2020): 189–92. http://dx.doi.org/10.36550/2415-7988-2020-1-189-189-192.
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The article reveals the features of such concept as «The vocal ensemble future leader methodological competence». It is necessary to distinguish such concepts as «preparedness» and «competence». The essence of the following concepts was revealed: «competence», «pedagogical competence», «methodical competenc», the essence analysis and structure of the vocal ensemble has been carried out. The professional competence of a modern specialist is a complex multi-component concept. Researchers come to the common opinion that methodological competence is an integrative set of knowledge, skills, and abilities that characterize the personality and mediate the specialist professional experience, it is knowledge in the didactics field, teaching methods. Vocal training is a complex process, the training of the vocal ensemble future leader is impossible without it. The concept of «ensemble» is polysemantic. In musical performance - it means any joint performance of a musical work. Therefore, such combinations as trio, quartet, quintet, and others are called ensembles. The vocal ensemble future leader must know the theoretical material and be acknowledged about the methods of working with the vocal ensemble. In the educational-professional program 025.00.02 «Solo singing» of the first (bachelor's) level of higher education the program, general and professional competences are specified. The purpose of the program is to prepare a competent competitive artist of the ensemble, a teacher of primary specialized art schools, capable of concert-performing and vocal-pedagogical activities. Provide higher vocal education with the possibility of teaching in primary specialized art schools. Vocal-methodical competence is defined as mastery of the method of voice production, methods of development of vocal technique, singing culture, creative potential of the singer. Knowledge of the principles of classification of singing voices and the ability to correctly determine the type of singer's voice. Ability to design vocal and pedagogical repertoire for different types of singing voices (children, adults). Possession of methods of work on vocal exercises, vocals, vocal works of various form, genre, style. Ability to apply the acquired knowledge and skills in the process of teaching solo singing in primary specialized art schools.
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Zhou, D., Q. Huang, W. M. St John, and D. Bartlett. "Respiratory activities of intralaryngeal branches of the recurrent laryngeal nerve." Journal of Applied Physiology 67, no. 3 (September 1, 1989): 1171–78. http://dx.doi.org/10.1152/jappl.1989.67.3.1171.
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To distinguish experimentally between motor nerve activity destined for vocal cord abductor muscles and that bound for muscles that adduct the cords, we recorded efferent activities of intralaryngeal branches of the recurrent laryngeal nerve (RLN) in decerebrate, vagotomized, paralyzed, ventilated cats. Activities of the whole RLN and phrenic nerve were also recorded. Nerve activities were assessed at several steady-state end-tidal O2 and CO2 concentrations. The nerve to the thyroarytenoid (TA) muscle, a vocal cord adductor, was only slightly active under base-line (normocapnic, hyperoxic) conditions but in most cats developed strong activity during expiration in hypocapnia or hypoxia. In severe hypocapnia, phasic expiratory TA activity persisted even during phrenic apnea, indicating continuing activity of the respiratory rhythm generator. The nerve to the posterior cricoarytenoid (PCA) muscle, the vocal cord abductor, was always active in inspiration but often showed expiratory activity as well. This expiratory activity was usually enhanced by hypercapnia and often inhibited by hypoxia. The results are consistent with previous electromyographic findings and emphasize the importance of distinguishing abductor from adductor activity in studies of laryngeal control.
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Saniga, Richard D., and Margaret F. Carlin. "Varying Signal-to-Noise Ratios in Adolescent Voice Therapy." Language, Speech, and Hearing Services in Schools 22, no. 3 (July 1991): 179–88. http://dx.doi.org/10.1044/0161-1461.2203.179.
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In our society competing noise has become part of most everyday activities. Vocal abusers need to learn to compensate for this auditory distractor. The present paper describes a voice therapy program for adolescent vocal abusers that utilizes a varying signal-to-noise ratio. Once this compensation is learned, vocal abusers can maintain an appropriate fundamental frequency and vocal intensity in their speaking voice.
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Davlatova, T. "The creative path of Maria Donets-Tesseyr (based on archival materials)." Musical art in the educological discourse, no. 3 (2018): 89–92. http://dx.doi.org/10.28925/2518-766x.2018.3.8992.
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The article examines the creative path of the famous Ukrainian opera singer and vocal teacher Maria Eduardivna Donets-Tesseyr. It provides the biographical facts about M. Donets-Tesseyr, her performing and teaching activities on the basis of archive materials of the Central State Archive-Museum of Literature and Art of Ukraine, works of her pupils and contemporaries, as well as the research of modern art. Some disagreements concerning the facts of her biography, in particular, the year of the birth of the singer, are specified in her own autobiography. This fact is first introduced into scientific circulation. The information is provided on the period of M. Donets-Tesseyr’s studies at various vocal pedagogues, as well as their influence on her becoming a soloist and vocal teacher. Features of personal and creative relations of M. Donets-Tesseyer with her vocal teacher O. Mishuga are analysed on the basis of the singer’s memories. The educational activity of O. Mishuga from the point of view of memories of M. Donetsk-Tesseyr and the statements of O. Mishuga himself is considered. These materials deal with the methodology of teaching vocals and educating an opera singer. The statements of well-known vocal teachers, in particular, O. Mishuga and V. Vanzo, concerning the issues of vocal pedagogy are given. The continuity of the pedagogical principles of O. Mishuga and V. Vanzo in the activity of M. Donets-Tesseyr, as a vocal teacher, and her personal contribution to the development of the methodology for raising high female voices, is highlighted. The peculiarities of the personal development of M. Donets-Tesseyr as a teacher of vocal art are revealed. The significant contribution of the vocal-pedagogical activity of M. Donets-Tesseyr to the development of Ukrainian opera art of the middle of the 20th century is proved.
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Shylo, A. "Performing activities of Larisa Rudenko (based on archival materials)." Musical art in the educological discourse, no. 3 (2018): 93–96. http://dx.doi.org/10.28925/2518-766x.2018.3.9396.
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The article covers the performance of the famous Ukrainian opera singer Larysa Arkhipivna Rudenko based on archival materials of her Personal Fund [F. 120], which are stored in the Central State Archive-Museum of Literature and Art of Ukraine. The archival material is represented by periodicals of the late 30s and early 80s of the 20th century, in particular, articles about the artist’s creative activity and reviews of musical critics at her concerts. The above archival materials are first introduced into scientific circulation. The article reveals the peculiarities of L. Rudenko’s performance and her role in the development of Ukrainian vocal art in the second half of the 20th century. Unknown pages of the biography and performances of the outstanding opera singer L. A. Rudenko, student of the founder of the Ukrainian vocal school Olena Oleksandrivna Muravieva are considered. The main methods of the work of the outstanding vocal teacher O. Muravieva are described in the words of her famous pupils L. Rudenko and L. Yefremova. The first creative searches by L. Rudenko began during her studies at the Kyiv Tchaikovsky Conservatory. The figure of L. Rudenko is associated with the state archives of Ukraine, in particular: at the National Music Academy of Ukraine named after P. I. Tchaikovsky and presented by documents testifying to the high professionalism of L. Rudenko as a vocal teacher and personal fund of Larisa Rudenko of the Central State Archives-Museum of Literature and Art of Ukraine. The author analyses individual achievements of the performer on the example of her work on operatic parties. The attention is paid to the peculiarities of L. Rudenko’s work on women’s images: the full sound of the singer’s voice is harmoniously combined with a detailed elaborated scene drawing of a role. The performance of L. Rudenko is presented in the coverage of professional music criticism and periodicals. The significant influence of L. Rudenko’s performance on the development of Ukrainian operatic art of the second half of the 20th century has been proven.
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Cardany, Audrey Berger. "Favorite Children’s Books for Vocal Exploration and Pitch-Matching Activities." General Music Today 30, no. 3 (January 10, 2017): 22–25. http://dx.doi.org/10.1177/1048371316687607.
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In this article, the author shares favorite children’s books and stories for integrating language and music during shared-book experiences. The music activities described are aimed to contribute to the overall singing development for children in preschool and primary grades. Music and reading teachers will enjoy sharing these books with early readers in ways that foster expressive speaking and singing through vocal exploration and singing repeated melodic patterns.
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Shevchenko, Anastasiia, and Olga Lobova. "Methodology of the formation of the teen-agers’ vocal and jazz culture at classes on pop singing." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (August 29, 2019): 80–87. http://dx.doi.org/10.24195/2617-6688-2019-2-12.
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The importance of the development of individual’s general culture as a factor of his / her harmonious education stipulates the relevance of the study. The purpose of the article is to describe the methods enabling the formation of teen-agers’ vocal and jazz culture at classes on pop singing (in musical schools and during extra-class activities in institutions of general secondary education). Methods of systematization and generalization of scientific sources, theoretical modelling, pedagogical experiment and so on have been used to achieve this goal. The scientific approaches (systemic-structural, personality-developmental, activity-oriented, competence-based, cultural ones) and didactic principles facilitating the formation of the vocal and jazz culture (the principles of systematicity, visual aids, unity of artistic-emotional, technical and complex development of the vocal and jazz culture) have been determined. The stages (motivational-stimulating, cognitive-developmental, performing-creative) as well as pedagogical conditions for the formation of the teen-agers’ vocal and jazz culture have been outlined: construction of educational process taking into account the children’s capabilities to perceive vocal and jazz music; systematic complex development of all the components of the vocal and jazz culture consistently emphasizing them at different stages of the training; giving the opportunities for vocal and creative self-realization, diversification of the experience of jazz musical performing activities. General vocal and pedagogical methods have been revealed to be the leading ones (concentric, search-oriented, phonetic, imaginary or internal singing methods, comparative analysis); special methods enabling the formation of the teen-agers’ vocal and jazz culture have been determined: “a listening-jazz collecting box”, technical vocal and jazz exercises, creative vocal and jazz drills, etc. The experimental verification of the developed methodology has proved its effectiveness at classes on singing variety music at establishments of general secondary education. Keywords: teen-agers’ vocal and jazz culture, developing methods, scientific approaches and didactic principles, stages, pedagogical conditions and methods, classes on vocal and jazz singing.
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Shastina, T. V. "Russian vocal school: traditions and perspectives." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 140–44. http://dx.doi.org/10.30725/2619-0303-2020-4-140-144.
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Russian vocal school as a significant part of the Russian and unique phenomenon of world musical culture, developed and developed as an original direction of vocal professional performance and vocal pedagogy. The evolution of vocal performance and vocal pedagogy, the formation and development of the Russian vocal school and its traditions have shown that vocal pedagogy develops together with vocal performance, analyzing and generalizing experience, creates and tests its methods, develops singing attitudes and develops pedagogical technologies that contribute to the education of singing culture. Russian singing traditions and vocal education, their scientific research and reproduction, identification of prospects for the development of the modern Russian vocal school, identification of ways to continue existing traditions, development and scientific justification of new vocal and pedagogical technologies are relevant today. The perspective of the development of the Russian vocal school is seen in the reproduction of traditions, scientific justification of its pedagogical foundations, in the formation of performers who have a high level of motivation for singing activities and physiological potential for mastering various phonation techniques, able to learn new things in the art of singing.
Dissertations / Theses on the topic "Vocal activities"
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Pesantez, Rosana. "Comparing Prompt Delay and Total Communication for Training Vocal Intraverbals in Children with Autism." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4385.
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Verbal behavior encompasses a wide range of aspects in our everyday lives and in the activities of a society. Many verbal behavior interventions often include programs to teach answering questions, these responses are referred to as intraverbals. Previous research has demonstrated a higher rate of acquisition of verbal targets such as mands and tacts for children with a limited verbal repertoire when a presentation of both sign and vocal prompts occur simultaneously (Total Communication), in comparison to sign-alone or vocal-alone trainings. However, an important variable not often examined in the literature is the comparison of Total Communication (TC) and Prompt Delay (PD) to further evaluate which leads to higher rates of acquisition. The current study extends previous research by evaluating the relative effectiveness of TC and PD in teaching intraverbal skills to three children who have been diagnosed with autism. During the TC condition the participants were required to emit a vocal and sign response simultaneously during training. During the PD condition, participants were required to emit only a vocal response during training. The results suggest that there was no clinically relevant difference between the two conditions in the acquisition of intraverbals for these participants.
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Kaufman, Erin Anne. ""Less corn and more culture:" vocal music activities in Iowa's rural schools and neighborhoods, 1900-1940." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2538.
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This dissertation explores the roots, growth, and significance of vocal music activities in Iowa's rural schools and communities, from roughly 1900 to 1940. Specifically, it analyzes the development of rural school choirs, sponsored by Iowa State Teachers College (ISTC), and the development of extension music outreach, sponsored by Iowa State College (ISC). Functioning as the state's sole state normal school, ISTC had primary responsibility for training the state's teachers, including its rural teachers. Part of ISTC's outreach to rural teachers entailed teaching them how to teach vocal music, a relatively new subject required in Iowa's public schools. From this outreach grew rural children's choirs, comprised of students who passed competency tests and performed for local and state events. Functioning as the state's land-grant institution, ISC conducted extension activities in local communities from fairly early in its history. Eventually, 4-H programming for girls, home demonstration projects for women, and Iowa Farm Bureau Federation (IFBF) activities came to incorporate music study and eventually performance. The highpoint of the musical activities associated with ISC came in 1934-1935, when girls' 4-H clubs and farmwomen's groups studied and then performed the opera, The Bohemian Girl. With calls for the revitalization of rural communities through increased recreational opportunities and the rededication of country schools as community social centers throughout the early decades of the twentieth century, vocal music activities in Iowa's schools and communities came to play a key role in building up and sustaining a sense of community in Iowa's rural neighborhoods. Because both ISTC-supported rural choirs and ISC-supported music outreach grew out of and had an impact on participants' communities, this dissertation provides a sense of the social and economic changes occurring in rural Iowa during the early decades of the twentieth century. This dissertation draws on John Dewey's writings about art in order to delve more deeply into the connection between the fine arts and community.
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Cumming, Marie-Victoire. "How vital is the voice? The use of vocal activities in group music therapy with institutionalised individuals with Cerebral Palsy in providing opportunities for self-expression and social interaction." Diss., 2012. http://hdl.handle.net/2263/29125.
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This research study explores how the use of a selection of vocal activities in group music therapy may provide institutionalised individuals with CP opportunities for self-expression and social interaction. In addition, the manner in which self-expression is related to social interaction, in this context, is investigated. The study falls into the interpretive paradigm and uses a qualitative approach. A case study design is utilised. A total of eight sessions were conducted over a period of eight weeks, with a group comprising five individuals with CP, ranging from 9-17 years of age. Each individual presented with communication and cognitive impairments, resulting in an inability to verbally communicate. The study makes use of two sources of naturally-occurring data, including four selected video excerpts and in-depth clinical session notes. Coding, categorising and theme identification are utilised in the analysis of the video excerpts and corresponding session notes. My role as music therapy intern in facilitating the vocal activities was key to this process, in terms of providing the individuals with opportunities for self-expression and social interaction. My role in facilitating the vocal activities contributed towards the development of a therapeutic relationship with myself and the group members, which in turn, created the capacity for the ability to socially interact with one another in the group, paralleled with certain stages of relating as theorised within Object Relations Theory. Through my engagement with the group members and because of the existing therapeutic relationship between us, a capacity was created for the individuals to interact and engage with others, enhanced by my role in providing, holding and containing the individuals in order for them to feel safe and confident to interact with others in the group. CopyrightDissertation (MMus)--University of Pretoria, 2012.
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Pakandlová, Martina. "Výběr pěveckého repertoáru pro 3. - 5. ročník ZŠ." Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-445994.
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This thesis deals with the possibilities of working with the selected writing repertoire in the 3rd-5th year of primary school. The aim is to present a wider range of musical activities with a focus on vocal activities for the five selected songs. The first part of the thesis consists of a theoretical part, in which we characterize the physical, psychological, musical and vocal development of pupils of younger school age. In the following chapters, we set out the criteria for selecting a singing repertoire and analyze selected publications in which we can be inspired in its selection. Based on the selected criteria, we present a sand repertoire compiled according to the course of the school year. For each selected song we present the introductory motivation, suggestions for talking about the song, training vocal exercises, recommended method of its rehearsal, dance rendition and instrumental accompaniment. For these songs, the reader will also find possibilities of inter-subject connection, for example with art education, drama education of homeland science or natural science. Some of the submitted initiatives partly meet cross-cutting topics, namely multicultural and environmental education. From the proposed activities we compiled models of teaching hours with a focus on song rehearsal, through...
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Smrčková, Tereza. "Audiosložka ve vyučování češtiny jako cizího jazyka." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-344508.
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(in English): This thesis deals with the issues of teaching listening in Czech as a foreign language. It is based on studying theoretic sources, structured observing and the comparison of didactic materials, on questionnaires and informal interviews. In its theoretical part, it brings a brief overview of present knowledge in this field, using predominantly foreign sources that deal with teaching English as a foreign language. The second part enables the comparison of various didactic materials from the points of view acquired in the previous chapter, and it also provides an overview of the typology of listening tasks, including their evaluation. The last chapter designs some new sample materials based on what has been found out about their imperfections in this field so far, and it also mentions some suitable resources for designing the new listening tasks. The merit of this thesis on the theoretical level consists of making the main results of contemporary Anglo-American science accessible for the Czech auditory, on the practical level it lies in presenting an overall list of listening tasks and showing (in the Czech materials) some so far unknown possibilities of teaching the listening comprehension, these alternatives being accompanied with practical examples.
Books on the topic "Vocal activities"
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Elizabeth, Zylla-Jones, ed. Learning about voice: Vocal hygiene activities for children. San Diego: Singular Pub. Group, 1998.
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Flynn, Pauline T. Using your voice wisely and well: Vocal awareness activities for children. 2nd ed. Austin, Tex: Pro-Ed, 2004.
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Glee: Foreign exchange. New York: Poppy, 2011.
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Renee Shropshire & Chrissy Haislip. Vocab-u-themes: 648 basic vocabulary pictures with language activities. Greenville, S.C: Super Duper Publications, 1999.
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Flynn, Pauline T. Using your voice wisely and well: Vocal awareness activities for children. Communication Skill Builders, 1990.
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Vocal And Instrumental Groups: Making Music (Cocurricular Activities Their Values and Benefits). Mason Crest Publishers, 2005.
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Renee Shropshire & Chrissy Haislip. Vocab-u-themes: 648 basic vocabulary pictures with language activities (Super Duper series). Super Duper Publications, 2001.
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Glixon, Jonathan E. The Porous Grate. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190259129.003.0006.
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There were several reasons why the nunneries found it necessary to hire male music teachers. While in most cases new nuns learned plainchant from the older members of the choir, in certain situations outside expertise was required. Novices also required training in singing their portions of the rituals of clothing and profession, a role often carried out by secular professionals. The nunneries also housed young women resident students, whose studies, in addition to languages and comportment, sometimes included vocal or instrumental music. Teachers for these various purposes included G. B. Volpe, Giovanni Rovetta, Bartolomeo Barbarino, and Francesco Cavalli. All of these activities involved potentially dangerous interactions between the nuns and unrelated men, so the civil and ecclesiastical authorities attempted to maintain close control, if necessary arresting and trying men, including the organist Giovanni Pichi, who violated procedures.
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Openshaw, Nigel Mark. Elementary English Discussion Topics: Engaging ESL Activities to Develop Vocab, Confidence and Basic Conversational Skills. Independently Published, 2019.
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Mirchandani, Sharon. Expansion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0005.
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This chapter focuses on Marga Richter's compositions during the 1980s. Hoping to build on her 1970s success, Richter wrote primarily symphonic and chamber music but also returned to writing vocal and choral music. In 1980 she completed her Spectral Chimes/Enshrouded Hills for three orchestral quintets and orchestra. The initial working title was “Music for Three Quintets and Orchestra,” but was expanded to Music for Three Orchestral Quintets and Orchestra. This chapter begins with a discussion of English and Irish influences on Richter's works before turning to some of her compositions of the period, including Exequy and Lament for Art O'Leary. It also examines Richter's Arizona-inspired pieces and her all-Richter concert in New York City; her visit to Germany and her works while in Düsselfdorf; her visit to China and Tibet that led her to write Qhanri (snow mountain): Tibetan Variations for cello and piano; and her 1985 piece Out of Shadows and Solitude for full orchestra. The chapter concludes with an overview of Richter's activities after the death of her husband Alan Skelly.
Book chapters on the topic "Vocal activities"
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Lee, Jack T., and Rajani Naidoo. "Complicit Reproductions in the Global South: Courting World Class Universities and Global Rankings." In Evaluating Education: Normative Systems and Institutional Practices, 77–91. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7598-3_6.
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AbstractThe proliferation of global rankings has led to vigorous debates about the dominance of world-class universities and the encroaching institutional isomorphism in higher education. Specifically, the narrow metrics of rankings celebrate STEM research and institutional reputation at the expense of the humanist roots of higher education: teaching, self-cultivation, and community engagement. This critique on global rankings faces an equally vocal demand that a country must develop world-class universities in order to remain economically competitive in the global era – an instrumental logic that attracts devotees in both advanced economies as well as developing economies. Ironically, policymakers in both contexts simultaneously lament the prevalence of rankings and calibrate strategies to promote success in league tables. Although rankings attract scrutiny in both higher education policymaking and research, the implications of these metrics on higher education in the Global South receive little attention. The discourse is largely focused on top and mid ranking institutions, which are often located in the Global North. In the Global South, global rankings and the concept of world-class universities act through subtle yet powerful mechanisms to shape the contours of higher education. For many institutions and states in the Global South, the fervour is less about creating a world-class university and more about establishing links with well ranked universities (domestically and internationally). Therefore, while the explicit goal is not to build a world-class university, policymakers are nevertheless complicit in reproducing the hegemony of global rankings. This chapter will examine the activities in which global rankings exert tremendous pressure on the Global South: curriculum development, student mobility, faculty recruitment, research partnerships, and strategic planning. In mapping out the mechanisms of reproduction, the goal is to highlight the pervasive influence of global rankings and the complicity in reproduction rather than paint a binary division between the global and local dimensions of higher education.
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Goodwin, Marjorie Harness. "Crafting activities: Building social organization through language in girls' and boys' groups." In Social Influences on Vocal Development, 328–41. Cambridge University Press, 1997. http://dx.doi.org/10.1017/cbo9780511758843.017.
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Stavropoulou, Sofia, and Anastasia Georgaki. "Exploring Singing Vocal Pedagogy in the Greek Elementary School through Interactive Technologies." In Advances in Multimedia and Interactive Technologies, 310–24. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0270-8.ch015.
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A growing body of interdisciplinary research suggests that children's structured engagement in musical activities may have a positive impact on social inclusion by means of offering opportunities for social bonding, developing interpersonal relationships and empowering self-expression, health and well-being. In this paper we investigate the amelioration of children's voice accuracy and quality in signing through a visual feedback software. The research took place in two public elementary schools in Athens in a total of sixty children aged 6-9 years old and with a different cultural background. The statistical analysis on the effectiveness of the software has proved the amelioration of the children's voice quality before and after its use.
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Jonas, Michael. "Hammarskjöld at The Hague." In Crafting the International Order, 113–41. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863830.003.0006.
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The chapter probes into the segment of small-state representatives at the Second Hague Peace Conference in 1907 by focusing on the views and activities of one of the more vocal and influential among the delegates, Hjalmar Hammarskjöld (1862–1953). The analysis of Hammarskjöld’s role, presence, and activities at The Hague serves as a prism of international legal diplomacy and politics and the distinct contribution the northern neutrals made. On that basis, a range of new questions can be asked and suppositions tested—about the function of international law for less powerful states; about the self-conception, international legal tradition, and spectrum of expectations of small-state representatives at the Peace Conferences; about their diplomatic and political ways and means to exercise influence and mould the proceedings; and about the effect and persistence of their experiences at The Hague in their future careers and conduct.
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Tolliver, III, David V., Michael T. Miller, G. David Gearhart, and David M. Deggs. "Presidential Leadership and Building a Pipeline to Increase Diversity." In Handbook of Research on the Changing Role of College and University Leadership, 175–85. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6560-5.ch011.
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One of the hallmarks of American higher education is the opportunity given to all types of students to learn and advance themselves as citizens, whether in employment or engaging in civic activities. The academy has historically struggled to enroll and employ diverse populations, and if this is to change, presidents must play an important and vocal role in building a pipeline for diversity. The chapter explores past efforts at diversity recruitment and considers the complex issue of diversity characteristics, resulting in attempting to understand cultural transformation from the perspective of community expectancy. The chapter concludes with a discussion of specific strategies for college presidents to heighten the diversity of their campuses.
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Schulenberg, David. "Bach the Teacher." In Bach, 284–331. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0013.
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This chapter examines the works of Bach’s later years, including several published collections, in the context of his teaching. The latter, considered in its broadest sense, included not only instruction in the St. Thomas School but private lessons and mentorship for university students and younger professional musicians. To these activities Bach added the revision and publication of compositions that could serve as examples for study and emulation. Among the latter are the four volumes of Clavierübung, including the harpsichord partitas, Italian Concerto, and Goldberg Variations; the Schemelli Chorales and Canonic Variations for organ; and the Musical Offering and Art of Fugue. Also instructive, in a profound sense, are the great vocal works of these years: the passions, oratorios, and Latin church music, including the B-Minor Mass.
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Rodríguez, William R., Oscar Saz, and Eduardo Lleida. "Experiences Using a Free Tool for Voice Therapy Based on Speech Technologies." In Technologies for Inclusive Education, 22–37. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2530-3.ch002.
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This chapter reports the results after two years of deployment of PreLingua, a free computer-based tool for voice therapy, in different educational institutions. PreLingua gathers a set of activities that use speech processing techniques and an adapted interface to train patients who present speech development delays or special voice needs in the environment of special education. Its visual interface is especially designed for children with cognitive disabilities and maps relevant voice parameters like intensity, vocal onset, durations of sounds, fundamental frequency, and formant frequencies to visually attractive graphics. Reports of successful results of the use of PreLingua have been gathered in several countries by audiologists, speech therapists, and other professionals in the fields of voice therapy, and also, in other fields such as early stimulation, mutism, and attention-deficit disorders. This chapter brings together the experiences of these professionals on the use of the tool and how the use of an interface paradigm that maps acoustic features directly to visual elements in a screen can provide improvements in voice disorders in patients with cognitive and speech delays.
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Haroutounian, Joanne. "Perspectives of Talent Identification." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0015.
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In part I the discussion of talent began with a poetic scene and ended with reflective after-thoughts, befitting the theoretical nature of the subject. The quest to recognize the spark of potential talent in young children brings us into the very real world of the school classroom. Suppose it is your task to observe student behavior in a third grade elementary music class and identify students who show evidence of potential talent. Your attention is drawn to the following students: . . . Student A is playing a melody from her music book on a xylophone. She decides to elaborate by creating a “variation.” Excited, she busily starts notating and revising her ideas on manuscript paper. . . . . . . Observation Notes: Musical training is evident. Performs with ease. Shows curiosity, creativity in musical tasks. An outstanding student. . . . . . . Student B is sitting in a listening center with headphones on, totally absorbed in the activity of circling patterns he hears. He taps his pencil as he listens, quickly working through the ear-training exercise. A quick check shows that his answers are correct. . . . . . . Observation Notes: Fine-tuned listening. Quite perceptive and quick in complex listening tasks. He is rather shy in group activities. . . . . . . Student C volunteers to sing and act out a solo in a cowboy song. He performs with confidence, singing in tune and with expression, obviously enjoying himself. His performance is met with spontaneous applause. . . . . . . Observation Notes: Quite a showman. Comfortable in front of an audience. Clear, clean vocal quality and intonation. Performs with personal flair. Shows leadership skills in group activities. Energy plus enthusiasm. . . . . . . Student D works with a number of Orff instruments, simply “fooling around” with sounds and rhythms. Each repetition shows a bit more development of an imaginative improvisation, which she describes as a “summer storm.” . . . . . . Observation Notes: Sensitive awareness of mood in music. Syncopated rhythms used in improvisation—retained well by ear. Adept at learning by ear. Not comfortable working with notation. . . . . . .
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Walkup, John T., and Benjamin N. Schneider. "Tourette’s Syndrome." In Psychiatric Aspects of Neurologic Diseases. Oxford University Press, 2008. http://dx.doi.org/10.1093/oso/9780195309430.003.0020.
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Tourette’s syndrome (TS) is a neuropsychiatric disorder of childhood onset characterized by the presence of motor and vocal tics for a duration of at least 1 year. Tics are typically brief and stereotypical movements (eg, eye blinking, head jerks) or vocalizations (eg, throat clearing, grunting), but they can also be more complex movements involving multiple muscle groups and combinations of movements and sounds. There is a great range of tic severity. Tics can be so subtle or occur so infrequently as to be unnoticeable, even to the person with the tics. However, tics can also be so intense and frequent that they are readily noticeable by others, and they can be disruptive of daily activities. Indeed, in some cases (eg, severe head jerks), tics can cause pain or physical injury (eg, cervical disc and spine damage). Tics usually begin in childhood; the average age at diagnosis is 7 years. They reach peak severity in the early teen years and then lessen in intensity and frequency during young adulthood (Leckman et al., 2001). Tics wax and wane in severity, worsening with excitement and stress and improving during calm, focused activities. Coprolalia and its motor counterpart copropraxia (uttering obscene words or making obscene gestures, respectively) are uncommon symptoms, occurring in less than 10% of patients with TS and are not required for a diagnosis of TS (Robertson and Stern, 1998). Many patients describe a sensation or urge prior to tic occurrence, commonly referred to as a premonitory sensation or urge (Miguel et a1., 2000). Even though tics are considered involuntary, they can be voluntarily suppressed for short periods of time. Prevalence estimates of TS have varied and depend a great deal on the threshold for diagnosis and setting in which cases are identified. A review of the many epidemiologic studies suggests that 0.1% to 1% of people are affected with TS (Scahill et al., 2005). Despite this variability in specific rates, epidemiologic studies have consistently identified that males are more commonly affected than females, children are more frequently affected than adults, and that milder forms of TS are more common than severe forms.
Conference papers on the topic "Vocal activities"
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Hao, Weiyi, Yun Jing, and Lijuan Li. "Study on Psychological Activities and Physiological Skills of Singing in Vocal Music Teaching." In 2015 International Conference on Education Technology, Management and Humanities Science (ETMHS 2015). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/etmhs-15.2015.133.
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Hong, Alexander, Yuma Tsuboi, Goldie Nejat, and Beno Benhabib. "Multimodal Affect Recognition for Assistive Human-Robot Interactions." In 2017 Design of Medical Devices Conference. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/dmd2017-3332.
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Socially assistive robots can provide cognitive assistance with activities of daily living, and promote social interactions to those suffering from cognitive impairments and/or social disorders. They can be used as aids for a number of different populations including those living with dementia or autism spectrum disorder, and for stroke patients during post-stroke rehabilitation [1]. Our research focuses on developing socially assistive intelligent robots capable of partaking in natural human-robot interactions (HRI). In particular, we have been working on the emotional aspects of the interactions to provide engaging settings, which in turn lead to better acceptance by the intended users. Herein, we present a novel multimodal affect recognition system for the robot Luke, Fig. 1(a), to engage in emotional assistive interactions. Current multimodal affect recognition systems mainly focus on inputs from facial expressions and vocal intonation [2], [3]. Body language has also been used to determine human affect during social interactions, but has yet to be explored in the development of multimodal recognition systems. Body language has been strongly correlated to vocal intonation [4]. The combined modalities provide emotional information due to the temporal development underlying the neural interaction in audiovisual perception [5]. In this paper, we present a novel multimodal recognition system that uniquely combines inputs from both body language and vocal intonation in order to autonomously determine user affect during assistive HRI.
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.
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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Dzhumanova, Lola. "The melodic dictation in the traditions of Russian music education." In HEAd'16 - International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2576.
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In Russia solfeggio became an academic subject at the time of foundation of Saint-Petersburg and Moscow conservatories. Coming from Western Europe, in Russia solfeggio gained its own traditions of teaching. There were established three main activities – vocal and intonation exercises, hearing analysis and dictation. They were defined by the scientist of the ХХth century – professor of Moscow Conservatory I.V. Sposobin.It is a melodic dictation that became a comprehensive model for the development of prospect musicians’ skills. The reason is in the combination of various tasks, such as the ability to hear, realize, memorize and record a relatively complete musical part based on a certain number of replays. Over the years of evolution in the Russian teaching school the dictation obtained logical representation, enabling to teach and perceive music, tonal and atonal. The same dictation significantly differs in the Russian tradition from its French analogue.The report describes the evolution in the three-level system of music education, comparing it to the traditions of other countries.Key words: solfeggio, a melodic dictation, a comprehensive task, multilevel musical thinking.