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Dissertations / Theses on the topic 'Singing – Study and teaching'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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1

Olivier, Madelie Charlotte. "A critical study of voice teaching method, with specific reference to solo singing, choral singing and vocal health for the teenage singer." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1019926.

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This dissertation presents a critical study of voice teaching method as this pertains to the high school learner studying voice within the South African educational environment, with learning outcomes determined for subject music within the GET (General Education and Training) and FET (Further Education and Training) bands of the Department of Basic Education at each school grade level, as well as by external examining bodies such as Unisa (University of South Africa), Trinity Guildhall and ABRSM (Amalgamated Board of the Royal Schools of Music). Emphasis is placed on the methodological principles applicable in the case of the Western classical music solo vocal repertoire, but reference is also made to the applicability of this method in other vocal genres and, in particular, in the case of choral music participation. Special attention is given to the subject of the vocal health of the developing teenage voice, which includes an overview of vocal disorders and suggestions for rehabilitation and remedial programmes where necessary. Triangulation of research results is achieved in this study through inclusion of: - A thorough survey of selected pertinent bibliographic sources - Description of and engagement with the researcher’s own numerous phenomenological encounters in this field - Interviews conducted in Port Elizabeth with Jill Nock, voice teacher, on the subject of voice teaching method, and with John Black, Ear, Nose and Throat Specialist, on the subject of vocal health. The researcher concludes that there is a need for continued education and training of music educators in the South African high school environment, many of whom are not trained voice specialists, in order to cater for the growing number of high school music learners who choose to specialise in voice. Although educator networking can go a long way towards creating an informal support system to address this need, it is ultimately the responsibility of the Department of Basic Education to address this in a formal and all-encompassing fashion.
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Chen, Ti Wei. "Role and efficacy of verbal imagery in the teaching of singing : case study and computer vocal analysis." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/716.

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3

Harper, Portia. "Comparative Study of the Bel Canto Teaching Styles and their Effects on Vocal Agility." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278170/.

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This thesis examines the historical significance of the vocal methods employed from the middle of the seventeenth century to the beginning of the nineteenth century in what became known as the bel canto era. It provides further exploration into the pedagogical procedures of the bel canto technique through a study of the premier instructors and singers from this period. The resurgence of interest in this tradition is addressed along with its impact on current vocal pedagogy. The vital role that vocal agility played as one of its most distinguishing traits is the primary factor under investigation. A discussion of the bel canto teaching styles in relation to their approach to agility is a major point of inquiry. By maintaining a link between present artists and pedagogues and the old Italian school, it helps the singer understand the historical implications of vocal agility as an integral part of healthy vocal development.
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Dees, Theresa A. "An integrated approach to music and the language arts for the sixth grade." CSUSB ScholarWorks, 1989. https://scholarworks.lib.csusb.edu/etd-project/437.

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Sullivan, Kristen (Kristen Janell). "An Analysis of Emma Diruf Seiler's Teaching Philosophy and Contribution to Voice Pedagogy." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505229/.

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Emma Diruf Seiler (1821-1886) was a Bavarian-American voice teacher and scientist who wrote and published Altes und Neues über die Ausbildung des Gesangorganes mit besonderer Rücksicht auf die Frauenstimme (Old and New in the Art of Singing, with Special Attention to the Female Voice) in 1861 while working in Leipzig. It was translated by William Henry Furness and published in Philadelphia as The Voice in Singing in 1868. This pedagogue and her writings are largely unknown to those who study historic bel canto pedagogy. In the opening of Seiler's pamphlet, she explained her purpose for writing was "to bring into harmony things which have always been treated separately, the Science and the Art of Singing..." Aside from brief comments in a few books on vocal pedagogy, Emma Seiler is largely unknown. Neither her contribution to voice science and pedagogy, nor the impact of her integrated philosophy on teaching have been subjected to scholarly scrutiny. The purpose of this document is to explore her philosophy on teaching, her method of female vocal instruction, and her impact on voice instruction. This dissertation historicizes evidence-based pedagogy through Seiler's example.
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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.

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7

Strauser, Matthew Lynn. "The classification of language of high school choral directors." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8335.

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Thesis (D.M.A.)--University of Oregon, 2008.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 128-132). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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8

Hughes, D. "Teaching singing in Sydney government schools." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/36654.

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Thesis (Ph.D) -- University of Western Sydney, 2007.
A thesis submitted to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfillment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.
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Damicone, Tiffany N. "“The Singing Style of the Bohemians” – A Study of the Bohemian Contributions to Horn Pedagogy, Western Perspectives on Czech Horn Playing and Analysis of the Teachings of Zdenek Divoky' at the Academy of Performing Arts." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366311585.

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10

Richter, Desi. "Singing Their Stories: A Musical Narrative of Teaching and Testing." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2532.

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This musical, arts-based educational research describes the lived experiences of four K-12 New Orleans educators who believe that end-of-year standardized tests hinder their ability to teach in ways they believe are best. Using songwriting as a form of data elicitation and narrative restorying, this study documents the lived experiences of teachers who have experienced test-related cognitive dissonance. While curricular narrowing and other test-related practices have been studied in many contexts, the perspectives of New Orleans teachers are barely documented. Thus, this study fills a content gap in the testing literature. Musically restorying the data contributes to the accountability literature in three main ways. First, restorying the data as song renders the findings evocatively — that is, in ways that capture the emotion with which the data was originally imbued. Second, because this study is performative (the results were sung live in the community), the opportunity exists to ignite a local conversation aimed at helping teachers navigate testing/teaching conundrums. Finally, as music is one of the least utilized forms of art-based research, this study fills a methodological gap in the arts-based research repository.
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Callaghan, Jean, University of Western Sydney, and School of Science. "The relationship between scientific understandings of voice and current practice in the teaching of singing in Australia." THESIS_XXX_SS_Callaghan_J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/730.

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Scientific knowledge of vocal function and vocal health has increased greatly in recent decades, with new technology capable of displaying the larynx in operation, measuring muscular effort, and acoustically analysing vocal sound. This research addresses five key questions: 1/. What is the current body of voice science knowledge relevant to singing? 2/. What do singing teaching practitioners currently know about the voice? 3/. How do practitioners' understandings of voice influence their teaching of vocal techniques? 4/. How does singing teaching in Australia relate to bel canto precepts? 5/. How does singing teaching in Australia relate to voice science? Data was collected from surveys conducted to answer these questions. Analysis of survey data indicates that practitioners see themselves less as teachers than as singers who teach, and that this role perception carries values that moderate voice knowledge and approaches to teaching. The implications of this conclusion for the professional training of singing teachers in Australia are discussed and suggestions made for further research. In particular, voice scientists and singing teachers need to collaborate more actively in research. Scientific research into singing would have broader application if a model appropriate to both male and female voices were utilised and if larger and better chosen selections of experimental subjects were used. Further research is needed into how the physical skills of singing are best imparted to students
Doctor of Philosophy (PhD)
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Callaghan, Jean. "The relationship between scientific understandings of voice and current practice in the teaching of singing in Australia /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030922.122808/index.html.

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Conrad, Wendie Joyce. "Music Literacy and Sight-Singing Techniques Used by Elementary and Middle School Music Teachers." Cleveland, Ohio : Cleveland State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=csu1198290006.

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Thesis (M.M.)--Cleveland State University, 2007.
Abstract. Title from PDF t.p. (viewed on May 8, 2008). Includes bibliographical references (p. 75-82). Available online via the OhioLINK ETD Center. Also available in print.
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Akbarzadeh, Parisa. "Comparing music, lyrics, and singing in teaching Swedish children the phonetics of English." Thesis, Linköpings universitet, Avdelningen för språk och kultur, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-102796.

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Throughout time, teachers, philosophers and scientists have recognized the valuable place of music for language learning and correct pronunciation. There are many researches over the last twenty years who has worked on different theories of language learning through different strategies. Many of the researchers find the pedagogical relations between language and music. The first part of this pilot study focuses on the factors that influence learning the second language as English by different theories. The study continues on comparing different strategies of learning the phonetics and correct pronunciation of English words by examining their learning through different ways such as hearing and reading.
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Nolan, Karin. "The Comparative Effectiveness of Teaching Beat Detection through Movement and Singing among Kindergarten Students." Thesis, The University of Arizona, 2007. http://hdl.handle.net/10150/193302.

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The purpose of this study was to determine if beat detection and beat competency (i.e. maintaining a steady beat) could be more effectively taught through movement, singing, or a combination of the two. Subjects (N =102) were kindergarten students from an elementary school in the Southwest. Students completed a pretest and posttest to assess beat detection ability; the test measured their ability to tap a steady beat with and without music. Subjects received instruction in one of three methods for a six-week period: singing, movement, or a combination of the two. Data analysis results revealed a significant (p < .05) difference between the pretest and the posttest scores for all three groups; subjects appeared to show progress in the ability to detect and maintain a beat with all three instructional methods. There was no significant difference, however, in the progress between the groups; each method of instruction yielded similar improvement.
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Tan, Haidee Lynn C. "Register Unification in Light of Twentieth-Century Vocal Pedagogy." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/tan%5Fhaidee/index.htm.

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Milo, Sarah Khatcherian. "Guide of the Voice Teacher to Vocal Health for Voice Students: Preventing, Detecting, and Addressing Symptoms." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399019362.

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18

Adlem, Ann. "An evaluation of the instructional practices in voice teaching at Australian performing art institutions." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2012. https://ro.ecu.edu.au/theses/443.

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The purpose of this study was to identify and evaluate the practices and techniques of vocal training for student actors at a tertiary level, through a survey of experienced voice practitioners in Australian performing arts schools, appropriate texts, consideration of contexts and my own professional experience. Vocal instruction starts with the basic training of ‘the instrument’ or the vocal capabilities of the body. Following this or concurrent with its teaching, more specific forms of training are addressed. This research project used qualitative research methods to compile a detailed description of the voice teaching practices currently used in Australia. It comprises two parts, namely, a documented analysis of vocal training for acting and a series of interviews with professional voice trainers at performing arts institutions in Australia. The analysis attempted to discern and clarify patterns and themes in vocal training and detail possible similarities/differences with overseas models of teaching identified by the analysis of American and British texts in current use.
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Morris-Campbell, Andrea L. "Developing singing competence, confidence, motivation and self-identity for teaching music in the primary school." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/228678/1/Andrea_Morris-Campbell_Thesis.pdf.

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Research shows that preservice education students tend to lack competence, confidence, motivation, and self-identity for facilitating singing in primary school classrooms. In response, this Doctor of Education project involved preservice music education students in classroom and pitch-matching interventions to improve their singing knowledge and skills. Data were collected through a One Group Pretest-Posttest Survey Design and Semi-Structured interviews. The study’s key finding is that when preservice students experience transformative pedagogy through pitching-matching and develop their singing competence, this leads to greater confidence and a higher likelihood that they will implement music in their classrooms in the future.
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Tan, Haidee Lynn Chua. "An Acoustic and Aerodynamic Study of Diatonic Scale Singing in a Professional Female Soprano." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1230147213.

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21

Rojas, Rajs Maria Teresa. "Telepresence learning environments for opera singing, a case study." Doctoral thesis, Universitat Politècnica de Catalunya, 2012. http://hdl.handle.net/10803/125029.

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The present study analyzes the data obtained in the execution of the Opera eLearning project, a multidisciplinary effort to develop a solution for Opera singing distance lessons at the graduate level, using high bandwidth to deliver quality audio and video experience that has been evaluated by singing teachers, chorus and orchestra directors, singers and other professional musicians. The research work includes the phases of design, execution and evaluation of pilot tests, followed by further development and execution of several experimental exercises with the system, all of them carried out between July 2008 and April 2009. This is an empirical research, an exploratory case study that has provided enough data to arrive to a sustainable model for a telepresence learning environment. Different usability methods have been implemented in order to assure users of the quality of the product. The main objective is to prove whether the system or artifact proposed can be used to deliver a complete remote singing class at a higher education level; for that purpose, we have defined several research categories that describe the usability of the system in multiple dimensions. We have used “design as research” approaches to promote innovation in the technological area. The theoretical framework is based on a wide variety of fields; from acoustics, physics, music, professional singing to telecommunications and multimedia technology. However, the common thread and central issue under analysis is distance education, through the construction of a remote learning system. We have also included the corresponding justification of the scientific methodology employed
El presente estudio analiza los datos obtenidos en la ejecución del proyecto Opera eLearning, un esfuerzo multidisciplinario para desarrollar una solución que permita dar clases a distancia de canto lírico a nivel de educación superior, utilizando conexiones de banda ancha con el fin de proveer una experiencia de vídeo y audio de calidad, la que ha sido evaluada por profesores de canto, directores de coros y orquesta, cantantes y otros músicos profesionales. El trabajo de investigación incluye las fases de diseño, ejecución y evaluación de las pruebas piloto, seguido del posterior desarrollo y ejecución de varios ejercicios experimentales con el sistema, todos ellos efectuados entre Julio de 2008 y Abril de 2009. Esta es una investigación empírica, un caso de estudio exploratorio que ha obtenido datos suficientes como para definir un modelo sostenible de entorno de enseñanza por telepresencia. Diversos métodos de usabilidad fueron implementados con el fin de asegurar a los usuarios la calidad del producto. El objetivo principal es probar si el sistema o artefacto propuesto puede ser usado para realizar de modo remoto una clase completa de canto lírico a nivel de educación superior; con tal propósito, hemos definido varias categorías de investigación que describen la usabilidad del sistema en múltiples dimensiones. Hemos utilizado el enfoque de “diseño como investigación” para promover la innovación en el área tecnológica. El marco teórico se basa en una amplia variedad de campos; desde la acústica, la física, la música, el canto profesional hasta las telecomunicaciones y tecnología multimedia. Sin embargo, el hilo común y tema central bajo análisis es la educación a distancia, ya que se trata de la construcción de un sistema de aprendizaje remoto. También se he incluido la justificación correspondiente a la metodología científica empleada.
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Smith, Stephanie Deborah Ladd. "A contextual study of singing in the Fisher family." Thesis, University of Edinburgh, 1988. http://hdl.handle.net/1842/8230.

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This ethnographic study of a Scottish singing family, the Fishers of Glasgow, is based largely on fieldwork conducted over a period of three years. The Fishers were chosen because of their early involvement in, and their enormous influence on, the Scottish folk revival, which dates from the 1950s. Three members of the Fisher Family, Archie, Ray, and Cilia, sing professionally, and perform both traditional folksongs and contemporary material. This study focuses on them, although commentary about and from other family members is also included. In Chapter 2, I present a biography of the family, which is a patchwork of oral accounts by family members. Their biography leads us back to the islands of Vatersay and Barra, and the island traditions have obviously shaped the family ethos, even though they are an urban family. Chapter 3 is in part an oral history of the folk revival in Scotland, and the emergence of Archie and Ray Fisher as performers in the revival, as well as an analysis of important musical personalities and currents which had an impact on the revival, and particularly on Archie and Ray Fisher. Chapter 4 examines the professional careers of Archie, Ray, and Cilia, as well as the involvement of sisters Joyce, Cindy, and Audrey in the revival. The repertoire of the Fishers is examined in Chapter 5, with reference to the patterns of repertoire in the Scottish folk revival, and traditional sources. The way in which Archie, Ray, and Cilia categorize their songs is considered. Their categories, such as "heavy songs" and "light songs" tend to reflect the emotive impact of a song in performance, rather than structure. The problem of song "ownership" and repertoire within a family is also dealt with here. Chapter 6 focuses on the "aesthetic systems" of Archie, Ray, and Cilia, considering the following components: attraction to and selection of songs for learning; relative importance of tune and text; preferred song content; degree of emotional identification with songs; suitability of voice for a particular song; singing style; vocal range; the choice to accompany or not; the desired impact of the singer on the audience; the performing venue; and self-imposed expectations. The Fishers' aesthetic systems are also compared with those of other singers, both traditional and revival. In Chapter 7, I discuss the functions of songs in the Fishers' public performances, and analyse transcribed performance extracts of Archie, Ray, and Cilia (performing with her husband Artie). The spoken portion of the performances is seen as a significant and integral part of the performance as a communicative event. Analysis focuses on the structure of the performance, how the performance reflects the individual aesthetic system, and what levels of meaning may be derived from the performance. In Chapter 8, I conclude with a brief summary, and assess the place of the Fishers in the Scottish folk revival. Other data on the Fisher family, such as repertoire lists, a discography, and transcribed performance extracts may be found in the Appendices.
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Lourenço, João Miguel. "Singing in Portuguese : a study of diction for singers /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/fullcit?p9937173.

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Marina, Gavrilović. "Музичко образовање као сегмент културног развоја града Ниша 1827-1940." Phd thesis, Univerzitet u Novom Sadu, Akademija umetnosti u Novom Sadu, 2013. http://www.cris.uns.ac.rs/record.jsf?recordId=94746&source=NDLTD&language=en.

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Istraživanja su predstavljena u pet poglavlja. U prvom poglavlju Muzičko obrazovanje u niškoj regiji pod Otomanskom vlašću, prikazano je školstvo u okviru Otomanske carevine, dolazak prvog srpskog učitelja Spiridona Jovanovića u Niš (1927), osnivanje srpske škole i razvoj muzičkog obrazovanja u njoj. Drugo poglavlje Muzičko obrazovanje u Kneževini i Kraljevini Srbiji (1878-1914), donosi razvoj muzičkog obrazovanja i opismenjavanja u osnovnim školama, gimnazijama i učiteljskim školama, i doprinos školskih ansambala  muzičkom životu grada Niša. U trećem poglavlju Muzičko obrazovanje za vreme bugarske opkupacije (1914-1918), govori se o ukidanju srpskih škola, formiranju bugarske osnovne škole i gimnazije i izvođenju muzičke nastave u njima. Čevrto poglavlje Kulturni uspon u Kraljevini Jugoslaviji (1918-1940), sadrži planove i programe za osnovne škole, gimnazije i učiteljske škole, govori o muzičkom obrazovanju učitelja, sadržaju i značaju muzičkih predmeta, formiranju horova i orkestara i izvođenju javnih koncerata. U petom poglavlju Nastavne metode i metodičari (1870-1940), prikazani su elementi nastavnog rada: obrada pesme po sluhu, notalno pevanje, primena intervalske i asocijativne metode. Govori se o prvim metodičarima nastave pevanja, Vladimiru R. Đorđeviću – poborniku notnog pevanja, prvim muzičkim udžbenicima i njihovim autorima.
The research work is presented in five chapters. The first chapter, Music education in lower region under the control of the Ottomans, is about the educational system as a part of the Ottoman Empire, the arrival of the first Serbian teacher Spiridon Jovanovic at Nish (1927), the founding of the Serbian school and development of musical education. The second chapter, Musical education in Principality and Kingdom of Serbia (1878-1914), is about the development of musical education and teaching in elementary schools, grammar schools and teachers’ academies and the contribution of the school ensembles to music life of the town of Nish. The third chapter, Musical education during the Bulgarian occupation (1914-1918), talks about the abolishing of Serbian schools, founding of Bulgarian elementary schools and grammar schools, as well as  the teaching music in them. The fourth chapter, The cultural rise in The Kingdom of Yugoslavia (1918-1940), contains the curriculums of the elementary schools, grammar schools and teachers’ academies, facts about the musical education of the teachers, subject matter and the significance of the music subjects, forming of the choirs and orchestras and public performances. In the fifth chapter, Teaching methods and methodologists (1870-1940), some elements of the teaching process are shown: musical arrangement of a song by hearing ( perception by sound), singing from notes, the application of the interval and associational method. It is about the first methodologists of teaching singing, about Vladimir R. Djordjevic-a supporter of singing from notes, about the first textbooks and their authors.
The research work is presented in five chapters.The first chapter, Music education in lowerregion under the control of the Ottomans, isabout the educational system as a part of theOttoman Empire, the arrival of the first Serbianteacher Spiridon Jovanovic at Nish (1927), thefounding of the Serbian school and developmentof musical education. The second chapter,Musical education in Principality and Kingdomof Serbia (1878-1914), is about the developmentof musical education and teaching in elementaryschools, grammar schools and teachersacademies and the contribution of the schoolensembles to music life of the town of Nish.The third chapter, Musical education during theBulgarian occupation (1914-1918), talks aboutthe abolishing of Serbian schools, founding ofBulgarian elementary schools and grammarschools, as well as the teaching music in them.The fourth chapter, The cultural rise in TheKingdom of Yugoslavia (1918-1940), containsthe curriculums of the elementary schools,grammar schools and teachers academies, factsabout the musical education of the teachers,subject matter and the significance of the musicsubjects, forming of the choirs and orchestrasand public performances. In the fifth chapter, Teaching methods and methodologists (1870-1940), some elements of the teaching processare shown: musical arrangement of a song byhearing ( perception by sound), singing fromnotes, the application of the interval andassociational method. It is about the firstmethodologists of teaching singing, aboutVladimir R. Djordjevic-a supporter of singingfrom notes, about the first textbooks and theirauthors.
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Potgieter, Paul Stephanus. "South African unit standards for sight-singing, realised in a multi-media study package." Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-09292004-070324.

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Perkins, Emily Good. "In Search of Culturally Sustaining Music Pedagogy| Adolescent Music Students' Perceptions of Singing and Music Teaching." Thesis, Teachers College, Columbia University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10816933.

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The diversity present within K-12 classrooms in the United States presents teachers with students from many backgrounds and musical traditions. Traditional undergraduate music education programs which prioritize the Western canon provide little opportunity for students to address diversity, both in pedagogy and in content. Prospective music teachers in the choral or general music areas experience vocal education that focuses primarily on the classical bel canto vocal technique. This education fails to prepare teachers to teach students from diverse backgrounds and musical traditions. Because music plays an important role in adolescents’ identity formation, teachers who are unprepared to recognize and teach diverse vocal styles may unknowingly alienate or silence their students.

The purpose of this study was to develop an understanding of how two groups of music students, in early adolescence, and from a diverse urban public school, perceive the singing and the music teaching in their general music classrooms. By discovering their perspectives, I hoped to shed light on the ways in which music teaching influenced their musical, vocal, and cultural identities, particularly during the malleable time of adolescence.

Over the course of three months, I conducted semi-structured interviews with 14 students and two teachers as well as twice-weekly classroom observations. Three research questions informed the data collection process: (1) How do students in a diverse urban public school describe their own singing and musical background? (2) How do they describe the vocal (and music) teaching in their general music class? (3) How do they describe an effective or ideal music teacher?

The interview data and field notes from the observations were coded, organized, and analyzed into the following categories: (1) Music and Self Expression; (2) Music and Family; (3) Culturally Congruent and Incongruent Teaching; (4) Student Vocal Profiles; (5) If They Could Teach the Music Class, How Would They Teach? The overarching conclusion from this study is that the congruence or incongruence of a teacher’s musical epistemology — “the norms, logic, values, and way of knowing” music (Domínguez, 2017, p. 233) — along with the musical epistemologies of her students was the primary factor for student exclusion or empowerment in the classroom.

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Whitaker, Sandra S. "Singers' resonance." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118238.

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The primary purpose of this study was to clarify the underlying principles of singers' resonance and to examine some of the pedagogical practices associated with the traditional schools of singing and contemporary voice science. The secondary purpose was to determine which principles should be retained, discarded, or altered.An examination of the voice pedagogy literature revealed recurrent references to resonance. This implied that the concept is of some importance to voice pedagogy. Singers' resonance has, however, been presented in diverse contexts indicating that (1) it has a number of denotations and connotations, (2) it is sometimes used ambiguously, or inaccurately, and (3) a further investigation of the topic might yield clarity to the field of voice pedagogy.It was determined that though there are many important voice pedagogy methodologies, classically trained professional concert and opera singers of international reputation are taught to optimize singers' resonance both in order to be heard and to produce the accepted tone. It was found that those precepts which are based upon acoustic laws should be conserved and those which are not should be abandoned, altered, or when appropriate, acknowledged as metaphorical.
School of Music
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Starker, Leonard Bonn. "From physics to music: an analysis of the role of overtones in the improvement of choral tone." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1650.

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Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir's intonation.
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Rick, Josefin. "Varför så många namn på röstregister? : En intervjustudie om hur sångpedagoger hanterar begreppet röstregister i sin undervisning?" Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-30719.

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Syftet med studien är att undersöka hur sångpedagoger beskriver att de arbetar med röstregister i sin undervisning, vilka olika röstbegrepp informanterna använder sig av samt hur de förklarar dessa för eleverna. Med denna studie vill jag få en bild av hur terminologin påverkar undervisningen när samma register förklaras på olika sätt. Jag har utgått från kvalitativa intervjuer för att på så sätt få en mer utförlig bild av sångpedagogers uppfattningar och handlingar. Jag har intervjuat fyra sångpedagoger i olika genrer för att se om det finns någon skillnad i val av begrepp utifrån vilken genre de arbetar inom. För att kunna tolka och försöka förstå informanterna på ett djupare sätt har jag använt mig av ett hermeneutiskt förhållningssätt. Jag har också analyserat datamaterialet utifrån ett didaktiskt perspektiv.   Resultatet visar att informanterna anser att det finns för många begrepp när det gäller röstregister och att det skulle vara bra att sortera upp dem och minska antalet på dem. Samtidigt anser informanterna att sången är viktigare än hanteringen av begreppen. Genom att förklara begrepp utifrån specifika genrer samt vara tydlig med vad ett register är skulle terminologin kunna berika undervisningen.
The purpose of this study is to investigate how vocal teachers work with vocal register in their teaching; which voice terms the informants use and how they explain these to the students. With this study I want to get a picture of how the terms affect the teaching, when the same register is explained in different ways. I have used qualitative interviews to get a more detailed picture of the vocal teachers’ opinions and actions. I have chosen four vocal teachers in different genres in order to find if there are different choices of words between the music genres they work in. To be able to interpret and understand the informants in a deeper way I have used a hermeneutic perspective. I have also analysed the data from a didactic point of view.    The results show that the informants find too many terms connected to the vocal register and that it would be good to categorise and minimize the number of them. At the same time the informants believe that the singing is more important than the use of the terms. Explaining the terms within the genre, and by making clear what a register is, should enrich the education.
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Justice, Elizabeth Anne. "The effect of oral contraceptives on the soprano voice: an exploratory study." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc798332/.

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Several researchers have suggested that fluctuating estrogen levels may be responsible for certain physiological changes in the female body. The purpose of this study was to determine whether significant changes in the soprano voice quality occur due to the use of oral contraceptives.
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Cobb-Jordan, Amy. "The study of English, French, German and Italian techniques of singing related to the female adolescent voice." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20011/cobb-jordan%5Famy/index.htm.

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Ferreira, Carina Isabel Matias. "Relatório da prática de ensino supervisionada na Escola Artística de Música do Conservatório Nacional: análise comparativa das técnicas lecionadas na classe de canto da Escola Artística de Música do Conservatório Nacional." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28721.

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O presente relatório está inserido na unidade curricular Prática de Ensino Supervisionada – adiante designada por PES – do Mestrado em Ensino da Música, iniciado no ano letivo 2015/2016 na Universidade de Évora. A PES foi realizada na Escola Artística de Música do Conservatório Nacional, - adiante designada por EAMCN – em 2016/2017, tendo como professor cooperante o professor José Manuel Araújo e como orientadora interna a professora Liliana Bizineche. Este relatório está dividido em duas secções: a primeira sobre a PES realizada, onde estão inseridas a caracterização da EAMCN, a caracterização dos alunos observados, a descrição das aulas lecionadas, a análise crítica da atividade docente e uma conclusão. A segunda secção é composta por uma pesquisa sobre as várias escolas de Canto e de que forma o ensino de canto na EMCN é ou não influenciado pelas técnicas apresentadas na investigação; Abstract: Report on the Supervised Teaching Practice held at Escola Artística de Música do Conservatório Nacional – Comparative Analysis of the Techniques Taught in the Lyrical Singing Class at Escola Artística de Música do Conservatório Nacional This report is inserted in the curricular unit Supervised Teaching Practice of Master in Music Teaching, which started in the academic year 2015/2016 at the Universidade de Évora. The PES took place at the Escola Artística de Música do Conservatório Nacional - referred as EAMCN - during the academic year of 2016/2017, with Professor José Manuel Araújo as a cooperating professor and Professor Liliana Bizineche as internal mentor. This report is divided into two sections: the first one is dedicated to the PES analysis, with a description of the EAMCN, along with the characteristics of the students observed, description of the classes taught, the critical analysis of the teaching process and, at last, a conclusion. The second section consists of a wide research on the various singing schools and how singing teaching at EAMCN may or may not be influenced by the techniques presented in this investigation.
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Kleva-Forchic, Melodey A. "A study investigating the comparative effects of an audiation pause in tonal pattern training on fourth and fifth grade children /." Full text available online, 2005. http://www.lib.rowan.edu/home/research/articles/rowan_theses.

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Stevens, Harvey Morris. "A teacher/action research study of student reflective thinking in the choral music rehearsal /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008454.

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Gong, Rong. "Automatic assessment of singing voice pronunciation: a case study with Jingju music." Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/664421.

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Online learning has altered music education remarkable in the last decade. Large and increasing amount of music performing learners participate in online music learning courses due to the easy-accessibility and boundless of time-space constraints. Singing can be considered the most basic form of music performing. Automatic singing voice assessment, as an important task in Music Information Retrieval (MIR), aims to extract musically meaningful information and measure the quality of learners' singing voice. Singing correctness and quality is culture-specific and its assessment requires culture-aware methodologies. Jingju (also known as Beijing opera) music is one of the representative music traditions in China and has spread to many places in the world where there are Chinese communities. Our goal is to tackle unexplored automatic singing voice pronunciation assessment problems in jingju music, to make the current eurogeneric assessment approaches more culture-aware, and in return, to develop new assessment approaches which can be generalized to other musical traditions.
El aprendizaje en línea ha cambiado notablemente la educación musical en la pasada década. Una cada vez mayor cantidad de estudiantes de interpretación musical participan en cursos de aprendizaje musical en línea por su fácil accesibilidad y no estar limitada por restricciones de tiempo y espacio. Puede considerarse el canto como la forma más básica de interpretación. La evaluación automática de la voz cantada, como tarea importante en la disciplina de Recuperación de Información Musical (MIR por sus siglas en inglés) tiene como objetivo la extracción de información musicalmente significativa y la medición de la calidad de la voz cantada del estudiante. La corrección y calidad del canto son específicas a cada cultura y su evaluación requiere metodologías con especificidad cultural. La música del jingju (también conocido como ópera de Beijing) es una de las tradiciones musicales más representativas de China y se ha difundido a muchos lugares del mundo donde existen comunidades chinas.Nuestro objetivo es abordar problemas aún no explorados sobre la evaluación automática de la voz cantada en la música del jingju, hacer que las propuestas eurogenéticas actuales sobre evaluación sean más específicas culturalmente, y al mismo tiempo, desarrollar nuevas propuestas sobre evaluación que puedan ser generalizables para otras tradiciones musicales.
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Wurgler, Pamela Sewell. "A perceptual study of vocal registers in the singing voices of children." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273516240.

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

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Wilkinson, Mark Leslie. "The Singing Doctor: Reconsidering the Terminal Degree in Voice Performance." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587553732265375.

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Block, Tomas. "Singing in the sunlight : a study in selected early works by Gustav Holst /." Göteborg : Universitet, 2000. http://catalogue.bnf.fr/ark:/12148/cb371214577.

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Akademisk Avhandling--Philosophie--Göteborg, 2000.
Analyse des oeuvres suivantes : Symphony in F, "the Cotswolds", Indra, Beni Mora, a Somerset Rhapsody, Savitri, Suite in F, "Phantastes" Bibliogr. et discogr. p. 249-253.
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Stark, Nathalie. "Svenska är ett sjungande språk : utveckling av svenska som andraspråk genom sång och musik." Thesis, Linnéuniversitetet, Institutionen för svenska språket (SV), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-33905.

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There are different ways of developing a second language. The purpose of this qualitative study is to investigate whether and possibly how music, focused on singing, can improve the development of Swedish as a second language. Through interviews with three vocal teachers, from three different schools in Sweden, and observations of one of the vocal teachers, information about how they work and think about the subject has been collected. The vocal teachers teach groups of second language learners by singing songs made especially for second language learning. The vocal teachers consider singing beneficial in the development of the pronunciation and improvement of the prosody, which affects the students’ capacity to sound like a native Swedish speaker. They also mention factors which contradict the positive improvement of the language learning, for example when the prosody in singing does not coincide with the prosody in speech, which inhibits learning. The teachers are however in agreement about singing being beneficial and the categories of prosody, joy and pleasure are emphasized.
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Nicolau, Pares Luis. "The phenomenology of spirit possession in the Tambor de Mina : an ethnographic and audio-visual study." Thesis, SOAS, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286260.

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Van, Zyl Lionel. "A critical investigation of the effectiveness of warm-ups as technical exercises for the improvement of choral tone : a case study of the Eastern Cape Children's Choir." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/634.

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This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.
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43

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

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Syftet med studien är att undersöka hur sångpedagoger inom de klassiska respektive de populärmusikaliska sångtraditionerna förhåller sig till enskild sångundervisning, samt hur de designar sin undervisning. Data har samlats in genom intervjuer med fyra sångpedagoger, samtliga verksamma på eftergymnasial nivå. Två av informanterna arbetar i huvudsak inom den klassiska genren, de andra två inom pop-genren. Intervjuformen var kvalitativ intervju med öppna följdfrågor. Analysen av materialet är gjord utifrån ett designteoretiskt perspektiv. Resultatet visar att informanternas val av resurser är liknande oavsett genretillhörighet. De lägger alla stor vikt vid förmågan att designa förutsättningarna för lärande utifrån det enskilda mötet med varje elev. Resultatet visar också att språkbruket skiljer sig åt beroende på vilken genre informanterna tillhör, samt att skillnaderna i klangligt ideal genrerna emellan leder till skillnader i arbetssätt och musikaliskt fokus. I diskussionen förs ett resonemang kring genrernas ideal och dess påverkan på kunskapsförmedlingen.
The purpose of this study is to examine how voice teachers, when following the Classical and Popular vocal traditions, approach private singing, and how they design the instruction. Data has been collected through interviews with four voice teachers, all of whom are active at the post-secondary school level. Two of the informants primarily teach the Classical tradition, while the other two teach the Popular music tradition. The interview form used was the qualitative interview, with open follow-up questions. The analysis was performed from a perspective of design theory. The result shows that the resources used by the informants are similar regardless of genre. Emphasis is placed on the ability to design the conditions for learning in the encounter of each individual student. The result also shows that vocabulary varies according to genre, and that the difference in preferred sound between genres leads to differences in methods, as well as musical focus. The discussion reflects on the ideals of the two genres, and how they affect the transfer of knowledge.
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Hughes, D., University of Western Sydney, College of Arts, and School of Communication Arts. "Teaching singing in Sydney government schools." 2007. http://handle.uws.edu.au:8081/1959.7/36654.

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In New South Wales education, music is a mandated primary school subject incorporated in the key learning area of Creative Arts. In secondary education, music is typically a mandatory Stage 4 subject and an elective subject choice in Stages 5 and 6. School music syllabuses include singing as a performance experience. The methodology and appropriateness of teaching children and adolescents to sing are issues expressed in the literature. Research and scientific based understanding of the voice clearly indicate that care should be taken when teaching singing to developing voices. These reasons, together with the presumption that all students will sing at some stage during their schooling, invoke the primary research questions of “who teaches school singing?”, “what types of school singing are taught?”, “how is school singing taught?” and “why is school singing taught?”. Through an investigation and analysis of teacher perspectives, this study addresses these questions in relation to teaching singing in Sydney government schools. The research is comprised of two parts. Part 1 was a broad-based questionnaire approach that generated qualitative and quantitative data. By encompassing primary and secondary classroom and/or choir teachers (127 respondents), school singing within a continuum of learning was investigated. Part 2 extended the format and focus of Part 1 by undertaking qualitative in-depth interviews of teachers (10 participants) sampled to investigate a range of key issues and school singing cultures. The study found that school singing at primary level was predominantly taught by generalist classroom teachers. A range of primary specialist teachers - dedicated music and/or choir specialist teachers, designated music and/or singing specialist teachers and dedicated performing arts specialist teachers – was identified as also teaching school singing activities. Secondary classroom music teachers were those found to teach, either solely or in conjunction with singing tutors, secondary school singing. The study determined that school singing was an activity occurring in conjunction with music syllabuses (syllabus singing), in relation to other syllabuses (co-syllabus singing) and irrespective of syllabus connections (non-syllabus singing). In addition, ancillary syllabus singing linked singing activities occurring outside the music classroom to syllabus singing within the music classroom. Co-syllabus singing was identified as being either thematic (illustrating a topic area) or supplementary (reinforcing learning in a non-musical area). In addition to defining the types of school singing in relation to both primary and secondary syllabuses, there was evidence of a dichotomy in school singing between teaching singing (formal singing) and the teaching of, or inclusion of, singing activities (informal singing). Determining whether students were taught a song or taught how to sing (it) in Sydney government schools, formed one of the major areas of impetus and focus for the study. After identifying 19 components present in respondent data at elemental or proficient levels, comparison and inclusion rates of teaching components were used to determine five levels of respondent teaching approaches - sing-along, song, song dominant, functional and developmental. Descriptive statistics and univariate statistical analysis of components revealed that component inclusion increased as the level of teaching approach increased. Independent-sample t-tests showed that there were significant differences between approaches to teaching school singing and the types of teachers who teach school singing (for example between specialist/non-specialist teachers). Contributory factors of school singing were identified as support for school singing, objectives of school singing, aptitude for school singing and constraints that restricted school singing. The types of school singing found their origins in the purposes of the singing activities. In some cases, the school culture also determined the types and purposes of school singing. Where school singing was established within the school culture, singing activities were reported as being well supported and the school culture was such that it encouraged or even enabled singing activities to occur. Conclusions drawn from the research findings have implications for the pre-service and in-service training of teachers, for those responsible for school singing activities and for those writing curriculum, curriculum related documents and teaching resources.
Doctor of Philosophy (PhD)
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45

Gullaer, Irene School of Music &amp Music Education UNSW. "An integrated method of vocal development: a theoretical and empirical study." 2007. http://handle.unsw.edu.au/1959.4/40691.

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The integrated method proposed and worked out consisted of integration of vocal and voice-speech teaching techniques as well as integration of the empirical and mechanical methods of teaching. Balance and co-ordination between external and intra-pharyngeal articulation were considered as a framework for integration of various methods of teaching. Magnetic resonance imaging (MRI), along with spectral analysis, was used to demonstrate the work of intrapharyngeal muscles while singing and to assess the quality of vocalization. 54 MRI expositions were generated for the set of vowels, pitches and modes, of which over 400 MRI images were synthesized and measured. When switching from amateur to professional way of singing, radical transformations of size, shape and to some extent, changes in the surface properties (density, porosity) of muscular tissue of intra-pharyngeal cavities were observed. New acquired MR images clearly showed that the axial section of the back cavity appears indeed much larger in the professional mode than in the amateur mode. Statistical analysis showed that this difference is statistically significant. It is shown that the work on muscles development and use of mental images/imagination must progress in close collaboration. The strategy for the gradual mastering technique of the opening of the vocal tract was suggested, and developed. A new approach was developed to be applied for students to get stable repeatability when they work with mental images. Obtained MR images were used as a part of visualization method during experimental work with students. MR images helped students to create proper mental images. The theory of tangible images was suggested and then successfully applied in the form of experimental work with students. Experimental work with students of the ethnic group Maori was conducted. This experimental work with Maori students demonstrated that the integrated method of teaching helped to overcome some physiological and psychological specific problems which require special techniques of training. Case studies were carried out to assess individual and students' group perceptions, along with interview techniques and a survey questionnaire. The results of the survey are presented graphically, and statistical processing of the data was performed. The results of the survey are interpreted and discussed.
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46

Shan, Chen Huei, and 陳慧珊. "A Study of Tonal Patterns Applied to Teaching Singing for Seventh Graders." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/84843546888798479823.

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碩士
國立臺灣師範大學
音樂學系在職進修碩士班
99
This study was to exam the process and the effects of tonal patterns applied to teaching singing for seventh graders. The act research was conducted for two months. Two classes of seventh graders were selected, and both Class A and B were having tonal pattern experiences twice per week; 10-15 minutes each session, and 24 sessions in total. The study adopted Gordon’s music learning theories. “tonal patterns activities”, “tonal aural test”, “tonal singing test,” “melodic phrase ending creativity test”, “singing accuracy test”, “student self-report scale”, “class-observation scale”, and “class journal,” were designed and applied in this research. Both quantitative and qualitative data were collected for this study. The findings were as follows: 1)The subjects’ aural skills show a significant improvement after the tonal patterns activities. 2)The subjects’ singing accuracy had a significant improvement after the tonal patterns activities. 3)The subjects had positive feedback toward tonal patterns activities.. 4)Teachers approved that tonal patterns activities help students’ singing accuracy. 5)Teaching tonal patterns were helpful for students’ tonal audiation performance. Many suggestions were given for elementary teachers, schools and further research in the future.
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47

Good-Perkins, Emily. "In Search of Culturally Sustaining Music Pedagogy: Adolescent Music Students’ Perceptions of Singing and Music Teaching." Thesis, 2018. https://doi.org/10.7916/D82F94ZR.

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The diversity present within K-12 classrooms in the United States presents teachers with students from many backgrounds and musical traditions. Traditional undergraduate music education programs which prioritize the Western canon provide little opportunity for students to address diversity, both in pedagogy and in content. Prospective music teachers in the choral or general music areas experience vocal education that focuses primarily on the classical bel canto vocal technique. This education fails to prepare teachers to teach students from diverse backgrounds and musical traditions. Because music plays an important role in adolescents’ identity formation, teachers who are unprepared to recognize and teach diverse vocal styles may unknowingly alienate or silence their students. The purpose of this study was to develop an understanding of how two groups of music students, in early adolescence, and from a diverse urban public school, perceive the singing and the music teaching in their general music classrooms. By discovering their perspectives, I hoped to shed light on the ways in which music teaching influenced their musical, vocal, and cultural identities, particularly during the malleable time of adolescence. Over the course of three months, I conducted semi-structured interviews with 14 students and two teachers as well as twice-weekly classroom observations. Three research questions informed the data collection process: (1) How do students in a diverse urban public school describe their own singing and musical background? (2) How do they describe the vocal (and music) teaching in their general music class? (3) How do they describe an effective or ideal music teacher? The interview data and field notes from the observations were coded, organized, and analyzed into the following categories: (1) Music and Self Expression; (2) Music and Family; (3) Culturally Congruent and Incongruent Teaching; (4) Student Vocal Profiles; (5) If They Could Teach the Music Class, How Would They Teach? The overarching conclusion from this study is that the congruence or incongruence of a teacher’s musical epistemology — “the norms, logic, values, and way of knowing” music (Domínguez, 2017, p. 233) — along with the musical epistemologies of her students was the primary factor for student exclusion or empowerment in the classroom.
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Alder, Alan L. "Successful high school show choir directors : their perceptions about their teaching and administrative practices." 2012. http://liblink.bsu.edu/uhtbin/catkey/1675390.

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The typical high school choral director of today is expected to know a great deal about the various types of music that exist as well as the appropriate techniques to create those genres in such a way that their student’s performances are realistic and stylistically accurate. What most undergraduate students are taught in pursuit of a choral music education degree misses the mark in that the show choir genre is nearly ignored throughout the curriculum. Yet, the nation’s new teachers are expected to strike out into the world of teaching and often find themselves in very large, competitive programs with the show choir at the very center. This study begins by identifying a number of questions that a first year teacher with no show choir directing experiences might ask, identifying the “how and why” of the daunting task of creating an artistic product in this new American modern choral genre. These questions also served as a guide to formulate a profile of the ideal show choir director. Then utilizing the established profile of the ideal show choir director, several experts – those who have an established reputation for a high level of success – were interviewed and their responses were documented, studied, and organized into categories that correspond with those found in the profile of the ideal show choir director. The correlation of these elements provided an in-­‐depth look into the processes of these successful directors that have proven to be effective over the course of many years, giving the reader a revealing look into how to build a program from the beginning, and to see it through to the end with ultimate success. As young teachers attempt to create musical experiences that are appealing to their students, they often find themselves competing with an idea that singing in choir should be like what can be seen on television in shows such as GLEE or American Idol, and other similar programs. While this is not an entirely real reflection of what choral music education is about, there is some truth to what is shown, and to a degree, what can be done. The focus of this project is to provide our new teachers a knowledge base to draw from that can assist them in their own development toward becoming a truly well balanced musician and educator. This project can assist these young teachers in developing into those who have knowledge of the show choir art form, and know how to teach the various techniques necessary to engage students and keep them interested in singing choral music.
Access to dissertation permanently restricted to Ball State community only
School of Music
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Fang, Wen-Chun, and 方文君. "A Quasi-Experimental Study of Using Hand-Sign in Singing Teaching to Promote Seventh Graders' Vocal Pitch Accuracy." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/61405473734656437777.

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碩士
國立臺灣師範大學
音樂學系在職進修碩士班
100
The purpose of this study was to investigate the effects of monophonic tune pitch, tune interval pitch and harmony interval pitch, using hand-sign in singing teaching to promote seventh grades' vocal pitch accuracy. Five background variables such as different gender, musical instruments learning experiences, the school musical community experiences, singing preferences and psychological status, and familiarity with the exam song "Chrysanthemum Terrace" were explored to variance analysis. A quasi-experimental research design was used in this research.The subjects were four classes of seventh grade students in a junior high school in Hsinchu divided into two groups. The control group received the traditional music instruction, while the experimental group received the hand signs of Kodaly method into singing teaching for a total of nine courses each twenty minutes. In addition to the "personal data and music learning experience questionnaire" to gather research data, before and after class measurements of "singing monophonic tune pitch table", "tune interval pitch table" and "harmony interval pitch table" were used to collect data. Excel and the SPSS19.0 Statistics software achieve experimental teaching effect analytics by filing, mining the number of distribution and percentage, Chi-Square test, descriptive statistics, independent sample t test, paired sample t-test analysis. Based on the research, the following results: 1、significant progress revealed on the seventh grade students using hand signs of Kodaly method in the singing teaching. 2、the hand signs of Kodaly method was not influenced in the seventh grade students singing monophonic tune pitch with different gender, musical instruments learning experiences, the school musical community experiences, singing preferences and psychological status, and familiarity with the exam song. 3、the hand signs of Kodaly method was influenced in the seventh grade students singing tune interval pitch with different gender, musical instruments learning experiences, the school musical community experiences, yet in singing preferences and psychological status. 4、the hand signs of Kodaly method was influenced in the seventh grade students singing harmony interval pitch with different gender, musical instruments learning experiences, the school musical community experiences, yet in singing preferences and psychological status and familiarity with the exam song. Based on these findings, suggestions were revealed to related educators and future research.
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50

Lee, Chia-ling, and 李佳玲. "A Study of Gordon " Tonal Pattern Teaching " on " Tonal Music Aptitudes " and " Singing Intonation and Rhythm " to Second Graders." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/43415895323116389874.

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Abstract:
碩士
國立臺南大學
音樂教育學系碩士班
94
This research serves to experiment the effects of using Gordon “Tonal Pattern Teaching” on" Tonal Music Aptitudes " and " Singing Intonation and Rhythmic Accuracy " of Second Graders; it is to be observed if tonal pattern teaching affects performances in the Gordon designed “IMMA” and researcher’s self-designed “singing performance evaluation” and discuss possible reasons of the differences. The experiment combines the experimental study and action research, using the Kodaly theory and related teaching methods to design contents and teaching curriculum; then the Gordon “Tonal Pattern Teaching” is used as a case control. The experiment includes two stages: the experimental stage and the regular teaching stage. In addition to the self-designed evaluating tables as tools, also IMMA and singing performance evaluation are used before and after both stages to achieve the objectives of this experiment by quantitative and qualitative analyses. Based on the results, the following conclusion is obtained: I. In regards to whether tonal pattern teaching is used, the “Tonal Pattern Music Audiation” of IMMA did not show significant scores on second graders in both eight or sixteen-week sessions. II. Second graders’ performances in “overall singing performance”, “Accuracy of relative intonation in singing pitches”, and “Accuracy in singing rhythms” were significantly different when they received tonal pattern teaching, but the result in “Accuracy of absolute intonation in singing certain pitch given by instructors” was not as significant. III. Tonal pattern teaching could become a music aptitude developmental tool for lower level second graders. IV. Tonal pattern teaching could help second graders use their singing voices to sing. According to results above, suggestions are made to education executives, teacher development centers, schools, teachers, and future researchers, to act as a reference for improving music teaching in elementary schools and further related researches.
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