Relevant bibliographies by topics / Classical singing

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Classical singing'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "Classical singing"

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Mahmudjonovich, Tajiboev Elmurod. ""Classical Singing" One Hourcourse Material." Asian Journal of Research in Social Sciences and Humanities 11, no. 9 (2021): 67–71. http://dx.doi.org/10.5958/2249-7315.2021.00041.1.

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Gregg, Jean Westerman, and Ronald C. Scherer. "Vowel Intelligibility in Classical Singing." Journal of Voice 20, no. 2 (June 2006): 198–210. http://dx.doi.org/10.1016/j.jvoice.2005.01.007.

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Tanner, Kristine, Nelson Roy, Ray M. Merrill, and David Power. "Velopharyngeal Port Status During Classical Singing." Journal of Speech, Language, and Hearing Research 48, no. 6 (December 2005): 1311–24. http://dx.doi.org/10.1044/1092-4388(2005/091).

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Purpose: This investigation was undertaken to examine the status of the velopharyngeal (VP) port during classical singing. Method: Using aeromechanical instrumentation, nasal airflow (mL/s), oral pressure (cm H 2 O), and VP orifice area estimates (cm 2 ) were studied in 10 classically trained sopranos during singing and speaking. Each participant sang and spoke 3 nonsense words—/hampa/, /himpi/, and /humpu/—at 3 loudness levels (loud vs. comfortable vs. soft) and 3 pitches (high vs. comfortable vs. low), using a within-subject experimental design including all possible combinations. Results: In general, nasal airflow, oral pressure, and VP area estimates were significantly greater for singing as compared to speech, and nasal airflow was observed during non-nasal sounds in all participants. Anticipatory nasal airflow was observed in 9 of 10 participants for singing and speaking and was significantly greater during the first vowel in /hampa/ versus /himpi/ and /humpu/. The effect of vowel height on nasal airflow was also significantly influenced by loudness and pitch. Conclusions: The results from this investigation indicate that at least some trained singers experience regular VP opening during classical singing. Vowel height seems to influence this effect. Future research should consider the effects of voice type, gender, experience level, performance ability, and singing style on VP valving in singers.
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Watson, Peter J., and Thomas J. Hixon. "Respiratory Kinematics in Classical (Opera) Singers." Journal of Speech, Language, and Hearing Research 28, no. 1 (March 1985): 104–22. http://dx.doi.org/10.1044/jshr.2801.104.

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Anteroposterior diameter changes of the rib cage and abdomen were recorded during respiratory, speaking, and singing activities in six adult male subjects, all baritones with extensive classical singing training and performance experience. Data were charted to solve for lung volume, volume displacements of the rib cage and abdomen, and inferred muscular mechanisms. Separate major roles were inferred for different parts of the respiratory apparatus in the singing process. The abdomen served as a posturing element that mechanically tuned the diaphragm and rib cage to optimal configurations for performance. The rib cage operated as a pressure-flow generating element that regulated expiratory drive. And, the diaphragm functioned as an inspiratory element devoted to reinflating the lungs. Subjects' descriptions of how they thought they breathed during singing bore little correspondence to how they actually breathed. Implications for the training of singers are offered.
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Fahey, Hannah. "Stylistic pluralism and the experiences of classically trained teachers of singing in the Republic of Ireland." International Journal of Music Education 39, no. 3 (February 2, 2021): 301–12. http://dx.doi.org/10.1177/0255761421991247.

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Throughout much of the 20th century, the Western classical vocal aesthetic dominated tertiary singing training in the Republic of Ireland. At the turn of the 21st century, and reflecting similar movements internationally, Irish institutions, examining boards and private teaching studios diversified to include musical theatre and popular styles of singing in degree programmes and syllabi. The purpose of this study was to further understand voice teacher perceptions of these shifts in pedagogical culture. This research questioned how classically trained teachers of singing negotiate teaching across styles in popular music genres, and also questioned if implicit, embodied cultural ideas about classical singing defined their educative approaches to popular music vocals. Data were collected through in-depth qualitative interviews with classically trained teachers of singing in the Republic of Ireland. Analysis of interview data revealed a number of themes which are discussed within a theoretical framework drawn from the work of Bourdieu, revealing that the participant teachers are involved in processes of negotiation and re-negotiation of personal and institutional habitus.
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Thompson, Gordon, Martin Clayton, Veena Sahasrabuddhe, and Robert Philip. "Khyal: Classical Singing of North India." Asian Music 33, no. 1 (2001): 146. http://dx.doi.org/10.2307/834245.

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Watson, Peter J., Jeannette D. Hoit, Robert W. Lansing, and Thomas J. Hixon. "Abdominal muscle activity during classical singing." Journal of Voice 3, no. 1 (March 1989): 24–31. http://dx.doi.org/10.1016/s0892-1997(89)80118-3.

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Slawek, Stephen, and Robert Philip. "Khyal: Classical Singing of North India." Ethnomusicology 45, no. 2 (2001): 377. http://dx.doi.org/10.2307/852688.

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Latartara, John. "The Timbre of Thai Classical Singing." Asian Music 43, no. 2 (2012): 88–114. http://dx.doi.org/10.1353/amu.2012.0013.

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Madrimov, Bakhrom Khudoynazarovich, and Munisa Nayimova. "CHULPAN AND MODERN UZBEK SINGING." Scientific Reports of Bukhara State University 3, no. 1 (January 30, 2019): 285–87. http://dx.doi.org/10.52297/2181-1466/2019/3/1/4.

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This article is devoted to the work of the Uzbek poet A. Chulpan, whose lyrical lines are the basis of both national classical songs and modern ones. Abdulhamid Cholpon is one of the brightest representatives of the new Uzbek literature. The author of the article pays special attention to such works of Chulpan as “Guzal”, “Kalandar Ishki”, and “Uyqu”.
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Dissertations / Theses on the topic "Classical singing"

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Coimbra, Daniela da Costa. "Investigating the requirements of singing for young classical performers." Thesis, University of Sheffield, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414663.

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Blyth, Antoinette Elizabeth. "Perspectives on straight-tone singing in Western Classical music." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/9907.

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Straight-tone singing in Western Classical music is a highly controversial subject. The primary objective of this study was to determine whether singing with a straight-tone was considered healthy or not and whether it is encouraged or recommended in performances today for aesthetic reasons. A secondary objective was to determine how a straight-tone could be produced healthily, if at all. Select opinions of three professional teachers and three international performers about straight-tone singing were solicited. Qualitative interviews were used and their findings compared to those in literature. To put straight-tone singing into a context of vocal health, the vocal physiology and acoustics of a normal functioning voice are discussed. Since a straight-tone is referred to as a vocal fault, vocal health issues are also examined. The question of aesthetics includes reference to straight-tone singing in ensembles or choirs and Early Music and opinions of its use in these contexts is discussed. The nature of the study was qualitative because of the subjective opinions at the centre of the research. The findings of this study are inconclusive as to whether straight-tone singing should be employed or not. However, key findings in this study were that some sources are in favour of straight-tone usage for reasons of taste and some are strongly against it, mostly for reasons of health but also sometimes for aesthetic reasons. Those sources that advocate straight-tone usage also advise against its prolonged use because of vocal health concerns. This study is relevant for all singers, choral directors, teachers of singing and all professionals involved with voice usage, for whom it is essential to have clear definitions of the concepts of straight-tone singing and vibrato and their possible effects on the voice, before they advocate or reject either. It is recommended that further investigation be done into straight-tone singing with a broader sample group of interviewees including professional ensemble singers and voice science specialists.
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Pettersen, Viggo. "From Muscles to Singing - The activity of accessory breathing muscles and thorax movement in classical singing." Doctoral thesis, Norwegian University of Science and Technology, Faculty of Social Sciences and Technology Management, 2005. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-560.

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The overall aim of the present studies was, in selected muscles, to investigate muscle activation levels and muscular patterns in classical singers. Further was these muscles’ relation to thorax movement investigated.

Loading levels and respiratory phasing of TR, STM and SC was investigated in vocalization tasks with high and moderate expiration. Further, PN activity was investigated in inhalation and phonation and finally, TR, INT, OBL and RC muscle loading in student and professional singers was examined.

Muscle activity was recorded by use of an ambulatory four-channel monitoring system (Physiometer PHY 400, Premed, Norway). TX movement pattern was traced with two strain gauge sensors (RES-117) placed around the upper TX and lower TX .

A phasing of upper TR activity to INT and OBL activity was discovered, all muscles supporting the expiration phase. During phonation TR contributes in the compression of the upper TX, thus serving as an accessory muscle of expiration. TR activity is reduced with short breathing cycles and is mostly inactive in simplified speaking tasks During phonation professional opera singers activate the expiratory phased TR, INT, OBL and RC muscles to higher levels than student singers do.

STM and SC show correlated activity patterns during inhalation and phonation by classical singers. During demanding singing expiratory phased STM and SC activity peaks produce a counterforce to the compression of upper TX at high pitches. As breathing demands are lowered STM and SC activity are reduced and attain inspiratory phasing. Substantial muscle activity is observed in posterior neck muscles (PN) during inhalation and phonation. EMG biofeedback performed on TR and STM have a secondary effect of lowering EMG activity in PN.

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Sethson, Mea. "The Alexander Technique for a singing actor." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84849.

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Abstract This thesis examines the postural effects of Alexander Technique training on a classical singer. The aim was to see how working with an Alexander Technique instructor would improve my singing. I have been taking lessons in Alexander technique on a weekly basis and practicing Alexander technique for approximately an hour each day. I have conducted an interview with singer and longtime Alexander technique practitioner, Anne Cecilie Røsjø Kvammen. I have talked to my physiotherapist, Carl Colliander, about pain linked to a tight psoas muscle. Four songs were memorized and recorded two times, once in December and once in April. The recordings were analyzed, first by me and then by Barbro Olsson, Alexander technique instructor. I found that my alignment has generally improved and, as a result, my head position has become more stable. I have become better at managing stress during performances. The enhanced awareness of alignment has helped me make more successful choices in the practice rooms. It also has made me better at interpreting my singing pedagogue’s instructions during lessons. Additionally I have less pain, especially in the neck area.
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Tan, Haidee Lynn Chua. "An Acoustic and Aerodynamic Study of Diatonic Scale Singing in a Professional Female Soprano." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1230147213.

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Ophaug, Wencke. "Vowel migration and equalisation in classical singing : a formant-based acoustic and perceptual study of German and Norwegian long vowels in speech and singing /." Oslo : University of Oslo - Unipub, 1999. http://catalogue.bnf.fr/ark:/12148/cb39976822k.

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Monzon, Kimberly Dawn. "Vascularity and the Hormonal Cycle in Female Classical Singers." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562255094732137.

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Manukyan, Kathleen L. "The Russian Word in Song: Cultural and Linguistic Issues of Classical Singing in the Russian Language." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308311801.

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Töyrä, Kristoffer. "En Vinterresa : En resa genom instudering och interpretation i stycken ur Winterreise." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74050.

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Abstrakt     Under detta arbete har jag analyserat min instudering i stycken ur sångcykeln Winterreise. Jag har valt styckena Frühlingstraum nummer elva i cykeln, och Einsamkeit som är nummer tolv i cykeln. Jag har fokuserat på två instuderingsmetoder, en där jag började med att instudera melodi, vilket jag gjorde med stycket Frühlingstraum. Först instuderade jag melodin utan text till jag kunde melodin utantill, och därefter analyserade och instuderade jag resterande av styckets parametrar. Den andra metoden var att börja min instudering med sångtexten, detta gjorde jag med Einsamkeit. När jag instuderade texten i sången uppstod det några komplikationer, jag löste dessa komplikationer, jag var dock tvungen att tänja på de begränsningar jag utgick ifrån. Efter det så analyserade och instuderade jag styckets resterande parametrar. Detta har varit ett lärorikt arbete som hjälpt mig att förstå mig själv bättre inom områden som instudering, interpretation, musikalisk och textlig analys.
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Van, Vuuren Cora-Mari. "Exploring the diagnosis and correction of vocal faults encountered during the training of the classical singing voice." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65618.

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The aim of this study is to provide a framework to diagnose and correct vocal faults encountered in the training of the classical singing voice with regard to the foundational aspects of classical vocal technique. The study follows a qualitative research approach to investigate and interpret authoritative literature sources. The research problem of this dissertation is approached by means of a narrative literature review and is conducted within an interpretive paradigm. The investigation of the diagnosis and correction of vocal faults revealed that: Firstly, the foundational aspects of classical vocal technique include dynamic body alignment, breath management, phonation, resonation, articulation, registration and vibrato. Secondly, vocal faults are directly linked, or can be traced directly to the interdependent foundational aspects of classical vocal technique. Thirdly, vocal faults occur when sound is produced in such a way that it can cause temporary or permanent damage to the voice and occur when the foundational aspects involved in the act of singing are employed incorrectly. It is recommended that voice teachers assist singing students to understand the foundational aspects of the complex and intricate processes underlying the classical vocal technique to produce healthy vocal sound. Also, exercises that are employed to assist in the correction of vocal faults must focus on creating a healthy balance within the processes of the foundational aspects of classical vocal technique to prevent hyper- or hypo-functionality.
Dissertation (MMus)--University of Pretoria, 2017.
Music
MMus
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Books on the topic "Classical singing"

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Chapman, Janice L. Singing and teaching singing: A holistic approach to classical voice. 2nd ed. San Diego: Plural Pub., 2010.

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Chapman, Janice L. Singing and teaching singing: A holistic approach to classical voice. 2nd ed. San Diego: Plural Pub., 2010.

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Thai classical singing: Its history, musical characteristics, and transmission. Aldershot, Hampshire, England: Ashgate, 2003.

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Lucie, Manén, ed. Belcanto: The teaching of the classical Italian song-schools, its decline and restoration. Oxford: Oxford University Press, 1987.

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Manén, Lucie. Bel canto: The teaching of the classical Italian song-schools : its decline and restoration. Oxford [Oxfordshire]: Oxford University Press, 1987.

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Lucia, Joyce. Mel Bay presents how to sing American: Pronunciation for jazz, rock, R & B and other non-classical singers. Pacific, Mo: Mel Bay Publications, 2002.

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Kowalzig, Barbara. Singing for the gods: Performances of myth and ritual in archaic and classical Greece. Oxford: Oxford University Press, 2007.

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Kowalzig, Barbara. Singing for the gods: Performances of myth and ritual in archaic and classical Greece. Oxford: Oxford University Press, 2007.

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Deva, Jeannie. The contemporary vocalist improvement course: The Deva method, a non-classical approach for singers. Boston: Rock Publications, 1994.

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Lucie, Manen, ed. Bel Canto: The teaching of the classical Italian song-schools, its decline and restoration. Oxford: Oxford University Press, 1989.

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Book chapters on the topic "Classical singing"

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Gupta, Chitralekha, and Preeti Rao. "Objective Assessment of Ornamentation in Indian Classical Singing." In Speech, Sound and Music Processing: Embracing Research in India, 1–25. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31980-8_1.

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Elliott, Martha. "Style and Ornamentation in Classical and Bel Canto Arias." In Teaching Singing in the 21st Century, 237–62. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8851-9_15.

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O’Bryan, Jessica. "Habits of the Mind, Hand and Heart: Approaches to Classical Singing Training." In Teaching Singing in the 21st Century, 21–34. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8851-9_3.

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"Chapter 3. The Classical Era." In Singing in Style, 92–125. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300138085-005.

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Thurman, Kira. "Blackness and Classical Music in the Age of the Black Horror on the Rhine Campaign." In Singing Like Germans, 96–133. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501759840.003.0005.

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This chapter looks into the concept of Blackness and classical musicals amidst the Rhine Campaign. Roland Hayes' performance in 1924 encapsulated the changes that shaped how audiences listened to music and Black classical musicians' performances in the interwar era. The constantly changing statuses of Black musicians as symbols of success and racial degeneracy is in line with Central Europe's constantly changing cultural topography following World War I. The chapter discusses the Black Horror threat which placed Blackness in a negative and threatening light. It includes the interrelation between Black networking and White patronage. Black classical musicians had to manage their careers within the shifting racial terrain.
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Thurman, Kira. "How Beethoven Came to Black America." In Singing Like Germans, 20–41. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501759840.003.0002.

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This chapter looks into German musical universalism and the Black education following the Civil War. It notes how Carl Reinecke's Piano Sonatina in D Major became a classical piece among African American campuses across Alabama. The music's prominence in musical education is proof of the global power of German music and African Americans' investment in performing it. African American families prefer Germans teaching Beethoven music as they thought classical music could be a vehicle that they could use to cross the racial dimension. The chapter highlights how Western art music institutions enforce racial segregation and take hold of color-blind mythology that frees classical music of any social responsibility for racism.
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"Poems on Christian Themes in Classical Shih Form." In Singing of the Source, 155–70. University of Hawaii Press, 1993. http://dx.doi.org/10.1515/9780824847166-008.

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Thurman, Kira. "“A Negro Who Sings German Lieder Jeopardizes German Culture”." In Singing Like Germans, 158–82. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501759840.003.0007.

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This chapter focuses on Black musicians under the shadow of Nazism. It cites how Black classical musicians are proof of German music's transformative powers. However, the other side of the argument defended German music against outsiders. By the late 1930s, a majority of Black musicians had fled Central Europe and those who remained fronted persecution, violence, and death. The universality of German music was used to explain why someone should or should not be permitted to perform the music of Bach, Beethoven, and Brahms. However, the supposed universalizing processes died when Black classical musicians could no longer be protected from white violence.
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Thurman, Kira. "“And I Thought They Were a Decadent Race”." In Singing Like Germans, 185–214. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501759840.003.0008.

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This chapter tackles the postwar West German musical life in terms of denazification, Cold War, and the involvement of African Americans. William Kemper Harreld recorded a diary during his journey of musical pilgrimage and homecoming through Germany and Austria. The geopolitical landscape in both countries changed drastically between his travels. Following the Nazi German defeat, the American military counted on Black classical musicians to perform vital cultural labor in West Germany. Black classical musicians frequently functioned as signs for older racial and musical logics that predated 1945. The chapter discusses the case studies of Guyanese conductor Rudolph Dunbar in 1945 and the US State Department-sponsored tour of George Gershwin's opera in 1952.
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Galbreath, Daniel, and Gavin Thatcher. "Encountering the singing body." In Together in Music, 267–71. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198860761.003.0034.

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Workshops to explore the embodied experiences of creative, relational voicing took place for classically trained singers, and their reflections are discussed and interpreted. Such reflections offer critical insight into a previously developed practice, through which we seek to facilitate performers’ encounters of their own and others’ voices and bodies as unified. This approach is founded on our previously published argument that classical voice training and practice have historically used the voicing body as a tool obedient to a “higher-order” mind. In these workshops, the aim is not only to redress this mind–body–voice segregation, but also to interrogate participants’ impressions and experiences of this effort using a series of questionnaires. Findings suggest that such a reflective experience offers potential benefits to singers’ wellbeing by encouraging them to perceive their own and others’ sounding bodies as something to be understood and explored creatively rather than disciplined and subdued.
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Conference papers on the topic "Classical singing"

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Arora, V., L. Behera, and P. Sircar. "Singing voice synthesis for Indian Classical Raga system." In IET Irish Signals and Systems Conference (ISSC 2009). IET, 2009. http://dx.doi.org/10.1049/cp.2009.1710.

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Wang, Fangheng. "Analysis of Features and Singing Skills of Chinese Classical Poetry Songs." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.224.

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Akant, Kalyani, and Shyamkant Limaye. "Pitch Contour Extraction of Singing Voice in Polyphonic Recordings of Indian Classical Music." In 2014 International Conference on Electronic Systems, Signal Processing and Computing Technologies (ICESC). IEEE, 2014. http://dx.doi.org/10.1109/icesc.2014.26.

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Ghisingh, Seema, Shivam Sharma, and Vinay Kumar Mittal. "Study of Indian classical music by singing voice analysis and music source separation." In 2017 2nd International Conference on Telecommunication and Networks (TEL-NET). IEEE, 2017. http://dx.doi.org/10.1109/tel-net.2017.8343512.

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Paschalidou, Stella, Tuomas Eerola, and Martin Clayton. "Voice and movement as predictors of gesture types and physical effort in virtual object interactions of classical Indian singing." In MOCO'16: 3rd International Symposium on Movement and Computing. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2948910.2948914.

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Belfroid, S. P. C., H. J. C. Korst, K. G. Nielsen, and E. Bendiksen. "Application of a New Carcass Design for Prevention of Singing Behaviour in Flexible Risers." In ASME 2011 Pressure Vessels and Piping Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/pvp2011-57610.

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The flow of fluid over the inner surface of rough bore flexible pipes may create vortex induced pulsations. For gas risers these pulsations can in some cases be the source of a high amplitude tonal sound. This phenomenon is in the industry referred to as “singing risers”. Under certain circumstances these pulsations can result in large structural vibrations with potential fatigue failure of the connected topside or subsea pipe systems. The singing behavior is dependent on the operating conditions such as product density and viscosity as well as the piping layout of the topside and subsea piping. However, the most important factor is the geometry of the corrugations. In traditional designs the carcass is made from a folded metallic strip. NKT Flexibles has developed a novel approach to carcass manufacturing originally intended for deep and ultra deepwater applications, wherein the carcass is made of helically wound wires rather than a folded strip. Although the main focus for this development was to devise a carcass of superior collapse strength compared to conventional systems, the new carcass design provides a very smooth inner surface, thus mitigating vortex formation which will reduce or eliminate the formation of flow induced pulsations. The susceptibility to singing of the new carcass design is compared to that of a traditional carcass design. This includes the onset of the singing and the flow pressure drop. Due to the much smaller cavities in the new design, the singing tendency is shown to be significantly reduced. In particular, the expected onset velocity is 5–9 times that of a classic rough bore design with 20%–50% of the amplitude. An additional benefit of the new design is that the pressure drop for the pipe is close to that of a smooth bore pipe. Therefore, it is expected that for many applications, the new design will not lead to the generation of high amplitude tonal noise within the desired operating envelope.
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