Relevant bibliographies by topics / Vocal music

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Academic literature on the topic 'Vocal music'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Vocal music"

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Anindhita, Galuh Adi, Siswanto Siswanto, Agnes Tika Setiarini, and Leny Suryani. "Implementasi Teknik Vokal Luk, Gregel dan Crooning dalam Repertoar Tristeza." PROMUSIKA 11, no. 2 (October 10, 2023): 91–97. http://dx.doi.org/10.24821/promusika.v11i2.10989.

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Penulisan ini membahas tentang bagaimana implementasi teknik vokal luk, gregel, dan crooning pada repertoar Tristeza dengan iringan combo keroncong. Teknik vokal luk, dan gregel merupakan teknik vokal yang digunakan dalam menyanyikan repertoar keroncong. Luk dapat diartikan sebagai bagian dari cengkok yang memperindah pembawaan lagu. Kemudian gregel merupakan hiasan dari nada yang bergerak dengan cepat. Pada penulisanya gregel dapat ditulis dengan tanda inverted mordent. Teknik vokal crooning merupakan teknik bernyanyi ringan seperti berbicara. Tristeza merupakan repertoar musik latin. Musik keroncong dan musik latin merupakan musik yang berasal dari akar yang sama. Musik latin memiliki ciri pada permainan ritmik yang kerap dipegang oleh instrumen perkusi, 2 sedangkan ciri khas musik keroncong terletak pada instrumen cak, dan cuk. Penelitian ini merupakan penelitian kualitatif dengan penerapan metode studi dokumen, wawancara dan diskografi. Hasil yang diperoleh berupa sajian musik dengan repertoar Tristeza yang telah diaransemen dibawakan dengan iringan combo keroncong, dan implementasi teknik vokal luk, gregel, dan crooning. Dengan demikian menghasilkan nuansa musik yang baru.AbstractImplementation of Luk, Gregel, and Crooning Vocal Techniques in the Tristeza Repertoire. This writing discusses how the implementation of luk, gregel, and crooning vocal techniques in the Tristeza repertoire with keroncong combo accompaniment. Luk, and gregel vocal techniques are vocal techniques used in singing keroncong repertoire. Luk can be interpreted as part of the cengkok that beautifies the rendition of the song. Then gregel is a decoration of a tone that moves quickly. In writing gregel can be written with an inverted mordent sign. Crooning vocal technique is a light singing technique like talking. Tristeza is a Latin music repertoire. Keroncong music and Latin music come from the same roots. Latin music is distinguished by its intricate rhythmic patterns, often driven by percussion instruments, whereas keroncong music is defined by the distinctive sounds produced by the cak and cuk instruments. This research is a qualitative research with the application of document study, interview and discography methods. The results obtained are in the form of a musical presentation with the Tristeza repertoire that has been arranged performed with keroncong combo accompaniment, and the implementation of luk, gregel, and crooning vocal techniques. Thus producing new musical nuances.Keywords: Luk; Gregel; Crooning; Latin; Keroncong
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Sejati, Irfanda Rizki Harmono, Tejo Bagus Sunaryo, and Sunarto Sunarto. "Seni Pertunjukan dan Kreativitas Kelompok Musik Setabuhan Yogyakarta Indonesia." Resital: Jurnal Seni Pertunjukan 23, no. 2 (August 1, 2022): 107–16. http://dx.doi.org/10.24821/resital.v23i2.7083.

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ABSTRACT Setabuhan is a musical group consisting of three people who have different musical concepts from the others. The form of Setabuhan group music is rhythmic or percussion music in which two people are percussionists, and the other plays the exploration of vocal sound. The musical instruments used by Setabuhan are drums, percussion and vocal music using digital effects. The form of music used by this Setabuhan music group is not commonly used in structural forms of musical compositions because it does not use melodic musical instruments, and the vocal music does not have lyrics. The form of the Setabuhan group performance is a collaboration of rhythmic music with the arts of Pencak Silat, or martial arts. The rhythm and tempo of the beats tend to be loud with a fast rhythmic game. This group becomes very interesting and has particular characteristics because not many musical groups have the same concept as Setabuhan . The Setabuhan music group is not well known in Indonesia but has performed many performances in various other countries. The focus of the research on the Setabuhan music group is: 1) The form of Setabuhan music performances; and 2) The creativity of the Setabuhan music group. The research method used in this research is qualitative with descriptive exposure. The research subjects were musicians of the Setabuhan music group in Yogyakarta. Data collection techniques were observation, interviews, documentation, and data analysis. The results show that the form and creativity of the Setabuhan music group lie in the rhythmic drum and percussion music playing, which is filled with exploration of vocal sounds with musical effects and collaboration with the art of Pencak Silat. The conclusion of this research is the form and creativity process of the Setabuhan music group, which is very interesting and has the characteristics of its work and form of performance.ABSTRAK Setabuhan merupakan kelompok musik yang terdiri dari tiga orang yang mempunyai konsep musik yang berbeda dari yang lain. Bentuk musik kelompok Setabuhan adalah musik ritmis atau disebut dengan musik perkusi. Dua orang sebagai pemain perkusi dan satu orang memainkan eksplorasi bunyi vokal. Alat musik yang digunakan Setabuhan menggunakan drum, perkusi dan satu musik vokal yang menggunakan efek digital. Bentuk musik yang digunakan kelompok musik Setabuhan ini tidak lazim digunakan pada bentuk struktural komposisi musik pada umunya karena tidak menggunakan alat musik musik melodis dan bentuk musik vokal nya juga tidak berlirik. Bentuk pertunjukan kelompok Setabuhan adalah kolaborasi musik ritmis dengan seni pencak silat atau bela diri. Irama dan tempo musik Setabuhan cenderung keras dengan permainan ritmis yang cepat. Kelompok ini menjadi sangat menarik dan mempunyai ciri khas karena belum banyak kelompok musik yang mempunyai konsep yang sama dengan Setabuhan. Kelompok musik Setabuhan memang belum begitu dikenal di Indonesia tetapi sudah banyak melakukan pertunjukan di berbagai negara lain. Fokus dari penelitian pada kelompok musik Setabuhan adalah: 1) Bentuk pertunjukan musik Setabuhan; dan 2) Kreativitas kelompok musik Setabuhan. Metode penelitian yang digunakan dalam penelitian ini adalah kualitatif dengan paparan secara deskriptif. Subjek penelitian adalah musisi kelompok musik Setabuhan di Yogyakarta. Teknik pengumpulan data dengan observasi, wawancara, dokumentasi, dan analisis data. Hasil penelitian menunjukan bahwa bentuk dan kreativitas yang dilakukan kelompok musik Setabuhan terletak pada permainan musik ritmis drum dan perkusi yang di isi oleh eksplorasi bunyi vokal yang diberi efek musik dan berkolaborasi dengan seni pencak silat. Kesimpulan dari penelitian ini adalah bentuk dan proses kreativitas kelompok musik Setabuhan yang sangat menarik dan mempunyai ciri khas karya dan bentuk pertunjukannya.
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Simorangkir, Yusuf. "Ornamen Musik Barok dalam Perkembangan Lagu Seriosa Indonesia." INVENSI 9, no. 1 (May 28, 2024): 113–23. http://dx.doi.org/10.24821/invensi.v9i1.8227.

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Musik Barok merupakan gaya musik klasik Barat dari tahun 1600-1750 dan di era Barok, musik vokal memainkan peran dominan, sehingga musik instrumen hadir setelah berjalannya musik vokal. Pada zaman Barok, ornamen vokal muncul karena adanya perkembangan pesat dari zaman Renaisans yang pada saat itu orang menyanyi Gregorian tanpa vibrasi sama sekali. Budaya ini dibawa oleh para biarawan yang menyanyi di gereja dan istana dengan gaya yang sangat kaku. Ornamen-ornamen tersebut semakin menambah interpretasi seseorang di dalam bernyanyi. Tujuan penelitian ini untuk melihat seberapa besar pengaruh ornamen musik Barok dalam perkembangan lagu Seriosa Indonesia. Metode penelitian yang dipakai adalah heuristik, hermeneutika, dan historiografi. Hasil penelitian ini menunjukkan beberapa ornamen yang terdapat dan dibawakan dalam repertoar Seriosa Indonesia yaitu: Trill, Mordent, Turn, Acciaccatura, Appoggiatura, dan Glissando. Kesimpulan dari penelitian ini adalah ornamen musik Barok banyak memengaruhi perkembangan lagu Seriosa Indonesia. Terlihat ketika repertoar dinyanyikan, terdapat ornamen-ornamen yang tertulis dengan simbol musik Barok maupun tidak tertulis melalui simbol, namun langsung dijabarkan ke nada-nada tanpa perbedaan bunyi. Baroque Music Ornaments in the Development of Indonesian Seriosa Songs ABSTRACT Baroque music is a style of western classical music from 1600-1750, and in the Baroque era, vocal music played a dominant role in that instrument music dropped anchor after vocal music. In the Baroque era, ornaments, particularly vocal ornaments, emerged due to the rapid development of the renaissance era when people sang Gregorians without any vibration. This culture was brought by monks who sang in churches and palaces in a very rigid style, which led to the ornaments further adding to one's interpretation in singing. The purpose of this research is to see how immense the influence of Baroque music ornaments was in the development of the Seriosa Indonesia song. The research methods used are Heuristics, Hermeneutics, and Historiography. The results show that numerous ornaments are performed in the Seriosa Indonesia repertoire: Trill, Mordent, Turn, Acciaccatura, Appoggiatura, and Glissando. This research concludes that Baroque music's ornaments greatly influenced the development of Seriosa Indonesia's songs. When the repertoire is sung, there are ornaments written with symbols of Baroque music or not written through symbols but are immediately translated into notes without sound differences.
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Radhakrishnan, Nandhu, Savithri S.R., and Rammohan Gangisetty. "Expression of Emotions in Carnatic Vocal Music." Music and Medicine 8, no. 3 (July 31, 2016): 108. http://dx.doi.org/10.47513/mmd.v8i3.438.

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Voice is the element that makes speech audible. Apart from conveying the meaning of what is spoken, it can carry a variety of information about the speaker like gender, age, general health, mood, and emotions. Expressing emotions is a crucial aspect in speech communication and vocal music. Bhava, or emotions in vocal music convey the essence of the piece rendered by the singer. This preliminary study is to understand the role of the larynx in expressing emotions like joy and sorrow in Carnatic vocal music. Twelve Carnatic singers rendered vocal emotions at three levels, joy, sorrow, and neutral. The output was recorded, analyzed, and compared between each level. Results showed significant differences between the laryngeal dynamics of joy and sorrow. The results of this and future studies will help in designing voice therapy techniques for disorders like Parkinson’s disease that affect both facial and vocal expression of emotions. Keywords: emotions, carnatic, vocal, laryngealSpanishExpresión de Emociones en la música vocal carnáticaLa voz es el elemento que hace al habla audible. Aparte de trasmitir el significado de lo que se dice, puede llevar variedad de información sobre quien habla como el género, edad, estado de salud, humor, emoción. Expresar emociones es un aspecto crucial de la comunicación hablada y esto también ocurre en el canto. Las emociones en la música vocal transmiten la esencia de una pieza (Bhava) , dictada por el cantante. Este estudio preliminar es un intento de comprender el rol de la laringe en la expresión de emociones como alegría y tristeza en la música vocal carnática. Doce cantantes carnáticos interpretan emociones vocales en tres niveles: alegría, tristeza y neutro. La producción entre cada nivel fue grabada, analizada y comparada. Los resultados muestran diferencias significativas entre las dinámicas de la laringe en alegría y tristeza. El resulto de este y de estudios futuros ayudara a diseñar técnicas de terapia vocal para desordenes como la enfermedad de Parkinson que afecta la expresión vocal y facial de emociones.Palabras claves: Emociones, carnático , vocal , laringe GermanDer Ausdruck dvon Emotionen durch Carnatic vokale Musik Abstract: Die Stimme ist ein Element, das Sprache hörbar werden lässt. Abgesehen vom Inhalt dessen, was gesagt wird, überträgt sie verschiedenste Informationen über den Sprechenden, wie Geschlecht, Alter, allgemeine Gesundheit, Stimmung und Emotionen. Das Ausdrücken von Emotionen ist ein entscheidender Aspekt verbaler Kommunikation; dies ereignet sich auch beim Singen. Bhava oder Emotionen in vokaler Musik, überträgt die Essenz eines Stückes, das von dem Sänger wiedergegeben wird. Diese einleitende Studie ist ein Versuch, die Rolle der Larynx beim Ausdruck von Emotionen, wie Freude und Leid, durch Carnatic vokale Musik zu verstehen. 12 Carnatic Sänger interpretierten vokale Emotionen in drei Stufen: Freude, Leid und neutral. Der Output der drei Stufen wurde aufgenommen, analysiert und verglichen. Die Ergebnisse zeigten signifikante Unterschiede zwischen der Larynx- Dynamik bei Freude und Leid. Die Ergebnisse dieser und zukünftiger Studien werden helfen, vokale Therapietechniken für Krankheiten wie Parkinson zu erstellen, die beides, den mimischen und vokalen Ausdruck von Emotionen beeinflussen. ItalianEspressioi ed Emozioni nella Musica Vocale CarnaticaLa voce è l’elemento che rende le nostre parole udibili. Oltre a trasmettere il significato di ciò che viene detto, può trasportare una varietà di informazioni riguardanti chi in quel momento sta parlando come, il sesso, l’età , lo stato generale di salute, l’umore e l’emozione.. Esprimere un emozione è un aspetto cruciale nella comunicazione verbale e questo avviene anche nel canto. Bhava, o le emozioni in musica comunicano l’essenza di brano, trasmessa dal cantante.. Questo studio preliminare e`un tetativo di comprendere il ruolo della laringe nell’esprimere emozoni come la gioia e il dolore nella musica vocale Carnatica. 12 cantanti Carnatici hanno fornito 3 livelli di emozioni vocali: gioia, dolore e neutralità. Il prodotto tra I vari livelli è stato registrato, analizzato, e comparato. I risultati hanno mostrato differenze significative tra le dinamiche della laringe di gioia e di dolore. Questi risultati e gli studi futuri aiuteranno alla progettazione di tecniche di logopedia per disturbi come il morbo di Parkinson, che colpisce sia l’espressione facciale che vocale dell’espressione.Parole chiave: musica vocale carnatica, laringeJapaneseカルナータカ音楽の声における感情表現について 声とは、ことばを聴覚化するための要素である。語られている事柄の意味を伝達するだけでなく、声は、語り手の様々な情報、例えば性別、年齢、健康状態、気分、感情などを伝える媒体となる。感情表現とは、言語的コミュニケーションにおける重要な要素であり、これは歌唱でも同様である。声楽音楽におけるバーヴァ（Bhava）また感情は、その曲の根本的要素であり、歌手によって表現されるものである。この予備研究は、カルナータカ音楽の歌唱で喜びや哀しみ等の感情を表現する際、歌手の喉頭部がいかに作用しているかについて理解するための検証である。方法は、12名のカルナータカ音楽の歌手が、３つのレベルの感情（喜び、悲しみ、ニュートラル）を歌唱表現する。各レベルの違いは、すべて録音され、分析され、比較された。結果として、喜びと悲しみの表現における喉頭部の動きに、大きな差が生じていることが分かった。この結果と将来的研究は、パーキンソン病などの表情や発語における感情表現に困難を持つ対象者に対して、声を使ったセラピーの 技法を設計する際に有効になると考える。キーワード：感情、カルナータカ音楽、声楽、喉頭部
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Narselina, Puput Meinis. "Analisis Bentuk Musikal dan Struktur Lagu Tanah Airku Karya Ibu Soed Aransemen Joko Suprayitno untuk Duet Vokal dan Orkestra." PROMUSIKA 6, no. 1 (August 6, 2019): 31–40. http://dx.doi.org/10.24821/promusika.v6i1.1825.

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Analisis dalam musik adalah pembelajaran untuk menemukan beberapa elemen – elemen musik yang pada prinsipnya meliputi semua aspek dari musik antara lain; melodi, harmoni, ritme, dinamika, dan bentuk musik. Karya tulis ini merupakan analisis bentuk musikal dan struktur lagu Tanah Airku karya Ibu Soed aransemen Joko Suprayitno untuk format duet vokal dan orkestra. Metode penelitian ini merupakan jenis metode penelitian kualitatif dengan pendekatan musikologis kepada arranger. Metode tersebut meliputi tinjauan historis, analisis bentuk musikal dan struktur aransemen. Penelitian ini bertujuan untuk mengetahui bentuk musikal dan struktur lagu Tanah Airku karya Ibu Soed aransemen Joko Suprayitno untuk duet vokal dan orkestraAnalysis of the music is learning to find some of the elements of music which in principle covers all aspects of music, among others; melody, harmony, rhythm, dynamics, and forms of music. This paper is an analysis of musical form and structure of Tanah Airku song from Ibu Soed arrangement works by Joko Suprayitno for vocal duet and orchestra format . This research method is a type of qualitative research methods with musicological approach to the arranger. The method includes a historical review, analysis of musical form and structure of the arrangement. This study aims to determine the musical form and structure of Tanah Airku song arrangement by Joko Suprayitno for vocal duet and orchestra.Keywords: Joko Suprayitno, Analysis of Arrangement of My Tanah Air Song by Ibu Soed
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Bürgel, Michel, and Kai Siedenburg. "Salience of Frequency Micro-modulations in Popular Music." Music Perception: An Interdisciplinary Journal 41, no. 1 (September 1, 2023): 1–14. http://dx.doi.org/10.1525/mp.2023.41.1.1.

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Singing voices attract auditory attention in music unlike other sounds. In a previous study, we investigated the salience of instruments and vocals using a detection task in which cued target sounds were to be detected in musical mixtures. The presentation order of cue and mixture signals influenced the detection of all targets except the lead vocals, indicating that listeners focus on voices regardless of whether these are cued or not, highlighting a unique vocal salience in music mixtures. The aim of the present online study was to investigate the extent to which phonological cues, musical features of the main melody, or frequency micro-modulation (FMM) inherent in singing voices contribute to this vocal salience. FMM was either eliminated by using an autotune effect (Experiment 1) or transferred to other instruments (Experiment 2). Detection accuracy was influenced by presentation order for all instrumental targets and the autotuned vocals, but not for the unmodified vocals, suggesting that neither the phonological cues that could provide a facilitated processing of speech-like sounds nor the musical features of the main melody are sufficient to drive vocal salience. Transferring FMM from vocals to instruments or autotuned vocals reduced the magnitude of the order effect considerably. These findings suggest that FMM is an important acoustical feature contributing to vocal salience in musical mixtures.
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Voigt, Boris. "Musikästhetik für den Homo oeconomicus." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 58, no. 1 (2013): 97–120. http://dx.doi.org/10.28937/1000106213.

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Autonome Musik ist nur als Ware denkbar. Diese treffende Einsicht liegt bereits der Musikästhetik Adam Smiths zugrunde, darf jedoch nicht missverstanden werden als ein auf die Musik gerichteter ökonomischer Determinismus. Vielmehr unterliegt Smiths ökonomische Theorie selbst in hohem Maße einer Ästhetisierung. Beide Ebenen, Ästhetik und Ökonomie, sind strukturell aneinander gekoppelt. Besonders deutlich wird dies an Smiths musikästhetischen Überlegungen. Er unterscheidet strikt zwischen Vokal- und Instrumentalmusik, wobei die Vokalmusik durch die Kommunikation von Sympathierelationen charakterisiert ist, während die Instrumentalmusik lediglich sich selbst kommuniziert, also autonom ist und damit der Denkfigur der unsichtbaren Hand entspricht, die in der Instrumentalmusik tatsächlich ihren präzisesten Ausdruck findet.<br><br>Autonomous music is conceivable only as a commodity. This striking insight is already underlying Adam Smith’s aesthetics of music, but it should not be misunderstood as an economic determinism on music. Rather, Smith’s economic theory itself is subject of aestheticisation. Both levels, aesthetics and economics, are structurally coupled. This is particularly evident in Smith’s musical-aesthetic considerations. He distinguishes clearly between vocal and instrumental music. While vocal music is characterised by the communication of relations of sympathy, instrumental music communicates only itself and is therefore autonomous. Thus it corresponds to the figure of the invisible hand, which actually has its most precise expression in instrumental music.
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Akbar, Mohamad Alfiah, and Layung Jingga Artista. "Efektivitas Strategi Latihan Instrumen Musik dan Vokal pada Mahasiswa." PROMUSIKA 8, no. 1 (April 5, 2020): 49–57. http://dx.doi.org/10.24821/promusika.v1i1.4445.

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Penelitian ini bertujuan untuk mengetahui efektivitas strategi latihan instrumen musik dan vokal pada mahasiswa di Jurusan Musik ISI Yogyakarta. Sampel penelitian terdiri dari 55 subjek yang berada di semester tiga dan lima, kami asumsikan mahasiswa yang berada pada semester tersebut telah mendapatkan pengalaman latihan instrumen dan vokal yang diberikan oleh dosen. Metode yang digunakan dalam penelitian ini adalah deskriptif kuantitatif. Data kuantitatif diperoleh melalui analisis skor jawaban subjek pada kuesioner efektifitas strategi latihan sehingga diperoleh gambaran mengenai strategi latihan instrumen musik dan vokal mahasiswa. Dalam menganalisis tingkat efektivitas strategi latihan instrumen musik dan vokal mahasiswa, kami melakukan pengkategorian menggunakan skor hipotetik. Dengan 3 kategori untuk mengetahui tingkat efektivitas latihan mahasiswa yaitu efektif, cukup efektif, dan tidak efektif. Dari hasil analisis skor jawaban subjek pada kuesioner efektifitas strategi latihan, menunjukkan bahwa tidak ada subjek yang berada pada kategori tidak efektif, ada 24 subjek berada pada kategori cukup efektif, dan 33 subjek berada pada kategori efektif.AbstractEffectiveness of Vocal and Musical Instrumen Training Strategies for Students. This study aims to determine the effectiveness of musical instruments and vocal practice strategies for students in the ISI Yogyakarta Music Department. The research sample consisted of 55 subjects who were in the third and fifth semesters, we assume that students who are in that semester have gained experience in vocal and instrument training given by the lecturer. The method used in this research is descriptive quantitative. Quantitative data were obtained through the analysis of the subject's answer scores on the questionnaire on the effectiveness of the practice strategy to obtain an overview of the students' musical instrument and vocal practice strategies. In analyzing the level of effectiveness of the students' musical instrument and vocal practice strategies, we categorized them using a hypothetical score. With 3 categories to determine the level of effectiveness of student training, namely effective, moderately effective, and ineffective. From the results of the analysis of the subject's answer scores on the exercise strategy effectiveness questionnaire, it shows that there are no subjects in the ineffective category, 24 subjects are in the moderately effective category, and 33 subjects are in the effective category.Keywords: Effectiveness; Practice Strategies; Musical Instruments and Vocals
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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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Yuehan, Chen. "The Infl uence of Russian Vocal Music on Chinese Vocal Pedagogy and Performance." Университетский научный журнал, no. 76 (October 24, 2023): 73–79. http://dx.doi.org/10.25807/22225064_2023_76_73.

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The article examines the infl uence of the Russian vocal school on Chinese culture in the context of vocal performance and vocal pedagogy. The history of the formation of Russian vocal traditions is touched upon, the process of their integration into Chinese society from the beginning of the 20th century to the present is analysed. The historical process of the functioning of Russian vocals in China is analysed both in general and through the example of the capital of Heilongjiang Province, Harbin – a city that has been considered the center of Russian emigration for more than a century. The specifi cs of teaching vocal performance to modern Chinese students in Russian higher educational institutions are considered. At the end of the article, it is concluded that the promotion of the Russian vocal school in China allows the traditions of Russian vocals to develop not only in Russia, but also abroad.
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Dissertations / Theses on the topic "Vocal music"

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Kay, Marja Liisa. "Contemporary vocal music : language, technology and contemporary vocal music of Finland." Thesis, University of York, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583263.

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This thesis is centred on a number of contemporary vocal performances and projects I encountered, and often single-handedly organised, during years of study and exploration. An introduction provides insights as to how I came to connect my original performance research goals with additional subject matters in an effort to provide a more complete illustration of the broad span of the music at hand. The bulk of this submission lies within the recordings of performances, which are supported by three exploratory chapters that discuss the relationships of the works to one another. The first chapter examines Finnish contemporary vocal music from a performer's point of view. Following this are two chapters that look at selected vocal works of two of the most internationally famous composers today, Esa-Pekka Salonen and Kaija Saariaho, in juxtaposition with an array of non-Finnish composition that share common themes. These chapters are accompanied by five audio CDs and one DVD, an extensive listing of recording tracks and performances, programmes and notes from all relevant concerts, press releases and reviews where applicable. An afterword sums up conclusions I arrived at regarding the role ofthe contemporary vocal artist and our responsibilities to the future of musical art.
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Pereira, da Cruz Benetti Lucia. "Infant vocal imitation of music." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492408461186887.

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Cooper, Gloria Ann. "A multidimensional instructional approach for the solo jazz singer /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11226924.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Jan Eric Douglas. Includes tables. Includes bibliographical references.
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Madsen, Mark L., and Mark L. Madsen. "The Vocal Music of Henri Duparc." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626228.

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DeBoer, Amanda R. "Ingressive Phonation in Contemporary Vocal Music." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1353356284.

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Ishisaki, Bruno Yukio Meireles 1983. "A transmutação na escrita instrumental e vocal." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285226.

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Orientador: Denise Hortência Lopes Garcia
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T06:20:25Z (GMT). No. of bitstreams: 1 Ishisaki_BrunoYukioMeireles_M.pdf: 14656333 bytes, checksum: 5d14831720fc90003a9646dc72dace4e (MD5) Previous issue date: 2014
Resumo: Neste trabalho apresentamos a ideia da transmutação aplicada à composição musical. Técnicas oriundas da música eletroacústica como o morphing (tanto em âmbito melódico como timbrístico), interpolação, crossfading e a manipulação progressiva de elementos são estudados a partir de um olhar tecnomórfico e são utilizados de forma integrada como ferramentas composicionais para a realização de transmutações entre estruturas musicais. O primeiro capítulo trata da transmutação nas questões terminológica e conceitual. O segundo capítulo apresenta as técnicas citadas anteriormente com exemplos retirados do repertório do século XX. O terceiro capítulo versa sobre a aplicação composicional das técnicas expostas no capítulo anterior. No quarto capítulo obras compostas pelo autor são descritas para demonstrar o uso das ferramentas composicionais estudadas nesta dissertação
Abstract: In this work, we present the idea of transmutation applied to musical composition. Techniques originated from electroacoustic music like morphing (both melodic and timbral), interpolation, crossfading and progressive manipulation of elements are studied from a tecnomorphic point of view and are used together as compositional tools for performing transmutations between musical structures. The first chapter deals with the transmutation in the terminological and conceptual issues. The second chapter presents the techniques mentioned above with examples drawn from the repertoire of the twentieth century. The third chapter deals with the application of compositional techniques explained in the previous chapter. In the fourth chapter, works composed by the author are described in order to demonstrate the usage of the compositional tools studied in this dissertation
Mestrado
Processos Criativos
Mestre em Música
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Newman, Eleanor Marjorie Carleton University Dissertation Canadian Studies. "An analysis of Canadian content in vocal music textbooks authorized by the Ontario Ministry of Education." Ottawa, 1988.

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Nguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.

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Smith, Heather. "Vocal Health: Awareness and Perceptions in Undergraduate Vocal Music and Theatre Majors." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3404.

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Objective: The purpose of this study was to identify the perceptions of students majoring in vocal music and theatre regarding the instruction they receive in their undergraduate curricula on voice health education. Methods: A survey was adapted from a previous study, Beeman (2016), with permission by the author. The survey was disseminated to undergraduate vocal music and theatre majors across the United States via SurveyMonkey®, an online survey tool. Results: Students perceived receiving knowledge on vocal health from their voice teachers, however they reported low levels of vocal hygiene compliance. Additionally, students recognized the connection between the singing and speaking voice, and they were unclear of the role of the speech-language pathologist in voice. Conclusion: The disconnect between vocal health knowledge and student compliance of vocal hygiene strategies, requires further investigation. Utilizing the voice care team, specifically the speech-language pathologist, to educate both the voice teachers and the students on best practices, is imperative.
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Smith, Heather, Chaya Nanjundeswaran, and Brenda Louw. "Vocal Health: Awareness and Perceptions in Undergraduate Vocal Music and Theatre Majors." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/7762.

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Objective: The purpose of this study was to identify the perceptions of students majoring in vocal music and theatre, regarding the instruction they received in their undergraduate curriculum on vocal health education. Research questions focused on perceptions of: (a) vocal hygiene strategies, (b) the connection between the speaking and singing voice, (c) vocal rehabilitation and the professionals to contact and (d) students’ level of trust for their voice teacher. Methods: A descriptive research design with qualitative analysis was used to explore the research questions. A survey was developed by adapting questions from a similar study by Beeman (2016). Permission was granted for the adaption by the author. The survey went through two stages of review and revision by an expert panel of professionals across vocal music and theatre, followed by a pilot study of 13 undergraduate vocal music majors. The final survey contained 57 items, incorporating two forms of questions, a 6-point Likert scale and multiple choice. It was disseminated to undergraduate vocal music and theatre majors across the United States via Survey Monkey TM. Results: Students reported receiving knowledge on vocal health from their voice teachers and implementing it. However, they indicated low levels of compliance for specific vocal hygiene parameters. Additionally, students recognized the connection between the singing and speaking voice, they were unclear of the role of the speech-language pathologist in voice care, and they indicated trust in their voice teacher as it pertained to their voice and personal life. Conclusions: A new approach to promote understanding and compliance of voice care strategies needs to be implemented in the undergraduate setting. Connecting both performance majors and speech-language pathology majors in an interprofessional education collaboration may prove to be mutually beneficial to both the clinician and the performer
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Books on the topic "Vocal music"

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S, Powell John, ed. Vocal chamber music. Madison [Wis.]: A-R Editions, 1986.

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Rick, Humphrey, Ruhnke Mark, Spearing Caroline, Geene David, Love John, and Toronto District School Board, eds. Understanding vocal music. [Toronto]: Toronto District School Board, 1999.

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Music Educators National Conference (U.S.). Selective music lists: vocal solos, vocal ensembles. Reston, Va: The Conference, 1985.

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Rosedale Heights Secondary School (Toronto, Ont.). Grade 9 vocal music. [Toronto: The School], 1990.

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Library, Australian Music Centre. Catalogue of vocal music. Grosvenor Place, N.S.W: Australian Music Centre, 1996.

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Music Educators National Conference (U.S.), ed. 1985 selective music lists: Vocal solos, vocal ensembles. Reston, Va: Music Educators National Conference, 1985.

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Music Educators National Conference (U.S.), ed. Selective music lists 1985: Vocal solos and vocal ensembles. Reston, Va: The Conference, 1985.

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Daugherty, F. Mark. Classical vocal music in print. Philadelphia: Musicdata, Inc., 1995.

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E, Saunders Charles, and Canadian Society of Musicians, eds. A Plea for the study of classical vocal music. [S.l: s.n., 1987.

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Weir, Michele. Vocal improvisation. [Rottenburg N., Germany]: Advance Music, 2001.

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Book chapters on the topic "Vocal music"

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Collaer, Paul. "Vocal Music." In Darius Milhaud, 163–83. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-10651-6_7.

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Valenti, Chloe. "Vocal Music (Popular)." In The Palgrave Encyclopedia of Victorian Women’s Writing, 1665–70. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_171.

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Bernstein, Leonard. "I Hate Music! (1943)." In New Vocal Repertory, 79–83. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18494-1_27.

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Robinson, Paul, and John Ash. "Music as Climate (1984)." In New Vocal Repertory, 218–22. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18494-1_64.

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Brøvig, Ragnhild, and Jon Marius Aareskjold-Drecker. "Vocal chops." In Innovation in Music: Cultures and Contexts, 104–16. London: Focal Press, 2024. http://dx.doi.org/10.4324/9781003462101-8.

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Seaman, Barry, and James Joyce. "Chamber Music Book I (1981)." In New Vocal Repertory, 7–10. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-18494-1_2.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Renaissance Sacred Vocal Music." In Anthology to Accompany Gateways to Understanding Music, 37–39. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-14.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Renaissance Secular Vocal Music." In Anthology to Accompany Gateways to Understanding Music, 40–41. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-15.

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Williams, Sean. "Vocal Music in English." In Focus: Irish Traditional Music, 203–29. Second edition. | New York: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429282256-11.

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Bewlay, Ho Eui Holly. "Building Healthy Vocal Habits." In The First-Year Music Major, 111–20. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003247487-14.

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Conference papers on the topic "Vocal music"

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Zhong, Chuanzhi. "Study of the Relationship between Vocal Music Works and Vocal Music Performance." In 2015 International Conference on Management, Education, Information and Control. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/meici-15.2015.82.

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Du, Shiwu. "Study on the Differences of Vocal Music Teaching and Vocal Music Singing Theory." In 2017 4th International Conference on Education, Management and Computing Technology (ICEMCT 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icemct-17.2017.182.

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QIN, WEI-WEI. "A STUDY ON PRONOUNCING SKILLS IN VOCAL MUSIC SINGING." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35694.

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In China, pronouncing correctly and clearly is a basic requirement in vocal music singing. Only with a sufficient understanding of the pronouncing skills can a performer present a qualified vocal work. Through a simple analysis of the pronouncing problems that often occur in vocal singing and, targeted suggestions will be put forward in this paper. At the end of the paper, an analysis of pronouncing skills will be made, hoping to provide theoretical help to the development of vocal music singing in our country.
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Lu, Yong. "Features of Vocal Music Art." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.87.

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Zhong, Weijun. "On Practice of Non-vocal Techniques in Vocal Music Teaching." In 2015 International Conference on Education Technology and Economic Management. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icetem-15.2015.67.

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Zhang, Hao. "Aesthetic Education of Vocal Music Teaching in Music Education." In 2018 8th International Conference on Social science and Education Research (SSER 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/sser-18.2018.4.

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Jiřičková, Jiřina. "Motivující principy skupinového on-line hudebního vyučování se zaměřením na vokální činnosti." In Musica viva in schola. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-12.

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The paper names and briefly captures the motivating teaching approaches applicable in group music education with a focus on vocal activities. These include respect, trust, affection, physicality, and attention. The motivating and interconnected principles that Doug Goodkin uses can be understood as a basis and at the same time inspiring stimuli for on-line group music teaching with a predominance of vocal activities, whose task is to motivate children to their own vocal expressions and special natural elementary expression through elements of music.
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Hui, Lu. "Diversified Development of Vocal Music Teaching." In International Conference on Information System and Management Engineering. SCITEPRESS - Science and Technology Publications, 2015. http://dx.doi.org/10.5220/0006024202790282.

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Shiwu, Du. "Spectrogram Analyzing in Vocal Music Teaching." In 2012 Third International Conference on Digital Manufacturing and Automation (ICDMA). IEEE, 2012. http://dx.doi.org/10.1109/icdma.2012.185.

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Xi, Hongjie. "College music professional vocal teaching methods." In 2012 2nd International Conference on Consumer Electronics, Communications and Networks (CECNet). IEEE, 2012. http://dx.doi.org/10.1109/cecnet.2012.6201842.

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Reports on the topic "Vocal music"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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