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Journal articles on the topic 'Vocal activities'
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1
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.
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Groll, Matti D., Victoria S. McKenna, Surbhi Hablani, and Cara E. Stepp. "Formant-Estimated Vocal Tract Length and Extrinsic Laryngeal Muscle Activation During Modulation of Vocal Effort in Healthy Speakers." Journal of Speech, Language, and Hearing Research 63, no. 5 (May 22, 2020): 1395–403. http://dx.doi.org/10.1044/2020_jslhr-19-00234.
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Purpose The goal of this study was to explore the relationships among vocal effort, extrinsic laryngeal muscle activity, and vocal tract length (VTL) within healthy speakers. We hypothesized that increased vocal effort would result in increased suprahyoid muscle activation and decreased VTL, as previously observed in individuals with vocal hyperfunction. Method Twenty-eight healthy speakers of American English produced vowel–consonant–vowel utterances under varying levels of vocal effort. VTL was estimated from the vowel formants. Three surface electromyography sensors measured the activation of the suprahyoid and infrahyoid muscle groups. A general linear model was used to investigate the effects of vocal effort level and surface electromyography on VTL. Two additional general linear models were used to investigate the effects of vocal effort on suprahyoid and infrahyoid muscle activities. Results Neither vocal effort nor extrinsic muscle activity showed significant effects on VTL; however, the degree of extrinsic muscle activity of both suprahyoid and infrahyoid muscle groups increased with increases in vocal effort. Conclusion Increasing vocal effort resulted in increased activation of both suprahyoid and infrahyoid musculature in healthy adults, with no change to VTL.
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MARTYNIUK, Anatolii. "PAVLO HOLUBEV’S VOCAL PEDAGOGY IN MODERN ART EDUCATION." Cherkasy University Bulletin: Pedagogical Sciences, no. 2 (2020): 167–71. http://dx.doi.org/10.31651/2524-2660-2020-2-167-171.
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Introduction. The modern vocal pedagogy is based on the methodological principles of domestic and foreign vocal pedagogy, thorough study of the musical traditions of the Ukrainian people. The issue of preserving the traditions of Ukrainian vocal art and the use of innovative ideas in further development is extremely important. The comprehensive analysis of P.V.Holubev’s artistic and pedagogical activities allows to significantly expand the idea of the the artist' work an at the same time realize its importance for the Ukrainian musical art. The artist left great achievements in the history of the national vocal school, contributing to the process of its formation and development. The purpose of the article is highlighting of vocal pedagogy of the outstanding Ukrainian artist, Professor P.V. Holubev. The methods of analysis of musical and pedagogical activity of Kharkiv singer, teacher, Professor P. Holubev. Results. Pavlo Holubev’s vocal pedagogy has distinctive features. Under his guidance, students learned not only solo, but also ensemble and choral singing. The individual lessons with students had as their main goal the achievement of equality of voice sound and the detection of unique timbre color of the sound and the gradual expansion of the range of voice in the descending and ascending directions starting from the development of the middle register; formation of a diverse palette of sound filled with overtones; performing interpretation of vocal music. It is revealed that in P. Holubev’s vocal pedagogy the following main content lines are traced: development of vocal skills, abilities; the need to introduce them into the system of teaching vocal methodology, which is based on the scientific study of national and world experience of vocal pedagogy; synthesis and constant updating of vocal methods, which takes into account the student’s individual characteristics of the voice and creative talent. Originality. After analyzing the artistic and pedagogical activity of Professor P. Holubev we can define certain scientific approaches to educational process, namely: 1) axiological approach; 2) personality-oriented approach; 3) creative and activity approach. Conclusions. Thus, analyzing the musical and pedagogical activities of the outstanding singer, teacher, Professor P.V. Holubev, we can conclude that the features of his vocal pedagogy played an important role in the Kharkiv vocal school. Scientific study of the musical and pedagogical experience of P.V. Holubev became the basis of national and world vocal pedagogy.
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Sloggy, JoAnna, Joseph Stemple, Graham Rowles, and Richard Andreatta. "In Support of the Exceptional Voice." Perspectives of the ASHA Special Interest Groups 4, no. 6 (December 26, 2019): 1306–10. http://dx.doi.org/10.1044/2019_pers-sig3-2019-0015.
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Purpose The human voice is an exceptionally versatile instrument that is capable of complex communicative and emotive behaviors. Typically, these behaviors are sufficient for daily communication activities; however, elite vocal athletes have higher vocal demands and arguably enhanced vocal capabilities. The current definition of a voice disorder is a change in quality, pitch, and loudness of the voice that draws attention to the speaker. In this article, we suggest that this definition does not provide an adequate description of voice problems of elite vocal athletes. Conclusion As a result, the current clinical system of evaluation and intervention may fail to meet the needs of the exceptional voice when even a subtle decline in vocal quality may affect performance. Under the current definition of a voice disorder, these vocal changes may not qualify for vocal rehabilitation supported by 3rd-party payers. To address this issue, we offer a definition of the exceptional voice, propose expansion of the current voice production continuum to include high-level vocal performers, and provide recommendations for the rehabilitation and habilitation of the exceptional voice.
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Manko, S. "Analysis of the functioning of the domestic vocal variety school in the conditions of musical culture of Ukraine at the present stage." Culture of Ukraine, no. 72 (June 23, 2021): 118–23. http://dx.doi.org/10.31516/2410-5325.072.16.
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The aim. The aim of the article is to analyze the current stage of the functioning of the vocal variety school in the musical culture of Ukraine and identify certain trends in its development directions. In order to achieve the marked goal, it is necessary to solve the following tasks: to determine the specifics of the development of a modern Ukrainian vocal variety school, analyzing its real position and known methods for the teachers of a variety vocal and to reveal the directions of which their realization is in modern musical culture of Ukraine.
The methodology. In this publication, methods of comparative analysis and synthesis were used to identify the specifics of teaching a variety vocal by domestic teachers. Also, we used systemic and cultural approaches to the study of variety vocal school in the musical culture of Ukraine.
The results. Having studied the functioning of domestic modern vocal schools, it can be concluded that this phenomenon though is quite relevant in modern musical culture of Ukraine, based mainly on the generally accepted and already known methods of variety vocals. There are single cases when teachers form their own teaching methodology and distribute it as Iryna Tsukanova, demonstrating her own master classes on the Internet. But the main tendency among domestic vocal teachers is that they are based on already well-known vocal techniques, taking from them the basis that it is necessary for each particular performer.
It is worth noting separately such a trend of domestic artists-teachers, as a commercialization of teaching activities, when vocal workshops are carried out for a group of students that study with other teachers. Such events can be called a master class with a star-teacher and they become more popular.
Another trend when well-known artists, such as Natalia Mohylevska and Tetiana Piskarova create their own vocal studio based on vocal techniques that were developed by the heads of studios. Other teachers give their lessons in these studios, and celebrities conduct master class for students of their own institution.
Variety vocal schools that are different by their stylistics, as a jazz or rock schools are more narrowly specialized. This makes teachers rely on the generally recognized world techniques of jazz or rock music, concentrating on the specifics of these directions and working them out with students.
The scientific topicality. The work of the domestic vocal variety school in modern musical culture of Ukraine is investigated. The specifics of the development of modern vocal variety school of Ukraine is revealed. The well-known techniques of the variety vocal teachers are analyzed. The main tendencies that are the basis for Ukrainian teachers in their work with students are determined. One of them is based mainly on the techniques of a variety vocal of famous world teachers, the other one — on their own methods.
The practical significance. Since the vocal variety art in the musical culture of Ukraine occupies a quite important place, this publication may be useful for domestic modern variety singers, vocal teachers and scientists, which will study it in the future.
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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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Kostić, Ljiljana, and Daliborka Purić. "Preschool teachers and the selection of lyllabies in activities with preschool children." Inovacije u nastavi 33, no. 4 (2020): 48–60. http://dx.doi.org/10.5937/inovacije2004048k.
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Lullaby, as a literary form that is multifunctional for children - in terms of cognitive, emotional and social development, development of speech, perception and attention, stimulating curiosity and interest, and developing creativity - is an important element in achieving educational goals in the context of various aspects of child development. In this paper the authors examine the experience of preschool teachers (N = 302) with: (a) the selection of lullabies; (b) the selection of folk and artistic lullabies; (c) opting for vocal, instrumental, i.e., vocal-instrumental lullabies in their work with the youngest children, in order to understand the potential patterns of selection of this particular literary form and to contribute to the methodological education of the preschool teachers. The research results indicate that the selection of the lullabies is not particularly varied, and that preschool teachers more often opt for the authored lullabies, as well as for the titles that are available in a vocal-instrumental form. The empirical findings bring forth the problem of selecting the content for working with the youngest children, i.e., they open the question of the ability of the preschool teachers to mould the children's literary taste, along with the question of the responsibility of methodologists, above all, the creators of educational policies, bearing in mind that according to the latest Preschool Education Program the choice of the content for activities with preschool children entirely rests upon preschool teachers.
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Xiaohang, Yang. "Propaedeutics of Typical Mistakes in Professional Activities of Future Vocal Teachers." Research Notes, no. 1 (May 31, 2019): 123–28. http://dx.doi.org/10.31654/2663-4902-2019-pp-1-123-128.
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Ezhova, Nadezhda A. "Vocal heritage of A.S. Dargomyzhsky in the aspect of the composer’s musical performance and pedagogical practice." Tambov University Review. Series: Humanities, no. 190 (2021): 133–40. http://dx.doi.org/10.20310/1810-0201-2021-26-190-133-140.
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The necessity of studying the stylistic features of A.S. Dargomyzhsky’s vocal creativity is substantiated to understand the relationship between music and words in works for voice and pi-ano, as the actual content of the process of developing competencies necessary for the pedagogical and concertmaster activities of graduates of a music and pedagogical university. The necessity of using the pedagogical component in the study of the concertmaster activity of composers, authors of chamber vocal and opera works has been proved. The main performing techniques of A.S. Dargomyzhsky, developing the principles of representatives of the Russian vocal school, are analyzed. We show the general and distinctive features in the methods of vocal teachers of other national schools: Italian, French, German. An understanding of the role of the creative union of singers and accompanists in the embodiment of the artistic content of musical works is formed. A.S. Dargomyzhsky’s innovative interpretation of traditional vocal genres led to the subordination of the means of musical expression to the main goal – to reveal the meaningful storyline of songs and romances. A parallel is drawn with the formation of performing and pedagogical principles in modern musical culture. The conclusion is made about the dominant role of artistic content in the performing interpretation of musical compositions, as the priority of the activities of musicians-teachers and performers of our time.
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Sun, Li. "A Probe into the Integration of Traditional Music Culture in Vocal Music Teaching in Colleges and Universities." Region - Educational Research and Reviews 3, no. 2 (June 24, 2021): 65. http://dx.doi.org/10.32629/rerr.v3i2.356.
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Under the background of the current era, comprehensively deepening the implementation of teaching reform is a key consideration for schools at all levels, especially for colleges and universities. In order to carry out quality education and improve students' comprehensive literacy and professional ability, some colleges and universities have integrated traditional music culture into the vocal music teaching, and combined it with modern music art, which provides a brand-new development for vocal music teaching. At the same time, it also provides opportunities for the inheritance and promotion of traditional music culture. This article briefly expounds the significance of integrating traditional music culture into college vocal music teaching, summarizes the current problems in the process of integrating traditional music culture with college vocal music teaching, and proposes a positive and effective specific path, hoping to provide certain help and reference for the development of the vocal teaching activities in colleges and universities.
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Savchenko-Shlapak, Yuliia, Regina Savchenko, and Pan Qianyi. "Vocal ensemble: organization and functioning in the musical and educational environment." LAPLAGE EM REVISTA 7, no. 3 (August 10, 2021): 71–79. http://dx.doi.org/10.24115/s2446-62202021731258p.71-79.
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The article deals with the problem of the organization and functioning of a vocal ensemble as a means of developing the performing skills of students of higher educational institutions of a musical and pedagogical profile. The criteria for the quality of training a future specialist for the effective implementation of his practical activities as a leader of a children's and youth vocal group are indicated. The purpose of the article is a theoretical substantiation of the content of work on the organization and functioning of the vocal ensemble of students as a way of developing their performing skills. Organization of a vocal ensemble is leadership and work on the functioning of a vocal ensemble as a creative team, the realization of its needs. Being an organized social group, the ensemble has a number of features, which include: creative self-development and the desire for creative interaction; increased self-organization and focus.
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Gmyrina, S. "Development of charismatic skills of soloist-vocalist in professional training." Musical art in the educological discourse, no. 3 (2018): 110–15. http://dx.doi.org/10.28925/2518-766x.2018.3.110115.
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The article analyses art, scientific-pedagogical, and journalistic works of national and foreign scientists and artists regarding the problems of formation of performer’s charisma and its development in a student-vocalist in the process of professional training at university. On the basis of this, the content of the concept of “charisma” is revealed, charisma of a pop singer is characterised. The article defines the task of developing charisma as a professional quality of a future singer in conditions of university education — it’s a student’s preparation for a successful concert-performing activity. On the basis of the analysis of the educational program, the author determines the main professional competences of the future soloist-vocalist (vocal-performing, vocal-methodical, vocal-stage, and others), the formation of which is impossible without such quality of a singer as charisma. The examples from the experience of creative activity of the famous pop singers are given, the peculiarities of the development of their charismatic qualities are analyzed. The author views charisma as a professionally needed quality of a future soloist-vocalist. She puts the emphasis on the fact that charisma contributes to the successful implementation of skills and abilities in the vocal-stage activities, acquired by the students during the classes on solo singing, acting and stage language. It is noted that the level of formation of student’s charismatic qualities determines the level of his or her vocal-stage mastery and success of the further professional activities. In the research charisma of a performer is characterized as a component of the professional preparation of a future singer-vocalist, and also the factors of successful development of the student-vocalist’s charisma are proven — such as psychological and target orientation, natural inclinations, special abilities, talent, etc. The hypothesis of S. Hmyrina that the purposeful formation of charisma of the future soloist-vocalist in the process of professional training at the university ensures success of his or her further vocal-stage activities is confirmed.
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Gmyrina, Svitlana. "Methods of students work on vocal pieces in the class of solo singing." Musical art in the educological discourse, no. 4 (2019): 77–83. http://dx.doi.org/10.28925/2518-766x.2019.4.11.
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The article examines one of the aspects of the professional training of future singers and teachers of solo singing in the system of university education. The scientific-pedagogical,vocal, methodical and practical experience accumulated in this area has been analysed. It has been found out that students’ methods of work on vocal pieces require scientific basis. Those methods contribute to the effective formation of professional competencies. On the basis of this, the purpose of the research is formulated and the hypothesis that the preparation of students for concert performing and vocal pedagogical activities will be more effective if the work on vocal pieces rationally combines general scientific, didactic and special musical principles, methods and means of teaching, taking into account modern level of development of the vocal arts. The application of methods of analysis, pedagogical observation and generalization enabled us to obtain positive results of scientific research. The essence of the concepts of ‘teaching methods» and «means of teaching» in the high school and the specifics of their implementation in vocal training of students is revealed. The role of vocal pieces in the formation of professional competencies of students is described. The effective and pedagogically expedient methods of work on vocal pieces in the class of solo singing are determined. We concludes that: 1) work on vocal pieces in the class of solo singing is the most important component of of future vocalists training for their professional activity; 2) students’ mastering of scientifically grounded methods of work on vocal pieces contributes to the successful formation of vocal-performing, vocal-stage, vocal-methodical and other professional competencies; 3) success of students’ work on vocal pieces in the classroom of solo singing depends on the ability of teachers rationally combine general scientific, didactic and special musical principles, methods and means of teaching.
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Amponsah, Clement, Godwin Tettevi, Leticia Gomado, Alicia Heitzman, and Aaron Ziegler. "Preliminary Findings on Self-Reported Voice Disorders in Urban Ghana: A Qualitative Description Study." Communication Disorders Quarterly 42, no. 1 (April 24, 2020): 40–49. http://dx.doi.org/10.1177/1525740120915642.
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This preliminary qualitative description study explored knowledge from urban Ghanaians about the nature and impact of their self-reported voice problem. Ten Ghanaians were screened for a self-reported voice disorder using the Voice Handicap Index–10 (VHI-10), and they also completed a structured interview with a speech-language therapist. Content analysis was completed from interview responses using quantification of data. Four out of 10 adult Ghanaians demonstrated high VHI-10 scores that indicated a self-reported voice disorder. Themes that emerged included a recurring problem with voice, multiple vocal impairments, limitations with participating in vocal activities, and other health problems. Lack of financial resources and little knowledge about voice disorders were barriers to accessing care. In summary, four adult Ghanaians with a self-reported voice disorder described multiple problems with their voice, limiting their participation in vocal activities. Implications of these preliminary findings include early identification and improving voice care access to avoid handicapping voice problems.
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Poletto, Christopher J., Laura P. Verdun, Robert Strominger, and Christy L. Ludlow. "Correspondence between laryngeal vocal fold movement and muscle activity during speech and nonspeech gestures." Journal of Applied Physiology 97, no. 3 (September 2004): 858–66. http://dx.doi.org/10.1152/japplphysiol.00087.2004.
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To better understand the role of each of the laryngeal muscles in producing vocal fold movement, activation of these muscles was correlated with laryngeal movement during different tasks such as sniff, cough or throat clear, and speech syllable production. Four muscles [the posterior cricoarytenoid, lateral cricoarytenoid, cricothyroid (CT), and thyroarytenoid (TA)] were recorded with bipolar hooked wire electrodes placed bilaterally in four normal subjects. A nasoendoscope was used to record vocal fold movement while simultaneously recording muscle activity. Muscle activation level was correlated with ipsilateral vocal fold angle for vocal fold opening and closing. Pearson correlation coefficients and their statistical significance were computed for each trial. Significant effects of muscle ( P ≤ 0.0005) and task ( P = 0.034) were found on the r (transformed to Fisher's Z′) values. All of the posterior cricoarytenoid recordings related significantly with vocal opening, whereas CT activity was significantly correlated with opening only during sniff. The TA and lateral cricoarytenoid activities were significantly correlated with vocal fold closing during cough. During speech, the CT and TA activity correlated with both opening and closing. Laryngeal muscle patterning to produce vocal fold movement differed across tasks; reciprocal muscle activity only occurred on cough, whereas speech and sniff often involved simultaneous contraction of muscle antagonists. In conclusion, different combinations of muscle activation are used for biomechanical control of vocal fold opening and closing movements during respiratory, airway protection, and speech tasks.
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Leonardi, Giovanni, Mirko Amato, Antonio Brogna, Maria Cipriano, Roberto D’Angelo, Giuseppina Dipasquale, Vincenzo Mannino, Adua Ossino, and Alessandro Andreotti. "Effectiveness of vocal activities of the Lanner Falcon (Falco biarmicus) during breeding." Journal of Ornithology 154, no. 1 (July 11, 2012): 83–89. http://dx.doi.org/10.1007/s10336-012-0873-8.
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Monteiro, Ronan de Azevedo, Carolina Demetrio Ferreira, and Gilmar Perbiche-Neves. "Vocal repertoire and group-specific signature in the Smooth-billed Ani, Crotophaga ani Linnaeus, 1758 (Cuculiformes, Aves)." Papéis Avulsos de Zoologia 61 (July 30, 2021): e20216159. http://dx.doi.org/10.11606/1807-0205/2021.61.59.
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Vocal plasticity reflects the ability of animals to vary vocalizations according to context (vocal repertoire) as well as to develop vocal convergence (vocal group signature) in the interaction of members in social groups. This feature has been largely reported for oscine, psittacine and trochilid birds, but little has been investigated in birds that present innate vocalization. The smooth-billed ani (Crotophaga ani) is a social bird that lives in groups between two and twenty individuals, and which presents innate vocalization. Here we analyzed the vocal repertoire of this species during group activities, and further investigated the existence of a vocal group signature. The study was conducted in the Southeast of Brazil between May 2017 and April 2018. Two groups of smooth-billed anis were followed, Guararema and Charqueada groups, and their vocalizations were recorded and contextualized as to the performed behavior. The vocal repertoire was analyzed for its composition, context and acoustic variables. The acoustic parameters maximum peak frequency, maximum fundamental frequency, minimum frequency, maximum frequency and duration were analyzed. To verify the vocal signature of the group, we tested whether there was variation in the acoustic parameters between the monitored groups. We recorded ten vocalizations that constituted the vocal repertoire of the Smooth-billed Ani, five of which (“Ahnee”, “Whine”, “Pre-flight”, “Flight” and “Vigil”) were issued by the two groups and five exclusive to the Charqueada group. There were significant differences in the acoustic parameters for “Flight” and “Vigil” vocalizations between the groups, suggesting vocal group signature for these sounds. We established that the Smooth-billed Ani has a diverse vocal repertoire, with variations also occurring between groups of the same population. Moreover, we found evidence of vocal group signature in vocalizations used in the context of cohesion, defense and territory maintenance.
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Hillman, Robert E., and Daryush D. Mehta. "Ambulatory Monitoring of Daily Voice Use." Perspectives on Voice and Voice Disorders 21, no. 2 (July 2011): 56–61. http://dx.doi.org/10.1044/vvd21.2.56.
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Many common voice disorders are chronic or recurring conditions likely to result from faulty and/or abusive patterns of vocal behavior. Such behaviorally based disorders can be difficult to assess accurately in the clinical setting and potentially could be much better characterized by long-term ambulatory monitoring of vocal function as individuals engage in their typical daily activities. Ambulatory monitoring also could provide new insight into the actual role of voice use in common disorders and missing quantitative data on what constitutes normal levels of daily voice use for different groups of individuals, activities, and occupations. This report describes the motivation, previous development efforts, current state-of-the-art technology, and future directions in ambulatory monitoring of voice use.
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Ribeiro, Vanessa Veis, and Carla Aparecida Cielo. "Vocal acoustic and auditory-perceptual measures, vocal complaints and professional characteristics of teachers from the city of Santa Maria (Rio Grande do Sul), Brazil." Audiology - Communication Research 19, no. 4 (December 2014): 387–98. http://dx.doi.org/10.1590/s2317-64312014000400001395.
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Purpose Describe and correlate acoustic and auditory-perceptual vocal measures, vocal complaints and professional characteristics of a group of teachers. Methods Ninety-nine female primary school teachers, aged 20 to 66 years, underwent auditory-perceptual (CAPE-V) and acoustic (Multi-Dimensional Voice Program Advanced) vocal assessments, and answered a questionnaire with questions about personal identification, overall health, occupational activities and vocal complaints. The ANOVA and Pearson’s correlation statistical tests have been applied. Results The teachers worked 6.98 hours a day, on average, and had been working as teachers for 12.91 years, approximately. Most of them reported vocal complaints and were employed in private schools. Auditory perceptual parameters were normal. All measures of jitter, shimmer, voiceless or unvoiced and subharmonic segments were above the normal range, as well as the standard deviation for fundamental frequency and soft phonation index. Perturbation frequency and age, roughness, breathiness and overall degree of voice were positively correlated with age and length of professional practice. There was also a negative correlation between amplitude perturbation and daily use of voice. Conclusion The teachers’ voices were considered as normal by the auditory-perceptual assessment, but noise and instability were detected in the acoustic analysis; there were, particularly, vocal complaints, and alteration of vocal acoustic and auditory-perceptual measures with increasing age and length of professional practice.
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Ladjal Yassine, Ladjal. "effectiveness of a therapeutic teaching protocol in the treatment of reading difficulties for students of the Arabic-speaking primary." European Journal of Behavioral Sciences 3, no. 1 (December 18, 2020): 27–41. http://dx.doi.org/10.33422/ejbs.v3i1.363.
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This study is concerned with highlighting the effect of vocal processing skills of vocal awareness and vocal working memory on the development of reading mechanisms and difficulties. The study was conducted on a total sample of 280 male and female pupils in the third, fourth and fifth phases of primary school ages 8-11, among them 50 children with dyslexia who were diagnosed according to a battery of standards that the researcher prepared for this purpose and that respond to the standards Psychometrics to build tests. The study aims to: To ensure the effectiveness of a pedagogical treatment program in developing reading skills for students with dyslexia dependent on phonological awareness activities and phonological working memory and the transition from part to whole gradually. In general, children with dyslexia suffer from a great and persistent difficulty in phonemic representation, in addition to a deficiency in the lower linguistic units in the Arabic language and their use to reach the skills of recognizing the written word by linking between the linear phonemic compatibility of the voice. Our findings support the evolutionary hypothesis of general disability in vocal processing skills and concluded that rhyme awareness appears before vocal syllabic awareness. A child at this level finds difficulty in phonograms with moving sound. Additionally, multiple regression analysis shows that poor vocal memory is the best indication of poor vocal awareness in the Arabic language. Studies also focused on the effectiveness of the proposed program for the treatment of vocal dyslexia in improving the ability to read in general.
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Ryabinko, S. M. "Theoretical and methodological foundations of work with student chorus group in the context of modernization of art education." Musical art in the educological discourse, no. 2 (2017): 145–49. http://dx.doi.org/10.28925/2518-766x.20172.14549.
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The article investigates the actual problems of modern pedagogical science — students training in arrangement of students’ vocal and choral work at school. It examines basic theoretical and methodological approaches to the solution of contemporary problems of vocal and choral works and future music teacher training in the context of modern requirements for higher art education. It determines the complex of functions, methods and means of students training in arrangement of students’ vocal and choral work. The main approaches to organization of vocal and choral musical activity that are considered by us are the following: humanistic, aesthetic, culture studying, communicative, reflexive, creative, and projectoriented. Implementation of communicative and creative approaches to music teacher training encourage him to implement wide creative types of work and collective art in the process of education, which contributes to development of spiritual needs in performance and other types of musical and performance activity. Theoretical and methodical instruments mentioned above has become the basis of creative activities of the student choir “Gaudeamus” of the Institute of Art of Kyiv Borys Grinchenko University (conductor — Svitlana Ryabinko, accompanist — Oksana Bichkova). Pedagogical conditions for future music teachers training are developed for effective management of students’ vocal and choral activity, as follows: orientation of methods and forms of organization of informative and practical activity of students to understanding the specifics of vocal and choral work with students, motivation for personal creative self-realization in vocal and choral activity, integration of received knowledge, skills and abilities from different areas of art to pedagogical choral and vocal work at school.
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Zhu, Xiaonong. "Reshaping Phonetics." Bulletin of Chinese Linguistics 4, no. 1 (January 24, 2010): 1–25. http://dx.doi.org/10.1163/23526963-90000517.
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This paper proposes that the fundamental categories in phonetics are not “segment” and “suprasegmental”, but rather “segment” and “phonation”, which result from the articulatory activities in the vocal tract and the phonatory activities at the glottis respectively. The “phonatory activities” consist of four sub-categories: phonationals (phonation modes), sub-phonationals (sub-phonation modes), supra-phonationals and quasi-phonationals. There are six types and twelve sub-types of phonation modes in linguistic phonetics, which can be used to define three tonal registers in syllabics (syllable-based phonology). Under such an analysis, pitch and length are not suprasegmentals, but rather supra-phonationals. The so-called quasi-phonationals refer to two kinds of laryngeal activities, implosive and ejective, which are classified as “non-pulmonic” consonants in traditional phonetics. This new “vocal tract – laryngeal” dichotomy system not only covers the former “segment and suprasegmental” system, but can serve to categorize the world’s languages and to illuminate the transition from polysyllabic accentual languages to monosyllabic tonal languages. Finally, a hypothesis that breathy voice results from humid climates is put forward.
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Provorova, Ye M. "THE FORMATION OF MUSICAL THINKING OF FUTURE MUSIC TEACHERS IN VOCAL TRAINING ACTIVITIES." Innovate Pedagogy 2, no. 34 (2021): 111–15. http://dx.doi.org/10.32843/2663-6085/2021/34-2.22.
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Shelepnytska-Govorun, Natalia. "PERIODIZATION OF VOCAL CULTURE DEVELOPMENT OF MUSIC ART SPECIALISTS IN EUROPE." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 49–52. http://dx.doi.org/10.36550/2415-7988-2021-1-195-49-52.
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The article shows the periods of vocal development culture of music specialists in Europe. The article considered preconditions for the development of vocal culture of music art specialists in Europe. The table «Evolution of the development of vocal culture of music professionals in Europe during different stages» is presented in the article. It shows a brief description of the epoch and period. The article gave in more detail the features of formation of vocal culture of musical art specialists are determined, and also their characteristic in the European countries, such as: Italy, Germany, Great Britain, France, Austria, Poland. The emphasis of vocal culture, one of the most important components of the professional culture of music artists, is due to the specifics of his vocal and pedagogical activities, which is aimed at forming a personality capable of reproducing and enriching the culture of society in the future. The culture of future specialists in the art of music has undergone certain periods in the process of socio-cultural development. It, as a phenomenon of pedagogical practice, has always existed, but had different social and professional purposes depending on the influence of various factors: the political situation; moral relations that developed in society; dominant religion; type of education. Of course, knowledge of the origins, knowledge of the periods of origin and development of musical art, which took place over the centuries, is important for understanding both the current challenges of vocal culture and to determine its further development. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe.
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Brendell, Janna K. "Time Use, Rehearsal Activity, and Student Off-Task Behavior during the Initial Minutes of High School Choral Rehearsals." Journal of Research in Music Education 44, no. 1 (April 1996): 6–14. http://dx.doi.org/10.2307/3345409.
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In this study, the use of rehearsal time during the initial minutes (i.e., the warm-up time) of 33 high school choral rehearsals was examined. Student attentiveness was also investigated during initial rehearsal activities. Trained observers used interval observation techniques in collecting attentiveness, rehearsal activity, and time usage data. Interobserver agreement averaged .93 for off-task, .88 for activity coding, and .85 for rehearsal timing. Conductors averaged 43.45 elapsed seconds prior to the first verbal statement to begin and 14 minutes 19 seconds prior to rehearsal of literature. Time allotted to rehearsal activities was the following: sight-reading, 22.23%; vocal warm-up, 9.63%; getting ready, 6.75%; physical warm-up, 3.37%; literature instruction, 1.84%; and other activity, 1.46%. Off-task percentages were: getting ready, 26.14%; physical warm-up, 18.48%; other, 16.53%; literature instruction, 16.27%; vocal warm-up, 15.07%; and sight-reading, 9.22%. Results indicated that the highest percentages of off-task behavior occurred during activities requiring less singing and active participation. Off-task behavior seemed to be a function of the nature of the activity.
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N. Dreiss, Amélie, Andrea Romano, Raphaëlle Flint, Sarah Bates, Aurélie Vermunt, Isabelle Henry, Charlène A. Ruppli, and Alexandre Roulin. "Non-Vocal Behaviors Are More Frequent During the Decisive Negotiation Phases in Barn Owl Siblings." Animals 10, no. 10 (October 1, 2020): 1777. http://dx.doi.org/10.3390/ani10101777.
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Animals produce vibrations or noises by means of body movements, which can play a role in communication. These behaviors enhance signal transmission or receiver attention and could be specifically used during turn-taking phases of a reciprocal exchange of signals. In the barn owl Tyto alba, nestlings vocalize one after the other to negotiate which individual will have priority access to the impending prey item to be delivered by the parents. Owlets adjust their vocalization to their own hunger level and to their siblings’ vocalization, withdrawing from the contest in front of highly vocal, and hence hungry, motivated nestmates. As sibling negotiation is a multicomponent display, we examined whether body movements could also be part of the negotiation process. To this end, we analyzed whether the vocalizations of one nestling affected its nestmate’s movements in three separate experiments: in natural nests, in the lab, and using a playback procedure. Nestling barn owls move in a variety of ways, such as repeated tapping of the floor with a foot, scratching the floor with claws, or flapping wings. Body movements were more frequent during the turn-taking phases of vocal interactions, when siblings emitted longer calls and at a greater rate. Once an individual monopolized vocal activity, siblings became less vocal and less active. Moreover, owlets produced more noisy body movements during the phases of vocal interactions which are crucial to prevail in negotiation. Non-vocal physical activities might reinforce vocal signals during sibling to sibling (sib–sib) interactions, or reflect owlets’ arousal, in the critical period during which they vocally settle which individual will dominate the competition.
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Xu, Wen, Demin Han, Lizhen Hou, Li Zhang, and Gongwei Zhao. "Value of Laryngeal Electromyography in Diagnosis of Vocal Fold Immobility." Annals of Otology, Rhinology & Laryngology 116, no. 8 (August 2007): 576–81. http://dx.doi.org/10.1177/000348940711600804.
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Objectives: We sought to determine the value of laryngeal electromyography (LEMG) and evoked LEMG in the diagnosis of vocal fold immobility. Methods: We analyzed 110 cases of vocal fold immobility by their clinical manifestations and LEMG characteristics, including spontaneous potential activity, motor unit potential measurement, recruitment pattern analysis, and evoked LEMG signals. Results: With LEMG, we identified 87 patients with neuropathic laryngeal injuries. Neurogenic vocal fold immobility showed a wide variety of abnormal activity. Fibrillation potentials and positive sharp waves were found in patients with laryngeal nerve injuries. For laryngeal paralysis, there was no reaction with LEMG and evoked LEMG. For incomplete laryngeal paralysis, decreased evoked LEMG signals were also seen with delayed latency (thyroarytenoid muscle, 2.2 ± 1.0 ms, p < 01; posterior cricoarytenoid muscle, 2.4 ± 1.0 ms, p < .05) and lower amplitude (thyroarytenoid muscle, 0.9 ± 0.7 mV, p < .05; posterior cricoarytenoid muscle, 1.2 ± 1.0 mV, p < .01). Nineteen patients with vocal fold mechanical limitations generally had normal LEMG and evoked LEMG signals. Four patients with neoplastic infiltration of the laryngeal muscles demonstrated abnormal LEMG signals but nearly normal evoked LEMG signals. Conclusions: We conclude that LEMG and evoked LEMG behavior plays a crucial role in the diagnosis of vocal fold immobility. The decreased recruitment activities on LEMG and the decreased evoked LEMG signals with longer latency and lower amplitude reflect the severity of neuropathic laryngeal injury.
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Francescoli, Gabriel, and Carlos A. Altuna. "Vibrational Communication in Subterranean Rodents." Evolution of Communication 2, no. 2 (December 31, 1998): 217–31. http://dx.doi.org/10.1075/eoc.2.2.04fra.
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Here we discuss different factors that could influence the development of vocal and/or seismic communicative channels in subterranean rodents. We suggest that: 1) Highly social subterranean rodents that do not leave their burrows use essentially vocal signals in the vibrational channel; 2) Solitary and almost permanently fossorial species use vocal signals in short range and seismic signals in long range communication; 3) Other solitary species that leave the burrow system more frequently and that retain good visual capabilities are constrained to use vocal communication only. Also we suggest that seismic communication probably derives from digging activities and, consequently, developed after the acquisition of the subterranean way of life. The first three statements are based on a previously proposed relationship between visual capabilities, hearing capabilities, time spent outside the burrows, social organization and type of vibrational signals used by the species. The fourth statement is based in the correlation found between digging and transporting tools and thumping tools, that are the same across the literature on pertinent genera. Some thumping techniques unique to subterranean animals lead us to propose an evolutionary sequence leading from digging to thumping.
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Ovcharenko, Natalia. "PROFESSIONAL TRAINING FUTURE TEACHERS OF MUSIC ART TO VOCAL AND EDUCATIONAL ACTIVITIES: REGULARITYS, PRINCIPLES." Continuing Professional Education: Theory and Practice, no. 3-4 (2016): 12–17. http://dx.doi.org/10.28925/1609-8595.2016(3-4)1217.
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Park, Hojeong, and Sungkyoo Hong. "Activities and Significance of Vocal Ensemble Groups in Korean Popular Music during the 1960s." Korean Society of Culture and Convergence 42, no. 5 (May 30, 2020): 569–96. http://dx.doi.org/10.33645/cnc.2020.05.42.5.569.
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Martyniuk, Lyubov. "SPECIFICITY OF PROFESSIONAL TRAINING OF FUTURE MUSIK TEACHERS TO LEAD ARTISTIC AND CREATIVE GROUPS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 96–101. http://dx.doi.org/10.36550/2415-7988-2021-1-195-96-101.
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The article discovers the issues which are a part of a complex set of training future music teachers to manage artistic and creative ensembles, in particular, vocal and choral ones. It is emphasized that the dominant place in the process of training future music teachers to guidance these groups is occupied by aspects of conducting and choral training, the study of which is impossible without understanding the unique phenomena of native choral performance and features of working with vocal and choral collectives. To solve these problems there are the disciplines of conducting and choral cycle, the main task of which is to educate students in professional skills and skills of singing in the choir, as well as managing the choir based on mastering the methods of working with the choir, didactic principles and knowledge of psychophysiological process which a person has during singing. It is noted that the reserve for improving the quality of professional training of future music teachers to manage vocal and choral ensembles is the intersubject relationship of special disciplines with socio-pedagogical and music-theoretical ones. Modern performance and analytical requirements for professional training of future music teachers to guidance vocal and choral groups are analyzed, in particular, the ability to achieve the required level of knowledge and skills on condition that students master each subject of conducting and choral cycle with awareness of their interaction, high level of singing and conducting competence of students and their deep knowledge of vocal and choral repertoire, the art of mastering of not only performing vocal and choral skills, but also organizational skills by the future manager of the ensemble, the unity of erudition in the field of vocal and choral art, methodical training, pedagogical activities based on interrelation of knowledge and practice of working with an artistic and creative collective. The specifics of the professional training of future music teachers to lead vocal and choral groups is his singing and conducting competence, deep knowledge of vocal and choral repertoire, the art of mastering the leader of the vocal and choral group not only organizational skills but also performing vocal skills. For effective professional training, students need to constantly and purposefully develop their musicological and performing qualities in conjunction with conducting and choral and methodological training.
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Korn, Gustavo, Sung Park, Antonio Pontes, and Paulo Pontes. "Vocal Symptoms and Associated Risk Factors between Male and Female University Teachers." International Archives of Otorhinolaryngology 22, no. 03 (October 26, 2017): 271–79. http://dx.doi.org/10.1055/s-0037-1606604.
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Introduction Many recent studies on teachers warn of the adverse effects that voice problems have on work performance. However, only a few of these studies included university teachers. Objective To compare the vocal symptoms and risk factors between male and female university teachers in a private institution within the city of São Paulo. Methods In a cross-sectional survey, a voice self-evaluation form prepared by the Ministry of Labor in Brazil was administered to 846 university teachers at a private institution in the city of São Paulo. Results The percentage of hoarseness, vocal tract discomfort, neck pain and foreign body sensation was significantly higher in female than in male subjects. A significantly higher percentage of males participated in other professional activities in addition to teaching, reported working in a calm environment compared with working in a moderately or severely tense and stressful environment, and rated themselves as calm, slightly stressed and anxious or moderately stressed and anxious rather than very stressed and anxious. A significantly higher percentage of females spent most of their time teaching compared with performing other professional activities, and rated themselves as chatty or impulsive. Conclusion Among university teachers, a significantly higher percentage of females than males reported hoarseness, vocal tract discomfort, neck pain and foreign body sensation. Some risk factors related to work organization, workplace environment, voice care and quality of life variables were related to this higher prevalence in females.
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Chemenyan, Gayane. "Methodology of mastering Ukrainian song folklore in the process of training future teachers of Music." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 4 (129) (December 26, 2019): 109–15. http://dx.doi.org/10.24195/2617-6688-2019-4-14.
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The article raises the social problem of Ukrainian society – the reducing of the level of spiritual and aesthetic culture of youth. Its solution is addressed to the educational sphere and involves the improvement of teacher training at the level of professional excellence. The training of Musical Arts teachers who exercise a direct influence on the formation of the spiritual world the aesthetic culture of students is of particular interest. High professionalism, thorough mastery of the vocal voice allows you to captivate students, introduce them to the world of musical arts, achieve artistic impact on the personality of the student, and instill love of performing activities. The development of folk song folklore in the process of vocal training aimed at Musical Arts teachers is considered as the path to the most convenient and natural acquisition of vocal and performing skills. Various aspects of the study related to the systematization, storage and popularization of the Ukrainian folklore have been examined by numerous researchers. The article presents the technique, the development of the Ukrainian song folklore, the main principle of which is the phasing and consistency based on a concentric presentation of the material. The content of each stage has been grounded, the corresponding effective methods and principles have been indicated. The advantages of using the Ukrainian folk songs as a means of educating national identity the formation of the spiritual and aesthetic culture have been indicated. It is shown that the inclusion of song-folklore works in the repertoire allows us to solve the problems of forming vocal skills and performing skills. The genre features that create natural amenities in the process of developing the vocal voice of future teachers of Musical Arts have been highlighted. Keywords: spiritual and aesthetic culture, morality, folk-song folklore, vocal skills, performing skills, educational and methodical advantages of Ukrainian folk song, stages, methods, principles.
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Cherkasov, Volodymyr. "MUSICAL EDUCATION OF STUDENTS IN SCHOOLS OF THE REPUBLIC OF IRELAND." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 40–46. http://dx.doi.org/10.36550/2415-7988-2021-1-195-40-46.
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The article examines and summarizes the experience of music education of students in schools of the Republic of Ireland, highlights the main trends and approaches to the content of lessons and extracurricular activities with students of different ages, aesthetic education through music and the formation of European and national values. Vocal and vocal-instrumental ensembles are created. Participation in such groups requires knowledge of musical notation, mastering the technique of reading notes, mastering the skills and abilities to use the means of musical expression. In addition to rock music, one of the most popular vocal genres in Ireland is shan-nose - highly ornamented improvisational singing (ie singing with a large number of chants), where there are several parts of voices, from which the overall composition is built. Over time, Irish folk music changed. Most of the songs are of rural origin and are associated with ancient Irish language traditions. More modern songs are performed in both Irish and English. Involvement of student youth in the performance of various genres of choral and vocal music promotes patriotic education and the formation of moral and aesthetic qualities that positively affect the worldview of young people, contribute to the involvement of world cultural values. Involvement of student youth in the performance of various genres of choral and vocal music promotes patriotic education and the formation of moral and aesthetic qualities that positively affect the worldview of young people, contribute to the involvement of world cultural values. A prominent place in the organization of musical and creative activities is given to independent work. To this end, teachers develop guidelines, conduct practical classes, which focus on methods and techniques of mastering the skills of playing a particular musical instrument. Using the methods of showing, explaining, demonstrating, illustrating, repeating individual musical episodes and overcoming performance techniques, students develop technical skills, memory, logical thinking, practice performance skills and gain experience in interpreting the content of a piece of music. It should be noted that musical education of students in schools of the Republic of Ireland has a stable approach and is based on the folk traditions of previous generations, meets modern requirements for the formation of musical culture of youth, aesthetic feelings and development of intellectual and creative abilities.
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Bandara, H. M. Ravindu T., M. A. Viraj J. Muthugala, A. G. Buddhika P. Jayasekara, and D. P. Chandima. "Understanding uncertain information in vocal description for creating virtual spatial maps." Paladyn, Journal of Behavioral Robotics 10, no. 1 (December 31, 2019): 401–16. http://dx.doi.org/10.1515/pjbr-2019-0032.
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AbstractAssistive robots are developed for supporting daily activities of elderly people to uplift the living standards. The assistive robots should be friendly, reliable, active, and comprehensible in order to satisfy the needs of elderly population. Human activities are frequently related to navigational tasks and human tend to use descriptions which include natural language phrases and uncertain terms such as “near”, “little”, “far”, “small”, “large”, “close”to describe about spatial information. Therefore assistive robots should be capable of analysing and understanding descriptions which contain natural language phrases with uncertain terms and creating a conceptual map for effective navigation. This paper proposes a method to understand spatial information in a description with uncertain terms and creates a conceptual map in a robot memory which can be linked with spatial map for purposeful, effective and human friendly navigation task. Human studies have been carried out to study different types of descriptions related to navigation tasks. The Virtual Spatial Data Identifier (VSDI) and Uncertain Term Identifier (UTI) modules have been introduced in order to evaluate the spatial information in description to create a virtual map. Results of the system have been compared with the results of a human study in order to evaluate performance of the proposed system.
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Mykhailets, V. V. "Directions of independent work in vocal education." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 56–74. http://dx.doi.org/10.34064/khnum1-53.04.
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Background. The modern practice of teaching and training the specialists of higher education, in particular, choral performance specialists, introduces new requirements to the content of education and organization of the educational process, emphasizing the importance and necessity of using the independent work of students in nowadays conditions. In this connection, there is a need to determine the directions of the independent work of students and to systematize this type of work in the educational process. Objectives. The purpose of the article is to define and theoretically substantiate all aspects of the independent work of students in the process of the vocal education for the further formation of their professional skills. Methods. To solve this task, the following methods were used: studying the state of the problem in the practice of the present (analysis of curricula content and educational and methodical literature); the analysis of academic progress and performing activity of the vocal students; the research and generalization of pedagogical experience. Results. In the vocal training, the independent work of students involves organizing their educational activities both during practice in the classroom and in the process of working outside the classroom in such a way as to get the intended result. Planning the independent work on solo singing allows finding the concrete ways of the development of vocal skills and criteria for evaluation in the professional training of a specialist. The essence of organization of the independent work of students in the process of learning singing is concluded in the creation and implementation of a specific system of tasks, which takes in account general didactic principles and the interdisciplinary interactions arising in the educational process in the formation of vocal abilities and skills. The planning of this work is carried out on the basis of both the focused activity of the teacher, who poses the necessary tasks and controls the results of their implementation, as well as the organization of the student’s own extra-curricular work, containing moments of introspection and self-assessment of the achieved results. So, the organization of the independent work of students in the process of singing education should be carried out necessarily taking into account the person-oriented approach. The independent work on solo singing is considered as a specific form of the educational activity of the student and is characterized by a number of the following psychological and pedagogical peculiarities. First, it is a continuation and extension of the vocal-performing activity in classroom organized expediently by the teacher, which stimulates students to the further professional work in the lessons-free time. In this case, the educational and cognitive activity of the student during his/her individual classes is called to act as a kind of the algorithm for the independent work on the preparation of the vocal concert program. Secondly, the student’s independent work on solo singing should be understood by him/her as a chosen and internally motivated activity, which includes: a) the awareness of the goals of his/her activities; b) the adoption or setting of a vocal-performing or vocal-methodical task; c) the self-organization in the distribution of the educational load in time; d) the adjustment of own work on the basis of self-control and self-esteem. Thirdly, the students’ independent work on solo singing should be a highly organized form of the educational activity, and the methods of its execution should be conditioned by the level of development a number of student’s personal qualities. These include: self-regulation, which involves a certain level of the self-awareness; an adequate self-esteem; active thinking; independence; time management skills; purposefulness; the complex of will qualities, as well as the so-called substantive self-regulation. An important indicator of the formation of the student’s substantive self-regulation is the availability of skills related to the definition of the goal and the final results of the proposed tasks. In determining the tasks for the independent work of students, it is necessary to cover several aspects: the complexity on theoretical and practical levels; the necessity to include tasks with increasing complexity, as well as use of interdisciplinary connections. The tasks for self-mastering of material should adhere to the following principles: 1) the principle of minimizing the level of the complexity and amount of scientific information, vocal exercises and compositions; 2) the principle of coherence of the content of the educational material for the independent work with the previously presented scientific information, studied vocal material during individual classes; the reflection in the content of essential information on the topic being studied, interdisciplinary connections, stylistic diversity of the vocal music; 3) the principle of the correspondence of the volume and the complexity of the selected vocal material to the real possibilities and individual characteristics of the students and to the time interval allocated in accordance with the curriculum; 4) the principle of the content-technological continuity between the forms and methods of independent study of the material by the students, the self-examination of vocal knowledge, skills and abilities. Also, the article deals with: a) the ways of organizing the independent work of students on solo singing; b) the plan of the independent work on a vocal composition; and c) the conditions for the effectiveness of the students’ independent work. Conclusion. So, the independent work on solo singing is considered as a specific form of the educational work of the student and is characterized as an activity that is purposeful, internally motivated, structured and adjusted by the student himself/herself. Its implementation involves a sufficient level of self-awareness, self-discipline, personal responsibility, and creativity of the learner, which allows one to consider the independent activities of students as a process of self-improvement and self-knowledge. Independent work is a necessary component of the vocational training of the singer and a specific form of his educational activity, which is characterized by certain psychological and pedagogical features, namely: - it organically complements and continues the vocal and performing activity during the individual lessons in the classroom, contributing to the unveiling of the student’s creative potential and its formation as a thinking artistic personality; - independent work should be perceived by a student as a chosen and internally motivated activity, since the development of the motivational sphere stimulates the growth of his professional interest in vocal performance and nurtures his/her ability to develop strategies for forming a system of vocal skills, hence, the strategies of success.
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Kyfenko, Anna, and Tetyana Romanova. "A method of phase formation of vocal sound at activities of a training choral collective." ScienceRise: Pedagogical Education, no. 6 (39) (November 30, 2020): 4–7. http://dx.doi.org/10.15587/2519-4984.2020.217050.
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Dudash, Alla. "ESTABLISHMENT OF A FUTURE MUSIC ART TEACHER IN THE SPACE OF VOCAL AND CHOIR ACTIVITIES." International scientific journal «Education and Science» 2(27), no. 2 (2019): 42–45. http://dx.doi.org/10.31339/2617-0833-2019-2(27)-2-42-45.
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Linder, Arne, and Carl-Eric Lindholm. "Vocal fold lateralization using carbon dioxide laser and fibrin glue." Journal of Laryngology & Otology 106, no. 3 (March 1992): 226–30. http://dx.doi.org/10.1017/s0022215100119127.
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AbstractLateralization of one or both vocal folds is a generally accepted surgical principle for the relief of the airway obstruction caused by bilateral vocal fold paralysis. A modified, entirely endoscopic method of lateralization has been developed, employing a carbon dioxide laser to reduce the bulk of the fold, and fibrin glue to maintain the lateral position. The results of 18 operations on 15 patients, including six who had unsatisfactory results after previous surgery, were analyzed and compared retrospectively with the results from 22 patients operated on before the introduction of the method. The patient's ability to perform everyday activities improved in 12 cases, which paralleled the results of the previous, more cumbersome methods. The incidence of re-operation was comparable, given the shorter follow-up after the more recent method.
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Nikolaeva, Elena V., and Alisa E. Kalina. "Preparation of Children for the Performance of Works by Foreign Composers in the Original Language in the Academic Vocal Class." Musical Art and Education 7, no. 2 (2019): 125–43. http://dx.doi.org/10.31862/2309-1428-2019-7-2-125-143.
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The article reveals pedagogical views on the works of foreign composers as a subject of training in the class of academic vocal in children’s music schools and art schools. The characteristic of representation in general educational programs of additional education is given examples of Western European vocal culture. It is noted: a clear preference for works of German composers; the lack of a common position to understanding, what stage of education to include them in the study repertoire and in what language to perform. The pedagogical usefulness of learning and performing such a repertoire in the original language is substantiated. The special attention is paid to the consideration of the difficulties encountered by young singers in working with verbal texts in samples of Italian and German musical culture, as well as the main types of preparing children for the performance of works by foreign composers in the original language: the formation of a positive emotional significant attitude to a foreign language, which is to learn vocal work; training the knowledge of the phonetic structure of a given language and the peculiarities of its implementation in speech and vocal intonation; the formation of abilities to correctly pronounce the verbal text of the work being learned; planning and gaining experience of musical and creative activities of students in preparing them for the performance of works in a foreign language.
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Leite, Daniel Silva Lula, Natan Diego Alves de Freitas, Wilson Marques de Oliveira Junior, and Anna Carolina Nogueira Borzani. "Activity period of Southern house wren Troglodytes musculus Naumann, 1823 (Passeriformes: Troglodytidae) on edges of Atlantic Forest fragments in João Pessoa (State of Paraíba, Northeast Brazil)." Brazilian Journal of Biological Sciences 5, no. 9 (2018): 133–41. http://dx.doi.org/10.21472/bjbs.050914.
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Southern house wren Troglodytes musculus Naumann, 1823 (Passeriformes: Troglodytidae) is widely distributed in Brazil, occurring on the edges of forests and urban areas, considerable a passeriform usually found in antropized landscape. Birds use vocal signs in diverse activities during the circadian cycle (eg.: in reproduction, territorial defense, alert of predators and competitors, individual recognition, etc), employing vocal signs under energetic balance for development of diary activities. The aim of this study was to evaluate the diary activity period of T. musculus through their vocalizations. The sampling were made during two days in edges of Atlantic Forest fragments in João Pessoa, State of Paraíba, Brazil. Using the method of playback, vocal response of Southern house wren was measured in six periods for each day: H1 (5 h-7 h), H2 (7 h-9 h), H3 (9 h-11 h), H4 (11 h-13 h), H5 (13 h-15 h) and H6 (15 h-17 h). Differences among the periods was tested through of Kruskall-Wallis test, and Mann-Whitney test with Bonferroni's corrections. In order to separate the periods groups, was applied Cluster test and non-Metric Multidimensional Scaling. Were registered 2,421 vocalizations, which 2,229 in morning (H1 to H3) and 122 (H4 to H6) in the afternoon period. Results indicated there were differences among the diary activities period of T. musculus (p = 0.0008171), with early hours of morning (H1 and H2) did not differ between each other (p = 0.183), however differing from the others. The H3 and H6 periods also not differ between each other (p = 0.784), but differing significantly from H4 and H5, that did not record no one vocalization (p = 1). Cluster analyses support these results, clustering: Group 1 (H1 and H2); Group 2 (H4 and H5) and Group 3 (H3 and H6). The periods with the highest frequencies of vocal sings (Group 1) showed the most favorable conditions to vocalize, be they microclimatic (better sound transmission due lowest wind intensity and air turbulence) or behaviors (females attraction, territorial invasion, etc.). On the other hand, non-recording of vocalizations of Group 2 suggest unfavorable periods to vocalize. In addition, Southern house wren concentrate their energetic reserves foraging in these periods. The intermediary records of Group 3 indicate that the periods H3 and H6 require an expensive energetic cost to vocalize due the lowest success in an effective communication. In that way, this present study suggest there was a pattern in diary activity period in Southern House Wren populations evaluated, with no overlap of activities, complementing the knowledge of the specie biology and behavior.