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Journal articles on the topic 'Singing Vocal music'
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1
Gao, Yongwei, Xulong Zhang, and Wei Li. "Vocal Melody Extraction via HRNet-Based Singing Voice Separation and Encoder-Decoder-Based F0 Estimation." Electronics 10, no. 3 (January 26, 2021): 298. http://dx.doi.org/10.3390/electronics10030298.
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Vocal melody extraction is an important and challenging task in music information retrieval. One main difficulty is that, most of the time, various instruments and singing voices are mixed according to harmonic structure, making it hard to identify the fundamental frequency (F0) of a singing voice. Therefore, reducing the interference of accompaniment is beneficial to pitch estimation of the singing voice. In this paper, we first adopted a high-resolution network (HRNet) to separate vocals from polyphonic music, then designed an encoder-decoder network to estimate the vocal F0 values. Experiment results demonstrate that the effectiveness of the HRNet-based singing voice separation method in reducing the interference of accompaniment on the extraction of vocal melody, and the proposed vocal melody extraction (VME) system outperforms other state-of-the-art algorithms in most cases.
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Liu, Lin-li, Yi Pang, and Zhuang-li Hu. "Application of Spectrogram Analysis in Traditional Vocal Music Teaching and Multimedia Animation Vocal Music Teaching." International Journal of Emerging Technologies in Learning (iJET) 11, no. 11 (November 29, 2016): 64. http://dx.doi.org/10.3991/ijet.v11i11.6242.
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The spectrogram analysis technology via computer application makes voice visualized, realizes the integrated teaching mode of "mouth to ear- nose", and improves the teaching quality of vocal music.The technology gives a dynamic map of singing respiration and singing organs, and the singing process is specified by the harmony search algorithm. This technology solves problems of shallow breathing, slurred speech and incorrect use of resonant cavity. The spectrogram analysis visualizes vocal music teaching, improves students' abilities of singing, practice and innovation.
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Baker, Vicki D., and Nicki Cohen. "University Vocal Training and Vocal Health of Music Educators and Music Therapists." Update: Applications of Research in Music Education 35, no. 3 (March 15, 2016): 46–54. http://dx.doi.org/10.1177/8755123316638517.
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The purpose of this study was to describe the university vocal training and vocal health of music educators and music therapists. The participants ( N = 426), music educators ( n = 351) and music therapists ( n = 75), completed a survey addressing demographics, vocal training, voice usage, and vocal health. Both groups reported singing at least 50% of the work day; moreover, music educators complained of vocal fatigue and hoarseness at the end of the week. Music educators expressed concern about their vocal health, due to the unique demands of music instruction and large classes. A majority of participants, particularly instrumental concentration majors, expressed a desire for more career-focused vocal training. Results suggest that additional university training in vocal health could help prevent vocal abuse and misuse among music educators and therapists; furthermore, music educators may be better qualified to promote healthy singing among developing voices.
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Xie, Xiaolan. "Cultural Aesthetic Comparison of "Three Singing Methods"." Frontiers in Business, Economics and Management 1, no. 2 (April 24, 2021): 15–17. http://dx.doi.org/10.54097/fbem.v1i2.17.
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The art of music is an important part of human culture. Vocal music art is closely related to traditional culture. Different social, historical and cultural factors of different nationalities have injected different ideological and cultural connotations into vocal music art. In their respective cultural atmosphere, vocal music art presents very different forms of expression. The traditional cultural concepts and national psychological consciousness formed under different religious backgrounds affect the traditional artistic concepts and the trend of vocal music art, and finally lead to the differences between Chinese and Western vocal music art and cultural aesthetics.
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Caliga, Marina. "12. The Methodology of Music Education Lesson Completeness by Means of the Vocal-Choral Singing Dominant Activity." Review of Artistic Education 19, no. 1 (April 1, 2020): 93–99. http://dx.doi.org/10.2478/rae-2020-0012.
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AbstractChoral singing has always been an activity in which the participant, the choir singers sang together, achieved the same goals, lived and perceived music together. In the music education lesson, the choral-vocal singing is an activity with great teaching and educational possibilities. It is one of the most accessible ways of interpreting music in school. This article methodologically investigates the completeness of the music education lesson with the dominant activity of vocal-choral singing.
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Benetti, Lucia, and Eugenia Costa-Giomi. "Infant Vocal Imitation of Music." Journal of Research in Music Education 67, no. 4 (December 17, 2019): 381–98. http://dx.doi.org/10.1177/0022429419890328.
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Infant vocal production has been studied mainly from the perspective of language development. We studied it from the perspective of singing development by analyzing a 15-month-old’s imitations of songs. The infant wore a recording device that yielded a continuous, 16-hr audio recording of all the sounds produced by him and around him throughout the day. We listened to the audio file and identified instances in which his unprompted vocalizations resembled songs he had heard earlier. One imitation was recognized by his father, who then sang the song himself and engaged in imitative turn taking with the infant; the other imitation went unnoticed by his parents. Perceptual and acoustic analyses of the imitations and the song models showed that the infant imitated critical music features of the songs, including pitches, intervals, and rhythms. We discuss the use of new technologies for the study of singing development in infancy; such technologies facilitate the collection of spontaneous vocalizations that may go unnoticed by parents and make it possible to trace connections between music environment opportunities and specific singing outcomes in infants.
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Ekholm, Elizabeth. "The Effect of Singing Mode and Seating Arrangement on Choral Blend and Overall Choral Sound." Journal of Research in Music Education 48, no. 2 (July 2000): 123–35. http://dx.doi.org/10.2307/3345571.
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This study is an examination of the effects of soloistic versus blended choral singing and random versus acoustic choral seating arrangements on evaluations of choral blend and overall choral sound. Thirty-seven choral conductors, 33 voice teachers, and 32 nonvocal musicians rated performances of four pieces by a choir of 22 voice majors. Eight choristers were recorded individually during choral performances and solo, and their vocal production was evaluated by 12 voice teachers. Choristers rated experimental conditions for vocal comfort and choral sound. Results indicated that choral conductors preferred blended singing over soloistic singing. No significant singing mode preference, however, was found in choral evaluations by voice teachers and nonvocal musicians. Voice teachers ranked individual vocal production in blended choral singing lower than in soloistic choral singing, and both choral singing modes lower than solo singing. Acoustic seating positively affected evaluations of choral performance, individual vocal production, and choristers' vocal comfort and choral sound ratings.
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Rutkowski, Joanne. "The Relationship Between Children’s Use of Singing Voice and Singing Accuracy." Music Perception 32, no. 3 (February 1, 2015): 283–92. http://dx.doi.org/10.1525/mp.2015.32.3.283.
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The purpose of this study was to investigate the nature of the relationship between children’s use of singing voice (vocal register) and singing accuracy. In previous studies recorded examples of kindergartners’ (n = 37) and first graders’ (n = 38) singing were assessed with the Singing Voice Development Measure. For this study, these recorded examples were also evaluated for accuracy by two different raters. There was a significant correlation between children’s use of singing voice and singing accuracy, but no significant relationship for either variable with tonal aptitude as measured by Intermediate Measures of Music Audiation. When children’s accuracy was assessed based on their usable register, the influence of register on accuracy was very small suggesting that the relationship between vocal development and accuracy is a function of children’s access to, and control of, a wider singing range. Teachers interested in improving singing accuracy in their students are encouraged to work with them on expanding their usable vocal registers.
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Umarova, Gulshan Omonovana. "On The Culture Of Music And Singing." American Journal of Social Science and Education Innovations 02, no. 12 (December 17, 2020): 83–87. http://dx.doi.org/10.37547/tajssei/volume02issue12-15.
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In the current era of the influence of the information flow, blindly mastering the art of others, they put Uzbek words in their music and perform melodic performances. This article discusses the development of one of the vocal genres - traditional singing, the perfect study of the status of our classical art by students and the further enrichment and preservation of the treasures of our national musical heritage to future generations. In the current era of rapid development, under the influence of music and songs coming from abroad, the minds of our young people are changing and becoming indifferent to their art. It is useful for any nation to learn the art of its own national music first and then master the art of others.
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Cardany, Audrey Berger. "Favorite Children’s Books for Vocal Exploration and Pitch-Matching Activities." General Music Today 30, no. 3 (January 10, 2017): 22–25. http://dx.doi.org/10.1177/1048371316687607.
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In this article, the author shares favorite children’s books and stories for integrating language and music during shared-book experiences. The music activities described are aimed to contribute to the overall singing development for children in preschool and primary grades. Music and reading teachers will enjoy sharing these books with early readers in ways that foster expressive speaking and singing through vocal exploration and singing repeated melodic patterns.
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Alessandroni, Nicolás, Camila Beltramone, and Laura Sanguinetti. "SINGING PEDAGOGY AND CONTEMPORARY VOCAL MUSIC: A TROUBLED RELATIONSHIP." Revista Europeia de Estudos Artisticos 8, no. 2 (June 30, 2017): 1–16. http://dx.doi.org/10.37334/eras.v8i2.125.
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In this paper, we explore the interrelationships between knowledge construction in the field of Vocal Pedagogy and compositional forms of the academic music of the 20th century. We propose that research logics within Vocal Technique contributed to the thinking of the time providing a matrix to consider the vocal instrument from an objectivist position. The importance of the inquiries presented lies on the slow expansion that contemporary vocal music acquired in the last years, and in the absence of a Vocal Technique teaching method that considers the particular characteristics of this repertoire. As a current challenge, we consider necessary to chart a new model in Vocal Technique that favors the interpretation of the vocal repertoire of the 20th Century, and to establish a corpus of knowledge about (i) which are the new required skills and abilities, (ii) how they are produced, and (iii) how they should be taught.
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Erdemir, Aysu, and John J. Rieser. "Singing Without Hearing." Music Perception 33, no. 5 (June 1, 2016): 546–60. http://dx.doi.org/10.1525/mp.2016.33.5.546.
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Singing is a universal form of music expression. However, the extent of skill in carrying a tune and maintaining correct timing varies across people. Differences have been reported between professional singers and non-singers; however, whether singing accuracy depends on specialized vocal training or more general types of music training has not been investigated before. In this study, singers, instrumentalists, and nonmusicians sang Happy Birthday under conditions where they could or could not hear themselves singing. The main purpose of the study was to determine the influence of vocal versus instrumental training on pitch and timing accuracy when singing with and without auditory feedback. The results for pitch and tempo showed that singers depended on auditory feedback less than nonmusicians and instrumentalists alike, and were better able to use kinesthetic feedback in the absence of auditory feedback. Instrumentalists have had considerable ear and instrumental practice with feedback, but this did not transfer to pitch control when singing without auditory feedback, suggesting the ability to use kinesthesia for singing is enhanced through the kinds of practice/training singers receive. Rhythmic stability across all conditions and groups suggested that rhythmic calculations do not depend on music training or on use of auditory feedback.
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Chinn, Beverly Johnson. "Vocal Self-Identification Singing Style, and Singing Range in Relationship to a Measure of Cultural Mistrust in African-American Adolescent Females." Journal of Research in Music Education 45, no. 4 (December 1997): 636–49. http://dx.doi.org/10.2307/3345428.
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The purpose of this study was to determine the relationship between high or low cultural mistrust and the vocal characteristics of African-American adolescent females (N = 44). The vocal characteristics were vocal self identification, singing style, and singing range. The subjects were assigned to high or low cultural mistrust groups based on scores on the Cultural Mistrust Inventory. A researcher-devised vocal self-identification survey provided information about the subjects' vocal self-concepts and acceptance of vocal models. Subjects sang “America” in a key and style of choice for the singing-style measurement. The performances were analyzed for eight style characteristics: bends, glides, breathiness, hoarseness, raspiness, dips, hard attacks, and emphasis of chest voice. Results indicated statistically significant differences between two groups on each vocal characteristic. The high-mistrust group demonstrated more characteristics associated with the African-American culture than did the low-mistrust group.
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Robison, Tiger. "Overcoming the Octave Displacement: Vocal Modeling Strategies for Male Elementary General Music Teachers." General Music Today 31, no. 3 (April 2018): 66–72. http://dx.doi.org/10.1177/1048371318768486.
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The purpose of this article is to address the issue that children’s natural singing voices and pitch perception are in a treble range, and a male elementary general music teacher’s natural singing voice is an octave below. There are many strategies to overcome this significant but manageable obstacle in daily teaching, including monitoring of vocal health, use of instrumental accompaniment, encouragement of student vocal modeling, specific vocal exercises and cues, and cognitive strategies to help students discern between child and adult voices. Specific games, prompts, and rubrics are also included in this article to help guide any male elementary general music teacher to the most appropriate long-term vocal modeling solutions.
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Cuadrado, Albina, and Gabriel Rusinek. "Singing and vocal instruction in primary schools: an analysis from six case studies in Spain." British Journal of Music Education 33, no. 1 (January 11, 2016): 101–15. http://dx.doi.org/10.1017/s0265051715000273.
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This is an analysis of how specialist music teachers sing and teach how to sing, based on data collected from six case studies carried out in Spanish primary schools. The study aimed at understanding classroom singing practices, and in particular the provision or absence of vocal instruction in relation with teachers’ singing models. The findings support claims for thorough vocal training in the preparation of music teachers to enable them to face the challenges of the profession. Also suggested is the need to provide them with a coherent theoretical framework about the teaching and learning of singing.
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Nowicki, Stephen, and Peter Marler. "How Do Birds Sing?" Music Perception 5, no. 4 (1988): 391–426. http://dx.doi.org/10.2307/40285408.
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Hypotheses are reviewed about how the vocal apparatus of birds operates during singing, focusing especially on the means by which the tonal sounds so typical of birdsong are generated. Evidence for the widely held view that the "two voices" in the songbird syrinx act independently of one another, and independently of acoustic resonances of the vocal tract, is found to be incomplete. Results of several experiments, including effects of placing singing birds in helium air, indicate that coupling of the "two voices" can occur and that changes in vocal tract resonances modify the tonal quality of birdsongs. A new model of songbird phonation is proposed, implying close coordination between the operation of the acoustic sources in the syrinx and dynamic modifications of the vocal tract.
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Zhou, Yu. "Discussion on the Development Trend of Chinese National Vocal Music." Review of Educational Theory 2, no. 4 (December 4, 2019): 66. http://dx.doi.org/10.30564/ret.v2i4.1393.
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National vocal music carries the Chinese cultural spirit and Chinese national genes, and it has great influence among the broad masses of the people. The broad and profound Chinese spirit they display, with deep connotation and far-reaching significance is an important spiritual support for the survival and development of the contemporary nation. At present, the Chinese vocal music circle has effectively led the development trend of national vocal music by focusing on the inheritance and development of national vocal music, conducting academic research, singing exchanges, teaching innovation, media promotion, and field investigation, which has laid a good foundation for the creative development and innovative integration of national vocal music.
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Martyniuk, Lyubov. "SPECIFICITY OF PROFESSIONAL TRAINING OF FUTURE MUSIK TEACHERS TO LEAD ARTISTIC AND CREATIVE GROUPS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 96–101. http://dx.doi.org/10.36550/2415-7988-2021-1-195-96-101.
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The article discovers the issues which are a part of a complex set of training future music teachers to manage artistic and creative ensembles, in particular, vocal and choral ones. It is emphasized that the dominant place in the process of training future music teachers to guidance these groups is occupied by aspects of conducting and choral training, the study of which is impossible without understanding the unique phenomena of native choral performance and features of working with vocal and choral collectives. To solve these problems there are the disciplines of conducting and choral cycle, the main task of which is to educate students in professional skills and skills of singing in the choir, as well as managing the choir based on mastering the methods of working with the choir, didactic principles and knowledge of psychophysiological process which a person has during singing. It is noted that the reserve for improving the quality of professional training of future music teachers to manage vocal and choral ensembles is the intersubject relationship of special disciplines with socio-pedagogical and music-theoretical ones. Modern performance and analytical requirements for professional training of future music teachers to guidance vocal and choral groups are analyzed, in particular, the ability to achieve the required level of knowledge and skills on condition that students master each subject of conducting and choral cycle with awareness of their interaction, high level of singing and conducting competence of students and their deep knowledge of vocal and choral repertoire, the art of mastering of not only performing vocal and choral skills, but also organizational skills by the future manager of the ensemble, the unity of erudition in the field of vocal and choral art, methodical training, pedagogical activities based on interrelation of knowledge and practice of working with an artistic and creative collective. The specifics of the professional training of future music teachers to lead vocal and choral groups is his singing and conducting competence, deep knowledge of vocal and choral repertoire, the art of mastering the leader of the vocal and choral group not only organizational skills but also performing vocal skills. For effective professional training, students need to constantly and purposefully develop their musicological and performing qualities in conjunction with conducting and choral and methodological training.
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Seedorf, Thomas, John Potter, and Friedrich Klausmeier. "Vocal Authority. Singing Style and Ideology." Lied und populäre Kultur / Song and Popular Culture 47 (2002): 270. http://dx.doi.org/10.2307/3595226.
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Fahey, Hannah. "Stylistic pluralism and the experiences of classically trained teachers of singing in the Republic of Ireland." International Journal of Music Education 39, no. 3 (February 2, 2021): 301–12. http://dx.doi.org/10.1177/0255761421991247.
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Throughout much of the 20th century, the Western classical vocal aesthetic dominated tertiary singing training in the Republic of Ireland. At the turn of the 21st century, and reflecting similar movements internationally, Irish institutions, examining boards and private teaching studios diversified to include musical theatre and popular styles of singing in degree programmes and syllabi. The purpose of this study was to further understand voice teacher perceptions of these shifts in pedagogical culture. This research questioned how classically trained teachers of singing negotiate teaching across styles in popular music genres, and also questioned if implicit, embodied cultural ideas about classical singing defined their educative approaches to popular music vocals. Data were collected through in-depth qualitative interviews with classically trained teachers of singing in the Republic of Ireland. Analysis of interview data revealed a number of themes which are discussed within a theoretical framework drawn from the work of Bourdieu, revealing that the participant teachers are involved in processes of negotiation and re-negotiation of personal and institutional habitus.
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Bingham, Martina C. "Defining the Therapeutic Singing Voice: An Analysis of Four Music Therapists’ Clinical Work." Music Therapy Perspectives 37, no. 2 (2019): 176–86. http://dx.doi.org/10.1093/mtp/miz001.
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AbstractThe purpose of this study was to examine the ways music therapists use their singing voices in music therapy sessions and, in doing so, to provide a working definition of the therapeutic singing voice. Four music therapists were observed leading at least 10 music therapy sessions each in order to examine the ways they used their singing voices in clinical practice. Interviews with each of these therapists, at the completion of session observations, enriched these observational data. Data were analyzed in two stages. First, individual singing voice profiles were developed for each music therapist, and second, these profiles were integrated to define essential singing voice characteristics. These characteristics included flexible postures and physicality, diverse breathing methods and strategies of phonation, flexible resonance strategies, improvisational skills, and knowledge of diverse music genres. Implications for vocal education and training in music therapy programs are discussed.
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Colwell, Cynthia M., and George N. Heller. "Lowell Mason's The Song Garden (1864–66): Its Background, Content, and Comparison to a Twentieth-Century Series." Journal of Research in Music Education 51, no. 3 (October 2003): 231–44. http://dx.doi.org/10.2307/3345376.
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Lowell Mason's The Song Garden (1864–66) is a progressively arranged set of three volumes that may be regarded as the first music series books for schoolchildren. According to the publisher, the series is a “systematic, intelligible, and thorough course of teaching vocal music” (p. ii). Following Pestalozzian principles, Mason believed that students should first learn by rote before actually reading music. Following the singing-school tradition, each book began with a strong theoretical introduction in addition to singing exercises and literature for practice. A comparison with Audrey Snyder's The Sight-Singer (1993–94) reveals both similarities and differences in their approaches to vocal instruction.
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Cooper, Nancy A. "Children's Singing Accuracy as a Function of Grade Level, Gender, and Individual versus Unison Singing." Journal of Research in Music Education 43, no. 3 (October 1995): 222–31. http://dx.doi.org/10.2307/3345637.
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First through fifth graders' vocal pitch accuracy was examined as a Junction of grade level, gender, and the presence or absence of a unison accompanying voice. Subjects (N = 169) were tested individually, and taped responses were analyzed with Visi-Pitch technology. The vocal model was a tape-recorded child's voice singing a four-beat melodic pattern on the neutral syllable “loo.” For individual singing subjects echoed the model; for unison singing, subjects echoed the pattern simultaneously with the model. Statistical analysis revealed no significant difference between individual and unison accuracy. Fourth graders were significantly more accurate than third graders in both individual and unison conditions. Gender differences were not significant.
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Veliyeva, I. "Musical-Aesthetic Education of Young Schoolchildren Through Vocal-Choral Performances." Bulletin of Science and Practice 7, no. 7 (July 15, 2021): 331–35. http://dx.doi.org/10.33619/2414-2948/68/44.
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The article deals with the necessity and importance of vocal and choir singing in the musical-aesthetic education of young schoolchildren. Musical-aesthetic education is aimed at improving many features of the child’s personality. The formation of artistic and aesthetic culture in the educational process can be successfully implemented in choir classes. The author believes that the process of children’s vocal and choral education occurs in close connection with the formation of the singing apparatus, music and aesthetic education: first, the acquisition of basic vocal and choral skills (breathing, vocalization, diction, intonation). The second is the formation of creative abilities, artistic and aesthetic culture in general. The article also discusses how music teachers not only instill vocal and choral skills in students, but also teach them the basics of spiritual, moral, artistic and aesthetic culture.
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Elorriaga, Alfonso. "The construction of male gender identity through choir singing at a Spanish secondary school." International Journal of Music Education 29, no. 4 (October 11, 2011): 318–32. http://dx.doi.org/10.1177/0255761411421091.
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Several authors have recently investigated the psychological aspects that play a determinant role in choral singing during adolescence. One of these aspects is vocal identity, which influences the construction of gender identity according to adolescents’ needs and societal gender roles. This article focuses on gender aspects of vocal identity during adolescence and describes a case study carried out with male adolescent singers at a secondary school choir in Spain. Qualitative data were collected and analyzed in order to get a deeper knowledge about the relationship between boys’ vocal identity and their gender identity. There was enough evidence to show that male adolescents felt more engaged with choral singing when they realized that their vocal identity was a powerful tool for constructing their male gender identity.
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Seki, Yoshimasa. "Cockatiels sing human music in synchrony with a playback of the melody." PLOS ONE 16, no. 9 (September 3, 2021): e0256613. http://dx.doi.org/10.1371/journal.pone.0256613.
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It is known among aviculturists that cockatiels imitate human music with their whistle-like vocal sounds. The present study examined whether cockatiels are also able to sing “in unison”, or, line up their vocalizations with a musical melody so that they occur at the same time. Three hand-raised cockatiels were exposed to a musical melody of human whistling produced by an experimenter. All the birds learned to sing the melody. Then, two out of these three birds spontaneously joined in singing during an ongoing melody, so that the singing by the bird and the whistling by the human were nearly perfectly synchronous. Further experiments revealed that the birds actively adjusted their vocal timing to playback of a recording of the same melody. This means cockatiels have a remarkable ability for flexible vocal control similar to what is seen in human singing. The proximate/ultimate factors for this behavior and implications for musicality in humans are discussed.
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Freitas, Roger. "Towards a Verdian Ideal of Singing: Emancipation from Modern Orthodoxy." Journal of the Royal Musical Association 127, no. 2 (2002): 226–57. http://dx.doi.org/10.1093/jrma/127.2.226.
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To try to understand the vocal styles demanded by the famously exacting Giuseppe Verdi, I consider a wide range of evidence, including the composer's scores and letters, contemporary treatises, reports on performances, and selected early recordings. On the basis of this material, I contend that the vocal styles known and advocated by Verdi differed radically from what is proposed by most modern pedagogues and nearly always heard in opera houses today. An examination of the evidence, as it bears on specific technical and expressive procedures, sheds light on nineteenth-century vocal style, offering novel interpretative possibilities to the modern performer.
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Larrouy-Maestri, Pauline, David Magis, and Dominique Morsomme. "The Evaluation of Vocal Pitch Accuracy." Music Perception 32, no. 1 (September 1, 2014): 1–10. http://dx.doi.org/10.1525/mp.2014.32.1.1.
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The objective analysis of Western operatic singing voices indicates that professional singers can be particularly “out of tune.” This study aims to better understand the evaluation of operatic voices, which have particularly complex acoustical signals. Twenty-two music experts were asked to evaluate the vocal pitch accuracy of 14 sung performances with a pairwise comparison paradigm, in a test and a retest. In addition to the objective measurement of pitch accuracy (pitch interval deviation), several performance parameters (average tempo, fundamental frequency of the starting note) and quality parameters (energy distribution, vibrato rate and extent) were observed and compared to the judges’ perceptual rating. The results show high intra and interjudge reliability when rating the pitch accuracy of operatic singing voices. Surprisingly, all the parameters were significantly related to the ratings and explain 78.8% of the variability of the judges’ rating. The pitch accuracy evaluation of operatic voices is thus not based exclusively on the precision of performed music intervals but on a complex combination of performance and quality parameters.
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Yue, Teng. "Methods of teaching singing to children and to the youth subject to the requirements of educational psychology." Moscow University Pedagogical Education Bulletin, no. 2 (June 29, 2019): 96–102. http://dx.doi.org/10.51314/2073-2635-2019-2-96-102.
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Vocal music is a combination of artistic language and musical sound that create vivid melodic and poetic patterns. With the help of words and sounds romances and songs richly express people’s thoughts and feeling. Song is a special language of mankind, one of the most important genres in the art of music. The art of vocal music is of great interest and it does not depend on age. In particular, the age level of children who start learning music becomes lower. The high importance of the continuing education has resulted into the creation of additional requirements for educational institutions and education quality of singing teachers. The academic experience shows that voice instructors not only teach music and vocal skills but also conduct researches within the educational and developmental psychology.The purpose of the article is to analyze the process of teaching young students vocal music as a stimulating and teaching method including creation of effective training programs in the area of vocal music. Vocal courses should both attract students’ attention and enjoy them, therefor the teacher is supposed to be empathetic towards students in the process of teaching.
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Monks, Susan. "Adolescent singers and perceptions of vocal identity." British Journal of Music Education 20, no. 3 (October 29, 2003): 243–56. http://dx.doi.org/10.1017/s0265051703005424.
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The link between voice and self-image is so fundamental it is often overlooked or taken for granted. Yet the knowledge of this relationship has much to teach singing teachers and choral directors in making communication with singers more effective, in choice of repertoire, technical development and rehearsal strategies. This study set out to explore the way adolescent singers think about their voices and express themselves through singing. The results produced a rich diversity of evidence which suggests that vocal change is a fruitful area for exploring in greater depth the relationship between the voice, musical expression and the human psyche.
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Trollinger, Valerie L., and Robert T. Sataloff. "It’s All about the Voice . . . for Wind Instrumentalists, Too!" Music Educators Journal 105, no. 2 (December 2018): 36–42. http://dx.doi.org/10.1177/0027432118803430.
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While many music teachers are familiar with strategies to prevent damage due to vocal abuse or misuse, they are generally not acquainted with other vocal problems that can affect their own or their students’ singing ability. Such damage can also occur when playing a wind instrument. While vocal abuse and misuse are commonly understood in music education, problems (in children and adults) associated with laryngopharyngeal reflux (LPR), continuing unresolved issues in child voice pedagogy, and issues concerning protecting the larynx in young wind instrumentalists are not as well known to music educators. This article presents some new research of importance to music educators.
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Baird, Amee. "Group singing enhances positive affect in people with Parkinson’s Disease." Music and Medicine 10, no. 1 (January 25, 2018): 13. http://dx.doi.org/10.47513/mmd.v10i1.570.
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There is increasing evidence of the benefits of music, in particular singing, for people with Parkinson’s disease (PD). Current research has primarily focused on vocal or motor symptoms. Our aim was to examine the immediate emotional effects of group singing in people with PD, and whether the type of music sung (familiar vs. unfamiliar songs) moderates these effects. We also explored whether differences in music reward modulate the emotional effects of group singing in people with PD. 11 participants with PD completed the Positive And Negative Affect Schedule in three conditions: immediately after group singing (1) familiar songs, (2) unfamiliar songs, and (3) no singing, in addition to the Barcelona Music Reward Questionnaire. There was no significant difference in positive affect scores between the two singing conditions (familiar/unfamiliar songs). Positive affect scores were higher in the singing (collapsed across familiar and unfamiliar songs) than no singing condition. There was a positive but not statistically significant relationship between music reward and positive affect scores after singing. This is the first study to show enhanced positive affect in people with PD immediately after group singing. This has clinical implications for the use of singing as a therapeutic intervention in people with PD.
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Shevchenko, Anastasiia, and Olga Lobova. "Methodology of the formation of the teen-agers’ vocal and jazz culture at classes on pop singing." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (August 29, 2019): 80–87. http://dx.doi.org/10.24195/2617-6688-2019-2-12.
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The importance of the development of individual’s general culture as a factor of his / her harmonious education stipulates the relevance of the study. The purpose of the article is to describe the methods enabling the formation of teen-agers’ vocal and jazz culture at classes on pop singing (in musical schools and during extra-class activities in institutions of general secondary education). Methods of systematization and generalization of scientific sources, theoretical modelling, pedagogical experiment and so on have been used to achieve this goal. The scientific approaches (systemic-structural, personality-developmental, activity-oriented, competence-based, cultural ones) and didactic principles facilitating the formation of the vocal and jazz culture (the principles of systematicity, visual aids, unity of artistic-emotional, technical and complex development of the vocal and jazz culture) have been determined. The stages (motivational-stimulating, cognitive-developmental, performing-creative) as well as pedagogical conditions for the formation of the teen-agers’ vocal and jazz culture have been outlined: construction of educational process taking into account the children’s capabilities to perceive vocal and jazz music; systematic complex development of all the components of the vocal and jazz culture consistently emphasizing them at different stages of the training; giving the opportunities for vocal and creative self-realization, diversification of the experience of jazz musical performing activities. General vocal and pedagogical methods have been revealed to be the leading ones (concentric, search-oriented, phonetic, imaginary or internal singing methods, comparative analysis); special methods enabling the formation of the teen-agers’ vocal and jazz culture have been determined: “a listening-jazz collecting box”, technical vocal and jazz exercises, creative vocal and jazz drills, etc. The experimental verification of the developed methodology has proved its effectiveness at classes on singing variety music at establishments of general secondary education. Keywords: teen-agers’ vocal and jazz culture, developing methods, scientific approaches and didactic principles, stages, pedagogical conditions and methods, classes on vocal and jazz singing.
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Phillips, Kenneth H., and Randall E. Aitchison. "Effects of Psychomotor Instruction on Elementary General Music Students' Singing Performance." Journal of Research in Music Education 45, no. 2 (July 1997): 185–96. http://dx.doi.org/10.2307/3345579.
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This study is an investigation of the effects of a year-long program of vocal instruction I on measures of respiration (vital capacity, peak flow, duration) and singing performance (high pitch, low pitch, total range, pitch accuracy) among general music students in Grades 4, 5, and 6 (n = 269). A posttest-only control-group design was used with intact classes randomly assigned to either experimental or control conditions. Results of 2 ? 2 ? 3 factorial analyses (MANOVA and ANOVA) were as follows: (1) breath support (peak flow) may be improved with instruction; (2) vital capacity seems to be affected more by age than by instruction; (3) breath control (duration) may be improved with instruction, especially among fifth-grade students; (4) highest pitch of vocal range may be improved with instruction; (5) lowest pitch of vocal range may be improved with instruction, especially for boys; (6) total vocal range may be improved with instruction, especially for boys; (7) pitch accuracy seems to be greater for girl than for boys, and boys pitch accuracy may not be helped with vocal instruction when there is a reluctance to sing in the treble range.
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Zhabeva-Papazova, Julijana. "Women 's voices in alternative music: Lisa Gerrard and Elizabeth Fraser." New Sound, no. 46 (2015): 76–83. http://dx.doi.org/10.5937/newso1546076z.
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This paper deals with the analysis of Lisa Gerrard's and Elizabeth Fraser's vocal styles that promoted a new way of singing on the alternative music scene. Instead o f the traditional usage of lyrics in the English language as their mother tongue, they use so called 'glossolalia', meaning wordless, or substituting language with a melodic, exploratory rapture by their vocal range alone in a couple o f octaves. The main points of analysis are the relationships between the vocal interpretation and instruments, music form, main melodic themes, rhythm, accomplished with iconography in the relationship between vocal interpretations and stage performances.
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LO, WAI HAN. "The music culture of older adults in Cantonese operatic singing lessons." Ageing and Society 35, no. 8 (May 22, 2014): 1614–34. http://dx.doi.org/10.1017/s0144686x14000439.
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ABSTRACTCantonese operatic singing, one of the regional opera forms in China, flourishes mainly in the southern province of Guangdong. By exploring the culture of Cantonese operatic singing, this study relates older people's music participation to a sense of collectivism, thereby contributing to the maintenance of interpersonal relationships and promoting successful ageing. The study also illustrates how the musical participation of older adults can be influenced by the lifecourse and ageing in terms of both vocal abilities and levels of participation. Data analysed through participation observation in two Cantonese operatic singing lessons identify the rituals and core values of Cantonese operatic singing lessons. The findings help to explain how this particular music genre interacts with ageing.
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Sweet, Bridget. "Voice Change and Singing Experiences of Adolescent Females." Journal of Research in Music Education 66, no. 2 (April 2, 2018): 133–49. http://dx.doi.org/10.1177/0022429418763790.
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The purpose of this qualitative study was to understand how undergraduate- and graduate-level choristers perceived the influence of adolescent female voice change on their singing experiences since the age of 11 years old. Data included individual and focus group interviews with 17 female collegiate choral singers enrolled in one of two women’s choirs at a large midwestern university. Three overarching themes emerged: perceptions of vocal development, teacher influence, and emotion. Findings revealed that participants’ perceptions of singing experiences since age 11 largely revolved around vocal challenges, fear, and insecurity and have remained mostly negative even after the passing of time. Experiences in choir were not necessarily positive, and participants perceived their individual vocal needs as secondary to the needs of the larger choral ensemble. Out of fear of hurting the larger choir, participants remained passive and did not self-advocate, resulting in additional challenges with self-confidence and struggles pertaining to singer identity development during adolescence and into adulthood.
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Shelepnytska-Govorun, Natalia. "PERIODIZATION OF VOCAL CULTURE DEVELOPMENT OF MUSIC ART SPECIALISTS IN EUROPE." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 49–52. http://dx.doi.org/10.36550/2415-7988-2021-1-195-49-52.
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The article shows the periods of vocal development culture of music specialists in Europe. The article considered preconditions for the development of vocal culture of music art specialists in Europe. The table «Evolution of the development of vocal culture of music professionals in Europe during different stages» is presented in the article. It shows a brief description of the epoch and period. The article gave in more detail the features of formation of vocal culture of musical art specialists are determined, and also their characteristic in the European countries, such as: Italy, Germany, Great Britain, France, Austria, Poland. The emphasis of vocal culture, one of the most important components of the professional culture of music artists, is due to the specifics of his vocal and pedagogical activities, which is aimed at forming a personality capable of reproducing and enriching the culture of society in the future. The culture of future specialists in the art of music has undergone certain periods in the process of socio-cultural development. It, as a phenomenon of pedagogical practice, has always existed, but had different social and professional purposes depending on the influence of various factors: the political situation; moral relations that developed in society; dominant religion; type of education. Of course, knowledge of the origins, knowledge of the periods of origin and development of musical art, which took place over the centuries, is important for understanding both the current challenges of vocal culture and to determine its further development. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe. It should be noted that the curricula of European countries provide broad training of music professionals, expanding the sector of music specialties, including training: choir directors, specialists in individual vocal technique, vocal ensembles, choral singing, dominated by the practical orientation of professional education. Thus, the analysis of literary scientific sources on the formation of vocal culture of music artists shows that each stage was a unique and significant contribution to the formation of such culture in Europe.
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Liu, Hou Yu. "Application of Music Software in College Professional Music Using." Applied Mechanics and Materials 556-562 (May 2014): 6754–57. http://dx.doi.org/10.4028/www.scientific.net/amm.556-562.6754.
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There are many kinds of music software which can apply to almost every field of professional music using, such as solfeggio, vocal music and composing. Software, EarMaster School, can quickly upgrade students’ ability of solfeggio. Simulating stage scenery by using auto accompaniment software can reduce their stress and tension and improve their level of singing. Doing composing practice by using music software can improve learning efficiency. "TT composer" make electronic composing more intuitive, more easily.
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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.
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Lamont, Alexandra, Alison Daubney, and Gary Spruce. "Singing in primary schools: case studies of good practice in whole class vocal tuition." British Journal of Music Education 29, no. 2 (May 9, 2012): 251–68. http://dx.doi.org/10.1017/s0265051712000083.
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Within the context of British initiatives in music education such as the Wider Opportunities programme in England and the recommendations of the Music Manifesto emphasising the importance of singing in primary schools, the current paper explores examples of good practice in whole-class vocal tuition. The research included seven different primary schools in England and combined observational methods and semi-structured interviews with musicians, teachers and headteachers. Results indicate a variety of successful approaches to promoting singing in primary schools. Essential motivators for developing singing include an enthusiastic staff member, a supportive headteacher and support from other school staff. Additional motivators include access to musical expertise within and beyond the school, and a singing leader with keyboard skills. Challenges to good practice centre on the issue of confidence and skill in singing from both teachers and pupils, individually and in groups, recognising and rewarding quality in singing, and the sustainability of externally funded initiatives as pupils move through their schooling and particularly from primary to secondary school. Good-quality support from specialists and external organisations can facilitate good practice in schools, but it seems to be important to integrate singing into children's wider musical learning and development within the curriculum, in the extended curriculum and beyond school in order to help sustain a lifelong interest in singing.
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Veličkova, Ludmila, and Elena Petročenko. "“Vocal Form” as a Music-Phonetic Speech Genre: Aspects of Study." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 2 (June 2021): 133–43. http://dx.doi.org/10.15688/jvolsu2.2021.2.12.
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Vocal music is a form of existence and realization of a language. Primarily, it is oral speech of a specific type. Prosodic features of vocal music, as well as its rhythm and intonation, are formed as a result of direct music-language interaction. Therefore, intonational language-music correlation provides possibility of linguistic description of national vocal music and confirms the necessity to develop theoretical foundation for studying this issue. We consider vocal speech of any genre (song, aria or choral singing) in view of its prosodic features. Correspondingly, we consider intonational realization of a vocal text as related to distinctive features of intonation within phonetic system of a given language. In the present article, the authors term vocal-music speech phenomenon as a vocal form of a language, and specify the rationale that it could be related to elements of various levels of oral text. Several aspects of the vocal form are defined, namely phonatory, phonetic, rhythmic and intonational, and considered in the following branches of linguistics: phonostylistics, intonology and speech studies. The paper presents the concept of vocal form of a language within the research prospect. According to structure-based phonological approach, the vocal form as a music-language object is interpreted as a system component, its elements being defined as language units.
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Killian, Janice. "A Description of Vocal Maturation among Fifth- and Sixth-Grade Boys." Journal of Research in Music Education 47, no. 4 (December 1999): 357–69. http://dx.doi.org/10.2307/3345490.
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The present study was designed to explore the idea that boys' voices may be changing earlier than indicated in previous research. Singing and speaking voices of fifth-grade (h = 56) and sixth-grade (h = 43) boys were categorized and compared with the Cooksey changing voice stages. Data consisted of grade in school, age in years, highest and lowest sung pitches, overall singing range, speaking pitches, and voice stage categorization. Results indicated an earlier voice change than in previous research. Findings consistent with previous research included the fact that singing and speaking pitch lowered with each successive voice-change stage, the overall range narrowed in the predicted stages, and the speaking pitch remained 2-3 semitones above lowest sung pitch, regardless of voice stage.
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Guiard, Yves. "Failure to Sing the Left-Hand Part of the Score during Piano Performance: Loss of the Pitch and Stroop Vocalizations." Music Perception 6, no. 3 (1989): 299–314. http://dx.doi.org/10.2307/40285591.
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An experiment compared the ability of classical pianists to sing, during keyboard performance, the right- and the left-hand part of the score being played. Upon instructions requiring them to "sing" one or the other voice of the score, the subjects spontaneously chose to sing and name the notes simultaneously, in keeping with the French traditional way of reading music, thus producing a two- dimensional tonal and verbal vocal act in response to each visual stimulus. Singing the right-hand part of the music, whether in unison with or in place of the right hand, while concurrently playing the left-hand part was judged easy by all subjects, and performance, typically, was correct in all respects. The other task, consisting of singing the left-hand part of the music, was judged more difficult by all subjects, and performance, more often than not, was poor. Careful inspection of the many errors that were recorded in the latter task revealed a few clear-cut regularities. Failures were vocal, but not manual. More specifically, vocal failures took place on the tonal dimension of the vocal response, but not on its verbal dimension: The song, but not the naming of the notes, was prone to fail, with either a loss of the pitch, or a systematic trend toward singing unduly—albeit accurately—the notes of the right-hand part. A number of subjects were found to display this intriguing tonal/verbal dissociation—naming a note at a pitch corresponding to another note—in a continuous regime. It is emphasized that this phenomenon amounts to the spontaneous production of musical events that belong to the Stroop category.
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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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Ćaleta, Joško. "The Art of Ganga Singing: Cultural Tradition of the Dinaric Area." Musicological Annual 55, no. 1 (June 20, 2019): 211–18. http://dx.doi.org/10.4312/mz.55.1.211-218.
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Ganga, currently the most popular traditional vocal genre of the Dinaric area (stretching across Croatia and Bosnia and Herzegovina), is one of the last examples of the archaic style of music making, entirely different from traditional styles and genres based on the heritage of Western European music, such as “klapa” singing. This style of traditional music making serves as an important identification marker of Dinaric communities in Southeastern Europe, both past and present. The author of the proposed book, the Sarajevan ethnomusicologist Ankica Petrović, remains the greatest proponent of the ganga music phenomenon in scholarly circles outside former Yugoslavia. Ganga, currently the most popular traditional vocal genre of the Dinaric area (stretching across Croatia and Bosnia and Herzegovina), is one of the last examples of the archaic style of music making, entirely different from traditional styles and genres based on the heritage of Western European music, such as “klapa” singing. This style of traditional music making serves as an important identification marker of Dinaric communities in Southeastern Europe, both past and present. The author of the proposed book, the Sarajevan ethnomusicologist Ankica Petrović, remains the greatest proponent of the ganga music phenomenon in scholarly circles outside former Yugoslavia.
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Bezpalko, Vladyslav, and Ivan Kuzminskyi. "Musical Heritage of the Pereyaslav Collegium." Kyivan Academy, no. 17 (March 10, 2021): 99–118. http://dx.doi.org/10.18523/1995-025x.2020.17.99-118.
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This article is an interdisciplinary study that aims to form a comprehensive view of music and church singing both in the educational process of collegium students and outside it. Thanks to the historical sources involved, we were able to clarify the mechanism of functioning of church singing both in the collegium and at the stage of primary (preparatory) education of future students, as well as its role in the life of collegium graduates who made careers in the major vocal chapel of the Russian Empire. The preparatory stage for the future students was studying in parish schools, where an obligatory discipline was irmoloinyi singing. It is probable that in the 18th century, the teaching of singing in the collegium was carried out in the primary classes, where Church Slavonic literacy was studied at the same time, and in the first years of the 19th century musical singing was officially reflected in the name of a separate class. All students of the collegium underwent compulsory liturgical singing practice. The most gifted of the students were members of the Episcopal Cathedral Vocal Chapel. The students of the collegium were not limited to singing only in the cathedral; they also sang during the festive processions, during the begging, as well as in the parish churches during the holidays, where they also taught church singing. Among the music books, we know for sure about several Irmologions that were used in the collegium. From the memoirs of an eyewitness of the first third of the 19th century, we learn about the singing of hymns during public exams, as well as the singing of vocal concerts during the traditional holiday greetings to the Bishop, Rector, and Prefect of the seminary. It was noted that this tradition existed in the last quarter of the 18th century. Such a practice did exist at the same time in Kyiv-Mohyla Academy, so this evidence seems plausible. The only evidence of the use of musical instruments among the students of the Pereyaslav Collegium comes from the descriptions of the May recreational festivities, when both vocal and instrumental ensembles from among the pupils were heard.
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Zilmi, Fauziatus, Abdul Rachman, and Moh Muttaqin. "Ngeroncongi And Ngepop : A Study Of Popular Song's Vocal Performance In Keroncong Music In Semarang." Jurnal Seni Musik 10, no. 1 (June 30, 2021): 17–24. http://dx.doi.org/10.15294/jsm.v10i1.46812.
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Keroncong Music is a music that has different character from other musics, including several techniques in vocal performance, such as luk, nggandul, embat, gregeland cengkok. Nowadays keroncong music does not only perform keroncong songs but also performs popular songs accompanied by keroncong music. When performing popular songs accompanied by keroncong music, usually the performance of each singer will be different. This study aims to determine how the vocal performance of popular songs in keroncong music. The research method used was qualitative. Data collection techniques used observation, interviews, and document study. The results showed that in performing pop songs with a slow tempo accompanied by keroncong music, the techniques used by keroncong singers tended to be Ngeroncongiwhich means that singers still use some keroncong singing techniques such as luk, nggandul, embat, gregel, and cengkokalthough the songs performed have pop genre. Whereas in performing pop songs in fast tempo that are accompanied by keroncong music, the techniques used by keroncong singers tend to pop (ngepop), which means the singers still show pop techniques and improvisation.
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Obukh, Liudmyla. "PSYCHOTECHNICS OF SINGING AS A MODERN DIRECTION OF VOCAL PEDAGOGY." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 106–10. http://dx.doi.org/10.36550/2415-7988-2021-1-195-106-110.
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The aim of the study is to solve the problem of development of vocal abilities and vocal qualities through the development of stress resistance during singing of students of artistic specialties from a psychophysiological point of view, which is still relevant and appropriate in terms of finding and implementing innovative teaching aids. Whereas singing must first and foremost be physiologically correct, a person's voice is a consequence of his or her physical and mental health. The key to the singer's success in the modern hyper-stressful world will be the ability to liberate the body and soul from certain psychophysiological overloads through certain exercises, trainings, etc. Certainly, for each organism of the singer it is necessary to select a separate set of special exercises, look for appropriate methods for educating psychophysiological freedom during singing, as well as to establish an individual singing regime. The article considers certain theoretical and methodological developments in the field of education and upbringing of a music artist, which allow to form an idea of traditions and innovations for effective work with students in the process of learning to sing. The described views of both vocal teachers and psychophysiologists resonate with each other, complementing each other and forming a new modern direction of vocal pedagogy – the psychotechnics of singing. In particular, the use in practice of publicly available trainings by D. Burns, A. Ellis and S. Genyk help to solve certain psychophysiological problems in vocal pedagogy, and the methods and techniques of R. Berkeley and A. Kalabin contribute to the release of psychophysiological feelings of the vocalist, expanding his professional opportunities. Therefore, research and implementation of interesting methods and practices of leading specialists not only in the field of vocal pedagogy, but also psychology, physiology and medicine in the educational process will help not only to expand singing potential and improve the work of the vocal apparatus. The study of such innovations is the prospect of further research to substantiate the psychotechnics of singing as a new direction of vocal pedagogy.
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Buryak, Marina K. "Creative Work of Novgorod Original Singers as a Reference for Modern Folk-Singing Education." Musical Art and Education 8, no. 3 (2020): 159–74. http://dx.doi.org/10.31862/2309-1428-2020-8-3-159-174.
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The article presents the theoretical grounding of the folk-singing technologies of Novgorod original singers (authentic performers) as fundamental to the developed author’s methods: intonational-formulaic, vocal-phonatory, polyphonic-specific, local-style. The identified features of authentic intonation-formulaic education and the study resulted singing fund of children’s song folklore became “key” and end-to-end mechanisms in the author’s method of forming and developing skills of sustainable singing intonation with each participant in the educational process aimed at preserving and further developing the traditions of Novgorod folk-song creation. Based on the study of the general-style singing specifics, vocal-phonation and polyphonic texture of ensemble singing of Novgorod authentic singers developed local-style singing classification, which, according to the terminology of the author of the article, Novgorod folk-singing styles are: old Slavic, Old Russian, part singing, as well as four mixed folk-singing styles. The differentiating mechanism of classification is the potential of the applied types of folk vocal phonation, polyphony in the ensemble singing and the type of singing articulation. On this local-style foundation, the author formed a specific Novgorod mixed folk-singing style, combining locally-style folk-singing technologies of Novgorod authentic performers and the academic school of Russian folk singing. This style is used in the singing of teachers and students of the Novgorod Children’s Music School of Russian Folklore. The implementation of the technologies developed by the author in pedagogical practice helps children achieve a high level of singing training and become ethno performer, a future ethnophore and a bearer of Russian local / regional folk song traditions.