To see the other types of publications on this topic, follow the link: Jazz vocals.
Dissertations / Theses on the topic 'Jazz vocals'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 38 dissertations / theses for your research on the topic 'Jazz vocals.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Cooper, Gloria Ann. "A multidimensional instructional approach for the solo jazz singer /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11226924.
Full textAbstract:
Thesis (Ed.D.)--Teachers College, Columbia University, 1992.Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Jan Eric Douglas. Includes tables. Includes bibliographical references.
2
Fritzén, Jonathan. "Love birds. Piano + all instruments and vocals." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-910.
Full text
3
Gunduz, Esin. ""BOZ" for jazz orchestra and vocal /." [Huntington, WV : Marshall University Libraries], 2009. http://www.marshall.edu/etd/descript.asp?ref=963.
Full text
4
Martin, Lee Ellen. "Jon Hendricks, Father of Vocalese: A Toledo Story." Toledo, Ohio : University of Toledo, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=toledo1271424160.
Full textAbstract:
Thesis (M.A.)--University of Toledo, 2010.Typescript. "Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Masters of Musical Performance Degree." "A thesis entitled"--at head of title. Title from title page of PDF document. Bibliography: p. 84-86.
5
Schmidt, Emanuel. "Communication processes in jazz performance." Thesis, Sydney Conservatorium of Music, 2005. http://hdl.handle.net/2123/13718.
Full text
6
Jensen-Hole, Catherine. "Experiencing the interdependent nature of musicianship and educatorship as defined by David J. Elliott in the context of the collegiate level vocal jazz ensemble." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/jensen-hole%5Fcatherine%5Fmary/index.htm.
Full text
7
Binek, Justin. "The Evolution of Ella Fitzgerald's Syllabic Choices in Scat Singing: A Critical Analysis of Her Decca Recordings, 1943-52." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984212/.
Full textAbstract:
This study examines the evolution of Ella Fitzgerald's scat syllable vocabulary during a key developmental period in her career when she was recording for Decca Records. Between 1943 and 1952, Fitzgerald established the syllabic vocabulary that would serve as a defining characteristic of her improvisational style for the rest of her career. Fitzgerald is commonly praised as the greatest vocal improviser in jazz history, but while much has been written about Fitzgerald's melodic and harmonic approach to jazz improvisation, little has been written about her syllabic approach. Timbre and articulation are considered to be vital elements of any jazz musician's style; the study examines the changes in Ella Fitzgerald's syllabic approach through transcription and analyses of thirteen scat solos recorded during this time period, using scat syllable choices to discuss timbre and articulation. This analysis provides a model for further research of its kind, as well as informing historically accurate performance practice by both teachers and students of jazz singing.
8
Söderqvist, Svante. "Melodiskt spel på kontrabas : Utvidgade möjligheter inom improvisation och ensemblespel med hjälp av stråke och sång." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3542.
Full textAbstract:
During my studies at the Royal College of Music in Stockholm I have been exploring how I can develop as an improviser and as an ensemble musician. The main focus has been to use more arco playing, but also to sing unison and in harmony with the bass in order to broaden my expression. Another aim has been to compose music for my trio to implement my expanded way of performing. When I began the master’s program, I wanted to return to my roots as a classical cellist. With the help from classical teachers I was able to improve my bass technique, especially with the bow, and use that as a way to further widen my improvisation and accompany- ment skills. As a bonus, my cello playing got a boost from this work and it eventually became another important part of my artistic voice. The methods of my project have been to continuously test new ideas in my freelance work outside of KMH. I also interviewed fellow musicians to be able to reflect on whether my newly acquired knowledge and technique have had an effect on the way we make music together. In the thesis I also reflect on my inspiration from other musicians and artists and my personal philosophy not being bound to certain musical genres. Instead I want to take impressions from many different kinds of music and be open to all the different techniques in playing double bass that comes with a wide range of styles. An important result of this process is the making of the album “Arrival”, with Adam Forkelid on piano, Calle Rasmusson on drums and the Polish jazz violinist Adam Bałdych as a guest soloist. The record was released in March 2020 by the international jazz label Prophone/Naxos.
9
Morgenroth, David Jonathan. "Collaborative Crossover: Identifying Classical Vocal Collaborative Piano Practices in Jazz Vocal Accompanying." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804985/.
Full textAbstract:
Classical vocal collaborative piano and jazz vocal accompaniment are well-established fields with long-standing performance traditions. Classical collaborative performance practices have been researched and codified, but jazz accompanying practices largely remain in the domain of aural tradition. Both classical and jazz accompaniment share associated practices, such as rubato, transposition, and attention to lyric diction and inflection, but there is little previous investigation into the idea that classical collaborative practices might apply to jazz accompanying. This research examines jazz piano accompanying practices in sung verses of standard tunes to demonstrate how accomplished jazz pianists intuitively use many of the same techniques as classical collaborative pianists to create balance with singers. Through application of expressive microtiming analysis to graphical displays of transcribed recorded performances, a strong correlation is established between the classical and jazz vocal accompanying traditions. Linking classical practices to jazz potentially creates a foundation for jazz accompanying pedagogy.
10
Steed, Janna T. "Duke Ellington's jazz testament the sacred concerts /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.
Full text
11
Buchholz, Timothy C. "Analysis and Categorization of Selected Musical Elements within Forty-three Solo Jazz Vocal "Standards" with Pedagogical Application to Repertoire Selection and the Teaching of Jazz Concepts in the Jazz Voice Lesson." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/386.
Full textAbstract:
While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.
12
Venesile, Christopher John. "The Acquisition of Pedagogical Content Knowledge By Vocal Jazz Educators." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1278521556.
Full text
13
Rabie, Nelmarie. "Experiences of prominent jazz vocalists : exploring the collaboration between vocalist and pianist during performances." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/61128.
Full textAbstract:
This study explored the experiences of prominent jazz vocalists regarding the collaboration between the vocalist and pianist during duo performances. The work relationship between a jazz vocalist and accompanist is a unique phenomenon due to the improvisatory and collaborative nature of jazz. Effective co-performer interaction and communication are two essential components within an improvisational music setting. A spirit of spontaneity ir required in order for improvisation and interpretation to take place in real-time and on stage; aspects which cannot be duplicated or replicated during rehearsals.
A qualitative research approach was employed by means of a collective case study, exploring the views and experiences of three prominent South African and three international jazz vocalists. Data was gathered through semi-structured interviews. Furthermore, artefacts including audio and audio-visual recordings of each of these performers were studied to ascertain aspects of the vocal-piano collaboration. Thematic data analysis presented four main themes: (1) individuality; (2) interactive relationships; (3) musicianship; and (4) the present moment.
The findings revealed that the roles of both partners within the vocal-piano duo collaboration are evenly distributed, yet have distinctive functions. Each new performance between the same vocal-piano duo is an innovative execution, a skilful and artistic equilibrium. It embodies a companionship playing out on stage in view of an audience, yet with the subtle sharing of musical messages.Mini Dissertation (MMus)--University of Pretoria, 2017.
UP Postgraduate fund
Music
MMus
Unrestricted
14
Hellström, Viveka. "Från viskningar till rop : en studie av fem kvinnliga Jazz i Sverige-röster." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1248.
Full textAbstract:
Studiens syfte har varit att öka förståelsen för röstliga uttryck i jazzmusik, med fokus på hur samspelet mellan ord och musik verkar i skivinspelningar med utvalda sångerskor. Utifrån en hermeneutisk ansats har fem skivinspelningar med fem svenska kvinnliga jazzsångerskor, samtliga utsedda till Jazz i Sverige-artister, beskrivits och tolkats ur ett vokalpedagogiskt perspektiv. I förhållande till jazzsångtraditionen visade sig två av studiens sångerskor på olika vis utmana vokala konventioner. Studiens resultat indikerar att utbildning stärkt jazzsångerskor så att de kan agera i flera roller i ensembler, också genom vokal improvisation och som kompositörer. Det framgick att samtliga sångerskor i studien framfört engelskspråkiga texter som främst behandlat kärleksmotiv. I detaljstudier av sångerskornas interpretation av texter, både egnas och andras, framstod komplexiteten i deras vokala framställning. Resultaten visar att texter kan fylla olika funktion i musikaliskt samspel, samt pekar på att studiet av inspelade röster kan vara ett redskap i undervisningen, både för jazzsånglärare och ensemblelärare.The aim of the study is to enhance the understanding of voice expression in jazz music, focusing on the interplay between words and music in recordings of selected singers. From a hermeneutic approach five recordings of different Swedish female jazz singers, all selected as Jazz in Sweden- artists, has been described and interpreted from a vocal pedagogical perspective. In relation to the jazz vocal tradition it turned out that two of the singers in different ways challenged the conventions of jazz singing. Study findings indicate that education strengthened female jazz singers to find different roles in their interaction with other musicians in the ensemble, also through vocal improvisation and as composers. All singers in the study expressed themselves through lyrics in English that mainly dealt with love motifs. In detailed analysis of the songs and the singers interpretations of lyrics the complexity of the singers vocal production was shown. The study shows how lyrics for the singer can fulfill different functions in the musical interplay, and also implies that studies of recorded voices can be an educational tool, for both jazz vocal teachers as well as for ensemble teachers.
15
Lyons, Lisanne Elizabeth. "Strategies for Developing a Jazz and Contemporary Vocal Ensemble Sound for the Traditional Chamber Choir." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/232.
Full textAbstract:
A comparison and analysis of existing texts whose focus was jazz and contemporary vocal ensemble techniques, in combination with the information gathered from interviews, as well as the author's personal teaching and professional experience as a jazz vocal artist, group singer, and jazz vocal ensemble director, served as the basis for developing strategies for a jazz and contemporary vocal ensemble sound. The major elements found to be the most critical for inclusion in sequence include: commonalities and differences, sound system and vocal production, ballad interpretation, swing interpretation, and contemporary interpretation. It is the author's intention to design an easy-to-follow guideline for the traditional choral director whose desire is to develop a jazz vocal ensemble within the choral program. The strategies presented are intended to introduce basic concepts of vocal production and style that are deemed relevant and idiomatic for the jazz and contemporary vocal ensemble. A compact disc is also included, demonstrating the written examples. A series of interviews were also conducted with Professor Larry Lapin (University of Miami), Dr. Stephen Zegree (Western Michigan University), Kerry Marsh (Sacramento State University), Janis Seigel (Manhattan Transfer), Lauren Kinhan (New York Voices), Michelle Amato (Yanni/Disney/studio singer), and Julia Dollison (Down Beat Jazz Vocal Winner).
16
Waddell, Simone. "Communicating artistry through gesture by legendary Australian jazz singer Kerrie Biddell." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18635.
Full textAbstract:
Singers communicate with audiences using a sophisticated blend of vocal, musical and physical gestures. While gestures appear naturalistic and spontaneous, they are the culmination of extensive preparation, reflection and rehearsal. The late Kerrie Biddell, (1947-2014) was arguably the most influential jazz singer in Australian Jazz history (Carriage 2000) and an expert in communication with her audiences. The aim of the study was to explore how Biddell designed and transmitted vocal, musical and physical gestures in performance and how she transmitted these to her colleagues and students. Five of Biddell’s former singing students and professional musical colleagues were invited to participate in an interview to explore the way in which Biddell utilised gestures and techniques to maximise her performance presentation. Each participant recounted their personal knowledge and history of working with Biddell, and analysed a video of Biddell performing live on Australian television to document how she effortlessly translated gestures into captivating performance. Participants reflected on their experience working with Biddell, and described how she was renowned for her stage presence, physical gestures, and facial animation. All described the way in which Biddell would create a scenario to depict the text of the song, and prepare a character to ensure her gestures were authentic and genuine to her audiences. Findings will be considered in the context of recent studies in performance and non-verbal communication. Future work on gesture must consider the work of leading performer/teachers and discover how they conceptualise and communicate gesture to audiences.
17
Fardet, Eric. "Le jazz et les groupes vocaux : (groupes, écritures et enseignements)." Strasbourg 2, 2006. https://publication-theses.unistra.fr/public/theses_doctorat/2006/FARDET_Eric_2006.pdf.
Full textAbstract:
A chaque époque le jazz vocal s’est appuyé sur la musique instrumentale de jazz comme l’indique les techniques particulières d’écriture et d’improvisation que sont le vocalese et les trois variantes du scat. Cette étude prouve que le vocalese a évolué dans des cadres plus larges que ceux de son contexte initial et qu’il peut aujourd’hui être retenu comme la désignation appropriée qualifiant toute transcription vocale de jazz. Le développement de ces pratiques vocales montre la nécessité de leur intégration au sein des structures d’enseignement, comme le modèle anglo-saxon semble l’établir. Le contexte actuel de mise en place des lois de décentralisation peut permettre de ré-interroger les politiques culturelles, notamment concernant la place effective de l’éducation artistique en général et de l’enseignement du chant choral en particulier dans l'éducation musicale françaiseFrom the early twentieth century onwards and in every style, vocal jazz relied on jazz instrumental music as is shown by the particular techniques of writing and improvisation such as vocalese and all sorts of scat singing. This study proves that vocalese evolved in larger frames than those inside its initial context and that today it can be accepted as the appropriate designation qualifying any vocal jazz transcription. The way these vocal practices developed shows that they should necessarily be integrated into educational structures, as the Anglo-Saxon model tends to assert. The fact that nowadays, political power is transferred to local authorities incites to offer a true part to art education and choral singing teaching more particularly, in French music teaching
18
Büchter-Römer, Ute. "New vocal jazz : Untersuchungen zur zeitgenössischen Improvisierten Musik mit der Stimme anhand ausgewählter Beispiele /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1991. http://catalogue.bnf.fr/ark:/12148/cb35484382c.
Full text
19
Brent, Timothy. "A Two-Semester Course Sequence for Jazz Ear-Training with Application for Vocal Improvisation." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/110.
Full textAbstract:
A series of interviews were conducted with Professor Armen Donelian (New School University), Professor Frank Carlberg (New England Conservatory of Music), Professor Gary Keller (University of Miami), Professor Thom Mason (University of Southern California), and Dr. Stephen Prosser (The Berklee College of Music). A comparison and analysis of existing texts whose focus was jazz aural-skill development, in combination with the information gathered from the interviews, as well as the author's personal teaching experience, served as the basis for the creation of a two-semester course sequence for jazz ear-training with application for vocal improvisation. The major content areas found to be most critical for inclusion in the sequence include: rhythm, harmony, improvisation, transcription, dictation, chord progressions, jazz articulation, the blues, guide tones, modified numeric system for chord tone identification, and sight-reading (sight-singing). It is the author's intention that this course sequence help to codify a system of jazz aural-skill development at the college-level that may be implemented in both existing jazz ear-training courses and programs where jazz ear-training courses do not currently exist.
20
Jichova, Miroslava. "Gendered Representations of Jazz Vocal Artists: A Critical Discourse Analysis of CD and Performance Reviews, and Interviews." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/569.
Full textAbstract:
This study of contemporary jazz discourse and gender applies the techniques of critical discourse analysis, inspired by M.A.K. Halliday's systemic functional linguistics and Norman Fairclough's qualitative critical discourse analysis, to explicate the unequal distribution of power in society as represented by the institutions of jazz and mass media, in discourse about jazz vocal artists. Specifically, the study focuses on the way the genres of jazz CD review, jazz performance review, and interviews with jazz artists – disseminated via the institutions JazzTimes and Live New Orleans – represent the artists' identities, roles, achievements and skills. Following Norman Fairclough and the feminist scholar Mary Talbot, the study assumes that institutions of mass media not only discursively construct the gender of jazz vocal artists, but also represent the performers' achievement and skills from a hegemonic standpoint, reflecting the commonsense assumptions about women and men and their roles in patriarchal society.
21
Bauer, Lisa. "Holistic influence on contemporary jazz vocal improvisation with reference to the works of Gloria Cooper and Kitty Margolis." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/10144.
Full textAbstract:
Through the analysis of aspects such as experience, vocal expression, improvisatory techniques and teaching approach of two jazz vocalists from different social, educational and musical backgrounds in the United States of America, the hope is to achieve a greater understanding of and confirm the factors which play important roles in the vocalist's improvement of effective, authentic jazz improvisation. The focus is on the effect which experience, mentors and musical training have on the two vocalists' approach to teaching and performing jazz styles. This study also investigates the possibility that emotional, educational and physiological factors holistically influence the contemporary jazz vocalist's experience of using the body as a medium of expression via production of sound from the vocal chords.
22
Waite, Nellie. "Sång i jazzgenren på gymnasienivå : En intervjustudie av fyra sångpedagogers syn på undervisning och arbetssätt inom genreområdet jazz." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-28916.
Full textAbstract:
Syftet med studien är att få ökad insikt i hur sånglärare med utgångspunkt i kursplanens mål om genrebreddning hanterar genreområdet jazzsång i sångundervisningen på gymnasieskolans estetiska program. Genom att intervjua fyra sångpedagoger verksamma på gymnasiets estetiska program har jag tagit reda på vad som enligt dem kan betecknas som ett genreenligt sound eller genrespecifika egenskaper speciellt viktiga för jazzsång, hur dessa kunskaper kan förmedlas till eleverna samt hur sångpedagoger använder sig av jazzsångens genrespecifika element i sångundervisningen. Studien har som sin teoretiska utgångspunkt ett sociokulturellt perspektiv med fokus på hur pedagoger använder olika redskap för att kommunicera och lära ut. För att få svar på mina frågor har använt mig av en halvstrukturerad intervjuform. Informanterna är alla yrkesaktiva sångpedagoger, två med en mer klassisk inriktning och två med afroinfriktning. Resultatet visar att jazz som genreområde är svårt för pedagogerna att definiera och ingår i undervisningen i den mån pedagogen styr det därhän. Informanterna beskriver hur jazzen inte bara används för att uppfylla målen om genrebredd, utan också som ett redskap för att mediera kunskap om olika sångtekniska moment som inte är genrebundna. Det framgår också att texten och det talade ordet återkommer som redskap i flera olika moment i jazzsångsundervisningen där jazz undervisas utan att vara ett redskap för att mediera något annat än just jazz i sångundervisningen. De intervjuade pedagogerna anser improvisation vara tyngdpunkten i jazzsångens genretypiska element, men att det varierar beroende på lärarens ämnessyn hur mycket eleverna får arbeta med detta moment.This study will investigate how to attain a fuller and more versatile insight in how vocal teachers, with the syllabus requirements of genre width in mind, communicate the genre of jazz in their singing classes to learners from the upper secondary school, especially students attending the designed aesthetical programme. By interviewing four vocal coaches, all active teachers at different advanced Schools of Music, I have examined not only what, according to their specific knowledge, is to be considered the sound specific to jazz and the specific properties required for singing jazz, but also how this knowledge is imparted to learners. This is followed by how these aforementioned specific elements of jazz are used in a didactic capacity. The theoretical basis of this study, applying a socio-cultural perspective, focuses on how teachers use different tools to communicate and teach. To answer my questions I have worked with a semi-structured interview method. The informants are all professionally active, two with a classical approach towards singing and two with more of a jazz approach, which also includes their former training and education. The result demonstrates that jazz, as a genre, is difficult for the teachers to define, and is taught only when the teacher includes it in the lesson. The informants describe how jazz is used not only to fulfill the objectives of genre width, but also to mediate technical singing elements that are not genre linked. It also indicates that the text and spoken word recur as tools in various facets of learning jazz, especially when the didactic goal is to solely mediate the art of jazz singing. When interviewed, the educators emphasize the opinion that improvisation is the most important typical element in singing jazz, but to what degree students become acquainted with vocal improvisation is dependent upon how the teacher views the subject.
23
Suraučiūtė, Ieva. "Džiazinio dainavimo interpretacijos gebėjimų ugdymas: veiklos tyrimas Džiazo ir bliuzo dainavimo studijoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100709_135146-46288.
Full textAbstract:
Šio darbo tikslas – sukurti tyrimais bei autoritetingų teoretikų įžvalgomis paremtą džiazinės vokalinės interpretacijos gebėjimų ugdymo teorinį modelį ir veiklos tyrimo metu patikrinti modelio efektyvumą. Pirmiausia buvo siekiama apžvelgti mokslinę literatūrą, susijusią su atlikimo interpretacija, išskirti atskirus interpretacijai reikalingus gebėjimus. Remiantis atlikta analize buvo sukurtas džiazinės vokalinės interpretacijos gebėjimų ugdymo teorinis modelis bei parengtos juo grįstos praktinės užduotys. Galiausiai, buvo patikrintas modelio pagrįstumas bei praktinių užduočių efektyvumas.
Veiklos tyrimas buvo atliekamas 2010 metų Sausio–kovo mėn. Džiazo ir bliuzo dainavimo studijoje pravesti 22 užsiėmimai. Tyrime dalyvavo 12 studijos narių. Modelio efektyvumas veiklos tyrimo metu ištirtas trianguliaciniu būdu: interviu (individualus giluminis interviu, grupinė diskusija ir nominalinės grupės metodas); stebėjimu (vedamas stebėjimo dienoraštis); mišraus tipo anketomis (atlikta studentų anketinė apklausa).
Pagrindinė atlikto tyrimo išvada yra ta, jog modelio panaudojimas buvo naudingas, ugdant tiriamųjų interpretacinius gebėjimus: patobulėjo studentų gebėjimas susikoncentruoti ties dainos turiniu, psichotechnikos valdymas, pasitikėjimas savimi. Surinkti duomenys parodė, jog pačios naudingiausios buvo užduotys, skirtos dainos teksto analizei. Be to, paaiškėjo, jog itin svarbios ir reikalingos buvo praktinės užduotys, ugdančios pasitikėjimą savimi... [toliau žr. visą tekstą]The purpose of this thesis was to create a research-based theoretical model for developing vocal jazz interpretation competencies and to examine its effectiveness through action research. The first aim was to write a literature review concerning music performance interpretation and its pedagogy. A subsequent aim was to define the specific competencies needed for vocal jazz interpretation. A practical application lesson was created for each of the determined competencies. Finally, the efficacy of the model and the effectiveness of the practical tasks were examined. The qualitative action research study was conducted from January to March, 2010 at The Jazz and Blues Vocal Studio in Kaunas during twenty-two group vocal sessions. The research data consisted of a triangulation of sources: interviews (in-depth interviews, collective discussions, nominal group technique); direct observation, during which a research diary was kept; and data gathered via a questionnaire. Twelve participants took part in the action research. The overall conclusion was that use of the model had a positive impact on the students’ vocal jazz interpretation competencies: the ability to concentrate on the content of the song, and the management of psycho-technique. Data analysis revealed that it is extremely important to boost students’ self-confidence, and improvisational theater games were judged to be the best way of achieving this goal. All respondents stated that... [to full text]
24
Hamilton, Richard John. "The History of the Vocal Jazz Ensemble Singing Movement in the Public Schools of the Boise Valley from Its Inception through the Academic Year 1989-1990." Thesis, The Florida State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10602363.
Full textAbstract:
The vocal jazz ensemble singing movement that began at Mt. Hood Community College (Gresham, Oregon) in 1967 reached the public schools of the Boise Valley, in Southwestern Idaho sometime in the early 1970’s. The first generation of vocal jazz educators in the region were Jerry Vevig , Vern Swain, Moyle Brown and Lonnie Cline. In an effort to learn the new style, these four directors participated in the burgeoning vocal jazz scene occurring in the Western region of the United States. By the mid 1970’s, vocal jazz ensemble education had become so prevalent in the Boise Valley region that the Jr. High School directors of the Boise Public School District were programming vocal jazz music and participating in many of the same vocal jazz events as their high school colleagues. These Junior High school directors included Bruce Walker, Catherine Gilck, Rich Lapp, Sue Hough, Paul Olson and Rob Newburn. The 1980’s saw the second generation of prominent vocal jazz singing ensemble directors begin their tenures in the Boise Valley when Glenn Grant, Quinn, Van Paepeghem, Linda Schmidt, Ted Totorica, and Barb Oldenburg, continued the tradition of vocal jazz style singing and event participation that their predecessors had initiated throughout the remainder of the era investigated (inception–1990). In the study, each subjects experiences and education in vocal jazz ensemble singing is documented and specific techniques they employed when working with their vocal jazz ensembles are revealed. The literature used by each vocal jazz educator from the Boise valley (1970–1990) is also exposed, collated, and presented in the document for reference and use by future choral music educators.
25
Lucidarme, Colette. "Jazz et chanson des années trente à la fin du XXe siècle : Trenet, Brassens, Nougaro, des questions de son et de sens." Thesis, Valenciennes, Université Polytechnique Hauts-de-France, 2020. https://ged.uphf.fr/nuxeo/site/esupversions/d572eea3-550e-421b-ac69-8cb6215bae3f.
Full textAbstract:
Cette étude a pour ambition de cerner la sensibilité esthétique qui s’est développée dans la chanson française depuis le début des années trente au contact des différentes formes de jazz. L’arrivée en France, dès la fin de la Première Guerre mondiale, de nouveaux genres musicaux venus d’Amérique bouscule le paysage artistique ainsi que certaines conceptions esthétiques occidentales. Le jazz questionne la forme dans son rapport au signifié, impose le sonore pour créer du sens et interroge ainsi l’art du début du siècle, savant ou populaire, sonore ou visuel, de Pierre Mac Orlan à Darius Milhaud, Wassily Kandinsky ou Piet Mondrian. Comment la chanson française, genre alors lyrique et contraint, parvient-elle à concilier les nécessités poétiques qui la définissent avec les libertés formelles qui caractérisent le jazz ? Dans le cadre théorique et critique de la cantologie, étude pluridisciplinaire et spécifique de la chanson, et à travers l’œuvre de trois auteurs-compositeurs-interprètes ayant des approches du jazz très différentes, voire opposées, ce travail de recherche consiste à interroger ce qui musicologiquement relève du jazz pour en évaluer l’impact sur les caractéristiques fondamentales de la chanson française, en particulier sur les textes poétiques, la fluctuation des limites entre texte et musique, la conception rythmique et la modernité de l’interprétation vocale et scéniqueThe present thesis explores the aesthetic sensibility developed in French song as of the early thirties through its contact with different forms of jazz. The change that occurred in France after the Great War, mainly due to new musical genres coming from America, shook the European artistic scene, and more generally Western views on aesthetics. Jazz questions form in its relation to the signified, requires sound to create meaning and thus becomes an essential part in the reflection on the arts in the first decades of the twentieth century, whether high-brow or popular culture, in sound or sight. Examples abound such as Pierre Mac Orlan, Darius Milhaud, Wassily Kandinsky or Piet Mondrian. How does French song, as a lyrical and constrained genre, reconcile its own idiosyncratic poetics with the formal openness of jazz? This study is set within the framework of cantology, the multidisciplinary and specific study of song, and explores the work of three singer-songwriters with significant differences in their approaches to jazz. It examines what from a musicological viewpoint falls into the category of jazz, in order to evaluate the impact it has had on French song, especially on poetic texts, as well as the fluctuating boundaries between text and music, the rhythmic design, and the modernity of the vocal and scenic rendition
26
Klug, E. (Edith). "The jazz vocal art of Kurt Elling : lessons for South African singers." Diss., 2014. http://hdl.handle.net/2263/41499.
Full textAbstract:
The dissertation researches the contemporary jazz vocalist Kurt Elling. His background, performing career and successes are explored before his artistry as a performer and pedagogue are examined in detail. A personal Skype lesson and a personal interview form part of the research material. Elling’s improvisatory art and his relationship with and opinions on scatting, and especially jazz vocalese are portrayed. To this end the author’s transcription of Elling’s vocalese based on Downtown (by Russel Ferrante) is included. Elling’s influence, creativity, spirituality and infusion of poetry into jazz are also investigated in order to show how he inspires audiences and students alike.
The history of, and general descriptions of various jazz vocal styles are traced, whereafter the situation regarding the jazz vocal scene in South Africa is outlined. Local jazz vocal teaching in particular, and associated problems are discussed, and recommendations made. The author utilises her background as an accomplished performer and teacher to infuse these discussions with personal insights. Elling’s opinions on how cultural and ethnic differences can inspire South African jazz vocalists are also delineated.Dissertation (MMus)--University of Pretoria, 2014.
lmchunu2014
Music
unrestricted
27
De, Jong S. J. "The art of lyric improvisation : a comparative study of two renowned jazz singers : a thesis in partial fulfilment of the requirements for the degree of Masters of Music in the University of Canterbury /." 2008. http://hdl.handle.net/10092/1666.
Full text
28
Malinga, Joseph Mabhaca. "Towards the realisation of South African jazz assuming its righful place in the cultural identity and heritage of the country." Diss., 2015. http://hdl.handle.net/11602/286.
Full text
29
(9788789), Jacqueline Cooper. "Teaching jazz voice performance education in Australian regional secondary schools: Investigating the challenges." Thesis, 2022. https://figshare.com/articles/thesis/Teaching_jazz_voice_performance_education_in_Australian_regional_secondary_schools_Investigating_the_challenges/19567813.
Full textAbstract:
This project sought to examine the challenges faced by classroom music teachers in regional Australian secondary schools when they taught senior music students who wished to add jazz vocal repertoire to their examination performance program. As a jazz voice clinician who has presented workshops in schools for over a decade, I have had informal discussions with classroom music teachers about what areas of their teaching they find the most challenging. Many of the teachers who had not been trained in singing or in jazz indicated that they feel inadequately prepared to guide those students wishing to perform jazz vocal repertoire for their senior music examinations. This project was borne out of my curiosity to examine if this was a common issue amongst classroom music teachers in Australia and inspired me to investigate if they faced other challenges.
Sixty regional secondary school classroom music teachers were surveyed in order to ascertain their level of teaching experience and musical background, how confident they were when teaching jazz as a genre, their familiarity with jazz vocal repertoire and what resources were already in use and being used effectively when working with senior jazz vocal students. Follow-up interviews with six regionally based secondary school classroom music teachers focused on their lived experiences teaching senior jazz vocal students in the classroom. Using a mixed methodology approach, the qualitative and quantitative data from the survey and interviews were analysed to identify common themes relating to the challenges the teachers faced when teaching jazz vocal students.
Analysis of the data suggests that while the teachers’ personal music interests are the key to developing their skills when teaching out of their area of expertise, they are time-poor. This is not only due to being part of a small music department and having to take on a bigger teaching role both in and out of the classroom, but also having to teach subjects other than music, or teaching out-of-field. The interview data also revealed that the pre-service teacher education courses for classroom music teachers should have more time allocated for learning practical skills that are needed in the classroom. These skills include conducting a band or choir or developing skills in playing a genre or instrument in which they have not been trained, such as jazz voice. This is reflective of the specialised and multi-faceted nature of teaching classroom music in regional Australia.
The teachers also indicated that they had experienced various types of isolation, including geographic, cultural, educational, and professional. One of the main findings was that teachers in regional areas struggle to access appropriate professional development due to the travel time and expense that travelling to a major city entails. The research has shown that as the teachers were not always able to attend professional development courses, especially on a topic as specific as learning jazz vocal repertoire, there is need for more targeted professional development courses and mentoring opportunities to be made available online or delivered to regional centres.
The project investigated what pedagogical resources were currently used and the extent to which the teachers’ own musical backgrounds help or hinder their ability to teach jazz voice confidently. In order to create appropriate resources which will be used by classroom music teachers it was important to determine what specific pedagogical resources are needed when guiding jazz vocal students through their senior music programs, and to ascertain what type of resources teachers prefer and will use. The interview data showed that the teachers predominantly prefer short, ten-minute videos that guide them step-by-step through teaching methods that will enable them to help their students extend their educational outcomes.
In summary, the findings of this research project have shown that teachers lack confidence when teaching jazz vocal students if they have not had experience in jazz or singing themselves. Their busy position as a regional classroom teacher leaves them with limited time for upskilling and travelling to professional development courses is often too time consuming and expensive. The knowledge that teachers would be interested in attending a professional development course on teaching jazz voice and would use resources that help them guide jazz vocal students provides an opportunity for developing further research into the creation of a multi-media package that offers guidance to the teacher in short modules that can also be counted towards their professional learning.
30
English, Michelle N. G. "Perspectives of professional vocal jazz singers and jazz educators : implications for high school vocal jazz pedagogy." 2004. http://hdl.handle.net/1993/15810.
Full text
31
"The effect of instrumental proficiency on jazz vocal improvisation." CALIFORNIA STATE UNIVERSITY, LONG BEACH, 2010. http://pqdtopen.proquest.com/#viewpdf?dispub=1472244.
Full text
32
Ramos, Maria Jacinta Bola. "Práticas performativas no jazz vocal – uma auto etnografia crítico-analítica." Doctoral thesis, 2018. http://hdl.handle.net/1822/60546.
Full textAbstract:
Tese de Doutoramento em Estudos CulturaisTendo como objeto central de estudo o improviso em jazz, a presente investigação desenrola-se articulando três vertentes. Na primeira está incluída a minha própria experiência de formação e subsequente vida profissional enquanto música de jazz e performer, emergindo aqui questões em torno dos processos de subjetivação, das metamorfoses identitárias e das indústrias culturais. Na segunda o foco é a caracterização da natureza, lugar e especificidades dos processos de improvisação, seja no jazz, seja – de uma forma mais lata – na música popular entendida como espaço de inscrição da subjetividade. Para abordar o improviso, adotámos um quadro conceptual assente nas propostas de Deleuze e Guattari no âmbito do qual equacionámos o improviso no plano da performance, tendo sempre presente a questão do necessário equilíbrio personalizado que deve existir entre a técnica e o estilo. Na terceira vertente são contempladas preocupações de ordem pedagógica que se levantam a quem ocupa o papel de docente de canto. Assim, todas as reflexões e investigações consubstanciam-se, no termo do percurso, numa proposta de aplicação prática destinada a funcionar como um conjunto de guias a serem eventualmente aplicadas no processo de ensino-aprendizagem do improviso em jazz.
Having as its central object of study jazz improvisation, the present investigation unfolds articulating three strands. In the first one is included my own experience as a music student and subsequent professional life as a jazz musician and performer, emerging here questions about the processes of subjectivation, identity metamorphoses and cultural industries. In the second one the focus is the characterization of the nature, place and specificities of the processes of improvisation, be it in jazz, or – in a broader way – in popular music understood as a space of inscription of subjectivity. To approach improvisation, we adopted a conceptual framework based on the proposals of Deleuze and Guattari and to equate the improvisation in the plane of the performance we had always present the question of the necessary personalized balance that must exist between technique and style. Concerning the third aspect, there are pedagogical concerns that arise for those who play the role of voice teacher. Thus, all reflections and investigations are based, at the end of the course, on a proposal of practical application intended to function as a set of guides to be applied in the teaching-learning process of jazz improvisation.
33
"The Collegiate Vocal Jazz Ensemble: An Historical and Current Perspective on the Development, Current State, And Future Direction of the Genre." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.20999.
Full textAbstract:
abstract: The Vocal Jazz ensemble, a uniquely American choral form, has grown and flourished in the past half century largely through the efforts of professionals and educators throughout the collegiate music community. This document provides historical data as presented through live and published interviews with key individuals involved in the early development of collegiate Vocal Jazz, as well as those who continue this effort currently. It also offers a study of the most influential creative forces that provided the spark for everyone else's fire. A frank discussion on the obstacles encountered and overcome is central to the overall theme of this research into a genre that has moved from a marginalized afterthought to a legitimate, more widely accepted art form. In addition to the perspective provided to future generations of educators in this field, this document also discusses the role of collegiate music academia in preserving and promoting the Vocal Jazz ensemble. The discussion relies on recent data showing the benefits of Vocal Jazz training and the need for authenticity towards its universal integration into college and university vocal performance and music education training.Dissertation/Thesis
D.M.A. Music 2013
34
McLeod, Katherine Marikaan. "Poetry and Performance: Listening to a Multi-vocal Canada." Thesis, 2012. http://hdl.handle.net/1807/33819.
Full textAbstract:
Performances of poetry constitute significant cultural and literary events that challenge the representational limits and possibilities of transposing written words into live and recorded media. However, there has not been a comprehensive study of Canadian poetry that focuses specifically on performance. This dissertation undertakes a theorizing of performance that foregrounds mediation, audience, and presence (both readerly and writerly). The complex methodology combines theoretical approaches to reading (Linda Hutcheon on adaptation, Wolfgang Iser on the reader, and Roland Barthes on the materiality of writing) with poetics as theorized by Canadian poets (namely bpNichol, Steve McCaffery, Jan Zwicky, Robert Bringhurst) in order to argue that performances of poetry are responsive exchanges between performers and audiences. Importantly, the dissertation argues that performances of poetry call for a re-evaluation of reading as listening, thereby altering the interaction between audience and performance from passive to participatory.
Arranged in four chapters, the dissertation examines a range of Canadian poets and performances: The Four Horsemen (Rafael Barreto-Rivera, Paul Dutton, Steve McCaffery, and bpNichol), dance adaptations of Michael Ondaatje’s poems, George Elliott Clarke’s poetic libretti, and Robert Bringhurst’s polyphonic poetry. Following the Introduction’s outlining of the term performance, Chapter One examines processes of recording and adapting avant-garde sound poetry, specifically in the sound and written poetry of Nichol and McCaffery. Chapter Two theorizes adaptation as a responsive reading practice in the context of dance adaptations of Ondaatje’s writing (Bruce McDonald’s Elimination Dance and Veronica Tennant’s Shadow Pleasures). In Chapter Three, Clarke’s jazz opera Québécité, with libretto by Clarke and music composed by D.D. Jackson, foregrounds a central argument of this dissertation: that multi-vocal poetics can, in fact, reconfigure multicultural politics. Chapter Four turns to polyphony as a textual representation of multi-vocality in the poetry of Robert Bringhurst. Through a close-listening to a musical poem by Jan Zwicky, the Conclusion points towards new critical directions in listening to Canadian poetry. Only in understanding how cultural and political performances are recorded, enacted and received both on and off the page can we listen, critically and actively, to our multi-voiced Canadian soundscapes.
35
Янковець, Поліна Олегівна, and Polina Olehivna Yankovets. "Джазова музика у становленні українського естрадного вокального мистецтва." Bachelor's thesis, 2021. http://repository.sspu.edu.ua/handle/123456789/10955.
Full textAbstract:
У бакалаврській роботі конкретизовано особливості джазової музики і обґрунтовано вплив джазової музики на становлення українського естрадного вокального мистецтва, а також уточнено та поглиблено зміст понять «джаз», «естрадне мистецтво», «джазова музика», «вокальне мистецтво». У кваліфікаційній роботі схарактеризовані субкультури джазової музики, естрадні виконавці у джазовому стилі, конкретизовано особливості джазової музики, а також диференційовано стилі та напрямки джазової музики й розвинуті підходи до вивчення впливу на українське естрадне вокальне мистецтво.The bachelor's thesis specifies the features of jazz music and substantiates the influence of jazz music on the formation of Ukrainian pop vocal art, as well as clarifies and deepens the meaning of «jazz», «pop art», «jazz music», «vocal art». The qualification thesis characterizes subcultures of jazz music, pop singers in jazz style, specifies the features of jazz music, as well as differentiates styles and directions of jazz music and develops approaches to studying the impact of jazz music on Ukrainian pop vocal art.
36
Баско, Олена Анатоліївна, and Оlena Anatoliivna Basko. "Техніка джазової вокальної імпровізації в процесі підготовки естрадних співаків." Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9679.
Full textAbstract:
У магістерській роботі розроблено і обґрунтовано роль техніки джазової вокальної імпровізації в процесі підготовки естрадних співаків, а також теоретично обґрунтовано та експериментально перевірено методичні рекомендації з опанування технікою джазової вокальної імпровізації в процесі підготовки естрадних співаків. Робота містить дослідження формування навичок джазової імпровізації, конкретизацію особливостей імпровізації у жіночому джазовому вокалі та розвитку імпровізації в еволюції джазового мистецтва.The master's thesis develops and substantiates the role of jazz vocal improvisation technique in the process of pop singers training, as well as theoretically substantiates and experimentally tested methodological recommendations for mastering the technique of jazz vocal improvisation in the process of pop singers training. The master's thesis contains research on the formation of jazz improvisation skills, specification of the features of improvisation in female jazz vocals and the development of improvisation in the evolution of jazz art.
37
Hall, Philip Jeremy. "Portfolio of compositions and exegesis: Leitmotifs and their development." Thesis, 2009. http://hdl.handle.net/2440/56830.
Full textAbstract:
This submission for the degree of Master of Music at the Elder Conservatorium of Music, University of Adelaide, consists of a portfolio of original compositions supported by an explanatory exegesis.
The portfolio consists of six works: The Gingerbread Man, for a sinfonietta ensemble (woodwind quintet, two violins, viola, cello, double bass and percussion); a Jazz Quintet (alto saxophone, fluegel horn, vibraphone, tambourine and double bass); a Horn Quintet and String Quartet (violin, two violas and cello); Alone (for solo horn and 3 female voices – SSA); and Sonata for Horn (or Tuba) and Piano.
The supporting exegesis explains the creative and investigative processes that have taken place, exploring the idea of the leitmotif and developing it through the six compositions within the portfolio.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009
38
Hall, Philip Jeremy. "Portfolio of compositions and exegesis: Leitmotifs and their development." 2009. http://hdl.handle.net/2440/56830.
Full textAbstract:
This submission for the degree of Master of Music at the Elder Conservatorium of Music, University of Adelaide, consists of a portfolio of original compositions supported by an explanatory exegesis. The portfolio consists of six works: The Gingerbread Man, for a sinfonietta ensemble (woodwind quintet, two violins, viola, cello, double bass and percussion); a Jazz Quintet (alto saxophone, fluegel horn, vibraphone, tambourine and double bass); a Horn Quintet and String Quartet (violin, two violas and cello); Alone (for solo horn and 3 female voices – SSA); and Sonata for Horn (or Tuba) and Piano. The supporting exegesis explains the creative and investigative processes that have taken place, exploring the idea of the leitmotif and developing it through the six compositions within the portfolio.http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1457750
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009