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Ortlieb, Lalaine Arbuthnot. "Authenticating voice : authenticating culture." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/85.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English
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Bradshaw, R. Darden. "Visual Culture Art Integration: Fostering Student Voice." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301706.
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Art integration research has received much attention of late, yet the focus generally examines ways integration practice and pedagogy support or enhance outcomes of high stakes testing. Serving as a counterpoint, this qualitative action research study, grounded in my experiences as a middle school arts integration specialist, addresses the value of visual culture art integration as a site of youth empowerment. Working collaboratively over a period of four months with three non-art educators to create and teach a series of social justice art integration units with sixth graders, I examined ways an integrated art and visual culture curriculum fostered safe spaces for students to take risks by deconstructing and reconstructing their identities, beliefs and understandings of others and their world through artmaking. In chapter one, I recount early teaching experiences that prompted the research questions in which an examination of which arts integration pedagogies best stimulate students to examine visual culture, articulate voice, and question power relationships that perpetuate social inequities. I address the theoretical lens of social justice art education as it frames the study and examine and discuss the current literature surrounding visual culture and art integration in chapter two. Chapter three delineates methodologies employed in the action research study including data collection measures of visual journaling, artmaking and photography. In chapters four, five, and six, I recount the process in which students engaged with, responded to, and created artwork through three curricular units--in social studies examining the intersections of culture and visual culture as evidenced through advertising, in language arts class collaboratively exploring persuasion through environmental and ecological art installations, and in math class integrating Fibonacci's theories through art making. Findings, discussed in chapter seven, indicated that visual culture art integration, used by teachers is often mislabeled out of insecurity and is a viable methodology for increasing student engagement. When students work collaboratively a space is created for them to regain power in the classroom and increase empathy awareness for themselves and others. Furthermore, art making, within a non-art classroom, can be a particularly successful arena through which middle school students articulate and clarify their voices.
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Robinson, Daniel Keith. "Contemporary Worship Singers: Construct, Culture, Environment and Voice." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367949.
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Singing is an integral part of Christian worship. Recent developments in the practice of
western Christian worship over the last half-century have led to a surge in prominence
of the role and of those individuals who lead the singing; yet their characteristics, and
that of their role, have been relatively under-researched. This study reviews the
multiplicity of current Australian Christian worship settings and studies the collective
voice of those who participate in the role in order to understand the construct, culture,
environment and vocal task of the Contemporary Worship Singer.
The research is designed around an in-depth review of the literature followed by the
ethnography techniques; survey and interviews. The first phase (survey) harvested 85
responses from across Australia via an online questionnaire. The data was analysed and
emerging questions were developed for phase two (interviews). Subsequently, nine
participants from five churches responded to a semi-structured interview and follow-up.
The research design purposefully engaged the average voice of the Contemporary
Worship Singer by randomly selecting the participants for both survey and interview.
The voice of the data cohort is triangulated against the literature review and the voice of
the researcher in order to cultivate qualitative analysis and subsequent conclusions.The overall research project reveals that the role and the vocal task of the Contemporary
Worship Singer lacks general understanding by key stakeholders: church music
directors, professional singing teachers and the Contemporary Worship Singers
themselves. Consequently, individual singers are confronted by a confused state of
parameters as they attempt to engage in the role and the vocal task. Cultural
considerations such as performance orientation and theological concerns including the
‘anointing’ require greater levels of instruction. Accompanying these requirements is
the need for Contemporary Worship Singers to receive vocal instruction in accordance
with their worship setting. Commonly, conservative worship settings will require a
classically informed vocal discipline and progressive worship settings necessitate
contemporary voice instruction.
The study draws conclusions from the four structural pillars of enquiry (construct,
culture, environment and voice) and delivers nineteen distinctive features that
distinguish the Contemporary Worship Singer as a unique vocalist in the wider
community of singers. The implications of the study find their climax in the
‘Contemporary Worship Singer Assessment Tool’. The practical implications of the
Contemporary Worship Singer Assessment Tool empower key stakeholders (especially
singing teachers) to correctly identify the individual singer’s worship setting and
correctly nominate the most appropriate vocal discipline. The study highlights the
Contemporary Worship Singer as an active, vibrant and highly populated demographic
in the wider community of singers.Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
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Mills, Elizabeth. "Theatre voice as metaphor : the advocacy of a praxis based on the centrality of voice to performance." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002373.
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This study proposes a view of theatre voice as central to performance. It proposes a shift in paradigm through the foregrounding of the function of theatre voice as one of the creative strands of the theatre matrix. The function of theatre voice becomes a theatrical function. Theatre is created in the voice and, therefore, any act of theatre should include conscious questions about the meanings that are, or can be evoked through the voice in theatre. A second thrust to this study is that theatre voice practice should be included in, and theatre voice practitioners should actively engage in, broader debates about theatre. Introduction: The idea that the voice in performance is the enactment of conscious theatrical choices is set up through the notion of the theatrical use of the voice. The introduction outlines the kinds of performance contexts in which a theatrical use of the voice takes shape. This includes an assessment of the degree to which the specific South African context of the writer is useful to questions about a theatrical use of the voice. The concepts which are central to such a view of theatre voice are expanded. These are: the theatrical agency of the actor, theatre voice, the theatrical use of the voice and praxis. Selected examples from local and other productions are offered to illustrate a range of interpretive possibilities open to the voice when considered, in the first instance, as performance. Chapter one: The actor’s relationship with voice is explored through the notion of actor agency. Historically, actors were theatrically empowered by a closer involvement with playwriting, staging, apprenticeship forms of actor training and theatre management. It is argued that the emergence of the director as a new theatrical agent has diminished this actor agency. On the other hand, the introduction of a realist acting methodology has given the actor autonomy of craft, empowering the actor in unprecedented ways. The theatrical agency of actors, directors and theatre voice practitioners is explored as influencing the status and the perception of theatre voice within theatre. The proposal of the centrality of voice to performance is dependent on the agency of actors, directors and theatre voice practitioners. Chapter two: It is argued that an Aristotelian Poetics of Voice has, under the influence of realism, developed into a “Poetics of the Self”. The paradigmatic shift proposed through a view of the voice as central to theatre, is explored through a post realist, intertextuality of voice. This includes a re-consideration of the contemporary theatre voice notion of the “natural” voice. Chapter three: Cicely Berry’s work, with particular reference to The Actor and his Text (1987), is analysed in terms of realism and the theatrical use of the voice. A second focus in the analysis of Berry’s work supports the argument that voice practitioners theorise positions for theatre voice even though their texts are practical and technically orientated. Berry’s work is singled out here because the contemporary practice of the Central School tradition is the generic tradition of South African English theatre voice practice. Chapter four: Strategies and constructs are proposed in support of the centrality of voice to the theatre. Ways of realising a theatrical use of the voice are also suggested. This is based on a shift in the way in which practitioners think about theatre voice. In the first instance, it is suggested that practitioners move beyond positions of polarity and actively embrace that which is contradictory in theatre and theatre voice practice. Secondly, a traditional hermeneutic understanding of the interpretation of voice is challenged. Thirdly, the use of metaphor which is pertinent to actors, directors and voice practitioners is explored as a means to vocal action. Concrete examples of the creative use of the voice, are provided through the sonic texts of Performance Writing. By way of conclusion, some ideas are offered about the issue of empowering the actor in a theatrical use of the voice. This study is intended to contribute to a theoretical and practical debate which will promote the argument for the centrality of voice to performance.
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Stoltz, Christelle. "Die relevansie van sangvaardighede as deel van die akteur se stem- en spraakopleiding." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51720.
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Thesis (MDram)--University of Stellenbosch, 2000.ENGLISH ABSTRACT: The actor's work consists of communication, in other words the transfer of intellectual and emotional ideas. The voice is undoubtedly the most important means of auditory communication. The development and maintenance of the actor's voice is, therefore, an essential requirement for effective communication. The vocal development of actors and singers is aimed at releasing the breathing process, the passage of sound through the body and the organs of articulation, as well as the elimination of obstructive psychophysical inhibitions. The same body parts are used for the production of sound in both speaking and singing. The vocal instrument may be divided into three parts, namely the respiratory system, the glottic system and the resonators. The structure and functioning of the voice as an instrument is in many respects somewhat complex. Knowledge of the structure and functioning of the vocal system facilitates the prevention and elimination of speech problems. Speech and singing, as subdivisions of voice production, are both closely linked to the functioning of certain body parts, and it is for this reason that singing helps to improve speech. For instance, because singing demands a larger breath capacity and greater breath control, singing techniques contribute positively to the development of the actor's voice. Various voice production errors and problems encountered in actors, such as breathing-related problems, defective resonance adaptations and defective projection, can be eliminated by means of technical exercises. An analysis of the techniques for speech and singing reveal such a strong coincidence that they can both be classed as voice production techniques. A singing-based approach to vocal training will, therefore, have only a positive effect on the actor's voice production.
AFRIKAANSE OPSOMMING: Die akteur se werk behels kommunikasie, dit wil sê die oordra van intellektuele en emosionele idees. Die stem is meestalonontbeerlik as ouditiewe kommunikasiemiddel. Daarom is die ontwikkeling en instandhouding van die akteur se stem van wesenlike belang. Die fokus van stemontwikkeling by akteurs en sangers word gerig op die bevryding van die asemhalingsproses, die klankgang deur die liggaam, die artikulasieorgane en die uitwissing van stremmende psigo-fisiese inhibisies. In spraak en sang word dieselfde liggaamsdele vir klankproduksie aangewend. Die vokale instrument kan in drie verdeel word, naamlik die asemhalingstelsel, die glottale stelsel en die resonators. Die bou en werking van die stem as instrument is in vele opsigte kompleks. Kennis van die bou en werking van die vokale instrument kan egter tot die voorkoming of verbetering van stem- en spraakprobleme lei. Spraak en sang as onderafdelings van stemproduksie skakelonderling met betrekking tot die betrokkenheid van sekere liggaamsdele en hul funksies, en derhalwe ondersteun sangoefeninge spraakproduksie. Aangesien sang egter 'n groter asemkapasiteit en sterker asembeheer verg as spraak, kan sangtegniese oefeninge positief bydra tot die akteur se stemontwikkeling. Verskeie stemfoute en stemprobleme van die akteur kan verbeter word met behulp van tegniese oefeninge, naamlik asemverwante probleme, gebrekkige resonansie-aanpassings en gebrekkige projeksie. 'n Ontleding van die tegnieke van spraak en sang dui op so 'n sterk ooreenkoms dat beide as stemtegnieke geklassifiseer kan word. Daarom sal 'n sangtegniekmatige benadering tot stemopleiding die spraakstem van die akteur positiefbeïnvloed.
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Greig, Elise. "The moving voice in performance." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35850/1/35850_Greig_1996.pdf.
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This paper documents one instance of a creative process that is shaped by a philosophical commitment to extend the Western actor's means of expression beyond conventional theatrical forms by working non-naturalistically with the voice and consequently, inviting the actor's body to become involved to a greater degree. The process focused primarily on the gestural
landscape of the body and the rhythmic parameters of the spoken voice. The researcher locates herself as Writer/Director/ Actor, working in collaboration with a
Rhythmist and two actors, within the two phase creative process which involved devising the vocal and physical score for ditto - the abbreviated journey of a relationship and rehearsing the score for two seasons of public performance. The creative process is
presented and explored and houses the methodology for this project. The stepping off point for future projects of this researcher is identified.
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Valo, Maarit. "Käsitykset ja vaikutelmat äänestä kuuntelijoiden arviointia radiopuheen äänellisistä ominaisuuksista /." Jyväskylä : Jyväskylän yliopisto, 1994. http://books.google.com/books?id=LQ1aAAAAMAAJ.
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Pagan, Ellen M. "College choir directors' and voice instructors' techniques for classifying female voices." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237398533.
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Mills, Elizabeth. "Theatre voice as metaphor : the advocacy of a praxis based on the centrality of voice to performance /." South Africa : [s.n.], 1999. http://eprints.ru.ac.za/903/.
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Van, der Merwe Schalk Willem. "'n Ondersoek na Kristin Linklater se benadering tot stemontwikkeling." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/794.
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Rademan, Daniel Johannes. "Klankproduksie : 'n ondersoek na die spraak- en sangstem." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50386.
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Thesis (MA)--University of Stellenbosch, 2005.ENGLISH ABSTRACT: Actors and singers mainly use their voices as theatrical communication instruments. The production of sound - for singing, speech and other derivatives - makes use of the same physiological mechanics. This indicates that the anatomical components are applicable to all of the the above mentioned. The goal of exploring the anatomy and physiology of the voice mechanics is to enhance the artist's and the theoretic's awareness of the dynamic process. Even though it does not replace technical training in voice production, it is still of cardinal importance. By being in possession of a worthy knowledge of the voice and body as an instrument of unity, singers and actors can challenge their instruments to the maximum. In this way professional vocal artists can finally come into contact with their humanness to create a mature character on stage. The correct body posture, breathing methods, resonance and articulation play an important role in ensuring good projection. Successful projection and resonance can only take place if the whole of the sound production instrument is working in a physiologically correct manner. Research has been done on the leading theater theorists' expectations of the regarding voice production. It was specifically their opinions that initiated the modern approach to sound production in terms of speech and singing in the modern theatre. A sound production experiment, focusing on the challenge of the human voice, was staged as a theatre production, and was analysed. The presentation was predominantly based on the ideas of the directors. These ideas were discussed in the previous chapter. This study explores the phsyiological mechanism that produces sound to promote the creative commerce with sound.
AFRIKAANSE OPSOMMING: Akteurs en sangers gebruik hoofsaaklik hulle stemme as 'n teatrale kommunikasie-instrument. Die produksie van klank - vir sang, spraak en ander geluide - spruit uit dieselfde fisiologiese meganika. Dit dui daarop dat dieselfde anatomiese komponent vir bogenoemde van toepassing is. Die verkenning van die anatomie en fisiologie van die stem-meganika het ten doel om die kunstenaar en teoretikus se bewustheid van die dinamiese proses uit te brei. Hoewel dit geensins die tegniese opleiding in stemgebruik vervang nie, is dit steeds van kardinale belang. Deur oor'n waardige kennis van die stem en liggaam as eenheids-instrument vir die teaterkunstenaar te beskik, kan sangers en akteurs hul instrumente tot die uiterstes uitdaag. Op hierdie manier kom 'n professionele stemgebruiker uiteindelik in aanraking met sy/haar potensiaal en kan sodoende 'n volwaardige karakter op die verhoog skep word. Die korrekte liggaamshouding, asemhalingsmetode, resonansie en artikulasie speel 'n kardinale rol in goeie projeksie. Suksesvolle projeksie en resonansie kan slegs geskied indien die hele klankproduksie-instrument op 'n natuurwetmatige wyse in werking is. Daar is ook navorsing gedoen oor die toonaangewende teaterteoretici se verwagtinge t.o.v. stemproduksie. Dit was juis hierdie persone se opinies wat die huidige aanwending van klankproduksie in terme van spraak en sang in die moderne teater geïnisieer het. 'n Klankproduksie-eksperiment (wat gefokus is op die uitdaging van die menslike stem) is in die vorm van 'n teaterproduksie gedoen waarin die uitgangspunte van die regisseurs wat in die vorige hoofstuk bespreek is, prakties ondersoek is. Die juiste doel van hierdie studie is dus om 'n ondersoek te loods na die fisiologiese meganisme wat klankproduksie by die menslike stem tot gevolg het, en uiteindelik die kreatiewe omgang met klank in terme van die spraaken die verwante sangstem te promoveer.
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Van, Heerden Petrus. "n Handleiding tot die didaktiek van sangonderrig met spesifieke verwysing na onderrig van die registeroorgange van die manstem." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51843.
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Thesis (MMus) -- University of Stellenbosch, 2001.ENGLISH ABSTRACT: In preparation for the basic teaching in the instruction of the male singing voice, it is essential that the singing teacher becomes thoroughly familiar with the general pedagogical requirements of vocal training. Each of the sections in chapter 1 represents a wide-ranging study by itself but it will be presented in summarized form here. Chapter 2 focus chiefly on basic beginners' instruction which is indispensable for the establishment of a sound singing technique. The teaching principles of beginners' instruction which are set out in this chapter, are based on tested methods recognized internationally by various famous teachers. These teaching methods, together with literary research on this subject, have been condensed empirically over thirty years, into a system of teaching by the writer. The major focus of chapter 3 is on the physiology of the adolescent boy's changing voice. When adolescence sets in, from the age 13 - 15, enormous changes take place in the anatomical-physiological structure of a boy's larynx. These far-reaching changes are brought about by the influence of the sex hormones and consist of complex physical as well as psychological growth stages through which the young boy has to develop. Knowledge of the different stages in voice changes and their individual characteristics of sound are important requirements for voice classification which takes place during the formative training. Chapter 4 focuses on the problematic nature of the transition of the register of the male voice. To prepare for the teaching process of this transition (of the male voice), the teacher should be well-qualified to be able to identify the classification of the registers of the different male voice-types. In addition, he should be totally familiar with the ideal sound typical of the upper registers which would be required from a professional singer on the international stage. "The head register in the male singing voice is often one of the most difficult vocal adjustments to acquire and to maintain ... A well developed operatic head register, 'Vollton der Kopfstimme', is the hall-mark [ ... ] of all well-trained male singers" (Miller 1982: 120). The actualisation of this ideal sound which comes about through copertura-schooling of sound in the upper register is the focal point of this study. Therefore this chapter focuses specially on the ideal sound of the full voice in the upper register versus a cultivated falsetto sound in the upper register. Chapter 5 addresses the implementation of a didactical system by famous singers and singing teachers. Therefore in chapter 5 the focus is placed on the technical training of the secondo passagio by presenting technical exercise and the practical application of the standard vocal repertoire of the male voice. Due to length restrictions of this dissertation, there will be reference only to some technical exercise and examples of repertoire.
AFRIKAANSE OPSOMMING: As voorbereiding tot die didaktiese beginsels in sangonderrig van die manstem is dit noodsaaklik dat die sangonderwyser volkome vertroud sal wees met die algemene pedagogiese voorvereistes vir die onderrig van sang. Elkeen van die afdelings in hoofstuk 1 regverdig eintlik 'n omvattende studie in sigself, maar hier word dit samevattend aangebied. Hoofstuk 2 fokus hoofsaaklik op goeie aanvangsonderrig wat onontbeerlik is vir die vestiging van 'n goeie sangtegniek. Samevattend word op die noodsaaklike basiese beginsels van aanvangsonderrig gekonsentreer. Die didaktiese beginsels van aanvangsonderrig wat vanaf hierdie hoofstuk uiteengesit word, is gebaseer op beproefde metodes wat internasionaal deur verskeie beroemde leermeesters erken word. Hierdie onderrigmetodes, tesame met die nagevorsde vakliteratuur, is oor 'n tydperk van dertig jaar op empiriese wyse deur die skrywer gekondenseer tot 'n sisteem van onderrig. Die kemfokus van hoofstuk 3 is op die stemfisiologie van die adolessente seun. Wanneer adolessensie vanaf die ouderdom van dertien tot vyftien jaar by die seun intree, vind daar groot veranderinge in die anatomies-fisiologiese struktuur van die seun se larinks plaas. Hierdie ingrypende veranderinge word teweeg gebring deur die invloed van die geslagshormone en behels fisiek sowel as psigies 'n komplekse groeifase waardeur die jong seun moet ontwikkel. Dit is belangrik dat die pedagoog deeglik vertroud sal wees met hierdie komplekse groeiproses. Kennis van die verskillende stemmutasiestadiums en die individuele klankkarakters daarvan is 'n belangrike voorvereiste vir die stemklassifisering wat by aanvangsonderrig plaasvind. In hoofstuk 4 val die soeklig op die problematiek van registeroorgange by die manstem. As voorbereiding tot die onderrigproses van die registeroorgange van die manstem moet die pedagoog onderleg wees in die klassifisering van die registers van die verskillende manstemtipes. Ook moet hy ten volle vertroud wees met die tipiese klankideaal van die hoëregister wat van 'n professionele sanger op die internasionale verhoog verwag word. "The head register in the male singing voice is often one of the most difficult vocal adjustments to acquire and to maintain . . . A well developed operatic head register, 'Vollton der Kopfstimme', is the hall-mark [ ... ] of all well-trained male singers" (Miller 1982: 120). Die verwesenliking van hierdie klankideaal wat deur copertura-klankgebruik in die hoëregister tot stand kom, is die kemfokus van hierdie studie. Hierdie hoofstuk konsentreer dus sterk op die klankideaal van volstem in die hoëregister versus 'n gekultiveerde falsetklank in die hoëre gister. Vir die verkryging van 'n stabiele hoëregister deur middel van die copertura-tegniek word in hoofstuk 5 betoog vir die toepassing van 'n didaktiese sisteem wat gebaseer is op onderrigmetodes wat beproef is deur beroemde sangers en sangpedagoë. In hoofstuk 5 is dus gekonsentreer op die tegniese skoling van die secondo passaggio deur middel van tegniese oefeninge en die praktiese toepassing daarvan op die standaard sangrepertorium van die manstem. Weens lengtebeperking by hierdie skripsie word daar net na enkele tegniese oefeninge en repertoriumvoorbeelde verwys.
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Golden, Freida M. "Autobiographical writing as a reflection of adolescent voice and rural culture /." Search for this dissertation online, 2004. http://wwwlib.umi.com/cr/ksu/main.
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Richardson, Sharon E. "Positioning Student Voice in the Classroom: The Postmodern Era." Diss., Virginia Tech, 2001. http://hdl.handle.net/10919/29495.
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Typically, students have had limited voice in their schooling (Erickson & Schultz,1992). The purposes of this study were to explore the concept of student voice in the elementary school and to develop strategies that develop student voice in the curricula. An elementary school principal and four teachers participated in an action research study that examined and attempted to develop student voice in their classrooms. Acting as a coach, the principal supported the four teachers as they implemented their classroom research on student voice. Four case studies were developed based on artifacts such as journals (student and participant), lesson plans, meetings, surveys and observations. Data were analyzed for emerging themes and compared across cases.Findings indicate that there was a difference in the teachers' emerging understanding and promotion of student voice. These differences were explained on the evolving commonalities being discovered in each case study. First and foremost were the instructional strategies utilized by the participants that engaged the learners and promoted their voice? Next, the organizational structure of the building and classes played an important role. Time and size of classes either promoted or restrained student voice. Finally, the culture of the organization and the belief system of the individual teacher played an important role.Ed. D.
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Law, Tsz-ying. "Effect of feedback on the effectiveness of a paired comparison perceptual voice rating training program." Click to view the E-thesis via HKU Scholars Hub, 2007. http://lookup.lib.hku.hk/lookup/bib/B42005589.
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Thesis (B.Sc)--University of Hong Kong, 2007."A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2007." Includes bibliographical references (p. 25-27). Also available in print.
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Perry, Marie. "Social Networking and Young People: Privileging Student Voice." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366848.
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Young adolescents today are growing up in an environment rich in digital technology. They are highly connected with their technology always on and always on them. In this digital culture there are consistent concerns regarding the impact of this new way of being, and adult-generated concerns include perceived diminished childhood, bullying and fear which dominate much of the widely held understanding of the digital culture which these young people inhabit. In this culture of fear and in the context of schools, adult-generated strategies for enhancing the experience of young people engaging with social networking is generally the norm and student voice is repressed.
In contrast, this study set out to explore the experience of young people with respect to their engagement with social networking, through the privileging of student voice rather than assuming that adult knowledge be applied. Specifically, students aged from approximately 12-16 years, in the middle years of schooling (Years 7-9), are the subject of this study as they constitute the years where rapid growth and development, identity formation and establishing practices associated with social networking occur.Thesis (Professional Doctorate)
Doctor of Education (EdD)
School of Education and Professional Studies
Arts, Education and Law
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Nafziger, Shelli L. Crumpler Thomas P. "Online mentoring of a preservice teacher finding one's voice within the culture /." Normal, Ill. : Illinois State University, 2006. http://proquest.umi.com/pqdweb?index=0&did=1225138411&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1177940673&clientId=43838.
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Thesis (Ed. D.)--Illinois State University, 2006.Title from title page screen, viewed on April 30, 2007. Dissertation Committee: Thomas P. Crumpler (chair), Donna Breault, Anthony W. Lorsbach, Cheri Toledo. Includes bibliographical references (leaves 194-202) and abstract. Also available in print.
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Gallant, Jeanette. "The governed voice : understanding folksong as a public expression of Acadian culture." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.560451.
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This dissertation investigates the folksong repertoire of the Acadians of the Maritimes, a small French diasporic community found scattered throughout Canada's east coast provinces. Exploring the relationship between folksong and Acadia's changing sense of nation from the end of the nineteenth century to the present day, chapter one begins by examining how paradigms in French folksong scholarship contributed to reimaginings of Acadian national identity and the socio-linguistic stratification of Acadians during the twentieth century. The following three chapters identify how folksong has helped shape different constructions of Acadian national identity in new historical contexts. The first describes the Acadians as part of an eglise-nation during the first half of the twentieth century, illustrating how differences in the Catholic clergy's use of folksong created a dialectical construction of national identity in Acadian society. The second looks at how provincial divisions between Acadian communities during bilingual language reform in 1970s Canada led New Brunswick Acadians to draw on folksong's historicity to claim space and compete with their English-speaking neighbours. The third reflects how the Acadians, since Canadian constitutional reforms began in the 1980s, have engaged folksong in constructing a 'borderless' sense of nation to express opposition to Quebec sovereignty. In an analysis of how Acadia's cultural voice has been governed in processes of nation-formation, this work explores how folksong's past meanings - newly framed and experienced within each historical moment - have affected not only the status of folksong, but also the Acadians' relationship with folksong over time.
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Babb, Trevor R. "The Christian church as a prophetic voice challenging 21st century American culture /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Bakher, Rozarina. "#CancelCulture : A critical discourse analysis of cancel culture and its effect on representation and voice." Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44055.
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Cancel culture has been described by some as a form of online activism. It has also been argued as activism with both negative and positive effects. For the positive side, cancel culture has worked to emphasize the representation and voice of women during the #MeToo movement against sexual harassment at workplaces. On the other hand, cancel culture has a reputation for being "activism-for-bad" when it silences the voice of people that may contribute to the area of communication for development and social change. For example, it is said to have stifled academic freedom and restricted open debates in cultural institutions. The aim of this thesis is to examine how cancel culture determines whose representation and voice is heard, and has it evolved from being a tool of activism to one that is said to threaten democratic participation? The thesis analyses six online articles that appears as the top results on Google Search during a specific timeline between the period of 2015 - 2021. These timelines were determined from Google Trends® by looking at when the term 'cancel culture' were trending highest on the internet. Applying methodological framework based on the theories of Critical Discourse Analysis, this thesis sets out to analyse words and terms used in these online articles that contributed to the discourse on cancel culture and analyses its relations to representation and voice.
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Edwards, Jennifer Flory. ""My voice is me": Using currere to explore international students' constructions of voice and identity in a new language and culture." Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1617633374773987.
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Sommerfeldt, Christina M. "Constructing the intellectual woman, gender, culture, and narrative voice in George Eliot's novels." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ60027.pdf.
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Franke, Lars. "Music as daemonic voice in late eighteenth- and early nineteenth- century German culture." Thesis, University of Southampton, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418579.
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Jenkins, Ruth Ann. "The Affects of Vocal Fatigue on Fundamental Frequency and Frequency Range in Actresses as Opposed to Non-Actresses." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5062.
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Differences may exist between the voice qualities of those who professionally use and train their voices and those who do not. The examination of fundamental frequency and frequency range m actresses and non-actresses is integral to determining voice quality differences in these populations. These differences, whether the result of frequent use or training of the voice, may exist relative to fatiguing conditions such as may be experienced by actresses in the course of their work. Fatigue has been shown to produce greater effects in normals than in performers, particularly in singers (Gelfer, Andrews, and Schmidt, 1991). Little research has been found comparing actresses to non-actresses in such an interaction effect. In order to determine whether a separate set of normative values should be sought for actresses, it is first necessary to determine whether significant differences exist between these populations in voice quality parameters. The purpose of the present study was to determine whether or not significant changes in fundamental frequency and frequency range occurred in non-actresses relative to actresses as a result of fatigue. The subjects for the study included ten actresses between the ages of 20 and 30 who had a minimum of one quarter of voice training and three years of acting experience and ten women of the same age group who had no voice training or experience in acting. Each subject passed a puretone audiometric screening, had a negative history of voice disorders, and had not smoked within the last year. These two groups were evaluated for: 1) fundamental frequency in prolonged productions of the vowel lal; 2) speaking fundamental frequency in connected speech; 3) frequency range in sung scales; and 4) frequency range in connected speech. Data was statistically analyzed using one way ANOV A tests with repeated measures. No significant interactions occurred between group and time, suggesting that non-actresses did not produce a greater shift than did actresses in fundamental frequency or frequency range as a result of fatigue. These results contradicted some findings and supported other findings of previous research based on similar samples.
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Barrier, Julie Tacker. "The development of criteria for the selection of age-appropriate literature for the senescent voice." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186178.
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The intent of this study is to attempt to create new scientific criteria for the evaluation of choral literature for senescent singers, The first criterion developed for selection of age-appropriate choral literature was a measurement for voice quality registration called phonetography. Phonetography is the registration of the dynamic range of a voice as a function of fundamental frequency. Manual phonetograms on twenty young adult singers and twenty senescent singers were developed to determine individual frequency-by-intensity relationships of the senescent voice. The graph that was created when all points of minimum and maximum sound pressure levels are connected, thus enclosing the subject's total phonation area, was the singer's phonetogram. Three choral adjudicators were present at the phonetogram testing to determine which pitch levels and dynamic ranges were acceptable for healthy choral singing in each subject. Gelfer acoustic-perceptual rating scales were completed by the choral adjudicators on each phonetogram test subject. Adjectives utilized most frequently by speech pathologists, singers, otolaryngologists, and untrained listeners were codified and confidence ratings were made by each of the four groups who were polled. Appropriate opposites for the selected descriptors were chosen. The Gelfer test results were consistent with phonetogram findings. Criteria for age-appropriate choral literature were proposed from phonetogram data and the Gelfer acoustic-perceptual analyses. The four pieces which were selected as age-appropriate were analyzed by tessiturometry as a final criteria of suitability for aging singers. The tessiturogram is a graphic analysis of the frequency of note occurrence within a composition. Lower tessituras and limited ranges were recommended for aging singers. Choral selections with long phrases, rapid melismatic passages, wide unprepared leaps, and sustained singing should be avoided. High, soft singing for older female singers is not suggested. Rhythmic, homophonic works are recommended for successful performance. Instrumental accompaniments are beneficial in reinforcing the older singers' intonation.
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Stephen, Roberta M. (Roberta Mae). "A Survey of the Research Literature on the Female High Voice." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc501208/.
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The location of the available research literature and its relationship to the pedagogy of the female high voice is the subject of this thesis. The nature and pedagogy of the female high voice are described in the first four chapters. The next two chapters discuss maintenance of the voice in conventional and experimental repertoire. Chapter seven is a summary of all the pedagogy. The last chapter is a comparison of the nature and the pedagogy of the female high voice with recommended areas for further research. For instance, more information is needed to understand the acoustic factors of vibrato, singer's formant, and high energy levels in the female high voice.
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Joemets, Viivian. "Voice Outside the Verbal and the Musical. A Study on Human Voice in its relationto Body, Language, Writing, and Music in Western Culture." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040119.
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La thèse vise à clarifier la notion de la voix et sa place dans la culture occidentale. La multiplicité de la voix est ici étudiée à partir de son origine biologique, fondement de toute expressivité vocale. Cette multiplicité est distinguée du verbal et du musical, ses principales manifestations dans la civilisation humaine. Dans le Chapitre 1 nous proposons une réflexion sur les modes naturels de la vocalité non langagière dont la communication holistique des espèces proto-humaines et l’expression vocale des jeunes enfants forment les principales manifestations. Le Chapitre 2 analyse les rapports du corps avec la voix en tant que signe de l’identité personnelle et preuve de la présence corporelle. Dans le Chapitre 3 nous traitons du statut de l’oralité définie comme la dimension sociale de la voix. Nous étudions l’influence de l’écriture et la domination du visuel exercée sur la voix. Les rapports entre la voix, le langage et la musique sont observés dans le Chapitre 4: nous demandons dans quel sens la voix, en dehors des structures verbales et musicales, peut avoir une signification. Le dernier chapitre est consacré à la voix musicale : une histoire de la voix musicale non verbale dans la tradition savante occidentale est esquissée. Le chant y est défini en tant qu’un acte fondamental de l’expressivité vocale chez l’homme, et non pas comme un art susceptible de superposer des structures linguistiques et musicales. Nous proposons une réflexion sur quelques exemples de l’art vocal contemporain sélectionnés selon leur rapport aux questions théoriques traitées dans la thèse. La thèse se veut comme un outil théorique dans le cadre de la théorie de la cultureThe present thesis aims at clarifying the notion of voice and its place in Western post-literacy culture from the aspect of vocal non-verbal expression and its artistization. The specificity of voice lies in its multiplicity, no single trait of voice may be viewed as representative of human vocality in its entirety. Rooted in human biology, vocal expressivity is inherently distinct from the verbal and the musical; Chapter 1 deals with natural modes of nonverbal vocality of proto-humans and pre-verbal children. A comparison of the functions of human and animal vocalization is made. In Chapter 2 the relation of voice to body is treated. We analyse voice as the mark of personal identity and physical presence. Chapter 3 looks into the question of orality, defined as the social dimension of voice, in post-literacy Western culture and analyse how the democratization of writing, printing, and recording may have influenced the status of voice. In Chapter 4 we ask whether voice outside the framework of language and music may convey meaning and whether such voice may be considered a sign. In the final chapter a brief historical overview of non-verbal vocal music is outlined and a proposition is made to define singing as a fundamental act of human vocal expressivity, not as an art form that superposes linguistic and musical structures. A selection of examples of contemporary voice art is subjected to theoretical reflection in the light of the issues related to vocal expressivity as discussed in the thesis. The aim of the thesis is to provide a theoretical tool for future researches on human expressive vocalization and its artistization in the field of culture studies
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Thrall, Robert Eugene. "The effect of locus of control and type of voice on satisfaction with voice and procedural justice." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2058.
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This study examined the roles of type of voice and locus of control on satisfaction with type of voice and on feelings of procedural justice. Two forms of voice were assessed, instrumental and non-instrumental, as well as two forms of locus of control, external and internal. Participants read a scenario that randomly placed them into type of voice. Participants responded to surveys to determine the persons' locus of control, satisfaction with voice and feelings of procedural justice. A form of participation that brings employees satisfaction is voice. Allowing employees to express their opinions is seen as fair and has benefits to employees, as well as the organization. Some individuals prefer to have an impact and be more involved in the workplace, while others do not.
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Zecevic, Patricia D. "The female voice in Lopez de Ubeda's 'La Picara Justina' and Goethe's 'Wilhelm Meister'." Thesis, University of Glasgow, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366133.
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Skinner, Susan Margaret. "A history of the Cornish male voice choir : the relationship between music, place and culture." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/2894.
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This thesis documents and examines the history of Cornish male voice choirs from their origins in the late nineteenth century through to the present day. The evolution of the choirs has hitherto been charted largely through scattered oral testimonies, whereas this work traces the rise, decline and resurgence of the male choral tradition by drawing from a range of primary sources, including newspapers and repertoire in addition to oral history. The thesis is organised chronologically and the main chapters chart the development of Cornish male voice choirs from the Methodist point of origin, to the subsequent expansion of the male choral movement between the wars and thereafter its seeming atrophy. The opening two chapters focus on the background and emergence of the choirs from c.1820 to 1918. The interwar period is covered in three diverse but linked chapters, assessing the socio-economic context, musicological influences and the importance of geographic locality or ‘place’. The impact of the Second World War on the choirs is examined in Chapter Six. The following chapter traces how the choirs remained vibrant in the face of encroaching secularisation during the 1950s and 1960s, and the final chapter assesses the detrimental effects for the choirs of changed musical behaviours and generational issues in the late twentieth century choir. Four key themes which run throughout the chapters are the influence of Methodism, its teachings and choral hymnody; the significance of repertoire and musical directorship; the importance of the male demographic within the local economy; and secularisation and mass popular culture. The connecting thread of the argument for the thesis as a whole is that male voice choirs both reflect and help shape Cornish identity. As will be seen, identity is a fluid, multi-layered concept, but analysis of the changing role and influence of male voice choirs contributes to a deeper understanding of the complex relationship between music, place and culture.
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Huang, Yu. "La dynamique culturelle en Chine contemporaine : analyse de phénomène de Super Girl Voice concours de chant." Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30020/document.
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Cette thèse étudie le phénomène du concours de chant « Super Voice Girl » dans le but de déterminer les mécanismes fondamentaux de la dynamique culturelle en Chine contemporaine. S’inspirant de l’émission américaine « American Idol », le concours de chant « Super Girl Voice » est produit par Hunan TV et sa compagnie filiale EE Media. Avec une participation massive, le concours est commenté par un jury dans les auditions régionales préliminaires, complété par un système de vote des téléspectateurs afin d’élire le gagnant. « Super Girl Voice » est devenu un des sujets les plus discutés de la société chinoise dans le domaine des medias de masse. La thèse examine ce phénomène dans la cadre théorique de l'hégémonie culturelle qui articule des vues divergentes dans des études culturelles. Pour son auteur, la force culturelle en Chine contemporaine est caractérisée par la négociation entre l’idéologie dominante, la culture populaire et les discours intellectuels. L'idéologie dominante de l’état fortement ancrée dans la société détermine la politique et les pratiques culturelles chinoises. Elle est en même temps réinterprétée et diluée dans le processus de la modernisation économique. La culture émergente populaire à visées lucratives se tient délibérément à distance de l'idéologie dominante, mais elle reste dans l’obligation de s’adapter aux règles de l’idéologie dominante. Les discours intellectuels sont diversifiés depuis que les intellectuels chinois ont plus d’indépendance économique, politique et culturelle. Leur influence, toutefois, a été minée par la politique de contrôle des médias et la dépolitisation de l’industrie culturelle chinoiseThis thesis investigates the Super Girl Voice phenomenon in order to achieve some understanding of the mechanisms underlying cultural dynamics in contemporary China. A Chinese imitation of the American reality television singing competition American Idol, the Super Girl Voice Contest is produced by Hunan TV and its subsidiary company EE Media. This highly participatory contest features a panel of judges in the preliminary regional auditions and employs a telecommunication-Based voting system to determine the winner. Its finals are broadcast live in prime time with record-Breaking national viewership. This contest also becomes one of the most heatedly discussed issues in Chinese society in the public sphere of mass media. The author contends that the cultural dynamics in contemporary China is characterized by the mediated negotiation between the dominant, the emergent, and the residual cultures. The dominant state ideology is embodied in the majority of the society and determines Chinese cultural policy and practices. On the other hand, it is being reinterpreted and diluted in the process of economic modernization. The profit-Oriented emergent popular culture deliberately keeps a distance from the dominant ideology, but it still need to comply with the ideology-Dominated regulations. The intellectual discourses are diversified since Chinese intellectuals achieve more economic, political and cultural independence. However, their influences have been undermined due to the political control over Chinese media and the depolitisation of Chinese cultural industry
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Bernhard, Colleen C. "A Voice from the Fire: The Authority of Experience." BYU ScholarsArchive, 1996. https://scholarsarchive.byu.edu/etd/4524.
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Over all, this thesis was written to be a "ramble" of its own around and through three issues that are central to the writing of the personal essay-voice, authority, and experience-and central to the emergence of this author's own sense of "self."Drawing upon years of voluminous journals, this collection of six personal essays demonstrates what the scholarly introduction proposes: that the personal essay is both a valid genre and a magnificent bridge from informal life-writing to genuine literary accomplishment. Drawing on Phillip Lopate's differentiation of "memoiristic" essays from the more classic autobiographical form, this collection includes three of each "persuasion." First, there are three autobiographical pieces which combine narrative with exposition. In the second section of the thesis there are three memoiristic essays written entirely in a story-like style, employing such devices as dialog, character development, and detailed description.
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Zickafoose, Rubylinda. ""Oye Mi Voz!" (Hear My Voice!): The Perceptions of Hispanic Boys Regarding their Literacy Experiences." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/104.
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The purpose of this study was to uncover the perspectives that pertain to the literacy experiences of young Hispanic boys. Hispanic boys will be asked to describe, feel, judge, and make sense of their public and private literacies (Faulkner, 2005). This phenomenological study embraces two methods of data collection, participant focus groups and individual interviews. The primary question guiding this inquiry was: What are the perceptions of adolescent Hispanic boys who are considered low level readers (by state achievement tests) regarding their literacy experiences?
In order to help provide background information and set the stage for future work when considering this specific population other supporting questions were added. These include: 1.) What have researchers reported about Hispanic boys in literacy situations? 2.) What is the role of masculinity (machismo) in the literacy lives of Hispanic boys? 3.) What teaching methods do Hispanic boys consider most responsive to their literacy needs? and 4.) What role can critical literacy play in educating this marginalized population? After sorting and analyzing all data sources, the themes that evolved as considered most relevant by this group of Hispanic boys were: a). Family, b). Language: its role of language in building identity, c). Machismo: to include male discourse when dealing with gangs and violence, e). Education - public literacy, e). Literacy: reading, writing, and f). Moral Literacy. Several major implications of the study include: (a) strong value for their cultural identity, (b) disconnect from their educational settings, (c) could self-prescribe their personal educational needs, (d) lacked institutional knowledge, and (e) had the potential to rebuild their identity. It is imperative that we listen to the voices of this marginalized population in order to gain insight to how Hispanic boys live public and private literacies (Faulkner, 2005) in the hope that our educational system can respond to their personal and academic needs.
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Chan, Pauline P. "The Experience of Voice for Asian American Women in Different Social Contexts." Thesis, Boston College, 2014. http://hdl.handle.net/2345/bc-ir:104042.
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Thesis advisor: Belle LiangResearch on women's voice and self-silencing has shown that girls begin to silence themselves during adolescence in response to sociocultural pressures to conform to gender norms and as a way to stay relationally connected with others. While the literature on voice for women has been extensive, it has centered primarily on the experiences of European-American women, which may not be generalizable to other ethnic/racial groups. This study extends existing research by examining voice experiences for Asian American women specifically. Given the multiple minority statuses and social roles that are a part of Asian American women's identities, the current study examined the intersecting influences of gender, race, culture, and power, in the experience of voice and authenticity. Specifically, this study explored voice for these women in different social contexts where issues of gender, race and power tend to be salient. Additionally, the study examined the role of racism-related stress and culture in self-silencing. Finally, associations between voice, support for voice, and psychological wellbeing were assessed. Findings indicated that levels of voice, as well as levels of perceived support for voice varied by social context, providing evidence for the importance of social climate in voice. In general, both voice and perceived support for voice were higher in settings with minimal power differentials (i.e., with female and Asian peers vs. with authority figures). In two of the social contexts of interest (i.e., non-Asian peers and male authority figures), racism-related stress was significantly associated with lower levels of voice. Self-construal, which was used as an indicator of cultural tendencies, was also significantly associated with voice; individuals with an independent style had more voice, and those with an interdependent style had less voice. Higher levels of voice were associated with higher perceived support for voice. And ultimately, higher voice was linked with better psychological outcomes. Implications for research, work/school settings, and clinical practice were discussed, as well as limitations and suggestions for future research
Thesis (PhD) — Boston College, 2014
Submitted to: Boston College. Lynch School of Education
Discipline: Counseling, Developmental and Educational Psychology
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Sakat, Mohamed-Amine, and Lingyu Ye. "Transformational Leadership in the Chinese Culture : A Quantitative Study on the Impact of Transformational Leadership on Chinese Internet Companies’ Performance." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103948.
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Abstract Linnaeus University – Campus Kalmar School of Business and Economics Leadership and Management in International Contexts (60 credits) Title: Transformational Leadership in the Chinese Culture – A Quantitative Study on the Impact of Transformational Leadership on Chinese Internet Companies’ Performance. This research aims to study how transformational leadership affects organizational performance and the mediation effect of employee voice behaviour. A quantitative research method and a deductive research approach were used for this research study, where theoretical concepts were developed. Several hypotheses were derived as means to test the existing theories regarding research variables. The data in this research was collected through a 384 completed online survey questionnaire from employees of the top ten listed Chinese internet companies. Various statistical techniques, including Pearson correlation analysis, linear regression analysis, and mediation effect testing, were implemented to provide evidence for hypothesis testing. The statistical analysis results indicate that a particular dimension of transformational leadership positively impacts Chinese internet companies’ performance, and employee voice behaviour has a partial mediation effect in this relationship.
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Lewis, Lynn C. "Towards an ethnography of voice in Amerafrican culture : an oral traditional register in four women's narratives /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946273.
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Fishman, Talya. "Shaking the pillars of exile : "Voice of a fool", an early modern Jewish critique of rabbinic culture /." Stanford (Calif.) : Stanford university press, 1997. http://catalogue.bnf.fr/ark:/12148/cb38840833v.
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Texte remanié de: Diss.--Post-biblical Jewish history and literature--Stanford--University.Contient la traduction anglaise de "Kol Sakhal" = "Voice of a fool" / Léon de Modène (sous le pseudonyme de Amitai bar Yedaiah ibn Raz). Bibliogr. p. 297-326. Index. Glossaire.
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Agnew, Melissa. "Big country, big voice : matching Australian actors' speech training to theatrical performance requirements." Thesis, Queensland University of Technology, 1995. https://eprints.qut.edu.au/35851/1/35851_Agnew_1995.pdf.
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This study investigates the requirements of the Australian actor's speaking voice in theatrical
performance with a view to identifying any presently existing shortcomings in that voice and proposing a means of addressing problems. From sources including case studies and fieldwork projects, data emerge about voice and speech practice in the Australian theatre.
Significant interviews with Voice experts from the Royal Shakespeare Company are included, as is a voice-oriented analysis of Louis Nowra's major plays. Implications for actor-training are detailed in the Data, Findings and Conclusion chapters. The thesis proposes that actor training programs should feature dialect in their speech courses.
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Callaghan, Jean, University of Western Sydney, and School of Science. "The relationship between scientific understandings of voice and current practice in the teaching of singing in Australia." THESIS_XXX_SS_Callaghan_J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/730.
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Scientific knowledge of vocal function and vocal health has increased greatly in recent decades, with new technology capable of displaying the larynx in operation, measuring muscular effort, and acoustically analysing vocal sound. This research addresses five key questions: 1/. What is the current body of voice science knowledge relevant to singing? 2/. What do singing teaching practitioners currently know about the voice? 3/. How do practitioners' understandings of voice influence their teaching of vocal techniques? 4/. How does singing teaching in Australia relate to bel canto precepts? 5/. How does singing teaching in Australia relate to voice science? Data was collected from surveys conducted to answer these questions. Analysis of survey data indicates that practitioners see themselves less as teachers than as singers who teach, and that this role perception carries values that moderate voice knowledge and approaches to teaching. The implications of this conclusion for the professional training of singing teachers in Australia are discussed and suggestions made for further research. In particular, voice scientists and singing teachers need to collaborate more actively in research. Scientific research into singing would have broader application if a model appropriate to both male and female voices were utilised and if larger and better chosen selections of experimental subjects were used. Further research is needed into how the physical skills of singing are best imparted to studentsDoctor of Philosophy (PhD)
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Cox, Frances Jayne. "The notion of physicality in vocal training for the performer in South African theatre, with particular reference to the Alexander technique." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002366.
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Voice training has been influenced by separatist attitudes which have allowed for classes which train the body to be separate from those which train the voice. This study acknowledges that to train an actor in separate compartments and then expect the completeness of human expression in performance, is to train under false pretences. There is a need to address the imbalance of separatism and this is examined within the context of voice training. An holistic approach to voice training forms the basis of the argument, which focuses on the need to re-educate the notion of physicality in voice training. Chapter one proposes an understanding of the notion of physicality by drawing on the attitudes of selected theatre practitioners towards the physical nature of the theatre encounter. The expressive energies of the actor's body are responsible for the physicalisation of a play; for this reason the movement of voice and speech is not only examined as source movement, but also as the movement of an actor's response and communication. Chapter two examines some practices which led to attitudes of separatism in voice training, and introduces prevalent practices which are attempting to involve the energy of the physical experience. Chapter three proposes that the Alexander technique be used as the foundation for an awareness of individual physicality. Where chapter one examines the theory of this notion, chapter three proposes an experiential understanding of the same. The Alexander technique is a training in effective body use and it's principles are fundamental to an awareness of body use and functioning. It is argued that these principles should underlie a re-education of physicality. The final chapter of the thesis argues for physicality in South African voice training programmes which would complement the physicality of contemporary theatre forms. It is hoped that this study will provide further incentive for the continued review and adjustment of drama training in South Africa.
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Stultz, Larry Michael. "Cultural Identity, Voice, and Agency in Post-Secondary Graphic Design Education: A Collective Case Study." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-03312006-180729/.
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Thesis (Ph. D.)--Georgia State University, 2006.Title from title screen. Deron Robert Boyles,committee chair; Jennifer Esposito, Heather Olson, Susan Talburt, committee members. Electronic text (194 p.) : digital, PDF file. Description based on contents viewed May 23, 2007. Includes bibliographical references (p. 182-189).
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Callaghan, Jean. "The relationship between scientific understandings of voice and current practice in the teaching of singing in Australia." Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/730.
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Scientific knowledge of vocal function and vocal health has increased greatly in recent decades, with new technology capable of displaying the larynx in operation, measuring muscular effort, and acoustically analysing vocal sound. This research addresses five key questions: 1/. What is the current body of voice science knowledge relevant to singing? 2/. What do singing teaching practitioners currently know about the voice? 3/. How do practitioners' understandings of voice influence their teaching of vocal techniques? 4/. How does singing teaching in Australia relate to bel canto precepts? 5/. How does singing teaching in Australia relate to voice science? Data was collected from surveys conducted to answer these questions. Analysis of survey data indicates that practitioners see themselves less as teachers than as singers who teach, and that this role perception carries values that moderate voice knowledge and approaches to teaching. The implications of this conclusion for the professional training of singing teachers in Australia are discussed and suggestions made for further research. In particular, voice scientists and singing teachers need to collaborate more actively in research. Scientific research into singing would have broader application if a model appropriate to both male and female voices were utilised and if larger and better chosen selections of experimental subjects were used. Further research is needed into how the physical skills of singing are best imparted to students
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Leith, Eleanor Crowther. "Moving beyond words in Scotland's corp-oral traditions : British Sign Language storytelling meets the 'deaf public voice'." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/23449.
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Scotland’s oral traditions have received scholarly attention since the 18th Century; however, collection and analysis has exclusively focused on those passed on ‘by word of mouth,’ and the traditional arts of Scotland’s deaf communities have been overlooked. This thesis begins to address this oversight by examining storytelling practices passed on ‘by sign of hand’ in British Sign Language (BSL). Neither fully acculturated to majority society nor ‘foreigners in their own country’ (Murray 2008:102), signing-deaf people have distinct ways of ‘doing’ culture which involve negotiating a bilingual-bicultural continuum between the hearing and deaf worlds. The historical exclusion of signing-deaf culture from conceptualisations of Scotland’s cultural heritage is increasingly being challenged, both overtly and tacitly, through an emergent ‘deaf public voice’ (Bechter 2008:72); in light of this, I consider three case-studies in which BSL storytelling practices have been placed in the public domain. Drawing on fieldwork, interviews and the in-depth analysis of BSL performance-texts, I examine the ways in which signing-deaf biculturality is expressed and performed, and consider the artistry involved in storytelling in a visual-spatial-kinetic language. In so doing, a working methodology is proposed for presenting signed material to non-signers, laying the groundwork for further collection and analysis. Applying Bauman and Murray’s concept of ‘Deaf Gain’ (2009), I argue that the study of this new corpus of oral material has a radical contribution to make to the field of ethnology and folklore, not least in highlighting phonocentric assumptions embedded in the study of oral traditions. I emphasise the extent to which the transmission of culture is predicated on particular ‘techniques of the body’ (Mauss 1973), and argue that, in drawing on different modality-specific affordances, both spoken and signed storytelling should be understood as part of the totality of Scotland’s ‘corp-oral’ traditions through which culture is transmitted ‘by performance of body.’
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Jones, Erik Reid. "Giving voice to the forgotten an examination of the music and culture of Veljo Tormis's "Forgotten Peoples" cycle /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3395.
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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Carli, Barbro. "The making and breaking of a female culture : the history of Swedish physical education "in a different voice" /." Göteborg : Acta Univ. Gothoburgensis, 2004. http://www.loc.gov/catdir/toc/fy0606/2005377733.html.
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Callaghan, Jean. "The relationship between scientific understandings of voice and current practice in the teaching of singing in Australia /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030922.122808/index.html.
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Olivier, Madelie Charlotte. "A critical study of voice teaching method, with specific reference to solo singing, choral singing and vocal health for the teenage singer." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1019926.
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This dissertation presents a critical study of voice teaching method as this pertains to the high school learner studying voice within the South African educational environment, with learning outcomes determined for subject music within the GET (General Education and Training) and FET (Further Education and Training) bands of the Department of Basic Education at each school grade level, as well as by external examining bodies such as Unisa (University of South Africa), Trinity Guildhall and ABRSM (Amalgamated Board of the Royal Schools of Music). Emphasis is placed on the methodological principles applicable in the case of the Western classical music solo vocal repertoire, but reference is also made to the applicability of this method in other vocal genres and, in particular, in the case of choral music participation. Special attention is given to the subject of the vocal health of the developing teenage voice, which includes an overview of vocal disorders and suggestions for rehabilitation and remedial programmes where necessary. Triangulation of research results is achieved in this study through inclusion of: - A thorough survey of selected pertinent bibliographic sources - Description of and engagement with the researcher’s own numerous phenomenological encounters in this field - Interviews conducted in Port Elizabeth with Jill Nock, voice teacher, on the subject of voice teaching method, and with John Black, Ear, Nose and Throat Specialist, on the subject of vocal health. The researcher concludes that there is a need for continued education and training of music educators in the South African high school environment, many of whom are not trained voice specialists, in order to cater for the growing number of high school music learners who choose to specialise in voice. Although educator networking can go a long way towards creating an informal support system to address this need, it is ultimately the responsibility of the Department of Basic Education to address this in a formal and all-encompassing fashion.
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Theron, Marie Antoinette. "Aspekte van stemontwikkeling : 'n psigo-fisiese benadering." Thesis, Stellenbosch : Stellenbosch University, 1994. http://hdl.handle.net/10019.1/58276.
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Thesis(M. Mus.) -- Stellenbosch University, 1994.ENGLISH ABSTRACT: The purpose of this study is to investigate the relationship between developing the voice and freeing the voice. The ultimate aim of developing the singing voice is expression through the medium of sound. For this to happen, a singer's voice has to function free and resonant. Every song demands certain expressive qualities, and the singing instrument should be able to react to a wide range of impulses. The singing instrument should be freed to enable optimal functioning, while authentically conveying powerful emotions. Developing and freeing the voice is a psycho-physical process. A person's psycho-physical functioning is manifested in body posture. As it were, the body conforms to a person's predisposition and muscle use. Muscle condition, muscle use and the singer's psychological state of mind influence the way in which sound is produced. Sensory perception, the body and breathing in balance, and the use of the body as singing instrument is discussed in chapter two. During the teaching of singing it is imperative that singers develop free habits and expectations. A process of releasing the voice is needed, because stressful habits and distorted sound-expectations have become part of the singer's performance. This inhibits expression in sound and causes the singing apparatus to operate ineffectively. The proper balance between effort and result is often disturbed. In chapter three it is pointed out that more attention should be paid to psycho-physical aspects, including psychological hindrances, the mind, motivation and body language. The teacher-pupil relationship and fear can also influence the development of the voice. In the process of freeing the voice, the Alexander technique can contribute to recognition of malfunctioning and tension in the body. A new and expanded approach to teaching and learning is needed - this will enable the singer to fully participate through thought, physical sensing, feeling and intuitive functions during teaching sessions. All these components interact with each other to support the singing process and develop good technical skills. In chapter four activities which can contribute to the freeing process of the voice and psycho-physical development are discussed. Activities used to promote the integration of all components are game playing as aid to singing development, characterisation as tool for personality and emotional development, imagery and imagination, and voice and movement. In the final chapter some conclusions and directives are given for future teaching of singing, with recommendations about areas in which more research is needed, including development of mental concepts in singing, sound and movement, and the role and influence of feeling and emotion during the singing process.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is 'n ondersoek na die verband tussen stemontwikkeling en stembevryding. Tydens sangstemontwikkeling is die uiteindelike doelwit ekspressie - om deur middel van klank uitdrukking te kan gee. Om dit te laat gebeur moet 'n sanger se stem vry en resonant klink. Elke lied stel sekere vereistes ten opsigte van uitdrukking en die sangapparaat behoort te kan reageer op 'n verskeidenheid van impulse. Die sangapparaat moet vry wees om optimaal te funksioneer en kragtige emosies getrou te verklank. Stemontwikkeling en stembevryding is 'n psigo-fisiese proses. Liggaamshouding IS 'n uiting of manifestasie van die mens se psigo-fisiese funksionering. Die liggaam neem as 't ware die vorm van die persoon se ingesteldheid en spiergebruik aan. Die toestand van spiere, die funksionering van spiere en die persoon se psigiese toestand het 'n invloed op die klank. Sensoriese waarneming, die liggaam en asemhaling in balans en die gebruik van die liggaam as sanginstrument word in hoofstuk twee bespreek. In sangonderrig is dit noodsaaklik dat sangers vrye gewoontes en verwagtinge sal ontwikkel. In Bevrydingsproses is dus nodig omdat spanningsvolle gewoontes en verwronge klankverwagtinge deel geword het van die sanger se denkwyse as gevolg van wanbegrippe oor sang. Dit inhibeer klankuitdrukking en laat die sangapparaat oneffektief funksioneer. Die korrekte verhouding tussen inspanning en resultaat is dikwels versteur. In hoofstuk drie word aangetoon dat in sangonderrig meer aandag gegee behoort te word aan psigo-fisiese aspekte, waaronder psigiese blokkerings, die denke, motivering en liggaamstaal. Ook die onderwyser-sanger-verhouding en vrees kan stemontwikkeling beinvloed. In die stembevrydingsproses kan lesse in die Alexandertegniek heelwat bydra tot die herkenning van wanfunksionering en spanning in die liggaam. 'n Nuwe en uitgebreide benadering tot onderrig en leer is dus wenslik, sodat die sanger tydens sangonderrig in sy totaliteit betrek kan word in sy denk-, fisiessintuiglike, gevoels- en intultiewe funksies. Al hierdie komponente werk interafhanklik saam om die sangproses te onderhou en goeie tegniese vaardighede te laat ontwikkel. In hoofstuk vier word aktiwiteite bespreek wat kan help met stembevryding en psigofisiese ontwikkeling. Die aktiwiteite wat integrasie van alle komponente bevorder, sluit in spel as hulpmiddel vir sangontwikkeling, karakterisering as middel tot persoonlikheids- en emosionele ontwikkeling, beeldingspel en verbeelding, en stem en beweging. In die finale hoofstuk word gevolgtrekkings en rigtingwysers vir toekomstige sangonderrig gemaak, met aanbevelings oor areas waaroor meer navorsing nodig is soos denkontwikkeling vir sangers, stem en beweging, en die funksionering en invloed van gevoel en emosie tydens die sangproses.
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Marchenkova, Ludmila Alexandrovna. "Interpreting dialogue: Bakhtin’s theory and second language learning." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1111777929.
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DeJardin, Kathleen Rose. "The accompanied vocalise and its application to selected baroque, classical, Romantic and twentieth century songs and arias." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185928.
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The accompanied vocalise has been a vehicle for voice training since the "golden age of 'bel canto' thinspace". These vocalises or exercises enable the student to concentrate on using pure tone and to develop various aspects of technical skill and musical style. The use of these accompanied vocalises can detect perceived problems or weaknesses before the students encounters them in songs and arias. The pedagogical and instructional value of the selected vocalises are examined for their possible efficacy in strengthening a student's perceived weakness. In order to determine the relevance of these accompanied vocalises, arias of five representative composers have been chosen. These songs and arias are examined to identify bel canto characteristics, some of which may be problematic for students. Passages reflecting these stylistic characteristics are paired with specific vocalises of similar musical construction. For each example, there are excerpts from three different vocalise composers. The examples contain only a few measures, but it is assumed that the repeated practice of the entire composition will further the acquisition of the desired vocal trait. The five bel canto characteristics examined in depth are: agility, long legato phrases, ornamentation, co-ordination of the registers, and strength and control of the tonal range. The vocalises utilized are limited by the availability of printed sources. A compilation of the instructional vocalises examined is provided in an addendum to the study.