Dissertations / Theses: '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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Includes bibliographical references.
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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Maxfield, Lynn Milo. "Application of principles from motor-learning theory to the studio voice lesson: effects of feedback frequency on retention of classical singing technique." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1021.

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Over the past several decades, cognitive and behavioral scientists have been researching the most effective practices for training muscles to produce specific movements consistently and accurately. That research has led to relatively wide acceptance of several best practices for the training of motor skills. One such practice is the reduction in the frequency with which augmented (external) feedback is provided by the instructor/trainer during skill-acquisition. This theory of low-frequency feedback has been examined by research in a wide variety of fields ranging from exercise and sport to voice therapy and rehabilitation. Prior to the study reported here, however, this theory had not been applied the acquisition of vocal skills associated with classical singing techniques. The current research consisted of an alternating treatment single-subject study, which was conducted on a college campus over the course of a 15-week semester. 8 college voice students (3 male and 5 female) ranging in age from 18 to 25 participated in voice lessons provided by the researcher and aimed at improving the overall quality of the voices of the participants. Over the course of the15 weeks, the instructor alternated between providing a high-frequency feedback (HFF) instruction condition and a low-frequency feedback (LFF) instruction condition. At the beginning of each session, a vocal sample was recorded to test the retention of the skills trained in the previous lesson. Those recordings were evaluated by a panel of five college voice instructors who provided a numerical score (out of a possible 100 pts.) for each sample on the basis of tone quality, breath management, and intonation. The results of this study indicated that three of the eight subjects retained more vocal skill ability during the HFF phases of the study, while the remaining five subjects retained less vocal skill ability during the HFF phases of the study. It was also seen that the three subjects who responded favorably to the HFF instruction condition were also those whose scores were higher throughout the duration of the study. These findings would appear to indicate that an HFF instruction condition may be more beneficial to more experienced or more skilled singers, while an LFF instruction condition may be more beneficial to more novice singers. In the final chapter of this report, several modifications to this study are suggested along with suggestions for future research regarding the application of other principles from motor-learning theory to the acquisition of new vocal skills.

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Su, Wen-hui. "An acoustic study of the singer's formant the comparison between Western classical and traditional Chinese opera singing techniques /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3354922.

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Thesis (Ph.D.)--Indiana University, Dept. of Speech and Hearing, 2009.
Title from PDF t.p. (viewed on Feb. 4, 2010). Source: Dissertation Abstracts International, Volume: 70-04, Section: A, page: 1098. Adviser: Karen Forrest.

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Mitchell, Helen Frances. "Defining vocal quality in female classical singers: pedagogical, acoustical and perceptual studies." University of Sydney. Australian Centre for Applied Research in Music Performance, 2005. http://hdl.handle.net/2123/710.

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The technique of �open throat� is a pedagogical concept transmitted through the oral tradition of singing. This thesis explored the pedagogical perceptions and practices of �open throat� using empirical methodologies to assess technical skill and associated vocal quality. In the first study (Mitchell, Kenny, Ryan, & Davis, 2003), we assessed the degree of consensus amongst singing pedagogues regarding the definition of, and use in the singing studio of the technique called �open throat.� Results indicated that all fifteen pedagogues described �open throat� technique as fundamental to singing training and were positive about the sound quality it achieved, especially in classical singing. It was described as a way of maximising pharyngeal space or abducting the false vocal folds. Hypotheses generated from pedagogical beliefs expressed in this first study were then tested acoustically (Mitchell & Kenny, 2004a, 2004b). Six advanced singing students sang in two conditions: �optimal� (O), using maximal open throat, �sub-optimal� (SO), using reduced open throat and loud sub-optimal (LSO) to control for the effect of loudness. From these recordings, acoustic characteristics of vibrato (Mitchell & Kenny, 2004b) and energy distribution (Mitchell & Kenny, 2004a) were examined. Subsequent investigations of the vibrato parameters of rate, extent and onset, revealed that extent was significantly reduced and onset increased when singers did not use the technique. As inconsistent vibrato is considered indicative of poor singing, it was hypothesized that testing the energy distribution in these singers� voices in each condition would identify the timbral changes associated with open throat. Visual inspection of long term average spectra (LTAS) confirmed differences between O and SO, but conventional measures applied to long term average spectra (LTAS), comparing energy peak height [singing power ratio (SPR)] and peak area [energy ratio (ER)] were not sensitive to the changes identified through visual inspection of the LTAS. These results were not consistent with the vibrato findings and suggest that conventional measures of SPR and ER are not sufficiently sensitive to evaluate LTAS. In the fourth study, fifteen expert listeners consistently and reliably identified the presence of open throat technique with 87% accuracy (Mitchell & Kenny, in press). In the fifth study, LTAS measurements were examined with respect to the perceptual ratings of singers. There was no relationship between perceptual rankings of vocal beauty and acoustic rankings of vocal quality (Kenny & Mitchell, 2004, in press). There is a vast literature of spectral energy definitions of good voice but the studies in this thesis have indicated that current acoustic methods are limited in defining vocal quality. They also suggest that current work in singing has not sufficiently incorporated perceptual ratings and descriptions of sound quality or the relationship between acoustic and perceptual factors with pedagogical practices.

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Silva, Raquel Antunes da. "O cantor crossover no Brasil: uma abordagem sobre a versatilidade vocal entre o canto lírico e o belting na Contemporary Commercial Music." Master's thesis, Universidade de Évora, 2022. http://hdl.handle.net/10174/31365.

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Este trabalho tem como objetivo analisar, por meio de pesquisas bibliográficas, o estudo e a prática do canto e traçar um comparativo de divergências e similaridades entre as técnicas do canto lírico e do belting na Contemporary Commercial Music1, sendo direcionado a profissionais e estudantes da área da voz cantada que tenham interesse por tais técnicas, bem como por entender a complexidade de transitar entre elas como cantores crossover. Apresentam-se, na metodologia deste trabalho de pesquisa, entrevistas efetuadas a cantores brasileiros profissionais e professores de canto, que são ou foram atuantes na área do canto lírico e do teatro musical, abordando questões sobre as suas próprias experiências como cantores crossover no Brasil. Por fim, uma sugestão de estudo com base na pesquisa artística e na autoetnografia segundo a experiência da autora ao fazer o crossover na canção “The Girl in 14G”; ABSTRACT: Crossover singer in Brazil: an approach to the vocal versatility between classical singing and belting in Contemporary Commercial Music This work aims to analyze, through bibliographic research, the study and practice of singing and to draw a comparison of divergences and similarities between classical singing and belting techniques in Contemporary Commercial Music, targeting singing voice professionals and students who are interested in such techniques, as well as in understanding their transitioning complexity as crossovers singers. The methodology used in this research paper includes interviews with professional Brazilian singers and singing teachers who currently work or worked in the field of classical singing and musical theater, addressing questions about their own experiences as crossover singers in Brazil. Finally, a suggestion for a study based on artistic research and autoethnography according to the author's experience in doing the crossover on the song “The Girl in 14G”.

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Proba, Rebecca. "Sångundervisning i olika genrer : En jämförande studie av sångundervisning inom klassisk sång och pop-sång." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-28915.

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Syftet med studien är att undersöka hur sångpedagoger inom de klassiska respektive de populärmusikaliska sångtraditionerna förhåller sig till enskild sångundervisning, samt hur de designar sin undervisning. Data har samlats in genom intervjuer med fyra sångpedagoger, samtliga verksamma på eftergymnasial nivå. Två av informanterna arbetar i huvudsak inom den klassiska genren, de andra två inom pop-genren. Intervjuformen var kvalitativ intervju med öppna följdfrågor. Analysen av materialet är gjord utifrån ett designteoretiskt perspektiv. Resultatet visar att informanternas val av resurser är liknande oavsett genretillhörighet. De lägger alla stor vikt vid förmågan att designa förutsättningarna för lärande utifrån det enskilda mötet med varje elev. Resultatet visar också att språkbruket skiljer sig åt beroende på vilken genre informanterna tillhör, samt att skillnaderna i klangligt ideal genrerna emellan leder till skillnader i arbetssätt och musikaliskt fokus. I diskussionen förs ett resonemang kring genrernas ideal och dess påverkan på kunskapsförmedlingen.
The purpose of this study is to examine how voice teachers, when following the Classical and Popular vocal traditions, approach private singing, and how they design the instruction. Data has been collected through interviews with four voice teachers, all of whom are active at the post-secondary school level. Two of the informants primarily teach the Classical tradition, while the other two teach the Popular music tradition. The interview form used was the qualitative interview, with open follow-up questions. The analysis was performed from a perspective of design theory. The result shows that the resources used by the informants are similar regardless of genre. Emphasis is placed on the ability to design the conditions for learning in the encounter of each individual student. The result also shows that vocabulary varies according to genre, and that the difference in preferred sound between genres leads to differences in methods, as well as musical focus. The discussion reflects on the ideals of the two genres, and how they affect the transfer of knowledge.

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Stegmark, Ida. "Konsten att bemästra ett scenframträdande : En kvalitativ studie av professionella klassiska sångares mentala hantering av scenframträdanden." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-8728.

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Denna studie syftar till att utveckla kunskap om hur professionella klassiska sångare förbereder sig och hanterar scenframträdanden. Studiens frågeställningar har varit hur klassiska sångare uppfattar vikten av mental förberedelse inför scenframträdanden och vilka funktioner de uppfattar att mental träning och scenisk beredskap har inom sångutbildning på olika nivåer. För att få svar på mina frågeställningar använde jag mig av kvalitativa intervjuer med fyra professionella klassiska sångare.Resultatet visar att informanterna lägger stor vikt på instuderingsprocessen i sin mentala förberedelse inför ett scenframträdande. Instuderingen ska påbörjas i god tid innan en konsert och genomföras metodiskt med fokus på teknik, text, musik och scenisk utformning. Studien visade också att informanterna hade tydliga rutiner under konsert-/föreställningsdagen. Det som mentalt skulle hanteras för att lyckas med ett scenframträdande var att kunna vara i nuet och att omvandla nervositet till en kreativ energi.
The purpose of this study is to develop knowledge about how professional classical singers prepare for and handle performances. The questions of the study have been what classical singers regard about the importance of mental preparation before a performance, and what functions mental training and stage preparation have at different levels in vocal education. To find the answers to these questions I interviewed four professional classical singers.The result shows the importance of an accurate learning of the music, technique and expression prior to performance. The study also demonstrated that the informants had well- developed routines for the day of their performance. To make a mentally well-controlled performance, the informants had to be present on the stage, and be able to transform stage fright into creative energy.

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Nandamudi, Srihimaja. "Aerodynamics of Vocal Vibrato." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1499427478103556.

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Christmann, Juliana Damião Gomes. "Processos fonológicos em fronteiras de palavras no Canto Erudito em Alemão." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-10082012-190813/.

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O presente trabalho tem por objetivo a análise dos processos fonológicos em fronteiras de palavras que ocorrem na língua alemã cantada. Como corpus, recolhemos gravações de uma ária para voz feminina da ópera Der Freischütz, de Carl Maria Von Weber, interpretada por cantoras alemãs seguindo determinados critérios, e também gravações do texto da ária apenas lido por mulheres cuja língua mãe é o alemão a fim de comparar com o que ocorre na língua falada. Como embasamento teórico, recorremos a estudos de Fonética e Fonologia, Morfologia, interferência lingüística e Dicção. Para realização das análises, mapeamos a partitura da ária escolhida selecionando as fronteiras de palavras que mais geravam dúvidas e elaboramos algumas tabelas para organizar e sintetizar as informações recolhidas. Primeiramente, realizamos a análise das gravações cantadas e, em seguida, das gravações faladas. Essas últimas necessitaram de auxílio de instrumentos (programa de análise acústica) para que pudéssemos confirmar as análises realizadas de forma subjetiva. Como resultado, pudemos concluir que é próprio da língua alemã falada a junção de consoantes iguais e do mesmo grupo articulatório, ao passo que na voz cantada, alguns elementos musicais, como andamento e fraseado interferem nesses processos, algumas vezes bloqueando-os.
This work aims to analyze the phonological processes in word boundaries that happen in the sung German language. As corpus, we gathered recordings of an aria to feminine voices from Der Freischütz opera, by Carl Maria von Weber interpreted by German feminine singers, following certain criteria and also recordings of the aria text, only read by women whose mother tongue is German, in order to compare to what happens in spoken language. As theoretical basis we turned to studies on Phonetics and Phonology, linguistic interference and Diction. In order to fulfill the analyses, we mapped the chosen aria score, selecting the word boundaries that generated more doubts and we elaborated some tables to organize and summarize the collected data. First, we analyzed the sung recordings and then the spoken recordings. The latter needed the help of instruments (acoustic analysis software), so that we could confirm the analyses achieved in a subjective form. As a result, we were able to conclude that it is typical of the spoken German language to join identical consonants from the same articulatory group, while in the sung voice some musical elements, as timing and phrasing, intervene in these processes, sometimes blocking them.

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Adamsson, Sophie. ""Att vara bred är en tillgång" : En kvalitativ intervjustudie av fyra sångpedagogers syn på genreval i sångundervisningen på gymnasiet." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-56545.

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Syftet med denna studie är att undersöka hur gymnasieelevers individuella sånglektioner skiljer sig åt beroende på i hur stor utsträckning sångpedagogernas eget genreintresse styr. Studien är baserad på fyra semistrukturerade intervjuer där två sångpedagoger har sin hemvist inom den klassiska sångtraditionen och två sångpedagoger har sin hemvist inom den afroamerikanska sångtraditionen. Studien är av jämförande karaktär där fokus ligger på eventuella likheter och skillnader mellan sångpedagogers synsätt inom de två olika genrerna. Den teoretiska utgångspunkten för studien utgår från ett sociokulturellt perspektiv och hur kulturella redskap och omgivningar påverkar undervisningen och lärandet. Studiens resultat visar att sångpedagogerna har fler åsikter som förbinder dem samman än vad de har som skiljer sig åt gällande medvetna genreval, hur deras eget genreintresse påverkar sångundervisningen och synen på läroplanen i förhållande till lektionen och dess innehåll. Intervjupersonerna skiljer sig åt gällande lektionsupplägget för nybörjarelever samt sitt personliga musiklyssnande. I diskussionen lyfts sedan de teman som uppkommit i resultatet utifrån ett sociokulturellt perspektiv. Dessa teman är: medvetna och omedvetna val gällande genre, läroplanen som redskap i sångundervisningen samt det egna genreintresset som redskap i sångundervisningen. Det som framkommer är att sångpedagogernas olika redskap påverkar hur de arbetar i och kring sin sångundervisning på gymnasiet.
The purpose of this study is to examine how individual singing lessons for high school students differ depending on to which extent the vocal coach is driven by their own interests concerning genre. The study is based on four semi-structured interviews where two vocal coaches have their home turf in classical music, and two vocal coaches have their home turf within the african american genres. The study is of comparative nature where the focus is on eventual similarities and differences between vocal coaches’ viewpoints within the two genres. The theoretical perspective of the study takes its stand in the socio cultural perspective and how cultural tools and surroundings affect teaching and learning.The result of the study shows that the vocal coaches have more conformed opinions than they have conflicting ones when it concerns informed choices in genre, how their own interests affect their teaching and the views on the curriculum in relation to the lesson and its content. The interviewees differ when it comes to how they plan lessons for beginners and how they themselves listen to music. In the discussion the themes that surface in the result are discussed from a socio cultural perspective. These themes are: informed and uninformed choices concerning genre, the curriculum as a tool in teaching and the teachers’ own personal interests concerning genre. The conclusion is that the different tools the vocal coaches use affect how they work in and surrounding their teaching of high school students.

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Morris, Brad Lawson. "A Countertenor's Reference Guide to Operatic Repertoire." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554918197976462.

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Ray, Christin. "Effects of Respiratory Muscle Strength Training in Classically Trained Singers." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405505205.

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Astorsdotter, Michelle. "The effect of music analysis on vocal performance : An analytical study of two Swedish songs." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79218.

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How much do musicians use their music theory knowledge when they perform? This project aims to connect theory and practice by exploring how analysis affects the interpretation of two songs in performance. Are some aspects of music analysis more useful than others when it comes to interpretation and performing? The theoretical method used in the analytical process is foremost inspired by the book The Complete Musician (Laitz 2012). In the research I recorded two songs that set the same poem Flickan kom ifrån sin älsklings möte, both before and after doing a deeper analysis of the songs. Afterward I compared the recordings to examine how the music analysis affect the performance. The interpretation is formed sometime during the process, but when? Do we decide how to interpret the music in the analytical process already, or does it happen while performing?

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Chapman, Sharon Jeanette. "Classical Hollywood film directors' female-as-object obsession and female directors' cinematic response: A deconstructionist study of six films." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1258.

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Johnson, Brock. "The Use of Classic Musical Theatre Repertoire for Training Bel Canto Techniques in the Undergraduate Baritone Voice." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984217/.

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For applied teachers of the bel canto method of singing, classical musical theatre repertoire provides an abundant resource of material for teaching the undergraduate baritone voice. Select classic musical theatre repertoire, fitting within the parameters of suitable range, tessitura, duration, and thematic material for an undergraduate baritone, will be used to demonstrate the application of bel canto techniques such as: glottal onsets, the connection between the speaking voice and singing voice, suitable vowels in building the upper range, and teaching sostenuto and legato. This dissertation serves as a guide for teaching sound vocalism through classic musical theatre repertoire.

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Klein, Eve Elizabeth. "The pomegranate cycle : reconfiguring opera through performance, technology & composition." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/51175/1/Eve_Klein_Thesis.pdf.

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The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. Consequently, the canon’s historic representations of gender remain unchallenged. Historically and contemporarily, men have almost exclusively occupied the roles of composer, conductor, director and critic, and therefore men have regulated the pedagogy, performance practices, repertoire and organisations that sustain classical music. In this landscape, women are singers, and few have the means to challenge the constructions of gender they are asked to reproduce. The Pomegranate Cycle uses recording technologies as the means of driving change because these technologies have already challenged the regulation of the classical tradition by changing people’s modes of accessing, creating and interacting with music. Building on the work of artists including Phillips and van Veen, Robert Ashley and Diamanda Galas, The Pomegranate Cycle seeks to broaden the definition of what opera can be. This work examines the ways in which the operatic tradition can be hybridised with contemporary musical forms such as ambient electronica, glitch, spoken word and concrete sounds as a way of bringing the form into dialogue with contemporary music cultures. The ultilisation of other sound cultures within the context of opera enables women’s voices and stories to be presented in new ways, while also providing a point of friction with opera’s traditional storytelling devices. The Pomegranate Cycle simulates aesthetics associated with Western art music genres by drawing on contemporary recording techniques, virtual instruments and sound-processing plug-ins. Through such simulations, the work disrupts the way virtuosic human craft has been used to generate authenticity and regulate access to the institutions that protect and produce Western art music. The DIY approach to production, recording, composition and performance of The Pomegranate Cycle demonstrates that an opera can be realised by a single person. Access to the broader institutions which regulate the tradition are not necessary. In short, The Pomegranate Cycle establishes that a singer can be more than a voice and a performing body. She can be her own multimedia storyteller. Her audience can be anywhere.

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Hýl, Petr. "Slovinské národní divadlo v Lublani." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2009. http://www.nusl.cz/ntk/nusl-215582.

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Yankeelov, Marjorie Landgrave. "Relationships among auditory representations and overall musicianship of classical and non-classical music students." Thesis, 2016. https://hdl.handle.net/2144/16838.

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The focus of this study is on the relationships among three basic auditory representations as well as their interaction with a measure of overall musicianship (sight-singing) among a group of classical and non-classical university music students (N = 112) selected from three different universities. Students were enrolled in level one of an aural skills course at the time. Basic auditory representations included were tonic centrality, measured by Colwell’s (1968) Feeling for Tonal Center, tonal grouping, measured by Colwell’s (1968) Auditory-Visual Discrimination, and harmonic function grouping, measured by a revised version of Holahan, Saunders and Goldberg’s (2000) assessment. I evaluated relationships by correlating scores on each measure and also compared these relationships among classical and non-classical music students. The participants in this study were the most skilled at forming auditory representations of tonic centrality and non-classical musicians significantly (p = .002) outperformed classical musicians in this area. Tonic centrality was also most strongly correlated with overall musicianship (τ = .45, p < .001) within the sample, and this relationship appeared to be stronger among non-classical musicians (τ = .52, p < .001) than among classical musicians (τ = .39, p < .001). This difference may be accounted for by the increased reliance on grounding in a tonal center required by the musical activities of a typical non-classical music student. Given the changing balance of musical endeavors present in tertiary music schools today (Lehmann, Sloboda, & Woody, 2007), educators are encouraged to better understand the particular strengths non-classical musicians may bring to the classroom in terms of ear-based musical abilities. Likewise, music educators on each level are encouraged to incorporate ear-based activities such as improvisation and playing by ear to the benefit of musicians of all genres.

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Cashman, Penelope Veronica. "International Best Practice in the Teaching of Lyric Diction to Conservatorium-Level Singers." Thesis, 2019. http://hdl.handle.net/2440/120990.

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This doctoral thesis examines international best practice in the teaching of lyric diction to conservatorium-level singers. It provides a unique perspective on lyric diction teaching in that it focuses on pedagogical process and includes the perspectives of multiple experts across a variety of languages and working in different countries. Most of the literature regarding lyric diction at the conservatorium level focuses on pronunciation rules and descriptions of relevant articulations. As such, it can be seen to focus predominantly on the ‘what’ of lyric diction teaching, and significantly less on the ‘how’. It rarely explores the role of the lyric diction coach/teacher and his/her pedagogical approach in successful lyric diction learning. This thesis addresses the ‘how’ of lyric diction teaching by focussing on the pedagogical approaches and priorities of selected expert lyric diction coaches whose work with conservatorium level students is informed by their understanding of lyric diction at the professional level. Chapters 1 and 2 of the thesis introduce lyric diction in an historical and socio-cultural context and provide explanations of vocal acoustics, singing technique, phonology, articulatory phonetics, and foreign language phonology acquisition as they pertain to lyric diction. Chapter 3 addresses the backgrounds and experience of expert lyric diction teachers and coaches, highlighting the skills and qualities they perceive as integral to the effectiveness of their pedagogy. It also provides an insight into lyric diction coaching for professional singers. Chapter 4 presents analysis and discussion of the key themes that emerged from the primary source materials collected for this study. This encompasses broad-ranging facets of lyric diction pedagogy fundamental to the subject as a whole and applicable to all languages. The key themes emerging from the research indicate pedagogical priorities that diverge significantly from those indicated by much of the lyric diction literature. The analysis is synthesized in Chapter 5, revealing the overall picture of best practice in conservatorium-level lyric diction teaching derived from this research.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2019

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Broadwater, Kimberly Jaye. "The effects of singing on blood pressure in classically trained singers." 2002. http://etd.lsu.edu:8085/docs/available/etd-0415102-005608/.

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Dissertations / Theses on the topic 'Classical singing'

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