Dissertations / Theses: '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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Royo, Johanna Lucia. "Self-Efficacy in Music Education Vocal Instruction: A Collective Case Study of Four Undergraduate Vocal Music Education Majors." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/320010.

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While much research exists on self-efficacy in music programs, few research studies have qualitatively examined the impact of vocal performance settings on music education majors' self-efficacies and career goals. This collective case study examines the self-efficacy perceptions of four undergraduate vocal music education students in five vocal performance and rehearsal settings: (a) voice lessons, (b) studio classes, (c) choral rehearsals, (d) choral performances, and (e) juries. During a spring semester at a major university in the southwestern United States, I examined how participants' perceptions of their family backgrounds, career goals, lifestyles, peers, and student-teacher relationships influenced their vocal self-efficacy perceptions and music career goals. Data collection included observations, individual interviews with participants, and one focus group interview. Coding methods were used to analyze the interview transcripts and observation field notes. Triangulation, peer review, and member checks of transcriptions were used to ensure accuracy. Findings are documented case-by-case and as cross-case themes. I found that mastery experiences and family support during adolescence influenced participants' initial decisions to major in music but had little influence on vocal self-efficacy during the study. Secondly, self-efficacy changes noted throughout the study influenced participants' career goals. Other emergent themes included the role of memory, teacher feedback, concept comprehension and socialization. I conclude with cross-case themes and offer ideas for future self-efficacy research.

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Petrich, Macie. "Vocal Health Survey of Instrumental Music Educators." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1588015468956836.

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Caldretti, Melissa. "Vocal Pedagogy and the Adolescent Female Singing Voice." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10263755.

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The establishment of solid, safe vocal technique during the teenage years is essential to a singer’s growth and success as an adult; the purpose of this paper is to investigate vocal pedagogical technique for female singers in their adolescence. Through an exploration of adolescent vocal development, a survey of the bel canto singing tradition, and interviews with voice teachers, this project will discuss a teaching method that values vocal health, development, and longevity in young singers. The final objective will be to better understand and identify the developments and challenges encountered by female adolescents in and around puberty, and to suggest pedagogical vocal techniques for current and future singers and teachers.

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Ziegler, Janet Brehm. "A pedagogical guide for extended and extreme vocal techniques used in contemporary classical vocal music." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6671.

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There are numerous challenges to singing contemporary classical vocal music including a number of harmonic, melodic, rhythmic, and formal elements not commonly seen in the western Classical or Romantic era compositions. There are new notations, new sounds, new ideas, and new demands. Finding a way to train college-aged singers to perform standard classical repertoire alongside contemporary classical repertoire has been a personal goal for many years. This essay contains exercises and vocalises to help train singers to prepare their instrument to perform the demanding music presented in this body of repertoire. Musical concepts covered in this essay include large interval training, laughing drills, tone clusters, and a variety of others. Current scholarship on this subject does not address the pedagogical steps of teaching music classified as contemporary classical vocal music. This essay provides exercises, vocalises, and recommendations for the development of vocal techniques required to perform works from this repertoire with healthy and secure technique.

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Alter, Andrew Burton. "Hindustani vocal music : a case study of oral transmission." Title page, contents and abstract only, 1989. http://web4.library.adelaide.edu.au/theses/09MUM/09muma466.pdf.

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Bakhlina, Anna. "Vocal college on Langholmen." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34709.

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Main idea of my project is how I can design a building for music and especially for voice - which is the natural instrument of a human body. The music college something more than the place for training music technical skills but the building by itself preform as instrument, as a platform for experimenting with different acoustic features, as a place of inspiration as well as an a performing venue. In theory music is a temporal art, and architecture – is spatial one. However music forms the spatial bounders while it` sounds in the certain space. Rhythm, harmony and movement – they are both reflected in music and architecture. Design of a school is based on integration of this principles into architecture. And I have been working at how the rethinking of musical education process can affect the shape, structure and appearance of the building for the singing.

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Jarachovic, Jacquelyn Sarah. "Vocal Health Education for Preservice Music Education Students." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1588190950179913.

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Lacasse, Serge. "'Listen to my voice' : the evocative power of vocal staging in recorded rock music and other forms of vocal expression." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369881.

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Duncan, Stuart Paul. "Metric Experiments in Benjamin Britten's Vocal Music| 1943-1945." Thesis, Yale University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10633242.

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1942 was a pivotal juncture in Benjamin Britten's career. Originally, he had planned to emigrate to the United States of America, but after staying a few years, he unexpectedly returned to England in 1942. Upon leaving America's shores, his compositional scores and sketches were confiscated by US Customs. This confiscation, on the one hand, disrupted a smooth transition back to the United Kingdom, but on the other, presented the opportunity for a fresh compositional start. In the years directly following his return, 1943 to 1945, Britten's vocal music is full of metric complexity, suggesting a captivation with metric experimentation. The Ballad of Little Musgrave and Lady Barnard (1943), Festival Te Hein. (1944), the Holy Sonnets of John Donne (1945), and Peter Grimes (1945), diverse in their musical construction and distinct in the types of texts set, share a central compositional concern: the employment of sustained metric conflict as a means of emphasizing structural junctures or poetic ideas. This dissertation presents an overview of metric and hypermetric displacement and grouping conflicts, demonstrating how Britten establishes, sustains, and problematizes meter for expressive and text-interpretative purposes. The methodology employed here draws upon developments in metric theory over the past thirty years, and builds upon analyses that foreground cognitive, performative, and spatial representation.

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Neher, Lisa Rose Julianna. "The chamber vocal works of Gabriela Lena Frank." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2250.

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The purpose of this essay is to introduce readers to the music of living American composer Gabriela Lena Frank (b. 1972) through her chamber vocal works and to provide a resource to aid in the interpretation and performance of her music. Frank is an internationally recognized composer with a thriving career. However, she is not widely known among singers and teachers of singing and scholarship on her music is quite limited. This study seeks to fill that void by examining Frank’s published works as of January 2016 for solo voice and up to six instruments. These works are Cuatro Canciones Andinas (1999), for mezzo-soprano and piano; New Andean Songs (2008), for soprano, mezzo-soprano, two percussionists, and two pianos; Seven Armenian Songs (2013), for soprano, percussionist, and solo violin; and Honey (2013), for soprano, mezzo-soprano, and piano. Frank’s chamber vocal pieces are excellent additions to the repertoire and notable for Frank’s chamber music aesthetic, choice of diverse texts and languages (English, Spanish, and Armenian), dramatic storytelling, range of musical colors, and idiomatic writing for the performers. Frank’s ongoing exploration of her Peruvian heritage is reflected in two of these works, which draw inspiration from Andean folk music and poetry. This essay provides a brief biography of Frank; original poetic and musical analyses of the four works, exploring the areas of poetry, form, melody and motive, text painting, rhythm, harmony, folk influences, vocal writing, instrumental writing, timbre, range, and tessitura; and a summary of stylistic traits as seen across this sample. Poetic and word for word translations of foreign language texts, pronunciation guidelines for Latin American Spanish and International Phonetic Alphabet transliterations for the Armenian poems are included.

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Dennis, Robb. "Multiple Intelligence Theory and its Application in Modern Vocal Pedagogy." Scholarship @ Claremont, 1998. http://scholarship.claremont.edu/cgu_etd/99.

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In 1983, Howard Gardner shook the foundations of intelligence testing and the field of education by suggesting that there are seven distinct intelligences. These intelligences had testable and distinct attributes that were supported by his research at the Boston Veterans Administration. This research cited the existence of savants and prodigies, isolation by brain damage, and psychometric findings as support for Multiple Intelligence Theory. Widely accepted by the education community at large, the application of MI principles has been further elaborated in the writings of Thomas Armstrong and David Lazear. Can the principles of Multiple Intelligence Theory be applied in the area of modern vocal pedagogy? After surveys of the foundations of vocal pedagogy and the principles ofMI theory, the author suggests they can. What follows is an analysis of two current vocal pedagogy texts, Van Clu·isty's Foundations in Singing and Jan Sclunidt's Basics of Singing to determine the variety and use ofMI principles in each. After the analysis, the author suggests applications of MI principles, using aspects of their song learning chapters as a template that can be adapted to any vocal pedagogy text.

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Hook, Sally. "Vocal agility in the male adolescent changing voice." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4151.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (November 8, 2006) Vita. Includes bibliographical references.

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Echols, Rebecca Bell. "From the vocal studio to the practice room| An overview of the literature on effective practicing and an in-depth study of vocal exercise books." Thesis, University of Maryland, College Park, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612154.

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The purpose of this dissertation was to compile a list of resources to aid singers in their pursuit toward effective practicing. A survey was given to one hundred anonymous participants: fifty vocal students and fifty vocal teachers. The data collected from this survey showed that vocal students would like more resources available to aid in practicing more effectively. Additionally, the study reveals that many of the vocalise books that are in the vocal repertoire have fallen from tradition for reasons unknown, while one composer's vocalise book, Nicola Vaccai's, still remains in the teacher and student repertoire.

This study provides resources culled from journals, text books, and musical scores. Also provided is a library of vocalises, which are divided into categories on specific vocal matters. The vocalises are categorized alphabetically, by both the category and composer. The final chapter shows the results of the surveys.

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Erixon, Pauline. "Acoustic cues for emotions in vocal expression and music." Thesis, Stockholms universitet, Psykologiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-118472.

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Previous research shows that emotional expressions in speech and music use similar patterns of acoustic cues to communicate discrete emotions. The aim of the present study was to experimentally test if manipulation of the acoustic cues; F0, F0 variability, loudness, loudness variability and speech rate/tempo, affects the identification of discrete emotions in speech and music. Forty recordings of actors and musicians expressing anger, fear, happiness, sadness and tenderness were manipulated to either go with or against the acoustic patterns that previous studies suggest. Thirty-two participants listened to 120 recordings and judged which emotion they thought the actress or musician tried to communicate. Results showed an overall effect of manipulation in the expected direction, but the manipulation affected some emotions (anger, happiness and sadness) but not others (fear and tenderness). A non-significant interaction effect between manipulation and mode indicated that the manipulation had a similar effect on the stimulus for both speech and music.

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Bonneau, Paul G. (Paul Gregory). "A Capella Eletronnica." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279371/.

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The intent of A capella Eletronnica is to explore the possibility of the human voice as the most versatile of musical instruments. The voice, capable of melodic, harmonic, percussive and rhythmic effects, is also employed for spoken text and conversational elements as musical sources. My aim was to enlarge this array of vocal techniques with the use of electronic processing and amplification.

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DELL, AMANDA PROCTOR. "THE CLARINET IN THE VOCAL CHAMBER MUSIC OF ANTON WEBERN." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1108347266.

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Sakry, Rachel. "The big kiss off a musical noir /." Connect to PDF version Connect to Track01 Connect to Track02 Connect to Track03 Connect to Track04 Connect to Track05, 2008. http://library2.up.edu/theses/2008_sakryr.pdf.

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Chung, Kyung-Young. "Reconsidering the lament form, content, and genre in Italian chamber recitative laments, 1608-1640 /." connect to online resource. Access restricted to the University of North Texas campus, 2004. http://www.library.unt.edu/theses/all/Dec2004/chung%5Fkyung-young/index.htm.

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Vetter, Diana Lindsey. "Recommendations for Vocal Pedagogy Curriculum Based on a Survey of Singers’ Knowledge and Research in Vocal Hygiene." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/61.

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Professional voice users such as singers and teachers are at high risk for vocal injury. A literature review was conducted to understand the prevalence of voice problems and the effectiveness of vocal hygiene education. The findings of the review suggested that in order to reduce the impact of voice disorders, it is imperative that the education of singers and teachers include how the voice functions and how to best take care of it. The purpose of this study was to discover what students on a collegiate level know about vocal anatomy, physiology, and vocal hygiene issues. It was hypothesized that graduate students who had taken a pedagogy course, were more knowledgeable about vocal anatomy, physiology, and vocal health than undergraduate or graduate students who had not had such a course. A survey was administered to voice students at a large university music program to ascertain the level of student knowledge. An analysis of the survey results provides educators with insight into specific areas of student deficiency and current collegiate pedagogical needs. The findings from the study survey were applied to recommendations for undergraduate and graduate vocal pedagogy curriculum, with an emphasis on anatomy, physiology, and preventative care of the voice. Course descriptions, objectives, and assessment methods were included for each vocal pedagogy course. The study recommended that all voice students receive information that allows them to make educated decisions regarding voice care and prepares them to be leaders in teaching singing based on voice science. In addition to anatomy and physiology of the voice, vocal hygiene is an important topic to be included in pedagogy curriculum. Issues and resent research in vocal hygiene were discussed including: speaking habits, hydration, reflux, medical management, etc. and how these contribute to or detract from efficient voice use.

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Henderson, David Randolph. "Collected voices : echoes of harmony and discontent in the music of the Kathmandu Valley /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Valerio, Wendy H. "Toddler Vocal Music Syntax Acquisition in Music Play and General Play Environments. Cultural Connections." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72053.

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Fry, Mindy Lea Williams Lindsey R. "Music educators' opinions regarding vocal attrition and its influence on their teaching methods and effectiveness." Diss., UMK access, 2009.

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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009.
"A thesis in music education." Advisor: Lindsey R. Williams. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 25, 2009. Includes bibliographical references (leaves 80-86). Online version of the print edition.

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Gunduz, Esin. ""BOZ" for jazz orchestra and vocal /." [Huntington, WV : Marshall University Libraries], 2009. http://www.marshall.edu/etd/descript.asp?ref=963.

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Desler, Anne. "'Il novello Orfeo' Farinelli : vocal profile, aesthetics, rhetoric." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5743/.

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Although Farinelli has received a great deal of attention in scholarship, the early music performance scene and in popular culture, little has been written about his singing. The current perception of Farinelli’s musical profile is based almost entirely on the research of Franz Haböck from the beginning of the 20th century and the writings of Charles Burney. As a result of the emphasis of both writers on Farinelli’s bravura singing, the singer’s name has become synonymous with castrato virtuosity. This study takes a more diffentiated approach. It reconstructs the artistic persona of Farinelli from libretti, scores and documentary evidence, evaluates the veracity of anecdotal information pertaining to his singing that has so far been accepted largely at face value and considers the aesthetic implications of Farinelli’s singing. Part I of this study seeks to reconstruct Farinelli’s vocal profile. In chapter 1, contemporary descriptions by earwitnesses are examined and evaluated with regard to important aspects of his singing, i.e., the sound quality, volume and range of his voice, technical elements such as his trill, agility and breath control, ornamentation and improvisation and, finally, his acting. Chapter 2 summarises the main stages of the singer’s operatic career. The purpose of this chapter is not to reiterate biographical information, but to provide an outline that can serve as a framework for the discussion of the development of Farinelli’s vocal technique, personal style and reception. The chapter also identifies important points of professional interaction between Farinelli and other famous singers. Chapter 3 falls into two parts. Firstly, the main elements of vocal technique, as described in the vastly influential vocal treatises of Tosi and Mancini, are outlined in relation to notational practice of 18th-century manuscript scores and their relevance to the music sung by Farinelli. Secondly, the development of Farinelli’s voice in terms of the singer’s vocal technique, range, volume and details of style is discussed on the basis of the analysis of Farinelli’s operatic roles. Chapter 4 focuses on the analysis and contextualisation of important stylistic changes that occured during Farinelli’s career. Throughout, Farinelli’s stylistic choices are discussed in relation to the aesthetic preferences of the different audiences he encountered. Part 2 explores aspects of Farinelli’s artistic profile from the vantage points of aesthetics and rhetoric. Based on analyses of Farinelli’s arias on nightingale metaphors, chapter 5 discusses the conceptual frameworks and aesthetic issues that have often resulted in a critical reception of his virtuosity, both during his lifetime and in the 20th century. Chapter 6 examines the manner in which the principles of rhetoric have been applied to 18th-century music in recent scholarship. It argues for a different, more integrated approach that reflects the performance-centred period understanding of rhetoric, which, unlike the modern understanding, was not yet inflected by the author and work concepts. Chapter 7 analyses rhetorical strategies in Farinelli’s Venetian bravura arias and their implications with regard to the issues of authorship and the relationship between performer and audience. In chapter 8, the text-music relationship and communicative strategies in Farinelli’s slow expressive arias are scrutinised. The conclusion briefly assesses the impact of Farinelli on Italian opera, theatrical performance practice and musical aesthetics.

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Factora, Miriam Beltran. "A model of sequential music teaching utilising Philippine vocal materials /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19166.pdf.

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Bell, Kathleen Mary. "Extended program notes for a recital of selected vocal literature." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/1468.

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The purpose of these extended program notes is to provide information that will assist the listening audience in comprehending the historical and biographical significance of the each vocal selection. A brief analysis of each selection, a historical interpretation of the work, a translation of the texts and a CD of the recital are included. The contents of the recital comprise of several selections from the soprano repertoire: The Georg Phillip Telemann cantata Lauter Wonne, lauter Freude; the Wolfgang Amadeus Mozart Laudate Dominum from the Vesperae solemnes de confessore; the Joaquin Nin y Castellano Diez Villancicos de Noel; Gabriel Faurd's art songs Dans le ruines d'une abbay, Les Berceaux, and Au bord e l'eau; Sergei Rachmaninov's three songs Oni otvechali, Zdes Khorosho, and Vocalise; and Libby Larsen's Cowboy Songs.

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Wade, Leanne M. "A comparison of the effects of vocal exercises." Scholarly Commons, 1998. https://scholarlycommons.pacific.edu/uop_etds/2341.

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Barnes, Sebronette. "The effect of class voice instruction and differential song material on vocal performance, vocal knowledge, and attitude of elementary education majors /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487330761218757.

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Vincent, Lynette Susanne. "The effects of amplification and selected vocal exercises on the perceived vocal health of elementary music educators." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6041.

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Chess, Susan Lorrainne. "Keyboard improvisation characteristics of freshman and sophomore instrumental and vocal music majors." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1123721766.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiii, 141 p.; also includes graphics (some col.). Includes bibliographical references (p. 127-134). Available online via OhioLINK's ETD Center

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Donkin, Deborah Jean. "The vocal works of Olivier Messiaen." Thesis, Rhodes University, 1995. http://hdl.handle.net/10962/d1002299.

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Olivier Messiaen's compositions for voice, though less widely known than his instrumental works, span some forty years and comprise a fifth of his total output. They have hitherto not been subject to much attention. A study of the elements comprising the vocal lines and accompanying instrumentation from the piano-voice song set, Trois melodies (1930), to the vast orchestral-choral La Transfiguration de Notre Seigneur Jesus-Chlist (1969) reveals, amongst other characteristic and evolving features, the emergence of a unique, simulated, plainchant style and its subsequent transformation into incantation with suitably modified accompaniment. While wide-ranging, chromatic and rhythmically free vocal lines are typical of many twentieth century compositions, Messiaen's use of such features is found to be novel, by virtue of the peculiar modal and temporal ambits within which he operated. Vocal delivery is progressively expanded from conventional bel canto production to humming, howling,and eventually speech and percussive sounds and reaches an apotheosis in the virtuoso effects of Cinq Rechants (1949). This recedes somewhat in La Transfiguration, which displays instead a wealth of hybrid plainsong-type writing. Choral works are interesting in that the emphasis shifts from standard part-writing to monody or accompanied unison singing, with an attendant absence of characterised solo parts. By constantly varying the colour of the single melodic line with different permutations of voice types, timbre assumes a new importance, particularly in La Transfiguration. The study of the texts, most of which were conceived by the composer simultaneously with the music, contributes much to the understanding of each work. Biblical symbolism in the early lyrics is progressively enriched by references to numerological, mythological and nature symbolism, mixed in an increasingly Surrealistic manner. The gradual incorporation of emotive phonemes in the texts, culminates in the invented language of Cinq Rechants. The thesis thus reveals an evolving yet persistently idiosyncratic vocal style, which establishes Messiaen as one of the most original composers of his time. It further demonstrates that his vocal works are an important component of his total oeuvre and also a significant contribution to twentieth century vocal literature.

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Venesile, Christopher John. "The Acquisition of Pedagogical Content Knowledge By Vocal Jazz Educators." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1278521556.

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Ayotte, Benjamin McKay. "Incomplete Ursatzformen transferences in the vocal music of Heinrich Schenker." Diss., Connect to online resource - MSU authorized users, 2008.

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Thesis (Ph.D.)--Michigan State University. Music Theory, College of Music, 2008.
Title from PDF t.p. (viewed on March 30, 2009) Includes bibliographical references (p. 155-158). Also issued in print.

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Volkar, Carie L. "Patterns of Vocal Fold Closure in Professional Singers." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1494258620137297.

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Campora, Miranda. "Recording as a self-analyzing tool in vocal practice." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3676.

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Recording as a self-analyzing tool is something that has been researched and appraised within the musical field. This study will examine how one-take recordings at the end of personal vocal practice sessions can be utilized as an implement for self-analyzation which then will serve as basis for planning personal practices and future goalsetting. Two vocal teachers were interviewed for further insights and ideas, which then also birthed the idea to create a practice sheet where each part of the project was documented. The practice sheet includes three sections: recording analysis, planning and goalsetting and practice journal. A four-week practice period was planned where each practice would end with one-take recordings of the two songs that were chosen to be rehearsed, thoughts and experiences were immediately recorded in a practice journal. Recordings were analyzed and based on the analysis, a plan and new goal settings for the coming practice were formed. This way of structuring practice may help to work and practice independently as a singer and performer.

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Hameed, Shamun. "A study on the use of vocal samples and vocal transformation techniques in the music of Paul Lansky and Trevor Wishart." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/17202.

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For most, the spoken word holds no more, and no less, an interest other than the implied meaning of the word, while for others, the interest lies in the inherent wealth of sonic substance in that sound. This study is focused on the composers Paul Lansky and Trevor Wishart, their compositions and the compositional processes whereby which they utilise the wealth of sonic possibilities inherent in the human voice in general and in particular the sound of the spoken word in everyday speech and conversations. Focusing in particular on Lansky’s Smalltalk (1988) and Wishart’s Vox 5 (1986), the majority of the content is concentrated on exploring issues of inspiration and origin, contexts of use and compositional aims, and the technology, procedures and techniques related to the electroacoustic compositions of Lansky and Wishart, as well as on the technological developments directly and indirectly brought about by both composers in their efforts to achieve the results that they desired.

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O'Leary, Susanna Christine. "How diverse vocal music styles can enrich and extend the composition and performance of contemporary commercial music." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370428.

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This research explores diverse vocal styles from three distinct musical cultures: Irish traditional, Flamenco, and Persian Classical; and how they can enrich and extend the composition and performance of contemporary commercial music (CCM). Although fusion music exists in CCM, there is little research into the benefits that non-Western styles can provide for CCM vocalists, musicians and composers. This has left a gap in literary resources which may benefit the artistic practice of CCM artists. This research explores my own investigation into learning Irish traditional, Flamenco and Persian Classical vocal styles, and how I implemented them in my own performances and compositions. Qualitative research was employed through one-on-one vocal tuition, interviews, and workshops with professionals in each chosen style. Research also included listening to music from each style, attending concerts, and analysing case studies of successful cross-cultural musics within CCM. Furthermore, the historical, cultural and musical components of Irish traditional, Flamenco, and Persian Classical music were investigated to inform me of the key areas that needed to be implemented within my own performances and compositions in each style. As a singer-songwriter, my exploration of these musics is demonstrated in a seven-track album, each song implementing the musical characteristics of at least one chosen style. My own exploration demonstrates the benefits of exploring music from diverse vocal cultures to expand and enrich artistic practice. It also highlights the need for further investigation into non-Western musical cultures by other CCM practitioners (vocalists, musicians, composers and teachers). Ultimately, this dissertation can contribute to the field of CCM and may inspire further investigation of non-Western styles by other CCM scholars, teachers and artists.
Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
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Ortiz, Castro Ivette, and Castro Ivette Ortiz. "Trained Abroad: A History of Multiculturalism in Costa Rican Vocal Music." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621142.

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This document examines and analyzes solo vocal music composed by several Costa Rican composers who did not remain in Costa Rica, but rather left the country to study abroad. Unlike prior studies of Costa Rican vocal music, which have focused upon the use(s) composers made of indigenous folk elements, this study identifies foreign, non-indigenous elements that were introduced into Costa Rican vocal music by musical pioneers such as Julio Fonseca (1885-1950) and Dolores Castegnaro (1900-1979), composers who studied at various times in Italy, Belgium, France and Mexico. Excerpts of their music have been analyzed for this document to demonstrate specific international influences. Another two composers were selected due to their present importance in Costa Rican music: Eddie Mora and Marvin Camacho. In a very distinctive manner, these composers bring to the musical environment of Costa Rican diversity and exoticism in Eddie Mora's case and a mix of contemporary with Costa Rican elements with Marvin Camacho's music. In analyzing the music of these four composers, this research intends to present the different influences of other countries into Costa Rican music while Marvin Camacho brings back its own Costa Rican voice.

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Brooks, Alyse Marie. "The Benefit to Children of Studying Music and the Use of a Summer Vocal Camp to Introduce Children to Music Education Opportunities." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1311197066.

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Baars, Girilal. "Ballads and ohms : vocal traditions, electronics and compositional strategies." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/26607/.

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This commentary presents the research and ideas underlying the submitted portfolio of compositions. The core of the portfolio is the exploration of composition and performance methods for transforming traditional vocal folk music using the tools and aesthetics of contemporary electroacoustic and experimental music. The process also led to a wider compositional enquiry into the connections between language and music, between technology and performance, and between scores, encryption and performance. Additionally, extended voice techniques, audio processing, information theory and encryption form a set of nodes that have expressed themselves in various combinations resulting in a portfolio that includes vocal and instrumental, electroacoustic and acoustic music. The submitted works have been created employing bespoke use of technology, selfimposed restriction on real-time voice performance and applying encryption methodology to music and text. This commentary examines the submitted works from three perspectives: the use of voice, of language and of technology. It also discusses the music in the context of perceptual and cognitive discourses about the nature of voice.

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Dissertations / Theses on the topic 'Vocal music'

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