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Relevant bibliographies by topics / Vocal Pedagogy

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Academic literature on the topic 'Vocal Pedagogy'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 January 2023

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Journal articles on the topic "Vocal Pedagogy"

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Boatwright, Helen, and Berton Coffin. "Historical Vocal Pedagogy Classics." Notes 48, no. 1 (September 1991): 110. http://dx.doi.org/10.2307/941800.

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Pivnitskaya, Olga V. "Vocal Biomechanics in Domestic Pedagogy." Musical Art and Education 9, no. 4 (2021): 132–46. http://dx.doi.org/10.31862/2309-1428-2021-9-4-132-146.

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KohSeonMi. "Historical Overview of Vocal pedagogy." 이화음악논집 11, no. 2 (December 2007): 157–93. http://dx.doi.org/10.17254/jemri.2007.11.2.006.

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MARTYNIUK, Anatolii. "PAVLO HOLUBEV’S VOCAL PEDAGOGY IN MODERN ART EDUCATION." Cherkasy University Bulletin: Pedagogical Sciences, no. 2 (2020): 167–71. http://dx.doi.org/10.31651/2524-2660-2020-2-167-171.

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Introduction. The modern vocal pedagogy is based on the methodological principles of domestic and foreign vocal pedagogy, thorough study of the musical traditions of the Ukrainian people. The issue of preserving the traditions of Ukrainian vocal art and the use of innovative ideas in further development is extremely important. The comprehensive analysis of P.V.Holubev’s artistic and pedagogical activities allows to significantly expand the idea of the the artist' work an at the same time realize its importance for the Ukrainian musical art. The artist left great achievements in the history of the national vocal school, contributing to the process of its formation and development. The purpose of the article is highlighting of vocal pedagogy of the outstanding Ukrainian artist, Professor P.V. Holubev. The methods of analysis of musical and pedagogical activity of Kharkiv singer, teacher, Professor P. Holubev. Results. Pavlo Holubev’s vocal pedagogy has distinctive features. Under his guidance, students learned not only solo, but also ensemble and choral singing. The individual lessons with students had as their main goal the achievement of equality of voice sound and the detection of unique timbre color of the sound and the gradual expansion of the range of voice in the descending and ascending directions starting from the development of the middle register; formation of a diverse palette of sound filled with overtones; performing interpretation of vocal music. It is revealed that in P. Holubev’s vocal pedagogy the following main content lines are traced: development of vocal skills, abilities; the need to introduce them into the system of teaching vocal methodology, which is based on the scientific study of national and world experience of vocal pedagogy; synthesis and constant updating of vocal methods, which takes into account the student’s individual characteristics of the voice and creative talent. Originality. After analyzing the artistic and pedagogical activity of Professor P. Holubev we can define certain scientific approaches to educational process, namely: 1) axiological approach; 2) personality-oriented approach; 3) creative and activity approach. Conclusions. Thus, analyzing the musical and pedagogical activities of the outstanding singer, teacher, Professor P.V. Holubev, we can conclude that the features of his vocal pedagogy played an important role in the Kharkiv vocal school. Scientific study of the musical and pedagogical experience of P.V. Holubev became the basis of national and world vocal pedagogy.

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Shastina, T. V. "Russian vocal school: traditions and perspectives." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 140–44. http://dx.doi.org/10.30725/2619-0303-2020-4-140-144.

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Russian vocal school as a significant part of the Russian and unique phenomenon of world musical culture, developed and developed as an original direction of vocal professional performance and vocal pedagogy. The evolution of vocal performance and vocal pedagogy, the formation and development of the Russian vocal school and its traditions have shown that vocal pedagogy develops together with vocal performance, analyzing and generalizing experience, creates and tests its methods, develops singing attitudes and develops pedagogical technologies that contribute to the education of singing culture. Russian singing traditions and vocal education, their scientific research and reproduction, identification of prospects for the development of the modern Russian vocal school, identification of ways to continue existing traditions, development and scientific justification of new vocal and pedagogical technologies are relevant today. The perspective of the development of the Russian vocal school is seen in the reproduction of traditions, scientific justification of its pedagogical foundations, in the formation of performers who have a high level of motivation for singing activities and physiological potential for mastering various phonation techniques, able to learn new things in the art of singing.

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Alessandroni, Nicolás, Camila Beltramone, and Laura Sanguinetti. "SINGING PEDAGOGY AND CONTEMPORARY VOCAL MUSIC: A TROUBLED RELATIONSHIP." Revista Europeia de Estudos Artisticos 8, no. 2 (June 30, 2017): 1–16. http://dx.doi.org/10.37334/eras.v8i2.125.

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In this paper, we explore the interrelationships between knowledge construction in the field of Vocal Pedagogy and compositional forms of the academic music of the 20th century. We propose that research logics within Vocal Technique contributed to the thinking of the time providing a matrix to consider the vocal instrument from an objectivist position. The importance of the inquiries presented lies on the slow expansion that contemporary vocal music acquired in the last years, and in the absence of a Vocal Technique teaching method that considers the particular characteristics of this repertoire. As a current challenge, we consider necessary to chart a new model in Vocal Technique that favors the interpretation of the vocal repertoire of the 20th Century, and to establish a corpus of knowledge about (i) which are the new required skills and abilities, (ii) how they are produced, and (iii) how they should be taught.

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Beltramone, Camila, Nicolás Alessandroni, and Laura Sanguinetti. "SINGING PEDAGOGY AND CONTEMPORARY VOCAL MUSIC: A TROUBLED RELATIONSHIP." ERAS | European Review of Artistic Studies 8, no. 1 (June 30, 2017): 1–16. http://dx.doi.org/10.37334/eras.v8i1.60.

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In this paper, we explore the interrelationships between knowledge construction in the field of Vocal Pedagogy and compositional forms of the academic music of the 20th century. We propose that research logics within Vocal Technique contributed to the thinking of the time providing a matrix to consider the vocal instrument from an objectivist position. The importance of the inquiries presented lies on the slow expansion that contemporary vocal music acquired in the last years, and in the absence of a Vocal Technique teaching method that considers the particular characteristics of this repertoire. As a current challenge, we consider necessary to chart a new model in Vocal Technique that favors the interpretation of the vocal repertoire of the 20th Century, and to establish a corpus of knowledge about (i) which are the new required skills and abilities, (ii) how they are produced, and (iii) how they should be taught.

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Mykhailo, Markovych. "Creative principles of Mykola Manoilo’s vocal pedagogy." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 200–215. http://dx.doi.org/10.34064/khnum1-60.11.

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Statement of the problem. The article is devoted to the outstanding figure of vocal art of Slobozhanshchyna Mykola Fedorovych Manoilo (1927–1998), the opera singer, who was awarded the title of “People’s Artist of the USSR” (1976) for impeccable performance of baritone parts of the classical repertoire on the stage of Kharkiv Theatre of Opera and Ballet, as well as of the chamber repertoire compiled of Ukrainian folk songs and works by Ukrainian composers. Based on his own experience of studying in the class of solo singing of M. Manoilo (1988), the author of the article offers the experience of scientific and methodological generalization of creative principles of vocal pedagogy of the teacher, while emphasizing the role of Manoilo as a unique singer. The relevance of the topic and its practical significance are stipulated by the urgent need of vocal pedagogy to form a tradition of scientific reflection on the specialization of the vocalist, the representation of classical guidelines and methods in the modern dimension, establishing creative contacts of different generations. The purpose of the article is to reveal the pedagogical principles by M. Manoilo as an outstanding representative of the Kharkiv vocal school, genealogy and dominant features of his performing creative work. Analysis of recent research and publications. The creative figure of M. Manoilo has not yet received serious coverage in the domestic musicology yet. Existing sources are brief biographic descriptions in reference books and encyclopaedias, the anthology “Ukrainian singers in the memoirs of contemporaries, compiler I. Lysenko (2003), or mentions of his name in books on the artistic life of Kharkiv (O. Chepalov, 2012; Tsurkan, 2013). The methodology contains a number of interrelated approaches to the study of the phenomenon of the singer’s artistic personality: historiographical, biographical, performing, and phenomenological. Presentation of basic research material. M. Manoilo inherited the principles of vocal pedagogy from P. Golubev, who taught at the Kharkiv Conservatory (1930–1953) and was the successor of the classical school of Italian bel canto singing, as a student of F. Bugamelli, which was involved by I. Slatin in teaching vocals at the Kharkiv Music College (1901–1918). The creative principles of the artist-interpreter M. Manoilo are a compendium of his mastery: ● orientation on the generally accepted standard of sounding of a voice (bel canto); ● persistent search for individual reading of the role on the path of constant musical and intellectual self-growth; ● word culture; ● unity of sound-forming technology and artistic and aesthetic principles of a musical work, due to its genre and stylistic nature; ● psychological authenticity (own experience of “entering” the image and its “living-through”) and the singer’s ability for self-analysis; ● mental and psychological signs of artistic personality – great persistence and strength of character, the desire to reach the highest point (acme) of creative self-representation. The “denominator” of M. Manoilo’s performing skills is the style – the performer’s orientation for the accuracy of the composer’s text. The results obtained. The principles of M. Manoilo’s vocal pedagogy were based on the basis of generalization of own scenic experience as a system of generally acquired and personality-oriented principles: – sound culture (uniformity of construction of the singing range; flexibility, strength, flight of voice, use of mixed register, rounding, covering); sound word culture; attention to diction; – author-centrism of the singer’s interpretation of the vocal-stage image; – high artistic taste, which is formed through the education of musicality, diverse repertoire, and a sense of performance drama; – high artistic taste, which is formed through the education of musicality, diverse repertoire, and a sense of performance drama; – trust in intuition, which the singer should constantly “check” with his/her own intellect according to the composer’s text. Conclusions. As the heir of the Italian tradition of singing, in all genres of performance M. Manoilo represented such qualities as: proper breathing (free passage of all resonator zones), beautifully designed, high-quality singing tone, theatrical voice, which was overlapping the sound of the orchestra, sonority, flight, equality of the whole range. From the domestic singing paradigm one should add to Manoilo’s artistic portfolio the following: ● recitative-speech cut of vocal intonation (melodic nature of singing is enriched by the relief of declamatory vocalization); ● clear diction of the word being sung to reach the minds and hearts of listeners and establish a dialogue with the author; ● cordocentrism – a particularly intense intra-emotional tone of performance as a personification of the Ukrainian “philosophy of the heart” (Н. Skovoroda); ● integrative type of performing thinking – the unity of poetic-intonation and stage-artistic image of the singer. If a super-goal of music is, according to Aristotle, the entelechy, then singing technique is a way to achieve it. Such was the universal basis of M. Manoilo’s requirements of to himself, as well as to the students of his solo singing class

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Phelan, Louise. "Vocal Pedagogy and the Alexander Technique: a reflection." Revista de Investigación e Innovación en Ciencias de la Salud 3, no. 2 (December 18, 2021): 128–35. http://dx.doi.org/10.46634/riics.83.

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This article is a reflection about the role of the Alexander Technique and its application and influence in vocal pedagogy. It is based on more than seventeen years of active teaching as a qualified Alexander Technique Teacher and as a professional singer, working alongside vocal pedagogues, teachers, students and professionals. Its objective is to reflect upon the role of body awareness, psychophysical and emotional consciousness, and wellbeing in the realms of vocal pedagogy and singing.

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Stulova, Galina P. "OBJECTIVE METHODS OF RESEARCH IN VOCAL PEDAGOGY." Musical Art and Education 9, no. 3 (2021): 48–65. http://dx.doi.org/10.31862/2309-1428-2021-9-3-48-65.

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Dissertations / Theses on the topic "Vocal Pedagogy"

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White, Brian David. "Singing techniques and vocal pedagogy." Thesis, University of Surrey, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371900.

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Rautenbach, Deirdre. "Vocal pedagogy : goals, objectives, scope and sequencing for undergraduate students." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/27566.

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The aim of this study was to investigate the content, organisation and outcomes of undergraduate vocal pedagogy modules. Goals and objectives guide outcomes which in turn will facilitate the delineation of the content or scope of the moduls. The organisation of content will involve the sequencing of study units appropriate for beginner, intermediate and advanced levels of undergraduate vocal pedagogy studies. A qualitative research method was chosen to direct the empirical investigation. Primary data collection was conducted through semi-structured interviews. Certain participants opted to reply in writing and similarly structured open-ended questionnaires were sent electronically to them. Purposive sampling was used to select South African respondents by virtue of their knowledge and expertise in the field of vocal pedagogy. A degree of snowballing also followed and valuable data was collected from participants in Canada and the USA. The investigation regarding the restructuring of vocal pedagogy modules was viewed from a multi-disciplinary and holistic perspective. Establishing the underlying principles that direct the goals, objectives, scope and sequencing of undergraduate vocal pedagogy modules guided the study. Goals direct the bringing together of relevant and mutually supportive disciplines essential to undergraduate vocal pedagogy modules. The demands of prospective careers for students dictate what knowledge and skills they need to be equipped with. Moreover, the judgement of lecturers based on institutional level descriptors as well as knowledge and experience of appropriate content designation for beginner, intermediate and advanced students further guides the formulation of goals and objectives. The rich and diverse body of vocal pedagogy literature provides the material that informs the scope of undergraduate modules. Sequencing of content for a vocal pedagogy offering is directed by the scientific base of knowledge, feedback from students, the tried and trusted traditions of established lecturers and authors, as well as the intuitive teaching talent of lecturers. Scaffolding (the gradually diminishing role of a lecturer as students gain independence) emerged as an important component of creating a balanced undergraduate pedagogy offering. Lecturers should have a reflective and deep knowledge of vocal pedagogy in order to successfully integrate it with vocal practice. This is the hallmark of a holistic approach that will effectively equip students for a career after tertiary training. From the information received from participants it can be concluded that a vital requirement for organising content is that learning and therefore also teaching should be a gradual and ongoing process. The basic building blocks of vocal pedagogy (posture, breathing, phonation, resonance and articulation) should be supplemented by auxiliary disciplines (historical background of vocal pedagogy, psychology and ethics, comparative pedagogies, and elements of performance) that support and further inform vocal pedagogy studies.
Dissertation (MMus)--University of Pretoria, 2012.
Music
unrestricted

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Grogan, David Christopher. "The Vocal Pedagogy of Frederic Woodman Root." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28424/.

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Frederic Woodman Root was a vocal pedagogue and writer of the late nineteenth century. He wrote over eighteen books on vocal pedagogy, and numerous articles on singing. Since his death, most of his works have fallen into obscurity. The purpose of this document was to codify the vocal pedagogy of Frederic Woodman Root, discussing his particularly thorough methodology, and to bring his methods back into the public eye. His method is broken down into the various components of basic musicianship, the General Principle, the Three Vowel Forms, registers, breathing, and agility. Examples from Root's exercises are included and discussed.

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Pires-Fernandes, Catherine. ""The Girl in 14G:" Analyzing Solutions for Vocal Issues Through Vocal Pedagogy." Honors in the Major Thesis, University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1636.

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The intent of this thesis is to study a variety of vocal techniques and identify how to solve different vocal challenges in the musical theatre song, "The Girl in 14G." In order to be successful in the entertainment business, it is imperative that a singer performs healthily and in a variety of music styles. Through an exploration of Lessac Kinesensic Training, Estill Voice Training Systems and Bel Canto techniques, a singer can gain a holistic perspective about voice. I will study with three voice teachers, each of whom specializes in one of the aforementioned techniques. This thesis will reveal how each voice teacher brought her expertise to the lesson. It is a singer’s responsibility to ensure she is well rounded and knowledgeable about her voice, and the different approaches to teaching voice. Solutions that reflect different techniques will be analyzed. Observations and discoveries made in private voice lessons will also be described. Documentation of lessons with each teacher will provide insight about the distinctions and similarities in vocal techniques. This thesis is intended to serve as a starting point for students and teachers to satisfy their own vocal curiosity and exploration.
B.F.A.
Bachelors
Theatre
Arts and Humanities

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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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McQuade, Mark Ara. "Richard Miller : a life of contributions to vocal pedagogy /." Full text available from ProQuest UM Digital Dissertations, 2006. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1331394831&SrchMode=1&sid=4&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1197923747&clientId=22256.

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Guastaferro, D. Domenic. "The coup de glotte in vocal technique and pedagogy /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10857862.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1989.
Sponsor: Harold Abeles. Dissertation Committee: Lenore Pogonowski. Typescript; issued also on microfilm. Bibliography: leaves 117-121.

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Sell, Karen Elisabeth. "The disciplines of vocal pedagogy : towards a holistic approach." Thesis, Middlesex University, 2003. http://eprints.mdx.ac.uk/13486/.

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This dissertation comprises an exploration of the thesis that a holistic education entailing multi-disciplinary study is essential if classical singers and vocal pedagogues are to be prepared adequately for performance, for their teaching role, and for cooperation in inter-professional relations. The disciplines pertinent to vocal pedagogy are examined, and their varied contributions are discussed with a view to showing the ways in which they are mutually supportive. The case is argued on the basis of an exhaustive analysis of the relevant literature, and is underpinned by my wide professional experience as a soprano, and as a teacher both in primary, secondary and higher education, and in private practice at home and abroad. Starting with a survey of views on vocal pedagogy from biblical and classical times to the present day, important diverse roots are exposed, yielding differing and even conflicting tonal ideals which have a bearing on the consideration of different singing styles, and the interpretation of songs and arias. Ethics and psychology are identified as central to the entire pedagogical process, along with the scientific basis of singing, encompassing acoustics, anatomy and physiology, with special reference to the bearing of the latter two upon vocal health and hygiene. A detailed consideration of singing technique is the centrepiece of the dissertation, building on the scientific basis already presented. The several aspects of technique are discussed, and an understanding of the relations between good technique and scientific awareness is shown to be fundamental to good vocal pedagogical practice. In differing ways all of the disciplines thus far discussed - history, the ethics and psychology, science, vocal technique - contribute to performance, which is the next topic dealt with. In addition, since the evaluation of performance is a question of aesthetics, that branch of philosophy is introduced as a further discipline contributing to the education of the fully equipped singer and vocal pedagogue. While a considerable amount of research has been undertaken by others on the individual disciplines discussed in this dissertation, no study to date has attempted the task of showing the inter-relationships of all of them, and the ways in which together they bear upon classical singing pedagogy. The central theme of the dissertation is that the adoption of a holistic, multidisciplinary approach is of particular benefit to singers and voice teachers, and that such an approach facilitates mutual co-operation between them and other voice professionals.

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Tan, Haidee Lynn C. "Register Unification in Light of Twentieth-Century Vocal Pedagogy." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/tan%5Fhaidee/index.htm.

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Gebhardt, Rianne. "The Adolescent Singing Voice in the 21st Century: Vocal Health and Pedagogy Promoting Vocal Health." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461188945.

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Books on the topic "Vocal Pedagogy"

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Thayer, Sataloff Robert, ed. Vocal health and pedagogy. 2nd ed. San Diego, CA: Plural Pub., 2006.

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Thayer, Sataloff Robert, ed. Vocal health and pedagogy. San Diego: Singular Pub. Group, 1998.

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Historical vocal pedagogy classics. Metuchen, N.J: Scarecrow Press, 1989.

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Brian, White. Singing techniques and vocal pedagogy. New York: Garland Pub., 1989.

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Bel canto: A history of vocal pedagogy. Toronto: University of Toronto Press, 1999.

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Basics of vocal pedagogy: The foundations and process of singing. New York: McGraw-Hill, 1998.

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McNaughton, Elizabeth. Breathing for singing and its vocal pedagogy: A critical review. Swindon: Phoenix Again, 2002.

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Smith, Brenda. Choral pedagogy. San Diego: Singular, 2000.

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Smith, Brenda. Choral pedagogy. San Diego: Plural Publishing, 2013.

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Smith, Brenda. Choral pedagogy and the older singer. San Diego, CA: Plural Pub., 2012.

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Book chapters on the topic "Vocal Pedagogy"

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Crockett, Jeff. "A Voice Pedagogy Based in Middendorf Breathwork." In Vocal Traditions, 97–105. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354918-12.

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Grant, Stephen J. "Vocal Pedagogy and the Feldenkrais Method." In Teaching Singing in the 21st Century, 175–85. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8851-9_11.

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Wilén, Sara. "The play of vocal actors." In Expanding the Space for Improvisation Pedagogy in Music, 82–102. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351199957-6.

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Roth, Douglas F., and Katherine Verdolini Abbott. "Vocal Health and Singing Pedagogy: Considerations from Biology and Motor Learning." In Teaching Singing in the 21st Century, 69–89. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8851-9_6.

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"Vocal Pedagogy." In Encyclopedia of Queer Studies in Education, 758–63. BRILL, 2021. http://dx.doi.org/10.1163/9789004506725_149.

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"Science and Vocal Pedagogy." In The Disciplines of Vocal Pedagogy: Towards an Holistic Approach, 69–96. Routledge, 2017. http://dx.doi.org/10.4324/9781315086743-4.

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Helding, Lynn. "Science-Informed Vocal Pedagogy." In The Routledge Companion to Interdisciplinary Studies in Singing, 182–93. Routledge, 2020. http://dx.doi.org/10.4324/9781315162607-15.

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"A History of Vocal Pedagogy." In The Disciplines of Vocal Pedagogy: Towards an Holistic Approach, 9–40. Routledge, 2017. http://dx.doi.org/10.4324/9781315086743-2.

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"Ethics, Psychology, and Vocal Pedagogy." In The Disciplines of Vocal Pedagogy: Towards an Holistic Approach, 41–68. Routledge, 2017. http://dx.doi.org/10.4324/9781315086743-3.

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"Vocal pedagogy in the 21st Century." In Dynamics of the Singing Voice, 17–30. Vienna: Springer Vienna, 2009. http://dx.doi.org/10.1007/978-3-211-88729-5_3.

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Conference papers on the topic "Vocal Pedagogy"

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Tyan'paj, Se, and E. O. Nazarova. "The development of musical memory in vocal performance." In Scientific trends: pedagogy and psychology. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/sciencepublic-04-02-2020-07.

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Calamatova, V. A. "A system of professionally oriented tasks in vocal training teacher college students." In Scientific trends: pedagogy and psychology. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/sciencepublic-04-06-2020-04.

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Salihova, T. A., and G. A. Krechetova. "Features of the organization of correctional work with preschoolers with speech disorders through vocal therapy." In Scientific trends: pedagogy and psychology. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/sciencepublic-04-07-2020-10.

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Churikova-Kushnir, O. D., and Z. V. Sofronii. "Vocal and choral training of future music art teachers in higher education institutions." In PEDAGOGY AND PSYCHOLOGY IN THE MODERN WORLD: THE ART OF TEACHING AND LEARNING. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-041-4-112.

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Pandiova, Iveta. "THE DEVELOPMENT OF VOCAL PERFORMANCE AND VOCAL PEDAGOGY IN THE CONTEXT OF NON-ARTIFICIAL MUSIC OF THE 20TH�21ST CENTURIES IN SLOVAKIA." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s22.008.

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