Thematische Bibliographien / Vocal scores with drums

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Auswahl der wissenschaftlichen Literatur zum Thema „Vocal scores with drums“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2025

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Zeitschriftenartikel zum Thema "Vocal scores with drums"

Zhuang, Jing. "70 RESEARCH ON THE ROLE OF VOCAL TRAINING IN IMPROVING COGNITIVE FUNCTION OF PATIENTS WITH SCHIZOPHRENIA." Schizophrenia Bulletin 51, Supplement_1 (2025): S38. https://doi.org/10.1093/schbul/sbaf007.070.

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Abstract Background Schizophrenia patients exhibit sensory and behavioral abnormalities, and the current common intervention treatment mainly uses drugs to block dopamine receptors in the brain. However, the cognitive function of patients with schizophrenia cannot be cured through medication. In current interventions for schizophrenia, vocal training therapy can regulate the patient’s breathing rhythm, maintain their heart rate and emotions, relax their mood and body, thereby increasing their resistance to stressful situations. Therefore, the study explored the positive effects of vocal traini

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Juwita, Lily, Erfan Erfan, and Irdhan Epria Darma Putra. "ARANSEMEN MUSIK SEKOLAH DENGAN JUDUL “RUMAH KITA”." Jurnal Sendratasik 8, no. 1 (2019): 35. http://dx.doi.org/10.24036/jsu.v8i1.106416.

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This artwork aims to express an idea that is poured through music performances in the form of music arrangement. In this song, arranger worked in the form of school music arrangement. The band Combo at SMK N 7 Padang corresponds to the ability of ensembles studied by students. Here arranger arranged song our house is played with some vocal music accompaniment, keyboard, bass, guitar, drums. The arransemen in this piece of music contains lyrics that explain that as bad and cruel as any of this country we must remain grateful and devoted to the homeland. By building new things through some devel

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Li, Feng, Yujun Hu, and Lingling Wang. "Unsupervised Single-Channel Singing Voice Separation with Weighted Robust Principal Component Analysis Based on Gammatone Auditory Filterbank and Vocal Activity Detection." Sensors 23, no. 6 (2023): 3015. http://dx.doi.org/10.3390/s23063015.

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Singing-voice separation is a separation task that involves a singing voice and musical accompaniment. In this paper, we propose a novel, unsupervised methodology for extracting a singing voice from the background in a musical mixture. This method is a modification of robust principal component analysis (RPCA) that separates a singing voice by using weighting based on gammatone filterbank and vocal activity detection. Although RPCA is a helpful method for separating voices from the music mixture, it fails when one single value, such as drums, is much larger than others (e.g., the accompanying

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Akdogan, M. V., H. Erinanc, O. Topal, and S. S. Erbek. "Expression of a disintegrin and metalloproteinase-33 protein in vocal fold polyps." Journal of Laryngology & Otology 129, no. 7 (2015): 688–92. http://dx.doi.org/10.1017/s0022215115000894.

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AbstractBackground:This study aimed to evaluate the association of a disintegrin and metalloproteinase-33 protein (‘ADAM-33’) expression in vocal polyp formation and to determine its correlation with clinical characteristics.Methods:Medical charts and histological sections of 32 patients diagnosed with vocal polyps who underwent surgery were analysed. Controls were histopathologically normal vocal fold tissues obtained from 36 patients who underwent surgery for laryngeal squamous cell carcinoma. Immunohistochemical staining was performed to detect ADAM-33 expression in epithelial cells, stroma

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Yagi, Naomi, Yoshitada Sakai, Naoko Kawamura, et al. "Singing Experience Influences RSST Scores." Healthcare 10, no. 2 (2022): 377. http://dx.doi.org/10.3390/healthcare10020377.

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It has recently been shown that the aging population is refractory to the maintenance of swallowing function, which can seriously affect quality of life. Singing and vocal training contribute to mastication, swallowing and respiratory function. Previous studies have shown that singers have better vocal cord health. No consensus has been reached as to how vocal training affects swallowing ability. Our study was designed to establish evidence that singers are statistically superior at inducing the swallowing reflex. To test our hypothesis, we undertook a clinical trial on 55 singers and 141 non-

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Anderson, David E., Earl M. Gaughan, Richard M. DeBowes, Stephen R. Lowry, Kathleen E. Yvorchuk, and Guy St Jean. "Effects of chemical restraint on the endoscopic appearance of laryngeal and pharyngeal anatomy and sensation in adult cattle." American Journal of Veterinary Research 55, no. 9 (1994): 1196–200. http://dx.doi.org/10.2460/ajvr.1994.55.09.1196.

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Summary Effects of 2 drugs commonly used for chemical restraint of cattle were evaluated for their effect on laryngeal and pharyngeal anatomy, function, and response to stimuli. Eighteen adult Jersey cows, free of respiratory tract disease, were studied. Cows were assigned at random to 1 of 3 treatment groups. Endoscopic evaluations were performed before and at a predetermined time interval after administration of each drug. Responses to stimuli were evaluated by stimulating 7 preselected sites (epiglottis, left and right arytenoid cartilages, left and right vocal folds, and left and right dor

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Meera, Pandey, Jain Akansha, Singh Ajay, Tripathi Sonali, and Jain Amit. "A Comparison of the Efficacy of Thiopentone, Propofol, and Admixture of Propofol and Ketamine (Ketofol) for Modified ECT Anesthesia." International Journal of Toxicological and Pharmacological Research 13, no. 2 (2023): 207–16. https://doi.org/10.5281/zenodo.11293515.

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<strong>Background:</strong> Electrically inducing seizures in patients during electroconvulsive therapy (ECT) has been proven to have therapeutic effects. The circulatory system may experience severe disruptions as a result of ECT, and cerebral blood flow and intracranial pressure may noticeably increase. Many anaesthetic medications may be used to affect these cardiovascular alterations. The two induction drugs for ECT that are most frequently used are thiopentone and propofol. Ketofol, a propofol and ketamine admixture has recently been tested in ECT. <strong>Aims and Objectives:<

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Gillespie, Marion B., Jason A. Curry, and Thomas S. Dozier. "Calcium Hydroxylapatite Paste for Vocal Rehabilitation." Otolaryngology–Head and Neck Surgery 139, no. 2_suppl (2008): P49. http://dx.doi.org/10.1016/j.otohns.2008.05.158.

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Objective Determine the effectiveness of calcium hydroxylapatite paste in vocal rehabilitation in routine clinical practice. Methods Retrospective series of adult patients undergoing calcium hydroxylapatite paste injection for vocal fold rehabilitiation over a 3-year period. Outcomes include change in Voice Handicap Index (VHI) scores, procedure-related complications, and need for follow-up vocal procedures. Results A total of 23 patients with an average age of 65 years underwent vocal fold rehabilitation with calcium hydroxylapatite injection performed by operative endoscopy. Indications for

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Simionescu, Cristina. "Arias, Recitatives, Duets and Vocal Ensembles in The Opera Don Pasquale by Gaetano Donizetti." Review of Artistic Education 17, no. 1 (2019): 77–99. http://dx.doi.org/10.2478/rae-2019-0009.

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Abstract A musical inspiration, Don Pasqule by Gaetano Donizetti offers a wealth of examples of how to capitalize on the vocal and musical potential offered by the opera show. We aim to analyze vocal scores - areas, duets, recitatives and vocal ensembles and to emphasize their musical achievement.

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Jung, Ji Hang, and Jaeock Kim. "Comparison of Remote-Audiovisual Teaching and Face-to-Face Teaching on Factors Causing Teacher’s Voice Problems and Subjective Voice Evaluation." Communication Sciences & Disorders 28, no. 2 (2023): 327–39. http://dx.doi.org/10.12963/csd.23956.

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Objectives: Due to the global pandemic caused by the coronavirus (COVID-19), many remote-audiovisual teaching methods have been introduced. Remote-audiovisual teaching may lead to changes in teacher’s voice usage patterns. Therefore, it is necessary to compare between remote-audiovisual teaching and traditional face-to-face teaching methods in regards to the factors that affect teacher’s voice problems and subjective voice evaluation. Methods: This study investigated whether there was significant difference between two teaching methods on the risk factors (environment, physical, vocal use, psy

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Dissertationen zum Thema "Vocal scores with drums"

Richard, Paul Christian Patrice. "Composition portfolio." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017548.

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Murray, Joan. "Impact of a Music Program on Students' Standardized Test Scores." ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2938.

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Administrators at the focus school had not determined if participation in a music program has influenced students' academic achievement, thereby ushering doubt about the utility of this program. The purpose of this causal-comparative study was to determine the impact of the music program on students' English language arts (ELA) and math Measure of Academic Progress (MAP) scores. The theoretical foundation for this study was Miendlarzweska and Trost's model of musical training, which indicates the impact of musical training on academic, social, and cognitive outcomes and identifies factors that

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Fateeva, Anna A. "Three Arias From Mozart’s Don Giovanni: a Comparative Analysis of Performance Issues and Technical Problems Found in Four Complete Piano-Vocal Scores. A Vocal Accompanist’s Perspective." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/552.

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The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of eac

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Young, Kar-fai Samson, and 楊嘉輝. "Internationalism, individualism and Chinese national style: the hybrid-identity composer and the in-between space." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37095110.

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Brown, Jason Edward. "Santa Claus: : an opera in one act." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1221296.

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The musical structure of Santa Claus is similar to Alban Berg's statements about his opera Wozzeck, that the audience does not need to be aware of the underlying processes that are in motion.Seen from the highest level of stratification, Santa Claus the opera is essentially a single sonata-allegro movement. The first scene is the exposition, scenes two through four are the development, and the fifth scene the recapitulation. Also at this level can be seen the overall arch shape of the formal structure. This arch reflects not only the melodic material, but tempo, texture, and structural design.

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Gan, On C. (On Cally). "House in Heaven." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500644/.

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House in Heaven is a theatrical piece for five solo voices (one soprano, two mezzo sopranos, one baritone, and one bass), two trumpets, four French horns, one trombone, two flutes, two clarinets, two bassoons, string orchestra, vibraphone, timpani and a synthesizer which produces pipe organ sound. The composition consists of an introduction followed by a single act in three Scenes. The piece employs the cyclical device in engaging themes associated with particular characters. The texture grows from simple alternating dialogues to arias and, finally, to tutti passages in which all voices are co

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Carter, Duane Martin. "Writing for musical theatre: Forever yours." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1590.

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Yang, Chuan-Tsing. "The Crucifixion." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.

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The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.

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Tarleton, Angela Brannon. "Raven's Song: an Original Musical." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500310/.

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Raven's Song is an original musical dramatizing the conflict between paganism and Christianity. The play revolves around a woman who has become disillusioned by her people and her gods. The only gods she has ever known were blood-thirsty, appeased only by the blood and entrails of human sacrifice. Therefore, Raven resists all religion. Through providential circumstances, she is married into a Christian family and is overwhelmed by their love, and the kindness of their God. In search for truth, Raven begins to question her disbelief. All men search for truth in their own way, and all, at one ti

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Svensson, Frida. "Personlighet + Utseende = Instrumentval? : Finns det en föreställning om hur en person som spelar ett visst instrument ser ut och vilken personlighet denna person har?" Thesis, Karlstad University, Division for Ingesund College of Music, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4844.

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<p>I mitt examensarbete har jag valt att undersöka de tankar som finns kring vem som spelar vilket instrument. Vilka ord, som har med utseende respektive personlighet att göra, förknippar studerande vid en svensk musikhögskola samt en svensk folkhögskola med de utvalda instrumentalisterna; -klassisk tubaist, fiolspelande folkmusiker, klassisk tvärflöjtist, afrosångaren, afrotrummisen, klassisk pianist? Vilket kön, vilket utseende och vilken personlighet tänker de sig att respektive instrumentalist har? Genom en enkätundersökning har jag försökt ta reda på detta. Jag delade ut enkäter till stud

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Bücher zum Thema "Vocal scores with drums"

(Firm), Theodore Front. Reference guide for opera vocal scores. Theodore Front, 1992.

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Grossman, Larry. Grind: Vocal selections. Fiddleback Music Pub. Co./New Start Music, 1985.

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Anthony, Hodges, and North Western Regional Library System., eds. North West union catalogue of vocal scores. North Western Regional Library System, 1995.

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Goggin, Dan. Vocal selections from Nunsense. Warner Bros. Publications, 1988.

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"Gilbert" and SULLIVAN. Yeomen of the Guard: Vocal score. Warner Brothers Publications, 2000.

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Palestrina, Giovanni Pierluigi da. Missa Papae Marcelli. E. Eulenburg, 4376.

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Catalogue of Vocal Scores. Lancashire County Library, 1989.

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Der Rosenkavalier: Vocal Score (Dover Vocal Scores). Dover Publications, 1987.

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Ducloux, W. Macbeth: Vocal Score. G. Schirmer, Inc., 1986.

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Robb, S. Lohengrin: Vocal Score. G. Schirmer, Inc., 1986.

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Buchteile zum Thema "Vocal scores with drums"

Castanet, Pierre Albert. "7. Continuum versus Disruptum." In Meta-Xenakis, translated by Sharon Kanach. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0390.09.

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While playing wonderfully with the various physical and metaphysical notions of the world, Iannis Xenakis conceived his own laws regarding the continuous/discontinuous conduct of the spatio-temporal references in his instrumental and vocal music. In this chapter, which voluntarily excludes electroacoustic music, the scores of Naama, Persephassa, Pithoprakta, Tetras, Nuits, Tracées, Jonchaies, Mikka, Mikka 'S, Metastasis, Thallein, Embellie, Eonta... are summoned and explored both on the aesthetic-philosophical and on the analytic-musicological level.

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Parr, Sean M. "The New Franco-Italian School of Singing." In Vocal Virtuosity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542644.003.0002.

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The nineteenth-century web of teachers, singers, and teacher-singers suggests that coloratura can be examined from the perspective of treatises produced by vocal pedagogues. In addition to vocal instruction, the treatises provide clues as to interpretation, by recommending and describing vocal articulations and styles corresponding to melodic styles and role characterizations. This chapter examines pedagogical treatises in conjunction with musical scores and the careers of individual singers, attempting to trace ideas of coloratura articulation and florid-lyrical expression. The Paris Conserva

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Evans, Peter. "Later Vocal Works." In The Music of Benjamin Britten. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165903.003.0016.

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Abstract The completion and popular success of an undertaking as ambitious as Peter Grimes gave Britten the dangerous right to assume that an interested public would eagerly await anything he now chose to produce. These years after Grimes show him a superbly confident and astonishingly prolific composer: whereas the first opera had occupied him for well over a year, with few and small distractions, the next two appeared at yearly intervals despite his also completing substantial scores in other media. Yet the chamber-operas, a tragedy and a comedy, jettisoned most of the resources he had deplo

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Evans, Peter. "Early Vocal and Choral Music." In The Music of Benjamin Britten. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165903.003.0004.

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Abstract If the last few instrumental scores before Britten emerged as an opera composer betrayed the effect of his recent experience of word-setting in their unequivocal re-creation of definable emotional states, his earliest large-scale work for voices was evidently fashioned according to structural and textural procedures commonly thought proper to ‘absolute’ instrumental composition. How consciously the nineteen-year-old Britten conceived the choral variations as a tour de force is already to be seen in the theme (see Ex. 1).

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Cary, Tristram. "Earth Hold Songs." In New Vocal Repertory 2. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198790181.003.0050.

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Abstract A welcome song cycle from this distinguished British composer now resident in Australia. One of the leading pioneers in the field of electronic music in this country, and also composer of many notable film scores, Cary has perhaps been less well known to us as a concert composer of acoustic music. His fine ear, wide cultural background (he is the son of the author Joyce Cary), and strong structural sense pervade all of his music, which is unfailingly well organized and presented with meticulous care and clarity. This is a rewarding virtuoso showpiece for singer and pianist.

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Antheil, George. "Five Songs." In New Vocal Repertory 2. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198790181.003.0007.

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Abstract This could hardly be called new repertory, in view of its date, but the name of the American composer George Antheil is unlikely to be familiar to many singers. Much cherished as a modernist innovator, he enjoys cult status in specialist circles. His best-selling autobiography Bad Boy of Music was published in 1945. Dividing his time between Europe and the USA, he was also active as a pianist, and was championed by the artistic elite of his time, including Joyce, Yeats, Pound, Satie, and Picasso. He eventually moved to Los Angeles, where he orchestrated film scores, wrote a lonely-hea

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Everett, Walter. "Drums, Other Percussion, and a Bit about Rhythm." In The Foundations of Rock. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195310238.003.0001.

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Abstract Trained musicians who are so inclined love to talk about melody, harmony, and intricate rhythmic and formal patterns. In some cases where I’ve discussed such matters with general audiences that are not so trained, I’m told that it’s the basic “sound,” more than these more advanced properties, that makes rock music meaningful to them. Their point is well taken. The sound of the sound, its color—the characteristics that enable us to tell one instrument from another or one singer from another or one guitar effect from another—are a very sensible place to begin to point the ear in order t

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Kurtzman, Jeffrey. "Continua Realization." In The Monteverdi Vespers Of 1610. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198164098.003.0015.

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Abstract The role of accompanying foundation instruments and the realization of continua parts were much less consistent in the early seventeenth century than they came to be after many decades of development and gradual standardization. Manuscript and printed accompanying parts were not limited to the single bass-line which eventually became the norm, but ranged from full scores, duplicating precisely the polyphonic texture of all the vocal or instrumental parts, to short scores with bass and one upper part or more, tablatures with bass-line and upper parts arranged according to the capacitie

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Clark, Kate, and Amanda Markwick. "Music Suitable for Three Flutes." In The Renaissance Flute. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913335.003.0009.

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Chapter 9 presents scores of our own editions (in score format) of music for three flutes. (Individual parts can be downloaded from the accompanying website.) Some pieces are for three tenor flutes, while the others are for two tenors and one bass. Purely instrumental as well as vocal pieces are included. An introduction to each piece presents the mode and other useful tips for flutist approaching these works for the first time. Each piece also includes a hexachordal analysis and text (when applicable).

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Rushton, Julian. "The Lyric Berlioz." In The Music of Berlioz. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198166900.003.0007.

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Abstract The central place of the romance in Berlioz’s musical culture is disguised by his avowed ambition towards ‘higher’ —less domesticated, larger—genres. But he was preoccupied with simple song forms up to the drinking song in Béatrice et Bénédict, and a retrospective collection of ‘Mélodies’ with piano accompaniment was published in 1863, although this collection includes choruses and two cantatas, Chant des chemins de fer and Le cinq mai, printed like vocal scores convenient for rehearsal, since their impact is heavily dependent on the orchestra (see Chapter 3).

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Konferenzberichte zum Thema "Vocal scores with drums"

Gao, Yixiang, Maria Dietrich, Melinda Pfeiffer, and G. N. DeSouza. "Classification of sEMG Signals for the Detection of Vocal Fatigue based on VFI Scores." In 2018 40th Annual International Conference of the IEEE Engineering in Medicine and Biology Society (EMBC). IEEE, 2018. http://dx.doi.org/10.1109/embc.2018.8513224.

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Niebuhr, Oliver. "Advancing higher-education practice by analyzing and training students' vocal charisma: Evidence from a Danish field study." In Seventh International Conference on Higher Education Advances. Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/head21.2021.12827.

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Charismatic speaking skills, particularly those of the voice, are known to be an important asset of managers, politicians, and even teachers. Students have so far been less in the limelight in this regard, although modern collaborative-learning and oral-examination concepts suggest that vocal charisma can already be a decisive factor for study success as well. The present paper examines this question based on 82 electrical-engineering students. Their initial self-introductions in front of the other fellow students were analyzed using a new acoustic technology that translates 16 voice features

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Chiciuc, Natalia. "THE CATALOG OF THE AUTOCHTHONOUS COMPOSERS’S MUSIC IN THE ORGAN HALL LIBRARIES: EDITORIAL APPEARANCE." In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.04.

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This article presents a summary of the results obtained after processing the musical materials found in the Organ Hall’s libraries within the institutional scientific project Valorization and Conservation through digitization of the academic and traditional music collections from the Republic of Moldova of the Academy of Music, Theater and Fine Arts. The two collections — one of the National Chamber Choir of the Republic of Moldova and the other of the National Chamber Orchestra of the Republic of Moldova — include approximately 300 scores of national significance signed by 49 autochthonous co

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IAȚEȘEN, Loredana. "Emilia Petrescu – The Outstanding Performer of the Baroque Cantata." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2024. https://doi.org/10.35218/icds-2024-0002.

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This year marks two decades since the passing away of the distinguished performer and singing teacher Emilia Petrescu, a symbol of the generation of singers from the second half of the 20th century, a refined artist who has always been remembered for her unique interpretive versions of various lied, oratorio and cantata opuses. Her fascinating and solid musical culture, her rigorous singing technique or her search for original vocal approaches to the scores that she performed are just some of the basic components of the purity of her interpretive style, which deserves to be commented on based

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