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Comelek, Barbara Kay Zumwalt. "Allusions to the vocal art in selected wind instrument pedagogical sources". Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/454807.
Pełny tekst źródłaWhitaker, Sandra S. "Singers' resonance". Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118238.
Pełny tekst źródłaSchool of Music
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.
Pełny tekst źródłaLegg, Robert John. "Delightful to nature : a mixed methods exploration of adolescent singing participation in the United Kingdom". Thesis, University of Bristol, 2012. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.556735.
Pełny tekst źródłaNannen, Briana E. ""Choir is for Girls"| Intersectional Mixed Methods Perspectives on Adolescent Gender Identity, Singing Interest, and Choral Music Participation". Thesis, The University of Nebraska - Lincoln, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271929.
Pełny tekst źródłaAs students progress through adolescent development, researchers have observed a lack of male participation in choral music activities. This male to female imbalance is often attributed to a perception that singing is a feminine activity and results in a lack of balance in choral music ensembles. The purpose of this mixed methods study was to explore adolescent gender identity as it relates to singing interest and choral music participation. An explanatory sequential mixed methods design was used, in which quantitative data were collected and analyzed followed by in-depth qualitative interviews. A group of 9th grade students (n=174) completed the Children’s Sex Role Inventory and the Singing Interest Inventory to gauge their self-perceived levels of masculinity and femininity along with their level of singing interest. Information from the quantitative portion of this study indicated that girls had both a higher interest in singing and a higher rate of participation in choral music ensembles than their male peers. A significant contribution of this study was that although singing is often perceived as feminine, no significant differences were found between categorized gender groups and singing interest.
Qualitative interviews were conducted with two groups of male students who were not enrolled in choir: low singing interest scores (n=4) and high singing interest scores (n=4). Transcribed and coded interviews resulted in the following themes: low singing interest, Guys are physical, Girls are feminine, Shared perceptions, Guys don’t sing, and Calling them names; high singing interest, Men want muscles, Girls are expressive, Shared perceptions, Choir is for girls, Get made fun of, and No labels. The shared theme Shared perceptions suggests that participant perceptions are the same as their parents and friends. The theme No labels was unique to the high singing interest group. Participants in that group demonstrated a higher level of acceptance for atypical gender behavior.
Marina, Gavrilović. "Музичко образовање као сегмент културног развоја града Ниша 1827-1940". Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2013. http://www.cris.uns.ac.rs/record.jsf?recordId=94746&source=NDLTD&language=en.
Pełny tekst źródłaThe research work is presented in five chapters. The first chapter, Music education in lower region under the control of the Ottomans, is about the educational system as a part of the Ottoman Empire, the arrival of the first Serbian teacher Spiridon Jovanovic at Nish (1927), the founding of the Serbian school and development of musical education. The second chapter, Musical education in Principality and Kingdom of Serbia (1878-1914), is about the development of musical education and teaching in elementary schools, grammar schools and teachers’ academies and the contribution of the school ensembles to music life of the town of Nish. The third chapter, Musical education during the Bulgarian occupation (1914-1918), talks about the abolishing of Serbian schools, founding of Bulgarian elementary schools and grammar schools, as well as the teaching music in them. The fourth chapter, The cultural rise in The Kingdom of Yugoslavia (1918-1940), contains the curriculums of the elementary schools, grammar schools and teachers’ academies, facts about the musical education of the teachers, subject matter and the significance of the music subjects, forming of the choirs and orchestras and public performances. In the fifth chapter, Teaching methods and methodologists (1870-1940), some elements of the teaching process are shown: musical arrangement of a song by hearing ( perception by sound), singing from notes, the application of the interval and associational method. It is about the first methodologists of teaching singing, about Vladimir R. Djordjevic-a supporter of singing from notes, about the first textbooks and their authors.
The research work is presented in five chapters.The first chapter, Music education in lowerregion under the control of the Ottomans, isabout the educational system as a part of theOttoman Empire, the arrival of the first Serbianteacher Spiridon Jovanovic at Nish (1927), thefounding of the Serbian school and developmentof musical education. The second chapter,Musical education in Principality and Kingdomof Serbia (1878-1914), is about the developmentof musical education and teaching in elementaryschools, grammar schools and teachersacademies and the contribution of the schoolensembles to music life of the town of Nish.The third chapter, Musical education during theBulgarian occupation (1914-1918), talks aboutthe abolishing of Serbian schools, founding ofBulgarian elementary schools and grammarschools, as well as the teaching music in them.The fourth chapter, The cultural rise in TheKingdom of Yugoslavia (1918-1940), containsthe curriculums of the elementary schools,grammar schools and teachers academies, factsabout the musical education of the teachers,subject matter and the significance of the musicsubjects, forming of the choirs and orchestrasand public performances. In the fifth chapter, Teaching methods and methodologists (1870-1940), some elements of the teaching processare shown: musical arrangement of a song byhearing ( perception by sound), singing fromnotes, the application of the interval andassociational method. It is about the firstmethodologists of teaching singing, aboutVladimir R. Djordjevic-a supporter of singingfrom notes, about the first textbooks and theirauthors.
St, Jean Donald. "A mixed methods portait of the perceived benefits of unaccompanied ensemble singing on the development of the musical skills of undergraduate skills". Thesis, Boston University, 2014. https://hdl.handle.net/2144/11055.
Pełny tekst źródłaThe purpose of this investigation was to establish an understanding of the role that a cappella ensemble singing plays in the musical development of undergraduate ensemble singers based on the perspective of students, music teachers of three to five years experience, and faculty directors from four-year colleges and universities geographically located within the American Choral Directors Association (ACDA) Eastern Division, including the six New England states plus Delaware, Maryland, New Jersey, New York, and Pennsylvania. Research questions asked: In what ways is a cappella ensemble singing perceived to contribute to the musical development of college student musicians? Are there measureable differences in the perceived benefits of traditional and contemporary genres of a cappella ensemble singing between undergraduate students and faculty directors? Findings suggested that benefit exists in both traditional and contemporary a cappella ensemble singing. Descriptive research was employed in an exploratory, mixed-methods design as described by Creswell and Plano (2007). Phase one consisted of 18 face-to-face, open-ended, semi-structured interviews, five observations, and three student focus-groups. Broad themes emerged, including ensemble experience, genre, hearing and precision, personal attributes, promotion and support, vocal technique, reflecting increased proficiency in intonation, sight singing, tonal memory, rhythmic precision, musical expressivity, vocal range and flexibility, and increased confidence and sense of responsibility. A Web-based survey, consisting of questions informed by the qualitative research, comprised the second phase, comparing the perceptions of students (n = 59) and faculty directors (n = 11) on the benefits of both traditional and contemporary a cappella ensemble singing. Mann-Whitney U and Wilcoxon Signed Ranks Tests were employed to test ordinal data for statistical differences between and within groups relative to traditional and contemporary a cappella ensemble singing. Statistical differences (p < .05) were found between the responses of students and faculty directors in musical expressivity, vocal range and flexibility (contemporary), and in attitudes regarding the importance of contemporary a cappella ensemble singing for music education students. Statistical differences emerged among student responses regarding intonation, sight singing, musical expressivity, rhythmic precision, independence, level of challenge, commitment, and among faculty directors regarding the importance of the contemporary genre for music education majors.
Forsman, Viktoria. "Med sång som yrke : En kvalitativ studie om hur yrkesförberedande sångundervisning kan bedrivas med syfte att ge eleven en god förberedelse för yrkeslivet". Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-28913.
Pełny tekst źródłaThis study aims to highlight educational elements, as well as the musical and technical training, which, as part of a professional vocal study program, prepares the student for a professional career as a vocalist. This in turn, should help ensure a degree of satisfaction for professional vocalists. The study has its theoretical basis in hermeneutics and social psychology, and has been performed with the qualitative interview method. Four professional vocalists have served as informants. The background section presents both facts and previous studies of the voice used as an instrument, the employment situation of the professional musician, job satisfaction, vocational vocal training, the instructor’s ability to influence the music student, and also the health risks associated with professional musicians. The study’s findings support previous research as several themes are consistent. The results, as opposed to previous research that more broadly describes the musician’s professional situation, is here specifically related to the daily life of a musician. The study also highlights specific suggestions for educational elements applied to professional vocal training in a way that has not been shown in previous research. Examples of vocational objectives, which, according to the study may be suitable for the vocal instructor, are creating confidence in the student in a safe learning environment, creating self-sustaining students, and providing the student with insight and professional experience in the profession.
Jank, Birgit. "Singen als Dialog zwischen menschlicher Kommunikation und musikalischer Bildung". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6565/.
Pełny tekst źródłaUhlrich-Knoll, Silvana. "Belcantare Brandenburg. Jedes Kind kann singen! : Ein Pilotprojekt stellt sich vor". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6559/.
Pełny tekst źródłaBuschmann, Jana. "Ein Singprojekt in ländlicher Region". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6560/.
Pełny tekst źródłaGrohmann, Markus, i Claudia Kähler. "Wenn Schülerbilder Bände sprechen". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6561/.
Pełny tekst źródłaBuschmann, Jana. "Beweggründe für die Verwirklichung von „Belcantare Brandenburg“ aus Sicht der beteiligten Institutionen". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6562/.
Pełny tekst źródłaBuschmann, Jana. "„Belcantare Brandenburg“ facettenreich erforschen". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6564/.
Pełny tekst źródłaWalf, Leonard. "Binnendifferenzierung im Musikunterricht". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6566/.
Pełny tekst źródłaMaier, Olga. "„Belcantare Brandenburg“ – ein zweites „Primacanta“? : Vergleichende Betrachtung zweier lehrerfortbildender Singprojekte". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6567/.
Pełny tekst źródłaAssinger, Eva Katharina. "Einzelcoaching als Hilfe zur Selbsthilfe. Wie man musikdidaktische Lehrerkompetenzen gezielt unterstützt und fördert". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6568/.
Pełny tekst źródłaBuschmann, Jana. "Entwicklungsfelder in der Singarbeit der Teilnehmer von „Belcantare Brandenburg“". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6569/.
Pełny tekst źródłaBuschmann, Jana, i Birgit Jank. "Ausgewählte bilanzierende Einblicke zum Projekt „Belcantare Brandenburg“". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6570/.
Pełny tekst źródłaDoerfler, Amy M. "Part I: Mass for Full Orchestra and SATB Chorus Part II: Joseph Funk's A Compilation of Genuine Church Music (1832): An Analysis of Music and Methods". Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1310584998.
Pełny tekst źródłaMohr, Caitlin. "Clinical Symptoms and Signs Related to Voice Disorders among Collegiate-Level Singers: A Retrospective Study". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955112/.
Pełny tekst źródłaCollyer, Sarah. "Yoga for singers: A holistic practice tool". Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/121491/1/Sarah%20Collyer%20Thesis.pdf.
Pełny tekst źródłaKim, Yu-Jin. "How to prepare for foreign art songs : an innovative method for beginning singers /". Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11221.
Pełny tekst źródłaDennis, Daniel C. "Sing Together! Choral Singing as a Supplementary Training Method for Actors". VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1163.
Pełny tekst źródłaAmkraut, Merissa. "A comparison of the Kodaly method and the traditional method to determine pitch accuracy in grade 6 choral sight-singing". FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1281.
Pełny tekst źródłaMoorcroft, Lynda. "Pre-Performance Practices: Breathing Imagery and Warm-Up For Singers". Thesis, The University of Sydney, 2011. http://hdl.handle.net/2123/7870.
Pełny tekst źródłaFowler, Alandra Dean. "Estelle Liebling: An exploration of her pedagogical principles as an extension and elaboration of the Marchesi method, including a survey of her music and editing for coloratura soprano and other voices". Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186675.
Pełny tekst źródłaScott, Elizabeth Renee. "Fine tuning choral intonation: The development, implementation and evaluation of a pedagogical method for just intonation in a cappella choral singing". Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/26817.
Pełny tekst źródłaWood, Samantha (Soprano). "Distance Learning in Singing Education: An Overview of Historical and Modern Approaches and Future Trends". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505254/.
Pełny tekst źródłaDrahan, Snizhana. "Ouvir a voz: a percepção da produção vocal pelo Regente Coral - método e formação". Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27140/tde-05072009-212521/.
Pełny tekst źródłaThe concept of vocal perception (including its functions and resources) is, in this dissertation, considered to be the ability of hearing, understanding and performing through the following kinds of sensorial reception: auditory control, muscular and vibrational sensitivity, as well as vision. The aims of this work are: A) divulgating the formerly mentioned concept; B) introducing methods that allow both singers and choral conductors to improve their acting. The discussion is based on the Russian and Ukrainian literature on this matter and focuses mainly on the work of Vladimir Morozov. In comparing these to the Brazilian and American literature, the dissertation also ponders over the contents that relate to the areas mentioned above, and explores the possible ways of improving this ability in practical situations, with an specific focus on choral conducting and choral singing, thus proposing a method of teaching that offers a series of exercises that will encourage the development of a vocal perception for the student, which can be applied in conducting classes, individual studying and general choral practice. When researching and creating the teaching method, the methodology of choice was to search, compare, ponder and analyze literature, while developing specific exercises.
McElwain, Randall D. "Singing the word: the role of the Old Testament in selected hymns of Charles Wesley and some implications for Twenty-First Century worship in terms of the 'Blueprint' model /". Theological Research Exchange Network (TREN) Access this title online, 2004. http://www.tren.com.
Pełny tekst źródłaArvidsson, Cornelia. "En oförställd röst : En kvalitativ studie i hur tre sångare uppfattar röstmetoden The Voice Work". Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3524.
Pełny tekst źródłaThe purpose of this study was to explore the experiences of three singers within the voice method The Voice Work. The study was conducted through qualitative interviews in the fall of 2019 through hermeneutic analysis and is discussed against a background of contemporary experience-based voice methods as well as voice research in popular musical genres. The result is presented in three chapters: The quest for authenticity, Body and psyche - a whole and Development. The interviewed singers perceive The Voice Work as a method with the aim of achieving authenticity in using the voice. The interviewed singers experience an accepting attitude to their voice. The Voice Work gives the interviewed singers an experience of the voice and the psychic being as a whole. The sound of voice and intonation is controlled to a lesser extent, helping them not dissembling the voice. The interviewed singers talk about experiences of a freer voice, inner presence, self-insights and how the work affected them emotionally. Through the breathing exercise and sounding that occurs in The Voice Work, the interviewed singers train to try to relate non-judgmentally to themselves and their body, they experience a relaxation in voice and breathing and that they sing more gently which they use in their vocal training. Interviewed singer Lisa uses the method in performances to reduce the focus on results. The interviewed singers also believe that the breathing exercise caused them to find a mental focus, which they lacked tools for in other voice methods.
Freixes, Guerreiro Marc. "Adding expressiveness to unit selection speech synthesis and to numerical voice production". Doctoral thesis, Universitat Ramon Llull, 2021. http://hdl.handle.net/10803/672066.
Pełny tekst źródłaEl habla es una de las formas de comunicación más naturales y directas entre seres humanos, ya que codifica un mensaje y también claves paralingüísticas sobre el estado emocional del locutor, el tono o su intención, convirtiéndose así en fundamental en la consecución de una interacción humano-máquina (HCI) más natural. En este contexto, la generación de habla expresiva para el canal de salida de HCI es un elemento clave en el desarrollo de tecnologías asistenciales o asistentes personales entre otras aplicaciones. El habla sintética puede ser generada a partir de habla gravada utilizando métodos basados en corpus como la selección de unidades (US), que pueden conseguir resultados de alta calidad, pero de expresividad restringida a la propia del corpus. A fin de mejorar la calidad de la salida de la síntesis, la tendencia actual es construir bases de datos de voz cada vez más grandes, siguiendo especialmente la aproximación de síntesis llamada End-to-End basada en técnicas de aprendizaje profundo. Sin embargo, gravar corpus ad-hoc para cada estilo expresivo deseado puede ser extremadamente costoso o incluso inviable si el locutor no es capaz de realizar adecuadamente los estilos requeridos para una aplicación dada (ej: canto en el dominio de la narración de cuentos). Alternativamente, nuevos métodos basados en la física de la producción de voz se han desarrollado en la última década gracias al incremento en la potencia computacional. Por ejemplo, vocales o diptongos pueden ser obtenidos utilizando el método de elementos finitos (FEM) para simular la propagación de ondas acústicas a través de una geometría 3D realista del tracto vocal obtenida a partir de resonancias magnéticas (MRI). Sin embargo, dado que los principales esfuerzos en estos métodos de producción numérica de voz se han focalizado en la mejora del modelado del proceso de generación de voz, hasta ahora se ha prestado poca atención a su expresividad. Además, la colección de datos para estas simulaciones es muy costosa, además de requerir un largo postproceso manual como el necesario para extraer geometrías 3D del tracto vocal a partir de MRI. El objetivo de la tesis es añadir expresividad en un sistema que genera voz neutra, sin tener que adquirir datos expresivos del locutor original. Per un lado, se añaden capacidades expresivas a un sistema de conversión de texto a habla basado en selección de unidades (US-TTS) dotado de un corpus de voz neutra, para abordar necesidades específicas y concretas en el ámbito de la narración de cuentos, como son la voz cantada o situaciones de suspense. Para ello, la voz se parametriza utilizando un modelo harmónico y se transforma al estilo expresivo deseado de acuerdo con un sistema experto. Se presenta una primera aproximación, centrada en la síntesis de suspense creciente para la narración de cuentos, y se demuestra su viabilidad en cuanto a naturalidad y calidad de narración de cuentos. También se añaden capacidades de canto al sistema US-TTS mediante la integración de módulos de transformación de habla a voz cantada en el pipeline del TTS, y la incorporación de un módulo de generación de prosodia expresiva que permite al módulo de US seleccionar unidades más cercanas a la prosodia cantada obtenida a partir de la partitura de entrada. Esto resulta en un framework de síntesis de conversión de texto a habla y voz cantada basado en selección de unidades (US-TTS&S) que puede generar voz hablada y cantada a partir del mismo pequeño corpus de voz neutra (~2.6h). De acuerdo con los resultados objetivos, la estrategia de US guiada por la partitura permite reducir los factores de modificación de pitch requeridos para producir voz cantada a partir de las unidades de voz hablada seleccionadas, pero en cambio tiene una efectividad limitada con los factores de modificación de duraciones debido a la corta duración de las vocales habladas neutras. Los resultados de las pruebas perceptivas muestran que, a pesar de obtener una naturalidad obviamente inferior a la ofrecida por un sintetizador profesional de voz cantada, el framework puede abordar necesidades puntuales de voz cantada para la síntesis de narración de cuentos con una calidad razonable. La incorporación de expresividad se investiga también en la simulación numérica 3D de vocales basada en FEM mediante modificaciones en las señales de excitación glotal utilizando una aproximación fuente-filtro de producción de voz. Estas señales se generan utilizando un modelo Liljencrants-Fant (LF) controlado con el parámetro de forma del pulso Rd, que permite explorar el continuo de fonación laxo-tenso además del rango de frecuencias fundamentales, F0, de la voz hablada. Se analiza la contribución de la fuente glotal a los modos de alto orden en la síntesis FEM de las vocales cardinales [a], [i] y [u] mediante la comparación de los valores de energía de alta frecuencia (HFE) obtenidos con geometrías realistas y simplificadas del tracto vocal. Las simulaciones indican que los modos de alto orden se prevén perceptivamente relevantes de acuerdo con valores de referencia de la literatura, particularmente para fonaciones tensas y/o F0s altas. En cambio, para vocales con una fonación laxa y/o F0s bajas los niveles de HFE pueden resultar inaudibles, especialmente si no hay ruido de aspiración en la fuente glotal. Después de este estudio preliminar, se han analizado las características de excitación de vocales alegres y agresivas de un corpus paralelo de voz en castellano con el objetivo de incorporar estos estilos expresivos de voz tensa en la simulación numérica de voz. Para ello, se ha usado el vocoder GlottDNN para analizar variaciones de F0 y pendiente espectral relacionadas con la excitación glotal en vocales [a]. Estas variaciones se mapean mediante la comparación con vocales sintéticas en valores de F0 y Rd para simular vocales que se asemejen a los estilos alegre y agresivo. Los resultados muestran que es necesario incrementar la F0 y disminuir la Rd respecto la voz neutra, con variaciones mayores para alegre que para agresivo, especialmente para vocales acentuadas. Los resultados conseguidos en las investigaciones realizadas validan la posibilidad de añadir expresividad a la síntesis basada en corpus US-TTS y a la simulación numérica de voz basada en FEM. Sin embargo, hay margen de mejora. Por ejemplo, la estrategia aplicada a la producción numérica de voz se podría mejorar estudiando y desarrollando métodos de filtrado inverso, así como incorporando modificaciones del tracto vocal, mientras que el framework US-TTS&S desarrollado se podría beneficiar de los avances en técnicas de transformación de voz incluyendo transformaciones de la calidad de la voz, aprovechando la experiencia adquirida en la simulación numérica de vocales expresivas.
Speech is one of the most natural and direct forms of communication between human beings, as it codifies both a message and paralinguistic cues about the emotional state of the speaker, its mood, or its intention, thus becoming instrumental in pursuing a more natural Human Computer Interaction (HCI). In this context, the generation of expressive speech for the HCI output channel is a key element in the development of assistive technologies or personal assistants among other applications. Synthetic speech can be generated from recorded speech using corpus-based methods such as Unit-Selection (US), which can achieve high quality results but whose expressiveness is restricted to that available in the speech corpus. In order to improve the quality of the synthesis output, the current trend is to build ever larger speech databases, especially following the so-called End-to-End synthesis approach based on deep learning techniques. However, recording ad-hoc corpora for each and every desired expressive style can be extremely costly, or even unfeasible if the speaker is unable to properly perform the styles required for a given application (e.g., singing in the storytelling domain). Alternatively, new methods based on the physics of voice production have been developed in the last decade thanks to the increase in computing power. For instance, vowels or diphthongs can be obtained using the Finite Element Method (FEM) to simulate the propagation of acoustic waves through a 3D realistic vocal tract geometry obtained from Magnetic Resonance Imaging (MRI). However, since the main efforts in these numerical voice production methods have been focused on improving the modelling of the voice generation process, little attention has been paid to its expressiveness up to now. Furthermore, the collection of data for such simulations is very costly, besides requiring manual time-consuming postprocessing like that needed to extract 3D vocal tract geometries from MRI. The aim of the thesis is to add expressiveness into a system that generates neutral voice, without having to acquire expressive data from the original speaker. One the one hand, expressive capabilities are added to a Unit-Selection Text-to-Speech (US-TTS) system fed with a neutral speech corpus, to address specific and timely needs in the storytelling domain, such as for singing or in suspenseful situations. To this end, speech is parameterised using a harmonic-based model and subsequently transformed to the target expressive style according to an expert system. A first approach dealing with the synthesis of storytelling increasing suspense shows the viability of the proposal in terms of naturalness and storytelling quality. Singing capabilities are also added to the US-TTS system through the integration of Speech-to-Singing (STS) transformation modules into the TTS pipeline, and by incorporating an expressive prosody generation module that allows the US to select units closer to the target singing prosody obtained from the input score. This results in a Unit Selection based Text-to-Speech-and-Singing (US-TTS&S) synthesis framework that can generate both speech and singing from the same neutral speech small corpus (~2.6 h). According to the objective results, the score-driven US strategy can reduce the pitch scaling factors required to produce singing from the selected spoken units, but its effectiveness is limited regarding the time-scale requirements due to the short duration of the spoken vowels. Results from the perceptual tests show that although the obtained naturalness is obviously far from that given by a professional singing synthesiser, the framework can address eventual singing needs for synthetic storytelling with a reasonable quality. The incorporation of expressiveness is also investigated in the 3D FEM-based numerical simulation of vowels through modifications of the glottal flow signals following a source-filter approach of voice production. These signals are generated using a Liljencrants-Fant (LF) model controlled with the glottal shape parameter Rd, which allows exploring the tense-lax continuum of phonation besides the spoken vocal range of fundamental frequency values, F0. The contribution of the glottal source to higher order modes in the FEM synthesis of cardinal vowels [a], [i] and [u] is analysed through the comparison of the High Frequency Energy (HFE) values obtained with realistic and simplified 3D geometries of the vocal tract. The simulations indicate that higher order modes are expected to be perceptually relevant according to reference values stated in the literature, particularly for tense phonations and/or high F0s. Conversely, vowels with a lax phonation and/or low F0s can result in inaudible HFE levels, especially if aspiration noise is not present in the glottal source. After this preliminary study, the excitation characteristics of happy and aggressive vowels from a Spanish parallel speech corpus are analysed with the aim of incorporating this tense voice expressive styles into the numerical production of voice. To that effect, the GlottDNN vocoder is used to analyse F0 and spectral tilt variations associated with the glottal excitation on vowels [a]. These variations are mapped through the comparison with synthetic vowels into F0 and Rd values to simulate vowels resembling happy and aggressive styles. Results show that it is necessary to increase F0 and decrease Rd with respect to neutral speech, with larger variations for happy than aggressive style, especially for the stressed [a] vowels. The results achieved in the conducted investigations validate the possibility of adding expressiveness to both corpus-based US-TTS synthesis and FEM-based numerical simulation of voice. Nevertheless, there is still room for improvement. For instance, the strategy applied to the numerical voice production could be improved by studying and developing inverse filtering approaches as well as incorporating modifications of the vocal tract, whereas the developed US-TTS&S framework could benefit from advances in voice transformation techniques including voice quality modifications, taking advantage of the experience gained in the numerical simulation of expressive vowels.
Louw, Theunis Gabriël. "A historic overview of oriental solmisation systems followed by an inquiry into the current use of solmisation in aural training at South African universities". Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5143.
Pełny tekst źródłaENGLISH ABSTRACT: The purpose of the present study is twofold: I. In the first instance, it is aimed at promoting a better acquaintance with and a deeper understanding of the generally less well-known solmisation systems that have emerged within the oriental music sphere. In this regard a general definition of solmisation is provided, followed by a historic overview of indigenous solmisation systems that have been developed in China, Korea, Japan, India, Indonesia and the Arab world, thereby also confirming the status of solmisation as a truly global phenomenon. II. The second objective of the study was to investigate the current use of solmisation, and the Tonic Sol-fa system in particular, in aural training at South African universities. In order to achieve this, an inquiry was conducted by means of a survey which consisted of (a) a survey questionnaire that was sent to designers/instructors/coordinators of aural training modules at relevant South African universities and (b) additional correspondence that was subsequently undertaken with some of these respondents. This was done with the aim of obtaining information regarding the following: (1) the extent to which solmisation is still being employed in this context; (2) which solmisation systems or alternative approaches to solmisation are being used; (3) what the respondents’ personal motivations are for employing or not employing solmisation; (4) what instruction material is being utilised in either regard; and (5) what the respondents’ personal views are regarding the use of solmisation in aural training. The outcome of the survey confirmed that solmisation, and the Tonic Sol-fa system in particular, is still actively being used in aural training at South African universities, while at the same time providing some insight into the general application thereof in this context. On the whole, the survey also affirmed the continued relevance of solmisation, and the Tonic Sol-fa system in particular, both in the broader South African context and specifically within the context of aural training at South African universities, showing that solmisation continues to be regarded as a valuable aid in the instruction of aural training by the majority of the designers/instructors/coordinators of aural training modules that participated in the survey.
AFRIKAANSE OPSOMMING: Die doel van die onderhawige studie is tweeledig van aard: I. In die eerste plek is dit gemik op die bevordering van beter vertroudheid met en ’n grondiger begrip van die oor die algemeen minder bekende solmisasiestelsels wat binne die konteks van oosterse musiek na vore getree het. In hierdie verband word daar ’n algemene omskrywing van solmisasie voorsien, gevolg deur ’n historiese oorsig oor inheemse solmisasiestelsels wat ontwikkel is in China, Korea, Japan, Indië, Indonesië en die Arabiese wêreld, en word die status van solmisasie as ’n wesenlik wêreldwye verskynsel dan ook daardeur bevestig. II. Die tweede doelwit van die studie was om ondersoek in te stel na die huidige gebruik van solmisasie, en die Tonic Sol-fa stelsel in besonder, in gehooropleiding aan Suid-Afrikaanse universiteite. Om dit te bewerkstellig, is ’n ondersoek uitgevoer deur middel van ’n opname wat bestaan het uit (a) ’n opnamevraelys wat gestuur is aan opstellers/dosente/koördineerders van gehoorlopleidingsmodules aan relevante Suid-Afrikaanse universiteite en (b) bykomende korrespondensie wat daaropvolgend onderneem is met van hierdie respondente. Dit is gedoen met die doel om inligting te bekom rakende die volgende: (1) die mate waarin solmisasie nog binne hierdie konteks gebruik word; (2) watter solmisasiestelsels of alternatiewe benaderings vir solmisasie gebruik word; (3) wat die respondente se persoonlike motiverings is vir die gebruik van solmisasie al dan nie; (4) watter onderrigmateriaal daar in beide gevalle gebruik word; en (5) wat die respondente se persoonlike sieninge is ten opsigte van die gebruik van solmisasie in gehooropleiding. Die uitslag van die opname het bevestig dat solmisasie, en die Tonic Sol-fa stelsel in besonder, steeds aktief gebruik word in gehooropleiding aan Suid-Afrikaanse universiteite, en het terselfdertyd insig gebied in die algemene aanwending daarvan binne hierdie konteks. In sy geheel het die uitslag van die opname dan ook die voortgesette relevansie van solmisasie, en die Tonic Sol-fa stelsel in besonder, in die breër Suid-Afrikaanse konteks sowel as spesifiek binne die konteks van gehooropleiding aan Suid-Afrikaanse universiteite bevestig, en het dit aangetoon dat solmisasie steeds as ’n waardevolle hulpmiddel in die onderrig van gehooropleiding beskou word deur die meeste van die opstellers/dosente/koördineerders van gehoorlopleidingsmodules wat aan die opname deelgeneem het.
Pruett, Julie Annette Sikes. "The application of the neuro-linguistic programming model to vocal performance training". 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3108499.
Pełny tekst źródłaLee, Nien-Jung, i 李念容. "A Study on Improving the Methods for Querying by Singing/Humming". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/79088002508229781841.
Pełny tekst źródła國立清華大學
資訊工程學系
95
Dynamic time warping (DTW) is a very effective method for query by singing/humming (QBSH), but it requires a lot of computation. On the other hand, linear scaling (LS) requires much less time on computation, but it is not as effective as DTW. As a result, in this thesis, our goal is to find new methods that can combine the advantages of DTW and LS for efficient and effective music retrieval in QBSH systems. Specifically, we have proposed two methods in this thesis, segmented linear scaling (SLS) and note-based linear scaling (NBLS). We have performed extensive experiments to demonstrate that the proposed methods can indeed combine the effectiveness of DTW and efficiency of LS to construct a more practical QBSH system. Conclusions and future work are also addressed in the thesis.
Cheng, Shiu-Yun, i 鄭琇云. "An Evaluation of Query By Singing/Humming Based on Various Pitch Trackiing Methods". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/97239607196867690302.
Pełny tekst źródłaWan-Chen, LO, i 駱婉禎. "Thinking of Singing Methods of Chinese and Western:Based on my Experience of Learning Nankuan". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/14661281643281123574.
Pełny tekst źródłaHsu, Qiong-zhi, i 許瓊之. "Singing Voice Signal Segmentation Methods Integrating Acoustic-guiding Rules into HMM Based Best-Path Searching". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/77442644586786891973.
Pełny tekst źródła國立臺灣科技大學
資訊工程系
103
Is this thesis, we propose singing voice signal segmentation methods that integrate acoustic-guiding rules into HMM (hidden Markov model) based best-path searching to gratly improve the segmentation accuracies for HMM based segmentation of syllable initials and finals. In practice, we have programmed three versions of Viterbi decoding algorithms for automatical segmentation of initials and finals, and then compare their performances. In the training stage, the software package, HTK, is used to train syllable initial and finial HMM models with some selected setences from TCC-300 corpus. Next, we estimate the state-duration parameters of each HMM state by means of forced aligning our recorded singing voice signals. Then, the parameters of state durations can be used to calculate gamma distribution based explicit state-duration probability. In the testing stage, the results of the experiments show that the Viterbi decoding algorithm using explicit state duration probability can obtain the segmentation accuracy rate which is 7.55% higher than the Viterbi decoding algorithm using implicit state transition probability under the tolerance range of 10 ms. Furthermore, we base on the detected fundamental frequency and energy from each frame to design acoustic knowledge related constraint rules, and integrate these acoustic-guiding rules into the improved Viterbi decoding algorithm. By using this Viterbi decoding algorithm, the segmentation accuracy rate can be promoted from 31.73% to 61.33% as compared with the basic Viterbi decoding algorithm. In addition, if we integrate more rules to constrain the duration of initials and finals, the segmentation accurate rate will be raised to 66.86%. Finally, we add a post-processing step that adjusts the boundaries of initials and finals according to the detected silence frames. As a result, the segmentation accuracy rate is further raised to 68.45%.
Montanaro, Larisa. "A singer's guide to performing works for voice and electronics". Thesis, 2004. http://hdl.handle.net/2152/2098.
Pełny tekst źródłaЯньбінь, Чжан, i Chzhan Yanbin. "Формування навичок академічного співу студентів педагогічних університетів у процесі вокального навчання". Bachelor's thesis, 2021. http://repository.sspu.edu.ua/handle/123456789/11030.
Pełny tekst źródłaIn the thesis the problem of formation of skills of academic singing of students of pedagogical universities in the process of vocal training is investigated. The state of the researched problem in the theory and methods of music education is clarified. A retrospective analysis of the formation of the academic style of singing was performed. The essence and component structure of academic singing skills of students-vocalists of pedagogical universities are concretized. Criteria, indicators and levels of formation of the studied phenomenon are determined. Methods and techniques for the formation of academic singing skills of students of pedagogical universities in the process of vocal training have been developed.
"Belcantare Brandenburg. Jedes Kind kann singen! : ein Singprojekt zur Fortbildung für musikunterrichtende Grundschullehrerinnen und Grundschullehrer im Land Brandenburg ; repräsentative Dokumentation". Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6523/.
Pełny tekst źródłaГаврик, Богдана Володимирівна, i Bohdana Volodymyrivna Havryk. "Сучасні методи опанування естрадного співу у процесі професійної підготовки виконавців". Bachelor's thesis, 2021. http://repository.sspu.edu.ua/handle/123456789/10953.
Pełny tekst źródłaThe bachelor's thesis specifies the essence and content of the concepts «modern methods of pop singing», «mastering», «training», «pop singer», as well as a theoretical analysis of the essence and structure of pop singing and the peculiarities of creating a pop performance in training. The qualifying thesis substantiates the pedagogical conditions for the use of modern methods of mastering pop singing in the process of professional training of performers, as well as developed guidelines for the use of modern methods of mastering pop singing in the process of professional training of performers.
Lee, Hsin-Chieh, i 黎欣捷. "A Singing Evaluation Method for Karaoke Applications". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/pufyp3.
Pełny tekst źródła國立臺北科技大學
電腦與通訊研究所
98
This work investigates automated techniques for evaluating the skill of a singer performing with Karaoke VCD music. The proposed system is capable of analyzing the pitch, dynamic volume, and harmonicity in a singing performance, and indicates how well or bad a singer performs. The pitch information reflects whether or not the notes sung by a singer are correct; the dynamic volume conveys the emotion that should be presented in performing a song; the harmonicity reflects whether or not a singing performance is in rhythm. Our special effort in this work is put on harmonicity analysis. It is observed that only when a singing performance is in rhythm, the mix of singing voice and accompaniments can be harmonious and melodious. Although there are copious works studying rhythm extraction from music, all of them only suitable for instrument-solely music rather than singing. For this reason, we develop methods to evaluate the harmonicity between singing voice and accompaniment. The basic strategy is to represent harmonious sound and inharmonious sound as probabilistic models and then perform stochastic recognition. On the other hand, this study also proposes a method for distinguishing between singing and humming, in order to check if a Karaoke user does sing the lyrics rather than simply hums the tune of a song. In our experiments, we invited a number of participants having different singing capabilities to perform solo singing. We also employed several professional judgers to grade each piece of solo singing in our collection. It is found that the grading results obtained with our system are roughly close to those with manual grading, which confirms the validity of our system.
Pina, João Miguel de Matos. "Os efeitos do canto em grupo no desempenho cognitivo, saúde física e bem-estar social". Master's thesis, 2021. http://hdl.handle.net/10071/24978.
Pełny tekst źródłaGroup singing has several benefits for the physical and psychological health of visiting seniors aged 60 and over. In this experimental study, the aim is to investigate the effects that group singing has on physical health (inflammatory response), cognitive performance, as well as a set of psychosocial variables (Satisfaction with life, social well-being, self-esteem). The moderating role of social identification was also investigated. Participants (n=149) were seniors, users of the Santa Casa da Misericórdia services in Lisbon and Almada and were randomly assigned to the experimental group (n=89) and the control group (n=60). The detrimental effects of singing on cognitive performance. However, group singing had no results in Satisfaction with life and in self-esteem. The results did not demonstrate the moderating role of Social Identification.
MA, CHIA-LING, i 馬嘉伶. "Kodaly Method to Increase Singing Skills of Primary Grade Pupils and Their Interest in Learning Singing". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/89970382144696963657.
Pełny tekst źródła國立屏東教育大學
教育視導與評鑑碩士學位學程
102
The study purports to investigate the action research based on “Kodaly method” to increase singing skills of primary grade pupils and their interest in learning singing – a case study of music class in life curriculum for second grade students. The researcher chooses 23 second grade pupils of an elementary school in Pingtung as the subject and personally designs courses for study which emphasize basic singing lessons in combination with the element of Kodaly method for teaching through “hand signal”, “movable Do system” and “rhythm-based numbered musical notation” that enable “singing-related music game” activity to blend with “life” music courses. A team of teaching research comprises the researcher as a teacher during the research, a co-teacher in school, a consulting teacher of arts and humanities from other school, and scholars and experts in the relevant fields. In addition to the relevant literature gathered in advance, teacher’s teaching journal, record of interview with pupils and co-researchers, learning worksheet are the main source of material gathered in teaching. Later, suggestions from experts and scholars are considered. The result of the study after analysis and conclusion shows below: 1. The “Kodaly makes you a singing star” teaching program is suitable for the design of “Singing Teaching” course taken by primary grade pupils. (1) “Singing supported by game” enhances teaching quality. (2) “The spirit of Kodaly based on local culture” activates the content of course. (3) “Kodaly method of music teaching” stimulates learning potential. 2. “Kodaly method” has a beneficial effect on advancement in “singing skills” and “interest in learning singing”. (1) Singing skills of pupils remarkably increase. (2) The variety and diversification of “singing game” increase interest in learning singing. (3) The target of course is achieved. Finally, in accordance with the above conclusions, concrete suggestions for teachers, school administration, subsequent researchers and future research direction are separately provided as reference.
Chen, Ying-Ching, i 陳穎靚. "An Action Study in the Application of Kodaly Method toThe Melodic Intervals In-tune SingingAN Action Study in the Application of Kodaly Method to The Melodic Intervals' in Tune Singing". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/02138410857585375163.
Pełny tekst źródła國立台北師範學院
音樂研究所
94
ABSTRACT The purpose of this study was to exam the two dimensions of the learning effects on children’s melodic intervals’ in tune singing. They were “learning emotion and confidence,” and “rote singing ability.” In order to achieve this purpose, the researcher applied an action research method through observing courses, collecting relative literatures, and then designing teaching material using Kodaly teaching concepts and strategies. The research subjects were twenty-six third-graders. During the study period, the data was collected through tests, questionnaires, observation, and non-structural interviews in order to exam the research validity. The following was the summary of the six conclusions in this study: 1. Most subjects were able to show the joyful mood and positive attitude when the teacher adopted Kodaly teaching method. 2. Most subjects had more confidence in their musical ability when trained by Kodaly method. 3. The application of Kodaly method in the training of the intonation could help subjects’ in tune singing ability in rote sing practice as well as in sight singing practice. 4. The main factors which impacted the in tune singing by rote were the aural sensibility, musical memory ability, familiarization, singing ability, and the pattern of melodic intervals. 5. The main factors which impacted the in tune singing by rote were the concepts of melodic intervals, sight-reading ability, internal imagination, pattern of melodic intervals, familiarization, and the singing ability. 6. After one year’s being trained by Kodaly method, more than eighty percent of subjects recognized every note’s solfege relative placements on the staff. In the end of this study, the research also provided few suggestions concerning the melodic interval training to the further studies for the interested researchers. Key Words : Kodaly method, melodic intervals, in tune singing, action research.
Yu-Wen, Liao, i 廖于文. "Additive Method Base Real - Time Music Synthesis and Singing - Voice Mixing". Thesis, 2000. http://ndltd.ncl.edu.tw/handle/78118626997876264066.
Pełny tekst źródła國立臺灣科技大學
電機工程系
88
Owing to the rapidly growing software techniques and the development of VLSI, the music synthesizer can be implemented by the software techniques to produce many kinds of music instead of using a VLSI chip. Previously, the music synthesizer implemented by software techniques cannot process human voice; in this proposal, first we will focus on how to develop various efficient music synthesizer methods and tone file creation. Then a prototype of the music synthesizer will be implemented on the PC under the most popular operation Windows 98 system. According to the results proposed by our previous project, we found that the music synthesizer based on the additive method could produce very high fidelity music. Therefore, we will develop this project based on the additive method again, and find out what kind of synthesizers can process human voice. During the last year, based on the additive method we samples six octaves tone samples for the piano. Then using the interpolation method, we could synthesize a song. The tone color of the synthesized tone is as good that produced by other commerce products. In this proposal, we will try to improve the previous research that was develop by us before, then find out how to creative virtual singing voice using mix synthesize songs and singing-voice in the near future.
Gullaer, Irene School of Music & Music Education UNSW. "An integrated method of vocal development: a theoretical and empirical study". 2007. http://handle.unsw.edu.au/1959.4/40691.
Pełny tekst źródłaSanders, Ronald Byron. "The teaching of choral sight singing: analyzing and understanding experienced choral directors' perceptions and beliefs". Thesis, 2015. https://hdl.handle.net/2144/16339.
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