Dissertations / Theses: '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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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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Buterbaugh, Walz Ivy. "Training the 21st Century Voice Teacher: An Overview and Curriculum Survey of the Undergraduate Experience." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1394725201.

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Walders, Patrick. "Vocal pedagogy and applications for conductors not trained in singing." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2483.

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Thesis (D. M. A.) -- University of Maryland, College Park, 2005.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Stapleton, Megan Leigh. "The Vocal Pedagogy of the Behnke Family: The Behnke Method." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703363/.

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Emil Behnke was a highly esteemed vocal pedagogue of the late nineteenth century. Perhaps rare for the time, the art and science of teaching vocal methods of speech and singing was a Behnke family business, one that Emil shared with his wife and daughter, who were both named Kate. Indeed, Emil's daughter, Kate Emil Behnke, was equally regarded and valued in the field of vocal pedagogy, carrying her father's teachings into the twentieth century. Meanwhile, the elder Kate Behnke, wife to Emil and mother to Kate Emil, was responsible for administering and building upon her husband's innovative methods of speech therapy, establishing her own reputation as a speech healer. The Behnke family published no less than fourteen books, cumulatively. Largely forgotten today, the purpose of this document is to provide a comprehensive overview of the biography and the pedagogical methods and works of the Behnke family, and to contextualize these methods within the framework of trusted vocal pedagogy, both historic and current.

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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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Durham-Lozaw, Susan. "Toward a music theater vocal pedagogy for emerging adult female singers." Thesis, Boston University, 2014. https://hdl.handle.net/2144/12091.

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Thesis (D.M.A.)--Boston University
The purpose of this study was to develop a case of contemporary belting pedagogy for emerging adult, female singers. Informants for the case included Jeannette LoVetri and Lisa Popeil, two well-respected pedagogues in both contemporary commercial and classical styles of singing. Data were collected through interviews with the pedagogues and observations of their teaching. The pedagogues' practices confirmed findings from prior research that three facets of singing differentiated contemporary belt singing from classical singing: (a) increased subglottal pressure coupled with increased closed quotient; (b) thyroarytenoid-dominant vocal production; and (c) resonance strategies involving a narrowed pharynx or oral cavity. LoVetri and Popeil characterized pedagogy for emerging adult singers as similar to pedagogy for classical singing in that it ought to be built on breath support and avoidance of vocal fold pressing. Further, the pedagogues recommended utilizing repertoire with moderate demands. However, they emphasized beginning with resonance strategies such as widening the mouth and lowering the velum. To teach emerging adult female singers, vocal music educators must: (a) be able to model appropriate music theater sounds for their students, (b) understand the shows and repertoire of music theater, (c) assign developmentally appropriate music theater literature to individual students; (d) expose students to a variety of musical styles, and (e) impart a functional understanding of voice science related to music theater vocal pedagogy in a way that emerging adult singers can understand. Emerging adult students should commit to performing in a healthy and sustainable way, and voice teachers should be a primary resource for reliable information about vocal health. Beyond this foundational pedagogy, teachers who prepare emerging adults for a career in music theater must ensure that their students receive significant training in acting and dance in addition to singing. Teachers must also help such students gain understanding of the casting process and their own casting strengths. Finally, because music theater is such a challenging industry, teachers should encourage their students to develop skills related to music theater so that they can earn a living, and teachers should highlight the importance of strong emotional, psychological, and financial support systems.

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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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DeLoach, Dionne Bateman. "An investigation in the teaching of vocal health, recovery and rehabilitation in vocal pedagogy courses at selected public institutions /." Full text available from ProQuest UM Digital Dissertations, 2000. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=728363881&SrchMode=1&sid=26&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1254319522&clientId=22256.

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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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Edwardson, Chelsea Dawn. "The pedagogy of Balinese vocal technique : developing total perception through embodied practice." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52881.

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This study examines elements of Balinese vocal pedagogy in order to understand the process of teaching and learning in my lessons with several master singers on the island, focusing on the teachings of Ni Nyoman Candri. Through ethnographic fieldwork, interviews, lessons, and analysis of their content, I will investigate the core concepts that were emphasized throughout my vocal practice. After reviewing the body of literature that has influenced this work, the study will begin by outlining some basic context for how the knowledge is approached: informal methods of mimicking and repetition as well as kinesthetic embodiment of expression. This will serve as the basis for discussing the initial processes of learning vocal technique: the practice of opening the voice (mengeluarkan suara) through improvised sound and movement, as well as how that technique expands into a layered approach to learning melodies. The Balinese concept of ngunda bayu (the process of distributing energy through the body) will also add to the discussion, setting a visual representation for the vertical axis in the body that outlines the physiological process of the breath cycle. By simplifying the process into three elements: energy, breath, and gesture, this study will evolve into a discussion of context, showing how the three work in alignment to manifest a single intention: a confluence of embodied vocal expression and total perception. The work concludes with a discussion of the larger, theoretical context of my previous western classical vocal training, posing some questions about the process and relating it to western scholar Christopher Small’s term musicking. By reviewing and reflecting on the identified elements in Balinese pedagogy, I will give consideration to how this study may be expanded and integrated into other pedagogies and discourses of vocal learning.
Arts, Faculty of
Music, School of
Graduate

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Koza, Jesse Adam. "A Beginning Guide to Acting While Singing." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1242313542.

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Yarrington, Jonathan S. "Voice Building Exercises From the Cornelius L Reid Archive: an Introduction." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700053/.

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The study introduces the Cornelius Reid Archive and provides biographical and functional context for Reid’s teaching method, which he referred to as functional voice training. Biography, summary of Reid’s ideas on environmental control and vocal registration, together with descriptions taken from Reid’s own writings of the function and purpose of various exercises transcribed from the Archive, constitute the primary chapters. Appendices include complete transcription of ca. 170 exercises and several illustrations of Dr. Douglas Stanley’s overt teaching methods.

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Detwiler, Gwendolyn Coleman. "Solo Singing Technique & Choral Singing Technique in Undergraduate Vocal Performance Majors: A Pedagogical Discussion." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1226948715.

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Cruz, Tâmara de Oliveira. "O uso de imagens mentais por cantores líricos como recurso técnico na colocação vocal." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8405.

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This research aimed to investigate the role of mental imagery on teaching and vocal placement domain in lyrical singers. Our first methodological approach consisted in bibliographic research, through which we could observe the importance the resource of mental imagery occupies in human activities as whole, being increasingly scientifically approached in several areas of knowledge; we noted, likewise, the way the issue of vocal placement has been approached in methods, treaties, books and articles since 18th century to nowadays. Afterwards, we used another method, the field research as semi-structured interview, which was applied to seven lyrical singers in different stages of formation and practice, who professionally act such as singers and singing teachers. We aimed to understand the peculiar views of each interviewed about the use of the mental imagery on their activities as singers and teachers, focusing on vocal placement. We concluded that mental imagery are considered an important technical and didactic resource, widely disseminated and accepted among singers and singing teachers as regards vocal placement. We verified, likewise, that these activities are widely supported by the literature, where we can find many studies about the relationship between mental imagery and many aspects of classical singing.
Por meio desta pesquisa investigamos o papel das imagens mentais no ensino e domínio da colocação vocal por parte de cantores líricos. Nossa primeira abordagem metodológica consistiu na pesquisa bibliográfica, por meio da qual pudemos constatar a importância que o recurso de imagens mentais ocupa nas atividades humanas como um todo, sendo cada vez mais abordado cientificamente em várias áreas do conhecimento; constatamos, ainda, a maneira pela qual a questão da colocação vocal foi e vem sendo tratada em métodos, tratados, livros e artigos desde o século XVIII até nossos dias. A seguir empregamos outro método, a pesquisa de campo na forma de entrevista semiestruturada, a qual foi aplicada a sete cantores líricos em diferentes estágios de formação e atuação, que atuam profissionalmente tanto como cantores quanto professores de canto. Buscamos compreender as visões particulares de cada entrevistado acerca da utilização de imagens mentais em suas práticas como cantores e professores, com particular foco na questão da colocação vocal. Concluímos que as imagens mentais constituem um recurso técnico-didático de grande importância, sendo amplamente disseminado e aceito entre cantores e professores de canto, que o utilizam cotidianamente mesmo nos casos em que não o conhecem por este nome, aplicando-o como auxiliar na construção não só da interpretação, mas também da construção técnica, particularmente no que se refere à colocação vocal. Verificamos, ainda, que tal prática é amplamente amparada pela literatura, na qual já podemos encontrar um considerável volume de escritos sobre as relações entre imagens mentais e diversos aspectos do canto lírico.

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Jennings, Colleen Ann. "Belting is beautiful : welcoming the musical theater singer into the classical voice studio." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1340.

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Brand, Emily Katherine. "Humanistic Vocal Pedagogy: Exploring a Voice Teacher’s Scope of Practice through a Perspective of Wellness." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461093502.

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VonKamp, Rebecca Lee. "Contemporary art song of the United States: a graded handbook." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6326.

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The purpose of this dissertation is to provide vocal teachers and singers with a reference handbook of twenty-first century art songs for solo voice and piano accompaniment, written in English by composers from the United States. This handbook presents songs composed between the years of 2000-2015 by level of difficulty, from songs appropriate for high school students through collegiate students, and including professional singers. This handbook will familiarize teachers with over two hundred solo songs of seventeen composers, furthering the study and performance of contemporary art songs.

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Pereira, Eugênio Tadeu. "Práticas lúdicas na formação vocal em teatro." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-30082012-152236/.

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A pesquisa teve como objetivo analisar e discutir a relevância de práticas vocais lúdicas na formação de estudantes de licenciatura e bacharelado do curso de Graduação em Teatro da Escola de Belas Artes da Universidade Federal de Minas Gerais. Neste estudo, os jogos tradicionais e a reflexão sobre esses procedimentos foram os propiciadores dessa experiência formativa. Tivemos como fundamentos os princípios da formatividade; o conceito e a estrutura do jogo como fenômeno cultural; a vocalidade originada na unidade psicofísica do sujeito e no meio social em que ele vive; os aspectos da musicalidade presentes no jogo e no teatro e a sala de aula universitária como espaço privilegiado para a construção do conhecimento. Diante dos dados, observamos que a situação lúdica tradicional contribuiu para a formação vocal dos estudantes, levando-os à compreensão e à apropriação dos parâmetros sonoros, de atitudes técnicas na emissão de voz e na exploração de suas potencialidades vocais durante o jogo e as cenas em sala de aula. O jogo, ao compor o quadro de atividades na formação em teatro, amplia e diversifica as experiências dos estudantes, contribuindo para a compreensão e a apropriação de procedimentos vocais, tão necessários à atuação profissional desses sujeitos
The research aimed to analyze and discuss the relevance of some playful vocal practices in the education of students in the graduation course of theater at the Fine Arts School in the Federal University of Minas Gerais. It was supported by some reflection on traditional games and their procedures. We have based our analysis on the following principles: formativeness, the concept and structure of the game as a cultural phenomenon, the vocality originated from the psychophysical unity of a person and his/her social environment, the musical aspects of the game and the drama studies, as well as the university classroom as a privileged space for the construction of knowledge. From the data analyzed, we have concluded that the playful aspect has contributed a lot on training the voice of such students. They could understand and appropriate the sound parameters, some technical attitudes in the use of their voice and in the exploration of their vocal potentiality during the activities involving games and scenes in the classroom. The playful vocal games, as part of the training activities in the theater curriculum, expand and diversify the students experiences, contributing to their understanding and appropriation of some vocal procedures, which are much necessaries for the professional performance of those people

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Crouch, Michelle Joy. "Training singers to be literate musicians: the integration of musical, linguistic, and technical skills in the private voice studio." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/657.

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The singer faces some significant challenges in learning to read music, namely that their instrument has no physical domain for pitch and they must sing two languages simultaneously. When those challenges are combined with the fact that they often arrive in college with less well-developed literacy skills compared with instrumentalists, and that musical literacy instruction is often linked immediately with theoretical analysis before literacy has been established, it is not surprising that singers graduate with graduate degrees with poor musical literacy skills. Using principles of second language acquisition and reading theory, this paper seeks to present a case for the separation of theory and literacy in college curricula, and proposes that such a development will not only see the musical literacy skills of singers improve, but can be seen as the foundation for the connection of performance and theoretical streams of musical study in higher education.

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Estevez, André Azevedo Marques. "O atleta da voz: o cantor lírico e o seu corpo." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/100/100139/tde-19072017-121856/.

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É comum observarmos entre os cantores a ideia de que o corpo é o instrumento de sua arte. Apesar de vivermos num momento onde entender a vida e nossas experiências por uma perspectiva sistêmica deveria ser algo já difundido, perpetua-se um modelo de entendimento do canto compartimentalizado e desconectado da vida do cantor. Tentando entender esse problema, nesta pesquisa de natureza qualitativa questionamos se os cantores líricos identificam o seu corpo como seu instrumento, ou como locus da performance. E, nesse sentido, qual é o papel das práticas motoras (práticas corporais e de atividade física) no seu desenvolvimento e na sua performance. Sabendo que essas questões são aspectos importantes das práticas de Educação Somática, propusemos interlocução entre esse tipo de prática corporal e as experiências com cantores líricos. A investigação foi organizada em três etapas: 1) Prática de Educação Somática associada a aulas de canto individuais, por um ano; 2) Prática de Educação Somática associada a aulas de canto em grupo, em dois encontros; 3) Entrevistas semiestruturadas com 3 cantoras e 2 cantores que possuem experiência com Educação Somática. Durante os encontros práticos, foi tomado nota das impressões, percepções e relatos dos estudantes num caderno de campo. O material, constituído das conversas e das experiências práticas, foi analisado por uma perspectiva somaestética, disciplina filosófica proposta por Richard Shusterman. Fica evidenciado que, para os participantes da investigação, a prática de Educação Somática permite que eles sintam e conheçam a si mesmos de maneira ampliada e fica claro como corpo e voz se tornam indissociáveis. Também há a compreensão de que o corpo que atua, o que canta e o que ensina são os mesmos. Apesar de haver uma percepção do corpo subjetivado quando relatam suas experiências, a ideia de corpo como instrumento é aceita pelos participantes dessa investigação
It is common to find among singers the idea that the body is the instrument of their art. Although we live in a time where to understand life and our experiences from a systemic perspective should be something widespread, an understanding of singing as something compartmentalized and disconnected from the singers life is perpetuated. Trying to understand this issue, in this research of qualitative nature we ask if classical singers identify their bodies as their instrument, or as locus of performance. And, in this regard, what is the role of motor practices (bodily practices and physical activity) in their development and their art. Knowing that these issues are important aspects of Somatic Education practices, we intended to make an interlocution between this type of bodily practice and the experience with classical singers. This inquiry was organized in three stages: 1) Somatic Education practices associated with individual singing lessons, through a whole year; 2) Somatic Education practices associated with group singing lessons, in two meetings; 3) Semi-structures interviews with 5 singers who are experienced in Somatic Education. Along the practice meetings, impressions, perceptions and reports were written down as fieldnotes. The data, constituted of conversations and practical experiences, was analyzed through a somaesthetic perspective, a philosophical discipline proposed by Richard Shusterman. It becomes evident that to the participants of this inquiry, the practice of Somatic Education allows them to feel and know themselves in an expanded way and it becomes clear how body and voice become inseparable. There is, also, the understanding that the acting body, the singing body and the teaching body are all the same. Although there is the comprehension of a subjectified body when they report their experience, the idea of body as an instrument is accepted by the participants of this inquiry

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Sellers, Crystal Yvonne. ""I Sing Because I‘m Free": Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1249920108.

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Lindberg-Kransmo, Maria. "The influence of the tongue on vocal production." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2002. http://www.unt.edu/etd/all/May2002/lindberg-kransmo%5Fmaria/index.htm.

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Sherman, Philip. "Boots and cats! : Beatboxing from a pedagogical perspective." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1940.

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This thesis attempts to discover how and when beatboxers learn this art form, and also if that differs depending on when they were born. My hypothesis was that beatboxers who grew up without the aid of YouTube and similar online resources learned it in a fundamentally different way than those born into the Internet Age. I also wanted to find out if they were happy about the way they learned beatboxing, or if they in general would have preferred a more methodical and pedagogical structure to their learning. I posted a questionnaire on numerous social media forums in addition to personally sending it to many beatboxing friends and acquaintances, receiving 47 replies in total. Most respondents had learned beatboxing in high school or college, but many of the younger beatboxers had learned it earlier, which I believe is due to its increasing popularity. The study found that while approximately a third of the respondents were happy with the way they had learned, nearly half expressed a wish for a more structured, methodical learning process or a teacher to help them progress. I believe the findings of this study highlight a need for beatboxing to be included as a future instrument in music pedagogy education programs to help the next generation of beatboxers in the progression of this art form.

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McBride-Harris, Jenna Lynn. "Interdisciplinary Transfer and Cultivation: How Vocal, Writing, and Visual Arts Can Inform Horn Practice and Performance." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492701963548168.

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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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Jestley, Jennifer Aileen. "Metaphorical and non-metaphorical imagery use in vocal pedagogy : an investigation of underlying cognitive organisational constructs." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/37888.

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This study investigates the metaphorical and non-metaphorical imagery used by voice teachers for pedagogical purposes. The study objectives were to investigate what—if any—underlying pictorial, structural, and/or conceptual approaches governed the expressions employed. In order to analyse the expressions offered by the voice teachers, I drew on linguist George Lakoff’s and philosopher/linguist Mark Johnson’s conceptual metaphor theory for help in revealing cross-domain mapping. I employed two components of their theory in order to account for the logic which connects singers’ shared embodied experiences with the non-imagistic realm of tone creation, and borrowed from a third component to show a particular underlying conceptual image which holistically organised a number of discrete expressions and actions in singing. To address my objectives, I carried out an instrumental case study at a university and a community college located in Vancouver, British Columbia, Canada. The data came from interviews with six voice teachers working at these two institutes, and covered four broad categories commonly addressed in vocal pedagogy: Body alignment, Breath management, Resonance/Phonation, and Sound production. My findings clearly indicated that the voice teachers participating in this study employed all three organizational constructs. The analysis showed that the underlying structures involved in these constructs had sufficient internal structure to constrain meaning and reasoning. Even abstract concepts such as the colour and quality of tone were shown to be constrained by embodied experience through a process of association. Such transferences of information indicated that the expressions examined were not arbitrarily construed, despite arguments to the contrary. Notably, this study establishes a basis for contending that the three constructs which emerged from the data qualify as the “common [vocabularies]” which the vocal community has long sought to establish (Cleveland, 1989, p. 41).

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Holmes-Bendixen, Allison Ruth. "The influence of whistle register phonation exercises in conditioning the second passaggio of the female singing voice." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4857.

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The standard vocal repertoire for soprano requires use of the uppermost segment of the female voice, which is typically produced using whistle register phonation. Voice teachers recognize that sopranos use whistle register phonation during performance to produce pitches in the highest segment of their range; however, the use of whistle register phonation as a training tool for female singers of all voice types is less common and the benefits of using whistle registration exercises to condition the female voice are not widely known. While several pedagogical manuals recommend vocal exercises that use whistle register phonation in the range of the second passaggio and in the highest segment of the female voice, no research has been conducted to investigate the benefits of singing in whistle register. The purpose of this study was to measure the efficacy of vocal exercises that incorporate whistle register phonation as treatment for poor intonation and pressed and/or breathy vocal quality in female singers with vocal challenges in the second passaggio of their voice. The influence of whistle register phonation on extending vocal range was also investigated. A treatment-no treatment (ABAB) research design was used. Five female vocalists attended 16 weekly sessions. During the treatment phases, participants received weekly instruction in vocal exercises using whistle register phonation and practiced these activities daily. Audio samples of two vocal exercises and a repertoire excerpt were collected weekly. Measurements taken during the treatment phases were compared to measurements taken during the no-treatment phases. Results of comparative Voice Range Profiles and a weekly Range Extension Measurement Task showed a positive relationship between practice of whistle register exercises and an increase in the upper pitch range in all subjects. Subjects gained an average of 2.4 semitones during Treatment Phase 1, when the whistle register tasks were introduced. Subjects lost an average of 1.2 semitones during the No Treatment phase, when the practice of whistle register tasks was withdrawn. Subjects gained an average of 2.2 semitones during Treatment Phase 2, when the whistle register tasks were reintroduced. The average overall gain in the upper pitch range was +4.3 semitones for mezzo-sopranos and +2 semitones for sopranos. In addition, data collected to measure the pitch range over which whistle register phonation was possible showed an average range of 14 semitones (D5 - E6); supporting the notion that whistle register phonation is possible in the range of the second passaggio and could be developed in this range by female singers of all voice types. Eight voice teachers rated each audio sample for intonation and vocal quality during register transition through the second passaggio. Mixed-model ANOVA (analysis of variance) was conducted to compare the effect of whistle register phonation exercises on quality of intonation, vocal quality, the presence and severity of breathiness, and the presence and severity of strain at each phase of the study. Significance was determined at the p<.05 level. There was a significant effect of whistle register phonation exercises on severity of Breathiness [F(3,209) = 6.66, p = 0.0003]. Mean severity ratings for Breathiness for all subjects were significantly lower during No Treatment than in Treatment Phase 1 and Treatment Phase 2, suggesting that breathiness was less severe when the subjects were not practicing whistle register exercises. Severity of strain generally decreased continually throughout all phases. Mean severity ratings for Strain were consistently lower for Treatment Phase 1, No Treatment, and Treatment Phase 2 compared to Baseline. The differences between Treatment Phase 1, No Treatment, and Treatment Phase 2 were statistically significant [F(3,209) = 3.52, p = 0.0161]. Mean Intonation ratings generally increased through Treatment Phase 1 and were significantly higher for the No Treatment phase and Treatment Phase 2 compared to Baseline [F(3,209) = 2.99, p = 0.0322]. The effect of whistle register phonation exercises on vocal quality was not significant at the p<.05 level. A Pearson Correlation Coefficient (PCC) was used to calculate the intra-judge reliability for perceptual evaluation of all vocal tasks. Statistical analysis comparing the judges' ratings for identical audio samples shows that in this study the judges were consistent in their rating of Breathiness (PCC = 0.76) and had difficulty rating Strain (0.57), Vocal Quality (0.60), and Intonation (0.65). A PCC was used to calculate the correlations between each pair of judges' rating for all vocal tasks, and Cronbach's Alpha was used as an overall measure of the inter-rater reliability. Statistical analysis comparing the judges' ratings for all audio samples shows that in this study the judges were consistent in their rating of Breathiness (α = 0.80), mediocre in rating Strain (0.62) and Vocal Quality (0.69), and not consistent in their rating of Intonation (0.53). The results of the current study suggest that whistle register exercises can be used to facilitate range extension for all female voice types. That performance of whistle register phonation exercises correlated to increased breathiness implies that the exercises tested in this study may not be an effective treatment for singers with breathy voices. Further research investigating the influence of whistle register exercises on intonation, overall vocal quality, and severity of strain is needed. Results of the intra- and inter-rater reliability tests demonstrate a need for research that explores more reliable ways to quantify perceptual evaluation of vocal quality in singers.

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Weber, Bryce Matthew. "Training the communicative recitalist: exercises inspired by Sanford Meisner's repetition exercise." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3550.

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Original exercises based on the work of Sanford Meisner (as well as Viola Spolin, Jeffrey Agrell and others) are presented in a hypothetical voice studio to address truthfulness, point of view, and "reality of doing" on the vocal recital stage. The exercises present a way of addressing work on the "self" before work on the "role."

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Morrison, Becky L. "The chest voice function in the classically trained soprano| A survey of selected vocal pedagogy treatises from the seventeenth century through the twentieth century and recording analysis from 1900 to the present with discussion of the implications for the modern vocal pedagogue." Thesis, The University of Oklahoma, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590374.

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The purpose of this research is to document the use of chest voice in sound recordings of sopranos from the early 1900s through the twentieth century and to survey the vocal pedagogy informing performance practice of chest voice throughout the twentieth century. The research includes a survey of the chest voice in vocal pedagogy treatises from the seventeenth century through the twentieth century, and the performance practice of singers throughout the twentieth century in regard to the use of chest voice. The research also includes recording practices as they pertain to the different time periods of sound recordings used in this study. Three singers from each recording era are documented in regard to their rise to fame, voice teachers, training, use of chest voice in recordings, and approach to singing. Three arias will be used to trace the use of chest voice throughout the different eras of recorded history to document changes in style and approach to chest voice singing. The arias are "Una voce poco fa" from Rossini's Il Barbiere di Siviglia , "Salce, Salce" from Verdi's Otello, and "Air des bijoux" (The Jewel Song) from Gounod's Faust. The views about the use of chest voice over the past four hundred years inform the modern vocal pedagogue in regard to the changes in methodology, ideology, and practice due to the advances in vocal science and technology used to explore the voice and its function. However, until the beginning of sound recording the only form of documented historical performance lay in the opinions of critics and those who wrote about the performers of their day. In the research of this document the archival recordings provide the impetus for comparing vocal pedagogy instruction with performance practice in the use of chest voice.

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DeSilva, Bryan Edward. "A SURVEY OF THE CURRENT STATE OF CONTEMPORARY COMMERCIAL MUSIC (CCM) VOCAL PEDAGOGY TRAINING AT THE GRADUATE LEVEL." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/380835.

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Music Performance
D.M.A.
In 2008, the American Academy of Teachers of Singing released a paper in support of further research and training in the teaching of non-classical music or Contemporary Commercial Music (CCM). CCM can be defined as encompassing (but not limited to) the following genres: musical theatre, pop, rock, gospel, R&B, soul, hip-hop, rap, country, folk, and experimental music. Despite the increase in number of musical theatre and CCM degree programs at American universities, and the that national voice pedagogy organizations have begun to include musical theatre competitions and masterclasses, such academic training for future voice teachers has not met the demand. A 2003 survey by LoVetri and Weekly to evaluate the levels of training and experience of voice teachers in CCM styles of singing showed that while 71 schools offered Bachelor’s degrees in Musical Theatre, there were no schools offering CCM voice pedagogy training. In a 2009 follow-up, Weekly and LoVetri found that only 19% of those surveyed had any training to teach Musical Theatre. Additionally, many teachers indicated they were only classically trained and had no idea how to sing in any other style. For this study a three-part survey containing 27 questions was used to survey voice teachers who had been enrolled in or completed graduate-level (MM or DMA) voice programs since the publication of Weekly and LoVetri’s most recent survey. The purpose of the survey was to discover the pedagogical training of recent graduate voice students in CCM. The data is collected from a population in which n=66. While this study did show an increase in pedagogical training in CCM at the graduate university level (26%) as well as an increase in the number of CCM teachers with both graduate-level training and performance experience, this increase was small, and the majority of those who reported having received training did so through private instruction or independent study.
Temple University--Theses

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Cobb-Jordan, Amy. "The study of English, French, German and Italian techniques of singing related to the female adolescent voice." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20011/cobb-jordan%5Famy/index.htm.

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Campora, Miranda. ""Practice makes perfect!" : A survey study of musical practice of vocal students in upper secondary school." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3916.

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Vocal teachers’ task is to give students a foundation for their personal practice. When the student leaves the classroom, it is their responsibility to direct their own learning. This essay examines vocal students from upper secondary school's perspective about their personal vocal practice and their practice in relation to the support and help from their vocal teachers. Five schools were contacted where a total of 120 students had access to an online survey via email, to which 56 students responded. The variables in the survey were partially analyzed and processed in the software SPSS. In this study, it was clear that students have a positive attitude towards their personal practice and generally have good practice habits. The student’s level of motivation plays a role in the number of hours that are devoted to practice and having goals with one’s practice, such as vocal lessons, are important for practice motivation, as lessons are occasions where students are assessed. The vocal teacher is important for the student's continued development but not in relation to the student’s weekly practice hours.

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Hellström, Viveka. "Från viskningar till rop : en studie av fem kvinnliga Jazz i Sverige-röster." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1248.

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Studiens syfte har varit att öka förståelsen för röstliga uttryck i jazzmusik, med fokus på hur samspelet mellan ord och musik verkar i skivinspelningar med utvalda sångerskor. Utifrån en hermeneutisk ansats har fem skivinspelningar med fem svenska kvinnliga jazzsångerskor, samtliga utsedda till Jazz i Sverige-artister, beskrivits och tolkats ur ett vokalpedagogiskt perspektiv. I förhållande till jazzsångtraditionen visade sig två av studiens sångerskor på olika vis utmana vokala konventioner. Studiens resultat indikerar att utbildning stärkt jazzsångerskor så att de kan agera i flera roller i ensembler, också genom vokal improvisation och som kompositörer. Det framgick att samtliga sångerskor i studien framfört engelskspråkiga texter som främst behandlat kärleksmotiv. I detaljstudier av sångerskornas interpretation av texter, både egnas och andras, framstod komplexiteten i deras vokala framställning. Resultaten visar att texter kan fylla olika funktion i musikaliskt samspel, samt pekar på att studiet av inspelade röster kan vara ett redskap i undervisningen, både för jazzsånglärare och ensemblelärare.
The aim of the study is to enhance the understanding of voice expression in jazz music, focusing on the interplay between words and music in recordings of selected singers. From a hermeneutic approach five recordings of different Swedish female jazz singers, all selected as Jazz in Sweden- artists, has been described and interpreted from a vocal pedagogical perspective. In relation to the jazz vocal tradition it turned out that two of the singers in different ways challenged the conventions of jazz singing. Study findings indicate that education strengthened female jazz singers to find different roles in their interaction with other musicians in the ensemble, also through vocal improvisation and as composers. All singers in the study expressed themselves through lyrics in English that mainly dealt with love motifs. In detailed analysis of the songs and the singers interpretations of lyrics the complexity of the singers vocal production was shown. The study shows how lyrics for the singer can fulfill different functions in the musical interplay, and also implies that studies of recorded voices can be an educational tool, for both jazz vocal teachers as well as for ensemble teachers.

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Hinkley, Sandy Purdum. "Effects of Vibrato and Pitch-Varied Vocal Models on High School and Undergraduate Singers' Intonation, Intensity, and Use of Vibrato." Thesis, The Florida State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261291.

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The purpose of this study was to investigate the effects of vibrato and pitch-varied vocal models on acoustic measures of high school and undergraduate singers’ vocal performance. Participants’ perception of vocal models was also examined to explore a possible relationship between perception and production. The following primary questions guided this research: 1) Is singers’ intonation affected by vibrato or pitch-varied vocal models? 2) Is singers’ vibrato rate affected by vibrato or pitch-varied vocal models? 3) Is singers’ vibrato extent affected by vibrato or pitch-varied vocal models? 4) Is singers’ intensity affected by vibrato or pitch-varied vocal models? Secondary questions under investigation were: 1) Do singers respond differently to vocal models of pitch patterns versus song phrases? 2) Does age and experience influence singers’ response? 3) Do singers perceive the differences in vocal models?

Participants (N = 76) were male (n = 38) and female (n = 38) singers who were undergraduates (n = 40) currently participating in a choral ensemble at the Florida State University or high school students (n = 36) currently enrolled in the choral program at a nearby high school. Participants responded to twelve vocal models of the same gender that were varied in melody, vibrato, and intonation conditions. Vocal models consisted of either a short pitch pattern ( sol-la-sol-fa-mi-re-do) or familiar song excerpt (Are You Sleeping?), both performed on the neutral syllable “tah.” Model melodies were sung in vibrato and minimal vibrato conditions, with each model having a specific 3rd and 5th scale degree that was presented in tune, sharp, or flat (mistuned pitches ± 25 cents relative to equal temperament). After responding to vocal models, participants were asked via written questionnaire if they perceived differences in vocal models and, if so, to describe them.

Audio recordings of participants’ responses were analyzed acoustically, with the specific 3rd and 5th scale degrees in each model analyzed for the dependent measures of intonation, vibrato rate, vibrato extent and intensity. Repeated measures analyses were conducted on the acoustic measures. An alpha level of .01 was used in all statistical tests. Written responses on the questionnaire were analyzed for keywords reflecting vocal technique or musical elements. Keywords were then identified and coded for frequency of response.

Significant differences in intonation were found, with responses to minimal vibrato models performed more flat than responses to vibrato models. Main effects were also found for gender, with male participants showing overall more flatness than females. Responses to pitch-varied models tended towards flat intonation, with flat models producing the greatest deviation particularly with male participants. Two interactions, both involving melody condition of models, also produced differences in intonation.

Significant differences in measures of vibrato rate and extent were also observed. Vibrato rates were faster and vibrato extents were wider in response to vibrato models. High school participants responded with similar vibrato rate and extent to both vibrato model conditions, whereas undergraduates responded with significantly faster vibrato rate and wider extent to vibrato models. Undergraduate vibrato rates were similar between genders, however high school males were significantly slower in vibrato rate than high school females.

Intensity results for both high school and undergraduate participants showed significantly higher intensity levels for 5th scale degrees than 3rds. High school males performed both scale degrees at similar intensity levels, while high school females sang 5ths with higher intensity. Significant differences in intensity were also found with undergraduates, with responses to vibrato models yielding higher intensity. Male undergraduates were found to sing with higher intensity in response to vibrato models, whereas females sang with similar intensity between vibrato-varied conditions. Interactions involving scale degree or melody condition of models also produced significant differences in intensity.

Analysis of written questionnaires showed that 71 (93%) participants perceived differences in models. The most frequently used keyword(s) was vibrato/straight tone, with 36 participants (51%) noting this as a perceived difference between models. Timbre/tone quality was the next most used word(s) by 13 participants (17%), followed by intonation/pitch used by 12 participants (15%). More males noticed changes in tone quality, intonation, and vowels than females, whereas the latter recognized vibrato changes more than males. Undergraduates perceived vibrato changes and intonation differences more than high school participants.

Many complex factors were thought to contribute to results of this study, including perception, experience, vocal development, and vocal production. While some findings support prior research, other results raise questions that warrant additional investigation. Implications and ideas for future inquiry are discussed.

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Parker, Donald. "The Effect of Metaphoric-Image, Motion, and a Dual Modality Approach on the Perception of Vocal Tone." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12964.

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The use of imagery and movement to affect vocal tone has long been a part of choral pedagogy. These often used, yet little explored tools, are employed by choral directors on all levels. The present study sought to determine if the use of imagery, metaphor, motion, and a combination of the three, as pedagogic tools to affect vocal tone, could be perceived by outline listeners. Three singers - an untrained singer, an undergraduate in choral music education, and a graduate student in vocal performance - were asked to perform a melody under a control and three research conditions: metaphoric-image, motion, and dual modality (a combination of metaphoric-image and motion). Participants were randomly assigned to listen to one of the three singers. Participants were asked to rate each condition on tone color, tension, and preference and were directed to ascribe a color to the tone they heard for each condition. Results indicated that respondents could indeed perceive a difference in tone over the different conditions. For the metaphoric-image condition, the singers were asked to "sing the line as if it were yellow." Overall, respondents rated this tone brighter than any others across singers and conditions. The majority of respondents also ascribed the color yellow to the metaphoric-image tone across singers and conditions. Overall data indicated that respondents rated the dual modality condition as darkest and most relaxed while the metaphoric-image condition was rated as brightest and most tense. These results were consistent with the expected pedagogic intent of the conditions as well as the researcher's hypothesis. A chi-square test performed on the color ascription data revealed statistical significance in the expectation of response. The data seem to indicate that specific color ascription to vocal tone is consistent across respondents and conditions.

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Melo, Leonor Cristina Cabral de. "A voz como revelação do corpo : saúde e verdade na pedagogia vocal do ator." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/29941.

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Este trabalho apresenta uma análise de como os discursos do corpo, da saúde e da verdade, se configuram e entrelaçam no campo da pedagogia vocal do ator, através de três enunciados: os enunciados da voz como corpo, dos cuidados com a voz, e da voz reveladora da verdade do ser, presentes nas práticas discursivas dos manuais de voz destinados aos atores, professores e preparadores vocais que atuam nesse campo pedagógico. A partir da configuração apresentada, o trabalho expõe uma análise das condições que possibilitam tais enunciados de serem ditos no campo pedagógico em questão, e as possibilidades de constituição dos sujeitos desse campo a partir dos discursos formados por tais enunciados. As inquietações sobre a constituição dos sujeitos do campo da pedagogia vocal do ator problematizadas nesta dissertação surgiram da prática docente da pesquisadora, que é atriz, cantora e professora de teatro. A experiência pedagógica instigou duas questões: como o que é dito aos atores sobre suas vozes se relaciona aos possíveis modos de ser ator, e como a pedagogia vocal do ator se relaciona às outras pedagogias do ator. A metodologia desenvolvida para tentar dar conta destas questões inspirou-se na análise discursiva tal qual a compreende Michel Foucault.
This thesis consists of an analysis of how discourses about the body, the health and the truth blend together in the field of actor‟s Vocal Pedagogy. This process takes place through three kinds of enunciation: The enunciations of the voice as body, of voice care and of the voice as an unveiler of truth of being, which are present in vocal techniques handbooks for actors, teachers and vocal coaches who work in this pedagogical field. Through the presented configuration this work carries out an analysis of the conditions that render the saying of such enunciations in the aforementioned field possible and of the possibilities of constitution of this field‟s subjects from the discourses which are constituted by such enunciations. The concerns about the constitution of the subjects in the field of the actor‟s Vocal Pedagogy which are dealt with on this dissertation emerged from the researcher‟s teaching praxis as an actress, singer and theater teacher. The pedagogical experience instigated two questions. The first one: in which way what is said to the actors about their voices relates to the possible ways of being an actor. The second one: how the actor‟s Vocal Pedagogy relates to the actor‟s others pedagogies. The developed methodology to try to explain such questions was based on the discourse analysis as it is understood by Michel Foucault.

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Roll, Christianne Knauer. "Female musical theater belting in the 21st century| A study of the pedagogy of the vocal practice and performance." Thesis, Teachers College, Columbia University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3621794.

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The female musical theater belt voice has been heard onstage for almost one hundred years, yet the demands for this type of singing continue to evolve. While the style dominates Broadway, an understanding of successful teaching of the female belt voice seems to be lacking. Therefore, this study was undertaken to appropriately address the needs of female musical theater singers, and to establish effective strategies for teaching the female belt voice.

Individual case studies of four nationally recognized master teachers of female belting were created from observations in the studio, interviews with the teachers, and interviews with their students. Thirty-two hours of private voice lessons were observed with 18 female belt students in the studios of these master teachers in an effort to determine the extent to which they employed common techniques in the pedagogy and agreed on the characteristics of the female belt voice. Interview responses and field notes from the teachers and singers were analyzed individually and a cross-comparison of the data was analyzed for consensus or conflicting information on female musical theater belt pedagogy.

Interestingly, there was much consensus among the teachers on the physicality, sound, and strategies for female belting. Included in the findings were that the female belt voice is not a pure chest voice production, and development of the entire voice is key since working in head voice allows a female to create a lighter belt sound and to make the transition into the higher belt range. Distinct techniques for the traditional and contemporary belt voices emerged. The traditional belt, up to D5, uses more chest voice and full, open vowels. The contemporary belt, higher than D5, is produced with more head voice and closed, narrow vowels. Belting is considered speech-like and exciting, and is a joint process between teachers and students.

Based on this research, voice teachers working with musical theater students must be educated and proficient on the specific strategies and techniques of the evolving female belt voice. The female belt voice, though different from classical singing, does have its own set of techniques.

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48

Yau, Christine Ngai Lam. "The nature of one-to-one instrumental/vocal pedagogy in music conservatoire setting : two cases from a UK conservatoire." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709344.

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49

Brown, Shaun (Shaun Joseph). "Ensemble Singing in the Bel Canto Salon Repertory: A Pedagogical Reconsideration." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609069/.

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Vocal duets have had a long history in the Western classical music tradition. Their use as a teaching resource can be traced back to the Renaissance, where duets were used for the development of singing, performance, and musicianship. In the late 19th and all of the 20th centuries, this pathway of vocal pedagogy has markedly declined. This study proposes a reintroduction of this methodology of teaching, asserting that it provides the collegiate vocal student with maximum opportunity for growth and development in terms of technique, musicianship, ensemble skills, and performance development. Four vocal duets ("La pesca," "Il brindisi," "Il gallop," and "La caccia") of Saverio Mercadante (1795-1870) serve as the point of discussion. These songs from Les soirées italiennes (C.1836), which are representative of the salon culture of the 19th century, are given detailed attention through a discussion of their pedagogical value. Since they are long out of print, a new performance edition is presented.

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50

Chamun, Walter Williams Albrechet [UNESP]. "A construção da performance vocal em português brasileiro em três modelos: lírico, câmara e belting: estratégias pedagógicas." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/154172.

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Este trabalho visa a construção de um protocolo pedagógico que ofereça estratégias para auxiliar cantores na transição entre os gêneros lírico, música de câmara brasileira e belting em português, além de apresentar um modelo de condicionamento pedagógico vocal baseado em conceitos de fisiologia da voz e de aproveitamento máximo da musculatura laríngea, emprestados da ciência da fisioterapia, uma vez que na área de voz ainda não há muitos trabalhos que norteiem quantidade e qualidade vocal relativos aos limites físicos de uso da musculatura envolvida no processo de cantar em qualquer que seja o gênero. Objetivos específicos: 1. Descrever cada gênero em seus conceitos estilísticos; 2. Construir e fundamentar o protocolo de estratégias de transição entre os gêneros; 3. Testar a aplicabilidade do protocolo com um sujeito. Com os resultados obtidos pelas avaliações de laringe e dados espectrográficos, notou-se uma melhora da performance da cantora analisada em todos os gêneros abordados, sendo verificados aumento de energia de espectro, maior regularidade de vibrato e um auto relato da cantora de mais facilidade de emissão em todos os gêneros. O trabalho possibilitou uma reflexão sobre as dificuldades dos cantores em suas práxis diárias no mercado de trabalho, trouxe novos dados para os professores referentes ao direcionamento das suas prática e construção pedagógica bem como avaliações qualitativa e quantitativa de exercícios vocais e sua aplicabilidade.
This work seeks to develop a pedagogical protocol with strategies that try to help singers transition across genres, namely lyrical, Brazilian chamber music and belting sung in Portuguese, besides offering a model for pedagogical vocal conditioning based on concepts of voice physiology and the best use of the laryngeal musculature, borrowed from the physical therapy science, since there are not enough studies within the voice field to scaffold vocal quantity and quality as to the physical limits of the muscles involved in singing whichever the genre. Specific aims: 1. stylistically describing the genres in the study; 2. designing and theoretically supporting the genre transition protocol; 3. trying out the protocol with a subject. The results from larynx analyses and spectrographic data revealed an improvement in the studied singer’s performance in all genres, with an increase in the energy of spectrum, higher vibrato evenness and the singer’s account of ease emission. The study cast a reflection on the difficulties singers find in their professional daily praxis, brought voice teachers new data regarding their practice and pedagogical decisions as well as quantitative and qualitative assessments of vocal exercises and their applicability.

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Dissertations / Theses on the topic 'Vocal Pedagogy'

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