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Journal articles on the topic 'Classical singing'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Thomasson, Monica, and Johan Sundberg. "Lung volume levels in professional classical singing." Logopedics Phoniatrics Vocology 22, no. 2 (January 1997): 61–70. http://dx.doi.org/10.3109/14015439709075316.

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12

Sundberg, Johan, Lide Gu, Qiang Huang, and Ping Huang. "Acoustical Study of Classical Peking Opera Singing." Journal of Voice 26, no. 2 (March 2012): 137–43. http://dx.doi.org/10.1016/j.jvoice.2011.01.001.

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13

Sundberg, Johan, Lide Gu, Qiang Huang, and Ping Huang. "Acoustical study of classical Peking opera singing." Journal of the Acoustical Society of America 131, no. 4 (April 2012): 3376. http://dx.doi.org/10.1121/1.4708730.

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14

Crocco, Laura, Patricia McCabe, and Catherine Madill. "Principles of Motor Learning in Classical Singing Teaching." Journal of Voice 34, no. 4 (July 2020): 567–81. http://dx.doi.org/10.1016/j.jvoice.2018.12.019.

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15

Dobrota, Snježana, Antonia Bogadi, and Ivana Šutić. "Attitudes of Preschool Educators Toward Singing as a Musical Activity in Kindergarten / Stališča vzgojiteljev predšolskih otrok do petja kot glasbene dejavnosti v vrtcu." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 35 (December 5, 2021): 27–39. http://dx.doi.org/10.26493/2712-3987.17(35)27-39.

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The paper explores the influence of years of work experience, professional qualifications, additional music education, engaging in musical activities in leisure time, and attending the theatre / classical music concerts on the attitudes of preschool educators toward singing as a musical activity in kindergarten. The research was conducted on a sample of preschool educators from all Croatian counties (N = 405), using a questionnaire composed of two parts: The General Data Questionnaire and Attitudes Toward Singing as a Musical Activity in Kindergarten. No differences were found in preschool educators’ attitudes toward singing with regard to their professional qualifications and years of work experience. However, the results confirm the influence of additional music education, engaging in musical activities in leisure time, and attending the theatre / classical music concerts on preschool educators’ attitudes toward singing as a musical activity in kindergarten.

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16

Monir, Ramy, Daniel Kostrzewa, and Dariusz Mrozek. "Singing Voice Detection: A Survey." Entropy 24, no. 1 (January 12, 2022): 114. http://dx.doi.org/10.3390/e24010114.

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Singing voice detection or vocal detection is a classification task that determines whether there is a singing voice in a given audio segment. This process is a crucial preprocessing step that can be used to improve the performance of other tasks such as automatic lyrics alignment, singing melody transcription, singing voice separation, vocal melody extraction, and many more. This paper presents a survey on the techniques of singing voice detection with a deep focus on state-of-the-art algorithms such as convolutional LSTM and GRU-RNN. It illustrates a comparison between existing methods for singing voice detection, mainly based on the Jamendo and RWC datasets. Long-term recurrent convolutional networks have reached impressive results on public datasets. The main goal of the present paper is to investigate both classical and state-of-the-art approaches to singing voice detection.

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17

Umarova, Gulshan Omonovana. "On The Culture Of Music And Singing." American Journal of Social Science and Education Innovations 02, no. 12 (December 17, 2020): 83–87. http://dx.doi.org/10.37547/tajssei/volume02issue12-15.

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In the current era of the influence of the information flow, blindly mastering the art of others, they put Uzbek words in their music and perform melodic performances. This article discusses the development of one of the vocal genres - traditional singing, the perfect study of the status of our classical art by students and the further enrichment and preservation of the treasures of our national musical heritage to future generations. In the current era of rapid development, under the influence of music and songs coming from abroad, the minds of our young people are changing and becoming indifferent to their art. It is useful for any nation to learn the art of its own national music first and then master the art of others.

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18

Serrano Montero, Lucía. "La técnica vocal en el cante flamenco: su relación con el canto clásico y el canto popular." Revista de Investigación sobre Flamenco "La madrugá", no. 19 (December 28, 2022): 49–69. http://dx.doi.org/10.6018/flamenco.533371.

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The voice is the first recorded musical instrument, considered the most expressive and the communication tool par excellence. In flamenco it occupies an indispensable place but, while in classical singing there are certain pedagogical methodologies that govern vocal technique and even flamenco guitar and dance have their own pedagogical methodologies, there is no defined technique for flamenco singing, as its learning has not been treated as a fundamental element of this art. The bases of vocal technique in classical singing date back to the Renaissance period and have evolved up to the present day, while flamenco acquired its own personality at the end of the 19th century, although its antecedents include classical and popular music. The aim of this article is to investigate about the vocal technique in flamenco singing, making an approach to its most relevant aspects, relating it to both classical and popular singing. Likewise, a comparative journey between traditional and contemporary vocal pedagogy is approached. La voz es el primer instrumento musical del que se tiene constancia, considerado el más expresivo y la herramienta de comunicación por excelencia. En el flamenco ocupa un lugar indispensable pero, mientras que en el canto clásico existen determinadas metodologías pedagógicas que rigen la técnica vocal e incluso la guitarra y el baile flamencos cuentan con metodologías pedagógicas propias, no existe una técnica definida de cante flamenco, al no haberse tratado su aprendizaje como un elemento fundamental de este arte. Las bases de la técnica vocal en el canto clásico se sitúan en la época del Renacimiento y han evolucionado hasta la actualidad; mientras, el flamenco adquiere personalidad propia a finales del XIX, si bien entre sus antecedentes están la música clásica y la música popular. El objetivo de este artículo es investigar acerca de la técnica vocal en el cante flamenco, realizando una aproximación a sus aspectos más relevantes, relacionándolo a la vez con el canto clásico y el canto popular. Asimismo, se aborda un recorrido comparativo entre la pedagogía vocal tradicional y la contemporánea.

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19

Nafisi, Julia. "Gesture and body-movement as teaching and learning tools in the classical voice lesson: a survey into current practice." British Journal of Music Education 30, no. 3 (June 11, 2013): 347–67. http://dx.doi.org/10.1017/s0265051712000551.

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This article discusses the use of gesture and body-movement in the teaching of singing and reports on a survey amongst professional singing teachers in Germany regarding their use of gesture and body movement as pedagogic tools in their teaching. The nomenclature of gestures and movements used in the survey is based on a previous study by the author (Nafisi, 2008, 2010) categorising movements in the teaching of singing according to their pedagogical intent intoPhysiological Gestures, Sensation-related Gestures, Musical GesturesandBody-Movements. The survey demonstrated thatGestureswere used by a significant number of voice teachers to enhance explanation and/or demonstration, that a significant number of voice teachers encouraged their students to carry out similar Gestures whilst singing to enhance their learning experience and that another type of essentially non-expressiveBody-Movementswas also encouraged by a significant number of voice teachers to enhance students’ learning. The paper validates the author's nomenclature and offers some hitherto unpublished insights.

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20

Leão, David Pierdominici. "Singing a(n) (a)laukika body:." Cracow Indological Studies 22, no. 2 (December 31, 2020): 79–102. http://dx.doi.org/10.12797/cis.22.2020.02.05.

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Utprekṣā or ‘ascription’ is one of the foremost devices in classical Sanskrit literature, with importance secondary only to upamā and rūpaka. In contrast to other figures extensively analysed by the theoretical treatises over centuries, it was characterised by a surprising uniformity in regard to its definition as offered by the ālaṃkārikas. The paper provides a brief overview of this device and its practical application in a 16th century mahākāvya, the Pāṇḍyakulodaya.

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21

Myers-Moro, Pamela. "Thai Classical Singing: Its History, Musical Characteristics and Transmission (review)." Notes 62, no. 1 (2005): 152–53. http://dx.doi.org/10.1353/not.2005.0109.

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22

Pettersen, Viggo, and Rolf H. Westgaard. "The Activity Patterns of Neck Muscles in Professional Classical Singing." Journal of Voice 19, no. 2 (June 2005): 238–51. http://dx.doi.org/10.1016/j.jvoice.2004.02.006.

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23

Radhakrishnan, Nandhakumar, Ronald C. Scherer, and Santanu Bandyopadhyay. "Laryngeal Dynamics of Pedagogical Taan Gestures in Indian Classical Singing." Journal of Voice 25, no. 3 (May 2011): e139-e147. http://dx.doi.org/10.1016/j.jvoice.2010.03.003.

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24

Brandner, Manuel, Matthias Frank, and Alois Sontacchi. "Horizontal and Vertical Voice Directivity Characteristics of Sung Vowels in Classical Singing." Acoustics 4, no. 4 (October 1, 2022): 849–66. http://dx.doi.org/10.3390/acoustics4040051.

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Singing voice directivity for five sustained German vowels /a:/, /e:/, /i:/, /o:/, /u:/ over a wide pitch range was investigated using a multichannel microphone array with high spatial resolution along the horizontal and vertical axes. A newly created dataset allows to examine voice directivity in classical singing with high resolution in angle and frequency. Three voice production modes (phonation modes) modal, breathy, and pressed that could affect the used mouth opening and voice directivity were investigated. We present detailed results for singing voice directivity and introduce metrics to discuss the differences of complex voice directivity patterns of the whole data in a more compact form. Differences were found between vowels, pitch, and gender (voice types with corresponding vocal range). Differences between the vowels /a:, e:, i:/ and /o:, u:/ and pitch can be addressed by simplified metrics up to about d2/D5/587 Hz, but we found that voice directivity generally depends strongly on pitch. Minor differences were found between voice production modes and found to be more pronounced for female singers. Voice directivity differs at low pitch between vowels with front vowels being most directional. We found that which of the front vowels is most directional depends on the evaluated pitch. This seems to be related to the complex radiation pattern of the human voice, which involves a large inter-subjective variability strongly influenced by the shape of the torso, head, and mouth. All recorded classical sung vowels at high pitches exhibit similar high directionality.

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25

SANTOS, Marcos. "A study of the importance of vocal energy on classical singing." " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), no. 2 Special (February 4, 2020): 253–58. http://dx.doi.org/10.31926/but.pa.2019.12.61.50.

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26

Echternach, Matthias, Christian T. Herbst, Marie Köberlein, Brad Story, Michael Döllinger, and Donata Gellrich. "Are source-filter interactions detectable in classical singing during vowel glides?" Journal of the Acoustical Society of America 149, no. 6 (June 2021): 4565–78. http://dx.doi.org/10.1121/10.0005432.

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27

Salomoni, Sauro, Wolbert van den Hoorn, and Paul Hodges. "Breathing and Singing: Objective Characterization of Breathing Patterns in Classical Singers." PLOS ONE 11, no. 5 (May 9, 2016): e0155084. http://dx.doi.org/10.1371/journal.pone.0155084.

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28

Sundberg, Johan, Filipa M. B. Lã, and Evangelos Himonides. "Intonation and Expressivity: A Single Case Study of Classical Western Singing." Journal of Voice 27, no. 3 (May 2013): 391.e1–391.e8. http://dx.doi.org/10.1016/j.jvoice.2012.11.009.

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29

Lã, Filipa, and Jane W. Davidson. "Investigating The Relationship Between Sexual Hormones And Female Western Classical Singing." Research Studies in Music Education 24, no. 1 (June 2005): 75–87. http://dx.doi.org/10.1177/1321103x050240010601.

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30

Tewari, Laxmi G., and Peter Manuel. "Tan-Singing of Trinidad and Guyana: Indo-Caribbean "Local-Classical Music"." Ethnomusicology 46, no. 1 (2002): 192. http://dx.doi.org/10.2307/852821.

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31

Custodero, Lori A., and Elissa A. Johnson-Green. "Passing the Cultural Torch: Musical Experience and Musical Parenting of Infants." Journal of Research in Music Education 51, no. 2 (July 2003): 102–14. http://dx.doi.org/10.2307/3345844.

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Using a regionally focused national survey of parents with 4–6-month-olds (N = 2, 250), we addressed associations between musical experience and the frequency and content of playing music and singing for infants. The possible mediation of a classical CD distribution to new parents in hospitals was also investigated. Five variables of experience were considered: (1) respondents' recollections of their mother or (2) father singing to them, (3) playing an instrument, (4) singing in a choir, and (5) taking music lessons. Chi-square analyses indicated that musical experience was highly associated with increased frequency of playing and singing. The content of what was played and sung was less uniformly linked, and revealed individual profiles for each mode of formal experience. Differences were found between those who did and those who did not receive the CD. Results support a systems view of the child in the context of families and society, and have implications about indirect effects of music education.

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32

Bandhopadhyay, Ankur, Indranil Chaterjee, and Sanghamitra Dey. "A comparative study of phonetogram parameters among female trained Hindustani classical singers, untrained singers and non-singers." International Journal of Otorhinolaryngology and Head and Neck Surgery 5, no. 6 (October 23, 2019): 1527. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20194922.

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<p class="abstract"><strong>Background:</strong> Vocal sound is based on the complex yet co-ordinated interaction of phonatory system, resonatory system and respiratory system. Phonetography is a practicable and readily accessible method to investigate and map the quantitative potentialities of vocal output. The objectives of the present study were to determine the phonetogram of trained (Hindustani classical) singers, untrained singer sand non-singers elicited from singing as well as speech task to see if statistically significant differences were present which may indicate an effect of training.</p><p class="abstract"><strong>Methods:</strong> 90 female subjects between the ages 20-45 (mean age 34.2 years for trained subjects, 26.3 years for untrained subjects and 25.8 years for non-singers) divided into three groups each group consisting of 30 subjects. For the singing task, the individuals had to phonate |a| at habitual level by traversing through eight musical scales. In the speech task, the subjects were asked to count from one to twenty in Bengali at habitat level and at Sustainable cohorts of intensity. This was recorded using phonetogram software Dr. Speech (version 4). The parameters considered were fundamental frequency, intensity, semitones and area. </p><p class="abstract"><strong>Results:</strong> The study revealed that in both tasks singing and non-singing task for all three groups in all the four parameters of phonetogram significant differences were seen (p=0.000) at 95% level of confidence.</p><p class="abstract"><strong>Conclusions:</strong> The present study depicted the phonetographic profile of a genre of trained singers and tracked out the parameters on which differences are pronounced between a trained and untrained singer and non-singer.</p>

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33

Dhankar, Rita. "Major Classical Instrument of Hindustani Music." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 2 (February 20, 2022): 08–11. http://dx.doi.org/10.31305/rrijm.2022.v07.i02.002.

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The strings of the musical instruments are struck by rubbing them with the hair of a horse mounted on a gaz or a wooden stick. These instruments completely imitate the singing styles. Instruments like sarangi, dilruba and israj are the main classical instruments of the Musical category. The stringed instrument used in concerts is made of a single piece of wood and is about sixty centimeters long. Due to the contact of prostitutes, this instrument was neglected in the prestigious society for many years, but due to its personal characteristics, at this time it has managed to get the most important place in musical instruments. Dilruba and Israj are similar instruments. It is also said that Dilruba is a combination of Sitar and Sarangi. Israj is played with both singing and tantkari styles. This instrument is an invention of the 20th century AD. The promotion of this instrument is more in the Bengal region. Abstract in Hindi Lanaguge: वितत वाद्यों की तारों पर प्रहार गज या लकड़ी की छड़ी पर लगे घोड़े के बालों से घिसकर करते हैं। ये वाद्य गायन-शैलियों का पूर्ण अनुकरण करते हैं। सारंगी, दिलरूबा और इसराज जैसे वाद्य वितत श्रेणी के प्रमुख शास्त्रीय वाद्य हैं। संगीत सभाओं में प्रयुक्त सारंगी वाद्य लकड़ी के एक ही टुकड़े का बना होता है और लगभग साठ सेंटीमीटर लम्बा होता है। वेश्याओं के संपर्क के कारण यह वाद्य प्रतिष्ठित समाज में कई वर्षों तक उपेक्षित रहा, परन्तु अपनी निजी विशेषताओं के कारण इस समय यह संगीत-वाद्यों में सर्वाधिक महत्वपूर्ण स्थान प्राप्त करने में सफल हुआ है। दिलरुबा व इसराज मिलते जुलते वाद्य हैं। यह भी कहा जाता है कि दिलरुबा, सितार और सारंगी का मिला-जुला रूप है। इसराज गायकी तथा तंतकारी दोनों शैलियों से बजाया जाता है। यह वाद्य ई0 20वीं सदी का आविष्कार है। इस वाद्य का प्रचार बंगाल प्रदेश में अधिक है। Keywords: हिन्दुस्तानी, शास्त्रीय, वितत, वाद्य सारंगी, दिलरुबा, इसराज, जोगी सारंगी, अलबख्य डाँड, कुंडी, मन्द्र।

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34

Vurma, Allan, and Jaan Ross. "Priorities in Voice Training: Carrying Power or Tone Quality." Musicae Scientiae 4, no. 1 (March 2000): 75–93. http://dx.doi.org/10.1177/102986490000400104.

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The voices of 42 students studying classical opera singing at the Estonian Academy of Music were investigated to find any objectively definable qualities possibly correlating with the length of training. Each student's singing of a four-bar seven-word initial phrase from a well-known Estonian classical solo was recorded. The recordings were digitalized and subjected to acoustic analysis yielding the long-term average spectrum (LTAS) for each voice studied. It turned out that the longer a singing student had been trained professionally, the higher was the level of the so-called singer's formant in her/his LTAS. Subsequently the voice quality in each recording was evaluated by four experts using a five-point scale, five points marking the best quality and one point the poorest. It turned out that the average ratings did not show any positive correlation with the length of training, rather, a slightly negative trend (notstatistically significant) could be observed. The results seem to support the critical remarksmade bysome Estonian specialists about domestic teaching of vocal music being perhaps inadequate in some respects (Pappel, 1990). The teaching process seems to be focused on the development of those qualities that enable the singer to be audible in large halls and with a symphony orchestra, while the timbral qualities recede into the background.

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35

Glindemann, Helen Rae. "A Tale of Two Teaching Styles: A multi-genre singer's experience of music theatre and classical voice lessons." Australian Voice 22 (2021): 1–8. http://dx.doi.org/10.56307/hpoz5879.

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In order to meet the demands of the modern music industry, singers are expected to be able to perform across a wide range of singing styles (Bartlett, 2019; Rosenberg, 2016). Despite the growing acceptance of “contemporary commercial music” (CCM) and associated style-based pedagogies, there are limited training options for singers seeking to perform across a range of genres (Bourne & Kenny, 2016; Meyer & Edwards, 2014). As a practising multi-genre singer and teacher, I have experienced first-hand the challenges of performing and teaching across a spectrum of styles. My doctoral studies have focused my thinking on existing, genre-based teaching practices and how these might be synthesised to support multi-genre singers and teachers. This paper highlights preliminary findings from an artistic research project centred around an autoethnographic case study of genre-based teaching practices. Data were collected via journaling of video-recorded singing lessons, semi-structured interviews with participant singing teachers, instrumental and perceptual testing, pre and post data collection, and stroboscopic imagery collected via clinical visits with a medical specialist (ENT). The coding of the data set highlighted common themes including pedagogic tools and instructional language used by teachers, while pre and post measurements helped to evaluate possible vocal health impacts for performers.

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Koufman, James A., Teresa A. Radomski, Ghazi M. Joharji, Gregory B. Russell, and David C. Pillsbury. "Laryngeal Biomechanics of the Singing Voice." Otolaryngology–Head and Neck Surgery 115, no. 6 (December 1996): 527–37. http://dx.doi.org/10.1016/s0194-59989670007-4.

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By transnasal fiberoptic laryngoscopy, patients with functional voice disorders often demonstrate abnormal laryngeal biomechanics, commonly supraglottic contraction. Appropriately, such conditions are sometimes termed muscle tension dysphonias. Singers working at the limits of their voice may also transiently demonstrate comparable tension patterns. However, the biomechanics of normal singing, particularly for different singing styles, have not been previously well characterized. We used transnasal fiberoptic laryngoscopy to study 100 healthy singers to assess patterns of laryngeal tension during normal singing and to determine whether factors such as sex, occupation, and style of singing influence laryngeal muscle tension. Thirty-nine male and 61 female singers were studied; 48 were professional singers, and 52 were amateurs. Examinations of study subjects performing standardized and nonstandardized singing tasks were recorded on a laser disk and subsequently analyzed in a frame-by-frame fashion by a blinded otolaryngologist. Each vocal task was graded for muscle tension by previously established criteria, and objective muscle tension scores were computed. The muscle tension score was expressed as a percentage of frames for each task with one of the laryngeal muscle tension patterns shown. The lowest muscle tension scores were seen in female professional singers, and the highest muscle tension scores were seen in amateur female singers. Male singers (professional and amateur) had intermediate muscle tension scores. Classical singers had lower muscle tension scores than nonclassical singers, with the lowest muscle tension scores being seen in those singing choral music (41%), art song (47%), and opera (57%), and the highest being seen in those singing jazz/pop (65%), musical theater (74%), bluegrass/country and western (86%), and rock/gospel (94%). Analyzed also were the influences of vocal nodules, prior vocal training, number of performance and practice hours per week, warm-up before singing, race, smoking, and alcohol consumption.

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Herbst, Christian T., Sten Ternström, and Jan G. Švec. "Investigation of four distinct glottal configurations in classical singing—A pilot study." Journal of the Acoustical Society of America 125, no. 3 (March 2009): EL104—EL109. http://dx.doi.org/10.1121/1.3057860.

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Pettersen, V., and R. H. Westgaard. "The association between upper trapezius activity and thorax movement in classical singing." Journal of Voice 18, no. 4 (December 2004): 500–512. http://dx.doi.org/10.1016/j.jvoice.2003.11.001.

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Johnson, Aaron M., and Gail B. Kempster. "Classification of the Classical Male Singing Voice Using Long-Term Average Spectrum." Journal of Voice 25, no. 5 (September 2011): 538–43. http://dx.doi.org/10.1016/j.jvoice.2010.05.009.

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Achey, Meredith A., Mike Z. He, and Lee M. Akst. "Vocal Hygiene Habits and Vocal Handicap Among Conservatory Students of Classical Singing." Journal of Voice 30, no. 2 (March 2016): 192–97. http://dx.doi.org/10.1016/j.jvoice.2015.02.003.

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Hakanpää, Tua, Teija Waaramaa, and Anne-Maria Laukkanen. "Emotion Recognition From Singing Voices Using Contemporary Commercial Music and Classical Styles." Journal of Voice 33, no. 4 (July 2019): 501–9. http://dx.doi.org/10.1016/j.jvoice.2018.01.012.

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Bintarto, A. Gathut. "Aspek Olah Vokal Musik Klasik Barat pada Musik Populer." Journal of Urban Society's Arts 1, no. 1 (April 10, 2014): 44–56. http://dx.doi.org/10.24821/jousa.v1i1.787.

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Setiap medium musik mempunyai keistimewaan yang bisa dikaji seperti halnyapada musik klasik Barat dan musik populer. Norma daya tarik musik populeryang ringan dan mudah dinikmati tidak seperti pada musik klasik Barat atauyang sering disebut sebagai musik seni, namun demikian bukan berarti bahwamemainkannya tidak ada syarat artistik. Bervariasinya musik dan banyaknya pelakumusik mengakibatkan standar yang tinggi dan menuntut pemahaman terhadapdetail musik. Musik populer bertolak dari kebiasaan orang dan musisinya inginmemenuhi kebutuhan tersebut. Gambaran emosional yang muncul pada teksmenyebabkan kecenderungan naturalistik dalam bernyanyi. Melalui penelusuranasal-usul musik populer dan penelitian studi kasus di lapangan ditemukan bahwamusik populer beraliran soul serta R&B (rhythm and blues) mempunyai kesamaanunsur dengan teknik dan gaya bernyanyi klasik pada penerapan suara yang ratadalam rentang ambitus (even scale technique), penggunaan imajinasi dengan iramabebas, nada-nada hiasan, teknik vibrato, dan bahkan gaya bernyanyi Gregorianmurni dengan iringan ritmis yang dianggap sebagai suatu kebaruan dalam musikpopuler. The Overview on the Aspect of Western Classical Singing on Popular Music.Every music medium such as Western classical and popular music has its own practicalspecification due to the observation of each characteristic and uniqueness. The potentialattractiveness of popular music is different from the Western classical music in its easylistening characteristics, but it does not mean that the music does not have the artisticcharacter at all. More performers and more variations in the popular music mayaffect the higher standard and require the demand in every aspect of the details. Thepopular music is derived from the daily habit and that is the way the musician shoulddo to make this kind of music. The emotional characteristics in their lyrics cause thenaturalistic singing tendency. Through the observation of the popular music origin andthe field research study, it is founded that soul and R&B music have the similarities. Interms of the classical music, both use the typical scale technique, imagination with thefree rhythm, ornamentation, vibrato technique and even pure Gregorian singing styleused in some popular songs accompanied by rhythmical music served as a new idea inpopular music.

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Gia, La Mai Thi. "TRUYỆN KIỀU VÀ HÁT ĐỐI ĐÁP TRONG DÂN CA VIỆT NAM." Dalat University Journal of Science 11, no. 2 (April 25, 2021): 170. http://dx.doi.org/10.37569/dalatuniversity.11.2.798(2021).

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From collected folk songs, we learn that “The Tale of Kieu” plays many important roles in “challenge and response” singing and love match songs. First, the plot is used as the main material in the songs. Second, the characters in “The Tale of Kieu” are often chosen by men and women in singing to briefly express their circumstances, personalities, moods, emotions, etc., in a way that is easy for all listeners to immediately understand. In this case, the characters of “The Tale of Kieu” are used as classical references in the songs. And third, which is also the most interesting aspect of the purpose of using “The Tale of Kieu” in response singing, the details, content, and characters in “The Tale of Kieu” are used for the two sides to test each other to see if the other person remembers, has memorized “The Tale of Kieu” or not, or knows how to use “The Tale of Kieu” in a flexible way.

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Casas-Mas, Amalia, Guadalupe López-Íñiguez, Juan Ignacio Pozo, and Ignacio Montero. "Function of private singing in instrumental music learning: A multiple case study of self-regulation and embodiment." Musicae Scientiae 23, no. 4 (March 5, 2018): 442–64. http://dx.doi.org/10.1177/1029864918759593.

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The aim of this article is to explore a range of largely embodied vocalisations and sounds produced by learners of string instruments and how they relate to the potential self-regulatory use provided by such vocalisations. This type of “singing” while learning to play an instrument may have similarities to the use of private speech in other types of learning tasks. This report describes a multiple case study based on the naturalistic observation of learners playing string instruments in different situations. We observed private rehearsals by six adult guitarists from different music cultures (classical, flamenco and jazz) who had different approaches to learning (traditional and constructivist). In addition, we observed the one-to-one lessons of a constructivist cello teacher with a 7-year-old beginner and a 12-year-old student. All sessions were recorded. We applied the System for Analysing the Practice of Instrumental Lessons to the video lessons and/or practices and participant discourse for constant comparative analysis across all categories and participants. From the theoretical framework of private speech, we identified a set of qualities in private singing, such as whistling, humming, and guttural sounds, with different levels of audibility. Self-guidance and self-regulation appeared to be the functions underlying both psychomotor learning and reflective-emotional learning from an embodiment approach. Guitar learners from popular urban cultures seemed to use less explicit singing expression than classical guitar learners, the explicitness of which may be related to the instructional use of the notational system. In the one-to-one cello lessons, we observed a process of increasing internalisation from the younger to the older student. Both results are consistent with the literature on private speech, indicating that this process is a natural process of internalisation at higher literacy levels. Singing is not as frequent in music lessons as might be expected, and it is even less frequently used as a reflective tool or understood as an embodied process. The examples provided in this article shed light on the multiplicity of applications and on the potential benefits of private singing in instructional contexts as a powerful learning tool.

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Khamidova, Marfua. "Vocal Art: Development Factors (From The History Of The Formation Of Fundamental Values)." Eurasian music science journal, no. 1 (May 25, 2021): 23–44. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_1/49.

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This article deals with the factors that played an essential role in the development of European Opera art and academic singing, which was formed by taking all the best that was developed over the centuries, forming criteria for the ideal sound image, starting with classical, romantic Opera and Opera verism and modernist concepts of the early twentieth century.

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Alström, Torbjörn. "The Voice in the Mask." TDR/The Drama Review 48, no. 2 (June 2004): 133–38. http://dx.doi.org/10.1162/105420404323063436.

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In the classical Greek theatre, masks were in fact used not only for visual effect but also as vocal resonance instruments. Can similar masks be constructed today? Singing and speaking through a mask focuses the attention of the audience not only on the posture and breathing movements of the singer or speaker, but equally on her voice.

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Collyer, Sally, Dianna T. Kenny, and Michaele Archer. "The effect of abdominal kinematic directives on respiratory behaviour in female classical singing." Logopedics Phoniatrics Vocology 34, no. 3 (January 2009): 100–110. http://dx.doi.org/10.1080/14015430903008780.

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Mitchell, Helen F., and Dianna T. Kenny. "Change in Vibrato Rate and Extent During Tertiary Training in Classical Singing Students." Journal of Voice 24, no. 4 (July 2010): 427–34. http://dx.doi.org/10.1016/j.jvoice.2008.12.003.

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Sengupta, Ranjan. "Study on some aspects of the “singer's formant” in north indian classical singing." Journal of Voice 4, no. 2 (January 1990): 129–34. http://dx.doi.org/10.1016/s0892-1997(05)80137-7.

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Juwita, Cut Nisna. "MENINGKATKAN MOTIVASI SISWA KELAS XII IPA 1 SMA NEGERI 1 SAKTI KABUPATEN PIDIE DALAM PELAJARAN BIOLOGI MENGGUNAKAN MODEL KOOPERATIF LEARNING DENGAN TEKNIK BERNYANYI." BIOTIK: Jurnal Ilmiah Biologi Teknologi dan Kependidikan 7, no. 2 (November 30, 2019): 128. http://dx.doi.org/10.22373/biotik.v7i2.5658.

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Research entitled "Improving Student Motivation of Class XII Science 1 of SMA Negeri 1 Sakti in Pidie Regency in Biology Lessons Using Cooperative Learning Models with Singing Techniques" The problem formulation is (1) How do students' motivation in using cooperative learning models with singing techniques on principles material human heredity in class XII of SMA Negeri 1 Sakti, (2) How are the activities of students and teachers in using cooperative learning models with singing techniques on the principles of human heredity in class XII of SMA Negeri 1 Sakti, (3) How do students respond to the use of cooperative learning models with singing techniques on the material principles of human heredity in class XII of SMA Negeri 1 Sakti. This research is a classroom action research (CAR), with the subject of the research being students of class XII, collecting data using tests and observation sheets. Data were analyzed using percentage descriptive statistics. The results of data analysis can be concluded that: (1) There was an increase in the learning outcomes of class XII students of SMA Negeri 1 Sakti on the material principles of heredity by using cooperative learning models with singing techniques. This can be seen from the individual completeness of 66 percent in the first cycle to 83 percent in the second cycle. Classical completeness also increased from the first cycle by 50 percent, to 70 percent in the second cycle, (2) Teacher and student activities between the first cycle to the second cycle increased based on the time spent in the second cycle closer to the ideal time than in the first cycle , (3) There is an increase in student motivation on the material principles of human heredity through the use of cooperative learning models with singing techniques. This is seen from the response of students who say that there are benefits gained in learning through the use of cooperative learning models with singing techniques to the material that has been learned.

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