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Books on the topic 'Vocal Pedagogy'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

McNaughton, Elizabeth Gordon. How do we start to teach singing?: A critical self-reflection on a teaching model and the literature on vocal pedagogy. London: University of Surrey Roehampton, 2001.

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12

Treganza, Jeffrey. Professional training of singers and teachers of singing: A comparative study of selected vocal performance and pedagogy programs in the United States of America and the Federal Republic of Germany. Frankfurt, M: Peter Lang, 2007.

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13

Shenderovich, Evgeniĭ. V kont︠s︡ertmeĭsterskom klasse: Razmyshlenii︠a︡ pedagoga. Moskva: Muzyka, 1996.

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14

Pal, Nishant, and Shubhangi Maheshwari. Singing - Voices, Vocal Pedagogy. Independently Published, 2021.

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15

Coffin, Berton. Historical Vocal Pedagogy Classics. Scarecrow Press, Incorporated, 1989.

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16

Coffin, Berton. Historical Vocal Pedagogy Classics. The Scarecrow Press, Inc., 2002.

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17

Coffin, Berton. Historical Vocal Pedagogy Classics. Scarecrow Press, Incorporated, 2014.

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18

Cottrell, Duane. Vocal Pedagogy in the Choral Rehearsal. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.27.

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One of the primary endeavors of choral conductors is the facilitation of good choral tone, which is largely dependent upon the vocal technique of the individual singers. This chapter examines principles of historical vocal pedagogy, discussing their correlation with modern scientific research, and present suggestions for practical implementation of specific techniques in choral rehearsals. The chapter discusses four primary areas of vocal pedagogy in choral rehearsals: first, the significance of laryngeal position in choral singing; second, principles of resonance in singing and their impact on the choral sound; third, a discussion of breath support in choral singing; and fourth, principles of phonation and vocal production for singers in a choral setting. Each of these four discussions contain practical suggestions for the application of specific practices and exercises that will strengthen the vocal technique of choral singers.
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19

Stark, James. Bel Canto: A History of Vocal Pedagogy. University of Toronto Press, 2003.

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20

Sataloff, Robert Thayer. Vocal Health and Pedagogy: Science and Assessment. Plural Publishing, 2006.

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21

Stark, James. Bel Canto: A History of Vocal Pedagogy. University of Toronto Press, 2003.

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22

History of Vocal Pedagogy: Intuition and Science. Australian Academic Press, 2017.

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23

The Science of Vocal Pedagogy: Theory and Application. Indiana University Press, 1986.

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24

Sataloff, Robert Thayer. Vocal Health and Pedagogy: Advanced Assessment and Practice. 2nd ed. Plural Publishing, 2006.

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25

Sell, Karen. Disciplines of Vocal Pedagogy: Towards an Holistic Approach. Taylor & Francis Group, 2017.

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26

Sell, Karen. Disciplines of Vocal Pedagogy: Towards an Holistic Approach. Taylor & Francis Group, 2016.

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27

Sell, Karen. Disciplines of Vocal Pedagogy: Towards an Holistic Approach. Taylor & Francis Group, 2017.

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28

Goetze, Mary. Repertoire as Pedagogy. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.18.

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Including music from a wide range of cultures calls for choral directors to rethink the common practices employed in most choral rehearsals, and to open themselves to a world of new procedures within rehearsals and performances. Since few directors are also ethnomusicologists, these new practices may also impact the role the director plays in the rehearsals. This chapter challenges directors to define their reasons for including vocal music from outside the western art tradition. Directors should consider alternative processes for finding repertory, presenting it to the ensemble, and sharing it. They need to address challenges singers meet when matching vocal timbres and movement that are concomitant with multicultural musical traditions. Finally they must blend consistent choices with repertory that reflects cultural diversity.
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29

Loebel, Thomas. Reading vocal music: Aesthetic ideology in pedagogy and performance. 1991.

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30

Sell, Karen. The Disciplines Of Vocal Pedagogy: Towards An Holistic Approach. Ashgate Publishing, 2005.

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31

Sell, Karen. The Disciplines of Vocal Pedagogy: Towards an Holistic Approach. Routledge, 2017. http://dx.doi.org/10.4324/9781315086743.

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32

Behn, Mira. Singing Redefined. Recital Publications, 1998.

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33

Sataloff, Robert T. Vocal Health and Pedagogy: Science, Assessment, and Treatment, Third Edition. Plural Publishing, Inc., 2017.

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34

Fuell, Cheryle. Way to Learn to Sing in Vocal Pedagogy : the Intricate Process of Teaching Singing: Vocal Pedagogy at the End of the Twentieth Century. Independently Published, 2021.

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35

Sataloff, Robert Thayer, and Brenda Smith. Choral Pedagogy. Singular, 1999.

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36

Owens, Matthew, and Graham F. Welch. Choral Pedagogy and the Construction of Identity. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.9.

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Following an initiative of the early 1990s, the majority of United Kingdom cathedrals now have girl as well as boy cathedral choristers, often alternating in the singing of the daily services. One of the original political challenges in this musico-cultural initiative was whether or not it was possible for girl choristers to attain the same vocal quality as their male counterparts. Empirical studies, however, suggest that there is considerable overlap between the psycho-acoustic vocal features of girls’ and boys’ singing, such that it is often difficult perceptually to distinguish between the two, particularly for the relatively naïve listener. Moreover, the music repertoire usually reaches across gender. The chapter provides an overview of these recent developments and explores how the musical director can best shape the vocal products of their choristers, while being sensitive to particular vocal production issues that relate to the development of girls’ voices.
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37

Abrahams, Frank, and Paul D. Head, eds. The Oxford Handbook of Choral Pedagogy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.001.0001.

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This text explores varied perspectives on teaching, learning, and performing choral music. Authors are academic scholars and researchers as well as active choral conductors. Topics include music programming and the selection of repertoire; the exploration of singer and conductor identity; choral traditions in North America, Western Europe, South America, and Africa; and the challenges conductors meet as they work with varied populations of singers. Chapters consider children’s choirs, world music choirs, adult community choirs, gospel choirs, jazz choirs, professional choruses, collegiate glee clubs, and choirs that meet the needs of marginalized singers. Those who contributed chapters discuss a variety of theoretical frameworks including critical pedagogy, constructivism, singer and conductor agency and identity, and the influences of popular media on the choral art. The text is not a “how to” book. While it may be appropriate in various academic courses, the intention is not to explain how to conduct or to organize a choral program. While there is specific information about vocal development and vocal health, it is not a text on voice science. Instead, the editors and contributing authors intend that the collection serve as a resource to inform, provoke, and evoke discourse and dialogue concerning the complexity of pedagogy in the domain of the choral art.
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38

Ward-Steinman, Patricia Madura. Choral Pedagogy Responds to the Media. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.2.

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Pop choral music has changed during the 21st century due to the enormous popularity of contemporary a cappella and commercial network TV shows such as Glee, The Voice, The Choir, The Sing-Off, American Idol, and the Clash of the Choirs. Choir students watch these shows and are influenced by them in terms of vocal tone, repertoire, showmanship, and competitive spirit. What is the proper pedagogical response? Should the media shape/influence choral pedagogy, or should traditional pedagogy develop the pop-influenced singer? This chapter addresses these questions and includes viewpoints of choral teachers throughout the age and experience spectra—from first-year teachers who are very familiar with these shows to competition-winning show choir directors and leaders in the field of choral music who have witnessed the effects of these programs on choral interest, enrollment, attitudes, and achievement in school choral programs.
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39

Do Re Mi 9: Educación Musical. Voluntad Editores, 1997.

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40

Sauerland, William. Queering Vocal Pedagogy: A Handbook for Teaching Trans and Genderqueer Singers and Fostering Gender-Affirming Spaces. Rowman & Littlefield Publishers, Incorporated, 2022.

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41

Queering Vocal Pedagogy: A Handbook for Teaching Trans and Genderqueer Singers and Fostering Gender-Affirming Spaces. Rowman & Littlefield Publishers, Incorporated, 2022.

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42

Herron, Teri A. Survey of Late 20th Century Vocal Pedagogy: The Art of Singing in the Age of Self-Help. Primedia eLaunch LLC, 2013.

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43

Rardin, Paul. Building Sound and Skills in the Men’s Chorus at Colleges and Universities in the United States. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.26.

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Conductors of collegiate men’s choruses face unique challenges in building excellent choirs. They are likely to lead ensembles with disproportionately wide gaps between their most- and least-experienced singers, with a plurality or even majority of non-music majors—and may need to teach voice as much as they conduct. This chapter offers rehearsal techniques for these conductors which involve learning and utilizing vocal pedagogy, imparting basic phonation, and utilizing vocal tone exercises to build foundation and sound in a choir or glee club. They must then create a sense of community within their musically and vocally diverse choir; instill habits that lead to effective “core singing,” combining alignment, breathing technique, and resonance; and help male singers navigate shifts between their vocal registers.
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44

Denison, Craig. Teaching and Conducting Diverse Populations. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.23.

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This chapter examines how social delineations of boys’ singing inform the boychoir conductor’s choices for vocal technique, programming, and rehearsal procedure. The introduction identifies structural elements that delineate a boychoir from other types of choirs, especially in the United States, with its traditions of multistage maturity level singers across different vocal registers. Once established, the chapter examines signature programming, rehearsal, and performance norms, with attention to the intersection of traditional and contemporary practices. Following a consideration of the boychoir community and its relationship to the community-at-large, the chapter closes with the concluding assertion of a boychoir pedagogy that synergizes the handling of different levels of boychoir development (especially voice changes) and adult and boy meanings of boys’ singing.
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45

Nemec, John. The Ubiquitous Siva Volume II. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197566725.001.0001.

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The Introduction positions the history of girl and young woman singers in the 1960s in the context of broader histories of vocal training; ideas about voice, respectability, and expressivity; and the models of youthful femininity that were emergent in 1960s Britain. It opens with discussion of vocal discipline in magazines and books produced for young women. This is followed by reflections on the concept of voice as sound and voice as expression, how ideas about the use of voice are tied to gender, and how they have been used by feminist thinkers and scholars in the field of Voice Studies. Then, the introduction provides historical background on vocal pedagogy and histories of accent and vocal discipline in the UK, tying this history to the 1960s and notions of modernity that emerged at the time. It reflects on what voice and freedom of expression signified during the youth and musical movements of the “Swinging Sixties,” and, in particular, on how ideas about voice affected girls and young women in this period. Finally, it provides an overview of the book’s chapters provides an overview of the book’s chapters.
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46

Boffone, Trevor, and Carla Della Gatta, eds. Shakespeare and Latinidad. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474488488.001.0001.

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Shakespeare and Latinidad is a curated collection of scholarly and practitioner essays in the field of Latinx theatre that specifically focuses on adaptations and appropriations of Shakespeare’s plays. It is the first truly comprehensive treatment of the myriad intersections of Latinx practitioners and art with Shakespearean performance, adaptation, and pedagogy. The collection includes leading academics, playwrights, and theatre practitioners; its blend of scholarly essays, practitioner essays, and interviews reflects the transdisciplinary synthesis of scholarship, dramaturgy, and pedagogy that shapes Latinx engagement with Shakespeare. The collection brings together the diverse voices working in this field today including leading academics, playwrights and theatre practitioners. This blend of essays and interviews reflects the transdisciplinary synthesis of scholarship, dramaturgy, and pedagogy that shapes Latinx engagement with Shakespeare. The collection includes essays and dialogues from actors, directors, scholars, playwrights, and vocal coaches. Essays cover a range of topics that include translating Shakespeare into contemporary English, Latinx actors portraying Shakespearean roles as either Latinx or non-Latinx, strategies for engagement for devised theatre and theatre for young audiences, directors’ Latinx visions for Shakespeare, and scholarly analysis of productions, adaptations, and initiatives for Latinx Shakespeares. The collection highlights productions, adaptations, and theatres from throughout the United States, in large cities and rural areas, from predominantly-white theatres to theatres of colour.
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47

Bozeman, Kenneth W. Practical Vocal Acoustics: Pedagogic Applications for Teachers and Singers. Pendragon Press, 2014.

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48

Bozeman, Kenneth. Practical Vocal Acoustics: Pedagogic Applications for Teachers and Singers. Rowman & Littlefield Publishers, Incorporated, 2022.

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49

Bozeman, Kenneth W. Practical Vocal Acoustics: Pedagogic Applications for Teachers and Singers. Boydell & Brewer, Limited, 2014.

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50

Bozeman, Kenneth W. Practical Vocal Acoustics: Pedagogic Applications for Teachers and Singers. Pendragon Press, 2014.

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