Academic literature on the topic 'King's Singers (Vocal group)'
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Journal articles on the topic "King's Singers (Vocal group)"
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Hamdan, Abdul-Latif, Reem Deeb, Rania A. Tohme, Hani Rifai, Sami Husseini, and Nabil Fuleihan. "Vocal Technique in a Group of Middle Eastern Singers." Folia Phoniatrica et Logopaedica 60, no. 4 (2008): 217–21. http://dx.doi.org/10.1159/000148258.
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Aquino, Fernanda, and Léslie Ferreira. "Vocal Parameters of Elderly Female Choir Singers." International Archives of Otorhinolaryngology 20, no. 01 (November 26, 2015): 025–29. http://dx.doi.org/10.1055/s-0035-1567875.
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Introduction Due to increased life expectancy among the population, studying the vocal parameters of the elderly is key to promoting vocal health in old age. Objective This study aims to analyze the profile of the extension of speech of elderly female choristers, according to age group. Method The study counted on the participation of 25 elderly female choristers from the Choir of Messianic Church of São Paulo, with ages varying between 63 and 82 years, and an average of 71 years (standard deviation of 5.22). The elders were divided into two groups: G1 aged 63 to 71 years and G2 aged 72 to 82. We asked that each participant count from 20 to 30 in weak, medium, strong, and very strong intensities. Their speech was registered by the software Vocalgrama that allows the evaluation of the profile of speech range. We then submitted the parameters of frequency and intensity to descriptive analysis, both in minimum and maximum levels, and range of spoken voice. Results The average of minimum and maximum frequencies were respectively 134.82–349.96 Hz for G1 and 137.28–348.59 Hz for G2; the average for minimum and maximum intensities were respectively 40.28–95.50 dB for G1 and 40.63–94.35 dB for G2; the vocal range used in speech was 215.14 Hz for G1 and 211.30 Hz for G2. Conclusion The minimum and maximum frequencies, maximum intensity, and vocal range presented differences in favor of the younger elder group.
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Clarós, Pedro, Kinga Mikolajczyk, Astrid Clarós Pujol, Carmen Pujol, Juan Sabater, and Andrés Clarós. "Side effects of medications in professional opera singers’ voice: survey findings." International Journal of Otorhinolaryngology and Head and Neck Surgery 6, no. 2 (January 24, 2020): 213. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20200131.
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<p class="abstract"><strong>Background:</strong> Opera singers are classified under level I, as the elite vocal performers, being the quintessential representatives of this group. As the professional voice users, they meticulously observe any changes relevant to their health, therefore self-reported side effects should be taken under serious consideration. The aim of this study was to initiate the process of gathering general information about the most common side effects of medications taken by the opera singers.</p><p class="abstract"><strong>Methods:</strong> The study group consisted of 264 professional opera singers, treated in Clarós Clinic in a 35 years period, who were asked to complete a questionnaire. The response rate was 62.1% (n=164) with a male-to-female ratio being 1.27:1 (72 men and 92 women). 46 cases of adverse effects of medicines were updated and analysed. All the responses were collected between February and April 2018. </p><p class="abstract"><strong>Results:</strong> The mean age of our study group was 38.3 for females and 49.95 for males, with the range between 18-83 years. The vocal categories were as follows: 39 tenors, 17 baritones, 14 basses, 64 sopranos, 23 mezzo-sopranos and 5 contraltos. Patients with chronic diseases and comorbidities represented the 39.1% of the study group. The most common adverse effect reported was dryness (15.2%). The most frequent voice side effects raised by singers were clearing the throat frequently (14.63%), hoarseness and coarse or scratchy sound (10.37%), and vocal fatigue (7.32%).</p><p><strong>Conclusions:</strong> We believe that exploring the subject of vocal side effects of medications in professional opera singers is extremely important.</p>
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Ouyoung, Laishyang (Melody), Brenda Capobres Villegas, Changxing Liu, Guy Talmor, and Uttam K. Sinha. "Effects of Resonance Voice Therapy on Hormone-Related Vocal Disorders in Professional Singers: A Pilot Study." Clinical Medicine Insights: Ear, Nose and Throat 11 (January 2018): 117955061878693. http://dx.doi.org/10.1177/1179550618786934.
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Background: Menstruation-related hormonal alteration can be detrimental to the professional singing voice of women. Resonance Voice Therapy (RVT) has been proven to improve vocal production. However, no research to date has been conducted examining the subjective, acoustic, and stroboscopic effects of RVT on professional female singers having premenstrual or postmenopausal voice disorders. Aim: The aim of this study is to compare the vocal effects of RVT with a control cervical-thoracic intervention in healthy female singers during the premenstrual phase as well as in postmenopausal singers and to evaluate which intervention will allow singers to improve vocal performance regardless of changes in hormonal status. Design: A randomized study was designed for this research. The research subjects were 20 professional female singers from the Southern California area, USA, with 10 premenstrual subjects in one group and 10 postmenopausal subjects in the other group. Among each group, 5 subjects were randomly selected to receive RVT and the remaining subjects received cervical-thoracic–focused exercises. The therapies consisted of 1 month of daily 15-minute sessions. For premenstrual subjects, voice data were collected at days 25 to 27 of the premenstrual phase during a scheduled initial voice evaluation. Follow-up data were collected during the same phase of the menstrual cycle (days 25-27) after 1 month of exercises. For postmenopausal subjects, voice data were collected at an initial voice evaluation with follow-up after 1 month of the assigned voice treatment. Outcomes were assessed with the singer’s voice handicap index (VHI), laryngeal videostroboscopic examination, maximum phonation time (MPT), relative average perturbation (RAP), and pitch range before and following completion of therapies. Alleviation or deterioration percentages were used for statistical analysis. Student t test was used for statistical comparison between therapies. Results: The RVT decreased singer’s VHI for both premenstrual and postmenopausal subjects by an average of 67%, compared with 7.8% for the cervical-thoracic therapy. The RVT also effectively decreased RAP by an average of 57% when combining the premenstrual and postmenopausal groups. The RVT increased MPT and pitch range among both premenstrual and postmenopausal subjects. The stroboscopic examination did not detect any significant differences between the 2 interventions. Conclusions: The RVT is effective for professional female singers with hormone-related premenstrual and postmenopausal vocal changes. The RVT is suggested as one of the therapeutic approaches for vocal abnormalities in such a population. A larger cohort may be needed for future research. Level of Evidence: 1b
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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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Prebil, Nataša, Irena Hočevar Boltežar, and Maja Šereg Bahar. "Risk Factors for Voice Problems in Professional Actors and Singers." Slovenian Journal of Public Health 59, no. 2 (April 6, 2020): 92–98. http://dx.doi.org/10.2478/sjph-2020-0012.
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AbstractIntroductionThe purpose was to determine the incidence of voice disorders in a group of professional actors and singers, to compare the two groups, and to investigate the potential causes of their voice problems.Methods65 actors and 63 singers from professional theatres and choirs were included. The data concerning voice problems, their possible causes, and factors adversely affecting voice quality were obtained through a questionnaire. The results were compared between the groups of professional singers and actors, and between the subgroups of singers and actors both with and without frequent voice problems.ResultsThe incidence of frequent voice problems over the entire career in singers and actors was lower than reported in the literature. Professional actors displayed more inappropriate life and vocal habits than the singers. Significant risk factors for voice disorders in singers turned out to be loud speech (p=0.029) and the presence of allergies or asthma (p=0.048). No such significant risk factors were found in actors.ConslusionThe study confirmed the importance of preventive examination of the vocal tract function before enrolling in studies for an elite voice user. Professional singers and especially actors demonstrated insufficient knowledge of proper voice care. The results suggest that elite voice users require additional information on voice hygiene and occasional professional help from college to the end of career. Speech and language therapists can play a crucial role in such voice care in order to effectively prevent voice problems in elite voice users.
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Cardozo, Camila Nicoladelli, Ivonete Teresinha Schülter Buss Heidemann, Cláudia Cossentino Bruck Marçal, and Aline Megumi Arakawa-Belaunde. "Perception of elderly singers on the promotion of vocal health." Revista CEFAC 20, no. 6 (December 2018): 734–41. http://dx.doi.org/10.1590/1982-0216201820617017.
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ABSTRACT Purpose: to check the understanding of elderly participants of a singing group on the promotion of voice health. Methods: a qualitative approach linked to Paulo Freire's research itinerary consisting of three dialectic moments: thematic investigation; encoding and decoding; critical revelation. Results: these stages were developed in four culture circles with the participation of six elderly people. The study showed three themes: (1) Expression and feelings, (2) Potentiality and difficulty, (3) Voice care. The circles brought expression of ideas and practices to voice care. The sense of belonging that the group provides could be observed, especially on emotional issues. The elderly empowered themselves to discuss their beliefs regarding voice care, clarified during culture circles, providing subsidies for a greater autonomy in their personal life. Conclusion: the dialog between the participants made the understanding possible on the role of voice, permeating aspects related to the physiology, functionality and emotion in the participants' perception.
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Muckala, Jenny. "Voice Rehabilitation and Resilience Work With the Commercial Singer: A Concept Piece." Perspectives of the ASHA Special Interest Groups 5, no. 1 (February 21, 2020): 102–12. http://dx.doi.org/10.1044/2019_persp-19-00074.
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Purpose This clinical focus article presents a perspective on an approach in scaffolding vocal recovery and rehabilitation for commercial singers. The expectation in vocal performance is sound production that is repeatable, reliable, and relatable. When an artist cannot meet those standards, failure is experienced in three locations: the Body, the Head, and the Heart. Referencing each of these areas of intelligence provides a metalanguage for structuring vocal recovery and rehabilitation that goes beyond physical voice work alone. This clinical focus article discusses standards of voice production specific to commercial music, expectations of use, and what vocal demands look like on and off tour. Indirect and direct voice therapy within this niche group of professional voice users can be better tailored within this context of use and need. They need intervention that is specific to individual voice demands and uses a methodology that cultivates self-efficacy and resilience in singers as athletes. The path to vocal rehabilitation and stability extends beyond work with body mechanics and extends beyond the specific tools the voice pathologist and artist have to choose from to return to performance level production. Cultivating resilience involves intentional accessing of the Body, Head, and Heart in the moments of disintegration with the goal of meeting and bridging physical, emotional, and mental barriers for the commercial artist. The end goal is resilience when the artist returns to performance level production. Conclusions This clinical focus article explores the interplay between these three centers of intelligence for commercial singers within the framework of indirect and direct voice rehabilitation. This Body work can lead to maturation and resilience to support a long career using a feeling that is mechanically efficient, portable, and repeatable. The transfer of gains outside that treatment room may be more consistently realized through the incorporation of Head and Heart in early stages of intervention.
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Bella, Simone Dalla. "Defining Poor-Pitch Singing." Music Perception 32, no. 3 (February 1, 2015): 272–82. http://dx.doi.org/10.1525/mp.2015.32.3.272.
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Important individual differences characterize singing in adult nonmusicians. In spite of the fact that the majority can carry a tune, some occasional singers are particularly inaccurate or imprecise in producing or imitating pitch (poor-pitch singers). Poor-pitch singing can be defined via acoustical analyses of vocal performances. In spite of the objective nature of this method, however, to date there is not a standard strategy for identifying and describing poor-pitch singers. Different tasks (e.g., singing from memory vs. imitation), cut-offs (50 cents, 100 cents, vs. variable criteria), and metrics (e.g., accuracy vs. precision) are typically used for assessing singing proficiency. Here the pros and cons of different methods and measurements are discussed. The boundary between poor-pitch singing and good singing depends on these factors, which should be carefully taken into account when assessing singing abilities. An approach based on multiple tasks sharing a common set of measures of singing accuracy and precision, with a relative cut-off (i.e., 2 SD from the average of a normative group) is favored for identifying poor-pitch singers.
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Czajkowski, Anne-Marie Louise, Alinka Elizabeth Greasley, and Michael Allis. "Mindfulness for Singers: A Mixed Methods Replication Study." Music & Science 4 (January 1, 2021): 205920432110448. http://dx.doi.org/10.1177/20592043211044816.
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Objectives: Mindfulness has been explored in the clinical and educational fields but has rarely been studied in the music domain. This study investigated the effects of teaching eight-week Mindfulness for Singers courses on vocalists’ music education and performance. Methods: A mixed methods approach was utilized, which included controlled and randomized controlled trials using standardized and novel mindfulness measures pre- and post-intervention, interviews post-intervention and three months later, concurrent diaries, and a blinded teacher study. Participants included singing students (total n=52) and their teachers ( n=11) from a university and a music college over a period of two years. Results: Levels of mindfulness increased over the intervention for experimental participants in comparison to controls. Considering their total student cohort, teachers identified 61% of eligible mindfulness singing participants as having completed the mindfulness intervention. Experimental participants reported that learning mindfulness had positive effects in lessons, solo and group instrumental practices, and when performing on stage. They described more focus and attention, positive effects of increased body awareness on singing technique, enhanced socio-collaborative relationships, reductions in performance anxiety, and beneficial effects whilst performing, such as more expressivity and enjoyment. Conclusions: Learning mindfulness had positive holistic effects on vocal students and was well received by their mindfulness-naïve singing teachers. Findings suggest that it would be highly beneficial for mindfulness to be made available in music conservatoires and university music departments alongside singing lessons for singers to enhance their present experience as vocal students and their futures as performers and teachers.
Dissertations / Theses on the topic "King's Singers (Vocal group)"
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Orlandi, Laetitia Annette. "Basic piano instruction for vocal art students at the Tshwane University of Technology in Pretoria, South Africa." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/23885.
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At most universities internationally, secondary piano instruction is compulsory for all music students regardless of their field of specialisation. Vocal art students studying at the Tshwane University of Technology (TUT) are also expected to complete three years of basic piano tuition. Since the researcher teaches secondary piano at the Department of Performing Arts: Vocal Art (TUT), the aim of this study was to determine the objectives of the tuition, and appropriate methods through which they can be best achieved. The research is based on an investigation of relevant literature on secondary piano instruction for music majors at universities in South Africa and abroad. Since the researcher was primarily trained to teach basic piano to very young beginners, it was thought necessary to firstly investigate the field of adult education and basic piano instruction for adults and college-age students. The results of the literature search confirmed that basic piano tuition for children differs greatly from that for older beginners. It became clear that the success of basic piano instruction for adults greatly depends on the teacher’s understanding of these fundamental differences as well as knowledge of appropriate approaches and methods with which to accommodate adults’ unique characteristics. Subsequently, the purpose of teaching piano playing skills to non-piano music majors was investigated. Results indicated that there is a broad spectrum of skills which can aid the musician in his future career. These include technique, sight-reading, accompanying, harmonisation, transposing, repertory study, vocal score-reading and reduction, instrumental score reduction, improvisation, playing by ear, playing of folk songs, developing musicianship skills, critical listening, performance skills, chord playing, ensemble playing, realisation of figured bass, modulation, memorisation, music analysis, playing two or more parts from multiple staves, playing warm-up exercises, singing a vocal part while playing other parts, and jazz piano playing. The most important piano playing skills for non-piano music majors to acquire were identified as technique, sight-reading, accompanying, repertory study and improvisation. Controversies exist about the importance of each of these skills, but most teachers agree that they should all be present in the secondary piano curriculum. The most common method used to teach these skills to instrumentalists and singers was identified as group tuition. This method of teaching is not used merely because it is more economical but also for various musical and sociological reasons. Musical advantages include the acquisition of a broad spectrum of skills such as critical faculties, listening skills, ensemble activities, self-assessment skills, improved practice habits and progress, rhythmic stability, improved intonation, memory training and notational reading. Social advantages include interaction, peer-learning, motivation, encouragement, discovery-learning, enjoyment, involvement and the development of individuality and self-esteem. At the end of each chapter, specific guidelines for teaching basic piano to vocal art students at TUT are given. The study culminates in conclusions and recommendations drawn from the results of the literature investigation CopyrightDissertation (Music)--University of Pretoria, 2010.
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Books on the topic "King's Singers (Vocal group)"
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Ribowsky, Mark. The Supremes: The saga of Motown, dreams, success, and betrayal. Cambridge, MA: Da Capo Press, 2009.
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Schmidt, Randy. Yesterday once more: The Carpenters reader. 2nd ed. Chicago: Chicago Review Press, 2012.
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The mistakes of yesterday, the hopes of tomorrow: The story of the Prisonaires. Amherst: University of Massachusetts Press, 2012.
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Björnsson, Björn Jóhann. Álftagerðisbræður: Skagfirskir söngvasveinar. Reykjavik, 2001.
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Waterlow, David Barry. Between two worlds: Bernard Naylor, English composer in Canada. 1999.
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Avery, Susan. Adult Community Choruses. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.19.
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When considering teaching and conducting diverse populations in community choirs, one must begin with discussions of the phenomenon itself: a description of the term, a brief history of adult singing ensembles in the United States, and an exploration into the many types of community choirs and issues such as age, gender, exclusivity, purpose, and goals. Examined research on these issues is organized into large topics such as adult learning theories (music literacy and learning styles) and adult physiological concerns (untrained adult singers’ vocal mechanisms and aging voice issues). Personal identity growth or creation as individual musicians must be taken into account, as well as social implications of ensemble identity (among group members and by external community members). Finally motivation for joining and remaining in community choirs will be part of this chapter. That necessary phenomenon is examined through lenses such as choral repertoire preference, social needs, and personal goals fulfillment.
Book chapters on the topic "King's Singers (Vocal group)"
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Garrett, Matthew L., and Joshua Palkki. "Celebrating TGE Singers in Choral Classrooms." In Honoring Trans and Gender-Expansive Students in Music Education, 155–86. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197506592.003.0007.
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Trans and gender-expansive (TGE) singers experience music-making challenges specific to their vocal instruments. This chapter is devoted solely to choirs and the TGE students who sing in them. A brief opening discussion contextualizes how vocal music can be a gendered art form. Challenges and potential solutions are described for singers participating in single-gender choirs. The middle section of the chapter focuses on inclusive vocal pedagogy, including discussions of congruence of voice identity and gender identity, voice part identification, and the application of Universal Design for Learning to choral classrooms. Voice masculinization and voice feminization are described, with a focus on how they might impact singers’ voices. Healthy group vocal technique exercises are discussed, with examples provided in Appendix D. Additional suggestions for inclusive choral techniques include ideas for standing and seating rehearsal arrangements and working with heteronormative and cisnormative texts.
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Smith, Jacob. "The Mills Brothers, Animators of the Unseen Stage." In Media Ventriloquism, 137–56. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197563625.003.0008.
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The Mills Brothers were a vocal quartet who rose to fame in the 1930s with a distinctive vocal style that featured group harmonies, the imitation of musical instruments, and the incorporation of dramatic scenes into popular songs. That style doesn’t easily fit within the paradigm usually applied to popular singers of the radio age—the “crooners”—and instead, the Mills Brothers are best understood through reference to scholarship on puppetry, ventriloquism, and animation. The Mills Brothers provide an overlooked case study in Black transmedia stardom during the 1930s; the group’s multimedia presence at that time included network radio, phonograph records, live performances, three Fleischer Brothers sound cartoons, and appearances in several Hollywood films. The group’s unique vocal style was perhaps best captured in the Fleischer cartoons, and this chapter argues that they are better appreciated as animators than crooners; that is, as virtuosic practitioners in the art of sonic illusion.