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Journal articles on the topic 'Vocal Pedagogy'
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1
Boatwright, Helen, and Berton Coffin. "Historical Vocal Pedagogy Classics." Notes 48, no. 1 (September 1991): 110. http://dx.doi.org/10.2307/941800.
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Pivnitskaya, Olga V. "Vocal Biomechanics in Domestic Pedagogy." Musical Art and Education 9, no. 4 (2021): 132–46. http://dx.doi.org/10.31862/2309-1428-2021-9-4-132-146.
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KohSeonMi. "Historical Overview of Vocal pedagogy." 이화음악논집 11, no. 2 (December 2007): 157–93. http://dx.doi.org/10.17254/jemri.2007.11.2.006.
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MARTYNIUK, Anatolii. "PAVLO HOLUBEV’S VOCAL PEDAGOGY IN MODERN ART EDUCATION." Cherkasy University Bulletin: Pedagogical Sciences, no. 2 (2020): 167–71. http://dx.doi.org/10.31651/2524-2660-2020-2-167-171.
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Introduction. The modern vocal pedagogy is based on the methodological principles of domestic and foreign vocal pedagogy, thorough study of the musical traditions of the Ukrainian people. The issue of preserving the traditions of Ukrainian vocal art and the use of innovative ideas in further development is extremely important. The comprehensive analysis of P.V.Holubev’s artistic and pedagogical activities allows to significantly expand the idea of the the artist' work an at the same time realize its importance for the Ukrainian musical art. The artist left great achievements in the history of the national vocal school, contributing to the process of its formation and development. The purpose of the article is highlighting of vocal pedagogy of the outstanding Ukrainian artist, Professor P.V. Holubev. The methods of analysis of musical and pedagogical activity of Kharkiv singer, teacher, Professor P. Holubev. Results. Pavlo Holubev’s vocal pedagogy has distinctive features. Under his guidance, students learned not only solo, but also ensemble and choral singing. The individual lessons with students had as their main goal the achievement of equality of voice sound and the detection of unique timbre color of the sound and the gradual expansion of the range of voice in the descending and ascending directions starting from the development of the middle register; formation of a diverse palette of sound filled with overtones; performing interpretation of vocal music. It is revealed that in P. Holubev’s vocal pedagogy the following main content lines are traced: development of vocal skills, abilities; the need to introduce them into the system of teaching vocal methodology, which is based on the scientific study of national and world experience of vocal pedagogy; synthesis and constant updating of vocal methods, which takes into account the student’s individual characteristics of the voice and creative talent. Originality. After analyzing the artistic and pedagogical activity of Professor P. Holubev we can define certain scientific approaches to educational process, namely: 1) axiological approach; 2) personality-oriented approach; 3) creative and activity approach. Conclusions. Thus, analyzing the musical and pedagogical activities of the outstanding singer, teacher, Professor P.V. Holubev, we can conclude that the features of his vocal pedagogy played an important role in the Kharkiv vocal school. Scientific study of the musical and pedagogical experience of P.V. Holubev became the basis of national and world vocal pedagogy.
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Shastina, T. V. "Russian vocal school: traditions and perspectives." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 140–44. http://dx.doi.org/10.30725/2619-0303-2020-4-140-144.
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Russian vocal school as a significant part of the Russian and unique phenomenon of world musical culture, developed and developed as an original direction of vocal professional performance and vocal pedagogy. The evolution of vocal performance and vocal pedagogy, the formation and development of the Russian vocal school and its traditions have shown that vocal pedagogy develops together with vocal performance, analyzing and generalizing experience, creates and tests its methods, develops singing attitudes and develops pedagogical technologies that contribute to the education of singing culture. Russian singing traditions and vocal education, their scientific research and reproduction, identification of prospects for the development of the modern Russian vocal school, identification of ways to continue existing traditions, development and scientific justification of new vocal and pedagogical technologies are relevant today. The perspective of the development of the Russian vocal school is seen in the reproduction of traditions, scientific justification of its pedagogical foundations, in the formation of performers who have a high level of motivation for singing activities and physiological potential for mastering various phonation techniques, able to learn new things in the art of singing.
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Alessandroni, Nicolás, Camila Beltramone, and Laura Sanguinetti. "SINGING PEDAGOGY AND CONTEMPORARY VOCAL MUSIC: A TROUBLED RELATIONSHIP." Revista Europeia de Estudos Artisticos 8, no. 2 (June 30, 2017): 1–16. http://dx.doi.org/10.37334/eras.v8i2.125.
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In this paper, we explore the interrelationships between knowledge construction in the field of Vocal Pedagogy and compositional forms of the academic music of the 20th century. We propose that research logics within Vocal Technique contributed to the thinking of the time providing a matrix to consider the vocal instrument from an objectivist position. The importance of the inquiries presented lies on the slow expansion that contemporary vocal music acquired in the last years, and in the absence of a Vocal Technique teaching method that considers the particular characteristics of this repertoire. As a current challenge, we consider necessary to chart a new model in Vocal Technique that favors the interpretation of the vocal repertoire of the 20th Century, and to establish a corpus of knowledge about (i) which are the new required skills and abilities, (ii) how they are produced, and (iii) how they should be taught.
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Beltramone, Camila, Nicolás Alessandroni, and Laura Sanguinetti. "SINGING PEDAGOGY AND CONTEMPORARY VOCAL MUSIC: A TROUBLED RELATIONSHIP." ERAS | European Review of Artistic Studies 8, no. 1 (June 30, 2017): 1–16. http://dx.doi.org/10.37334/eras.v8i1.60.
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In this paper, we explore the interrelationships between knowledge construction in the field of Vocal Pedagogy and compositional forms of the academic music of the 20th century. We propose that research logics within Vocal Technique contributed to the thinking of the time providing a matrix to consider the vocal instrument from an objectivist position. The importance of the inquiries presented lies on the slow expansion that contemporary vocal music acquired in the last years, and in the absence of a Vocal Technique teaching method that considers the particular characteristics of this repertoire. As a current challenge, we consider necessary to chart a new model in Vocal Technique that favors the interpretation of the vocal repertoire of the 20th Century, and to establish a corpus of knowledge about (i) which are the new required skills and abilities, (ii) how they are produced, and (iii) how they should be taught.
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Mykhailo, Markovych. "Creative principles of Mykola Manoilo’s vocal pedagogy." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 200–215. http://dx.doi.org/10.34064/khnum1-60.11.
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Statement of the problem. The article is devoted to the outstanding figure of vocal art of Slobozhanshchyna Mykola Fedorovych Manoilo (1927–1998), the opera singer, who was awarded the title of “People’s Artist of the USSR” (1976) for impeccable performance of baritone parts of the classical repertoire on the stage of Kharkiv Theatre of Opera and Ballet, as well as of the chamber repertoire compiled of Ukrainian folk songs and works by Ukrainian composers. Based on his own experience of studying in the class of solo singing of M. Manoilo (1988), the author of the article offers the experience of scientific and methodological generalization of creative principles of vocal pedagogy of the teacher, while emphasizing the role of Manoilo as a unique singer. The relevance of the topic and its practical significance are stipulated by the urgent need of vocal pedagogy to form a tradition of scientific reflection on the specialization of the vocalist, the representation of classical guidelines and methods in the modern dimension, establishing creative contacts of different generations. The purpose of the article is to reveal the pedagogical principles by M. Manoilo as an outstanding representative of the Kharkiv vocal school, genealogy and dominant features of his performing creative work. Analysis of recent research and publications. The creative figure of M. Manoilo has not yet received serious coverage in the domestic musicology yet. Existing sources are brief biographic descriptions in reference books and encyclopaedias, the anthology “Ukrainian singers in the memoirs of contemporaries, compiler I. Lysenko (2003), or mentions of his name in books on the artistic life of Kharkiv (O. Chepalov, 2012; Tsurkan, 2013). The methodology contains a number of interrelated approaches to the study of the phenomenon of the singer’s artistic personality: historiographical, biographical, performing, and phenomenological. Presentation of basic research material. M. Manoilo inherited the principles of vocal pedagogy from P. Golubev, who taught at the Kharkiv Conservatory (1930–1953) and was the successor of the classical school of Italian bel canto singing, as a student of F. Bugamelli, which was involved by I. Slatin in teaching vocals at the Kharkiv Music College (1901–1918). The creative principles of the artist-interpreter M. Manoilo are a compendium of his mastery: ● orientation on the generally accepted standard of sounding of a voice (bel canto); ● persistent search for individual reading of the role on the path of constant musical and intellectual self-growth; ● word culture; ● unity of sound-forming technology and artistic and aesthetic principles of a musical work, due to its genre and stylistic nature; ● psychological authenticity (own experience of “entering” the image and its “living-through”) and the singer’s ability for self-analysis; ● mental and psychological signs of artistic personality – great persistence and strength of character, the desire to reach the highest point (acme) of creative self-representation. The “denominator” of M. Manoilo’s performing skills is the style – the performer’s orientation for the accuracy of the composer’s text. The results obtained. The principles of M. Manoilo’s vocal pedagogy were based on the basis of generalization of own scenic experience as a system of generally acquired and personality-oriented principles: – sound culture (uniformity of construction of the singing range; flexibility, strength, flight of voice, use of mixed register, rounding, covering); sound word culture; attention to diction; – author-centrism of the singer’s interpretation of the vocal-stage image; – high artistic taste, which is formed through the education of musicality, diverse repertoire, and a sense of performance drama; – high artistic taste, which is formed through the education of musicality, diverse repertoire, and a sense of performance drama; – trust in intuition, which the singer should constantly “check” with his/her own intellect according to the composer’s text. Conclusions. As the heir of the Italian tradition of singing, in all genres of performance M. Manoilo represented such qualities as: proper breathing (free passage of all resonator zones), beautifully designed, high-quality singing tone, theatrical voice, which was overlapping the sound of the orchestra, sonority, flight, equality of the whole range. From the domestic singing paradigm one should add to Manoilo’s artistic portfolio the following: ● recitative-speech cut of vocal intonation (melodic nature of singing is enriched by the relief of declamatory vocalization); ● clear diction of the word being sung to reach the minds and hearts of listeners and establish a dialogue with the author; ● cordocentrism – a particularly intense intra-emotional tone of performance as a personification of the Ukrainian “philosophy of the heart” (Н. Skovoroda); ● integrative type of performing thinking – the unity of poetic-intonation and stage-artistic image of the singer. If a super-goal of music is, according to Aristotle, the entelechy, then singing technique is a way to achieve it. Such was the universal basis of M. Manoilo’s requirements of to himself, as well as to the students of his solo singing class
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Phelan, Louise. "Vocal Pedagogy and the Alexander Technique: a reflection." Revista de Investigación e Innovación en Ciencias de la Salud 3, no. 2 (December 18, 2021): 128–35. http://dx.doi.org/10.46634/riics.83.
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This article is a reflection about the role of the Alexander Technique and its application and influence in vocal pedagogy. It is based on more than seventeen years of active teaching as a qualified Alexander Technique Teacher and as a professional singer, working alongside vocal pedagogues, teachers, students and professionals. Its objective is to reflect upon the role of body awareness, psychophysical and emotional consciousness, and wellbeing in the realms of vocal pedagogy and singing.
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Stulova, Galina P. "OBJECTIVE METHODS OF RESEARCH IN VOCAL PEDAGOGY." Musical Art and Education 9, no. 3 (2021): 48–65. http://dx.doi.org/10.31862/2309-1428-2021-9-3-48-65.
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Brown, Jeri. "Vocal Ecosystems Beyond Pedagogy: Working With Challenges." Literacy Information and Computer Education Journal Special 4, no. 1 (March 1, 2015): 2120–28. http://dx.doi.org/10.20533/licej.2040.2589.2015.0282.
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Monson, Brian B. "The 1:6 ratio in vocal pedagogy." Journal of the Acoustical Society of America 121, no. 5 (May 2007): 3087. http://dx.doi.org/10.1121/1.4781945.
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RADU-GIURGIU, Cristina. "Emilia Petrescu – thoughts about Vocal Music and Pedagogy." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (June 20, 2020): 155–62. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.17.
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In the middle of the communist era, a Romanian singer with talent, music knowledge and ambition, manages the performance of devoting herself to a vast concertrepertoire, not exactly a friendly one with the atheist views of the official doctrine of the proletariat, who recently was installed in Romania after the World War II. Her vocal repertoire included Songs (Lieder) and Oratory, represented by vocal-symphonic works mostly with religious content. But through a high level of professionalism, her well mastered vocal technique and a unique intelligence in mastering the musical phrase, also with a practical temperament, Emilia Petrescu manages to achieve a wide national and European recognition. This article aims to reconstruct some of the artist's thoughts on the art of singing, which I hope will be useful to new generations of singers."
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Obukh, Liudmyla. "PSYCHOTECHNICS OF SINGING AS A MODERN DIRECTION OF VOCAL PEDAGOGY." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 106–10. http://dx.doi.org/10.36550/2415-7988-2021-1-195-106-110.
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The aim of the study is to solve the problem of development of vocal abilities and vocal qualities through the development of stress resistance during singing of students of artistic specialties from a psychophysiological point of view, which is still relevant and appropriate in terms of finding and implementing innovative teaching aids. Whereas singing must first and foremost be physiologically correct, a person's voice is a consequence of his or her physical and mental health. The key to the singer's success in the modern hyper-stressful world will be the ability to liberate the body and soul from certain psychophysiological overloads through certain exercises, trainings, etc. Certainly, for each organism of the singer it is necessary to select a separate set of special exercises, look for appropriate methods for educating psychophysiological freedom during singing, as well as to establish an individual singing regime. The article considers certain theoretical and methodological developments in the field of education and upbringing of a music artist, which allow to form an idea of traditions and innovations for effective work with students in the process of learning to sing. The described views of both vocal teachers and psychophysiologists resonate with each other, complementing each other and forming a new modern direction of vocal pedagogy – the psychotechnics of singing. In particular, the use in practice of publicly available trainings by D. Burns, A. Ellis and S. Genyk help to solve certain psychophysiological problems in vocal pedagogy, and the methods and techniques of R. Berkeley and A. Kalabin contribute to the release of psychophysiological feelings of the vocalist, expanding his professional opportunities. Therefore, research and implementation of interesting methods and practices of leading specialists not only in the field of vocal pedagogy, but also psychology, physiology and medicine in the educational process will help not only to expand singing potential and improve the work of the vocal apparatus. The study of such innovations is the prospect of further research to substantiate the psychotechnics of singing as a new direction of vocal pedagogy.
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Pavlova, N. "METHODOLOGICAL AND THEORETICAL FOUNDATIONS FOR TRAINING VOCAL TEACHERS OF RUSSIA." National Association of Scientists 1, no. 68 (June 15, 2021): 16–17. http://dx.doi.org/10.31618/nas.2413-5291.2021.1.68.446.
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Currently, vocal pedagogy is undergoing a crisis, since it does not have objective criteria and indicators for preserving the traditions of Russian vocal performance. The article presents the necessary methodological and theoretical information for the training of vocal teachers at the modern stage of the development of Russian education.
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Harris, Taran. "Treating Audio Manipulation Effects like Photoshop: Exploring the Negative Impacts of a Lack of Transparency in Contemporary Vocal Music on Young Learners." INSAM Journal of Contemporary Music, Art and Technology, no. 8 (July 15, 2022): 47–59. http://dx.doi.org/10.51191/issn.2637-1898.2022.5.8.47.
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Amidst the great and rapid advance in digital audio processing over recent decades, a range of new ‘manipulation’ software has problematised the popular music scene, both in terms of authenticity and achievability of performance. This paper will set out to define manipulation effects as separate from the more over-arching umbrella term of staging effects, under which they have been vaguely included for a number of years. By separating out the staging of vocals from the manipulation of their core content, by pitch correction for example, we can more specifically observe their impact on audience reception and vocal pedagogy. The reception element of this research would be largely related to that of authenticity and the presentation of liveness in online video, but this paper will focus on the effect of the unachievable on vocal learners. These could range from confidence issues to serious vocal problems. This paper explores the possibilities of music following the same trajectory as photography, where manipulation is concerned. Photoshop’s usage in media has provoked a great deal of controversy in recent years, with high profile campaigns resulting in legislative changes such as Israel’s Photoshop Law, which imposes certain restrictions for models and a disclaimer requirement for publishers. It’s a possibility that if the music industry were required to provide disclaimers for audio releases and online videos, that there would be more transparency in vocal pedagogy, with the potential for fewer vocal health problems related to copying unachievable performances. The aim of this paper is to open a conversation about the effect of a lack of transparency surrounding audio manipulation so that more can be done to address it.
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Aksenova, S. S. "Methodological Bases of Competence Preferences Necessary for a Vocal Teacher in the Formation of Vocal and Auditory Skills in a Modern Dissonant Sound Environment." Uchenye Zapiski RGSU 19, no. 3 (September 30, 2020): 85–92. http://dx.doi.org/10.17922/2071-5323-2020-19-3-85-92.
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in the modern world, the problems of improving vocal pedagogy and methodological developments in the field of training future singers and vocal teachers should be considered not only from the point of view of the traditional classical school of singing described in the works of famous scientists, but also together with new information and communication technologies that have already firmly entered various fields of pedagogy and mass culture. It will be a mistake to oppose the fundamental vocal teaching methodology, which gives new generations of students a solid basis for the formation of vocal competencies, new pedagogical approaches in the field of hearing development using modern information and digital technologies. The task of modern methodist scientists is to combine classics and modernity, traditions and innovations in order to form new competencies among vocalist students, future performers and teachers.
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Trubina, Irena, and Maruta Sile. "Development of Adolescent Individual Attention Focus Abilities during Vocal Ensemble Sessions." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 445. http://dx.doi.org/10.17770/sie2015vol2.421.
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<p><em>In 21st Century, music playing as an activity for attention development is one of the direction in the fast developing field of research in music pedagogy. The issue of adolescent attention focus ability development is urgent both in psychology, as well as pedagogy and specifically in music pedagogy. With the use of digital tests (VTS - Vienna Test System), adolescent attention focus ability development was determined in dynamic during vocal ensemble sessions. Upon analysing the individual adolescent results, it was concluded that development of attention focus ability was observed for the majority of adolescents who actively took part in the vocal ensemble lessons performing the include attention focus ability development exercises that were created in line with the recommendations of psychology and pedagogy scholars.</em></p><p> </p>
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Pokrovskij, A. V. "PRACTICAL WORK ON VOICE TRAINING, PART I. GENERALITIES." EurasianUnionScientists 11, no. 5(74) (2020): 10–12. http://dx.doi.org/10.31618/esu.2413-9335.2020.11.74.812.
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The article examines the General provisions of vocal pedagogy: the relevance of the issue, principles, goals, objectives and methods of teaching singing; the criteria, methods of selection and basic skills necessary for those wishing to learn vocal art.
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Pokrovskiy, A. V. "RACTICAL WORK ON VOICE TRAINING, PART III. WORKING ON THE VOICE." EurasianUnionScientists 6, no. 7(76) (August 20, 2020): 11–13. http://dx.doi.org/10.31618/esu.2413-9335.2020.6.76.934.
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The article examines the General provisions of vocal pedagogy: the relevance of the issue, principles, goals, objectives and methods of teaching singing; the criteria, methods of selection and basic skills necessary for those wishing to learn vocal art.
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Pokrovskiy, A. V. "PRACTICAL WORK ON VOICE TRAINING, PART II. INITIAL CLASSES." EurasianUnionScientists 8, no. 6(75) (July 21, 2020): 4–7. http://dx.doi.org/10.31618/esu.2413-9335.2020.8.75.886.
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The article examines the General provisions of vocal pedagogy: the relevance of the issue, principles, goals, objectives and methods of teaching singing; the criteria, methods of selection and basic skills necessary for those wishing to learn vocal art.
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Helman, Olivia. "The Marchesi Legacy: Selma Riemenschneider and Vocal Pedagogy." BACH: Journal of the Riemenschneider Bach Institute 53, no. 1 (2022): 102–9. http://dx.doi.org/10.1353/bach.2022.0004.
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Spurgeon, Debra. "Vocal Pedagogy Skills for the Undergraduate Choral Conductor." Journal of Music Teacher Education 13, no. 2 (January 2004): 28–33. http://dx.doi.org/10.1177/10570837040130020105.
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Kennedy-Dygas, Margaret. "Bel Canto: A History of Vocal Pedagogy (review)." Notes 58, no. 1 (2001): 113–14. http://dx.doi.org/10.1353/not.2001.0152.
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Fabron, Eliana Maria Gradim, Simone Fiuza Regaçone, Viviane Cristina de Castro Marino, Marina Ludovico Mastria, Suely Mayumi Motonaga, and Luciana Tavares Sebastião. "Self-perception, complaints and vocal quality among undergraduate students enrolled in a Pedagogy course." CoDAS 27, no. 3 (June 2015): 285–91. http://dx.doi.org/10.1590/2317-1782/20152014178.
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PURPOSE: To compare the vocal self-perception and vocal complaints reported by two groups of students of the pedagogy course (freshmen and graduates); to relate the vocal self-perception to the vocal complaints for these groups; and to compare the voice quality of the students from these groups through perceptual auditory assessment and acoustic analysis. METHODS: Initially, 89 students from the pedagogy course answered a questionnaire about self-perceived voice quality and vocal complaints. In a second phase, auditory-perceptual evaluation and acoustic analyses of 48 participants were made through voice recordings of sustained vowel emission and poem reading. RESULTS: The most reported vocal complaints were fatigue while using the voice, sore throat, effort to speak, irritation or burning in the throat, hoarseness, tightness in the neck, and variations of voice throughout the day. There was a higher occurrence of complaints from graduates than from freshmen, with significant differences for four of the nine complaints. It was also possible to observe the relationship between vocal self-perception and complaints reported by these students. No significant differences were observed in the results of auditory-perceptual evaluation; however, some graduates had their voices evaluated with higher severity of deviation of normalcy. During acoustic analysis no difference was observed between groups. CONCLUSION: The increase in vocal demand by the graduates may have caused the greatest number and diversity of vocal complaints, and several of them are related to the self-assessment of voice quality. The auditory-perceptual evaluation and acoustic analysis showed no deviations in their voice.
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Sapargaliyeva, Guldana. "Importance of dictions when teaching singer-actor." Pedagogy and Psychology 42, no. 1 (March 30, 2020): 96–103. http://dx.doi.org/10.51889/2020-1.2077-6861.12.
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Singing can be called a musical speech, and therefore the singing voice differs from the spoken one not only in range and strength, but also in timbre, that is, it differs in the so-called voice coloring. In the training of vocalists, it is important to understand that there is a close relationship between the diction of the vocalist and his voice formation. The activity and coherence of the work of articulatory organs determines the quality of pronunciation of speech sounds, legibility of words, or diction. This topic is relevant today - practice shows that many students of vocals need staging diction. In addition, vocal pedagogy necessarily involves teaching a clear and expressive pronunciation of words, as a necessary condition for the performance of a vocal work. And I must say that the expressiveness of diction cannot be obtained without certain techniques.
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Isshiki, Nobuhiko. "Mechanical and Dynamic Aspects of Voice Production as Related to Voice Therapy and Phonosurgery." Otolaryngology–Head and Neck Surgery 122, no. 6 (June 2000): 782–93. http://dx.doi.org/10.1016/s0194-59980070002-7.
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Laryngeal framework surgery can change the position and tension of the vocal folds safely without direct surgical intervention in the vocal fold proper. Some 23 years of experience with phonosurgery have proved its usefulness in treating dysphonia related to unilateral vocal fold paralysis, vocal fold atrophy, and pitch-related dysphonias. Meanwhile, much information about the mechanism of voice production has been obtained through intraoperative findings of voice and fiberscopic examination of the larynx. Based on such knowledge together with information obtained through model experiments, the human vocal organ was reconsidered mainly from the mechanical view point, and the roles of voice therapy and singing pedagogy were discussed in relation to phonosurgery. The vocal organ may not be an ideal musical organ and is rather vulnerable, but its potential is enormous.
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Davlatova, T. "The creative path of Maria Donets-Tesseyr (based on archival materials)." Musical art in the educological discourse, no. 3 (2018): 89–92. http://dx.doi.org/10.28925/2518-766x.2018.3.8992.
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The article examines the creative path of the famous Ukrainian opera singer and vocal teacher Maria Eduardivna Donets-Tesseyr. It provides the biographical facts about M. Donets-Tesseyr, her performing and teaching activities on the basis of archive materials of the Central State Archive-Museum of Literature and Art of Ukraine, works of her pupils and contemporaries, as well as the research of modern art. Some disagreements concerning the facts of her biography, in particular, the year of the birth of the singer, are specified in her own autobiography. This fact is first introduced into scientific circulation. The information is provided on the period of M. Donets-Tesseyr’s studies at various vocal pedagogues, as well as their influence on her becoming a soloist and vocal teacher. Features of personal and creative relations of M. Donets-Tesseyer with her vocal teacher O. Mishuga are analysed on the basis of the singer’s memories. The educational activity of O. Mishuga from the point of view of memories of M. Donetsk-Tesseyr and the statements of O. Mishuga himself is considered. These materials deal with the methodology of teaching vocals and educating an opera singer. The statements of well-known vocal teachers, in particular, O. Mishuga and V. Vanzo, concerning the issues of vocal pedagogy are given. The continuity of the pedagogical principles of O. Mishuga and V. Vanzo in the activity of M. Donets-Tesseyr, as a vocal teacher, and her personal contribution to the development of the methodology for raising high female voices, is highlighted. The peculiarities of the personal development of M. Donets-Tesseyr as a teacher of vocal art are revealed. The significant contribution of the vocal-pedagogical activity of M. Donets-Tesseyr to the development of Ukrainian opera art of the middle of the 20th century is proved.
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Lyuchina, Yu E. "VOCAL PEDAGOGY AND PERFORMANCE: MYTHS AND REALITY. DEGREE AND FORM OF OPENING OF THE MOUTH WHEN INSENT." EurasianUnionScientists 3, no. 6(75) (July 21, 2020): 26–29. http://dx.doi.org/10.31618/esu.2413-9335.2020.3.75.840.
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The article reveals the features and specifics of teaching vocal art, which is particularly difficult for a number of reasons. There is still a lot of controversy in the vocal community. This article is the first in a planned series of articles that will cover the most controversial aspects of vocal pedagogy and performance. This article deals with the question of the opening and shape of the mouth when singing. The author highlights this issue from the perspective of his own pedagogical and performing experience. In his pedagogical activity, the author uses a physiological approach, finding for the explanation of complex vocal techniques associativity with vital physiological sensations that are familiar and understandable to everyone.
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Kulaha, Tatiana, and Natalia Segeda. "Essential Characteristics and Content of the Concept of Contemporary Pop Vocal-Performing Thesaurus." KNOWLEDGE ORGANIZATION 48, no. 2 (2021): 140–51. http://dx.doi.org/10.5771/0943-7444-2021-2-140.
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The article is devoted to the problems of terminology in the contemporary pop vocal pedagogy field. In the course of the research, which has been conducted from the standpoint of the principle of cultural-conformity, we identified the essence of the concept “contemporary pop vocal-performing thesaurus”, highlighted its structure, and represented the thesaurus in the form of an ontology. The contemporary pop vocal-performing thesaurus as a form of personal activity has a cognitive and creative essence and constitutes an individual professional resource for a performer. As a pedagogical category it is a thematically organized and practically tested outcome of teaching a pop vocalist holistically, and is a renewable interaction of all its components. It consists of cognitive, vocal-technical, artistic-technological, communicative, interpretive, and artistic-figurative components. We note that the artistic-figurative and interpretive components are fully demonstrated in the co-connection of all other components, and reflect the specificity of our concept. We outline some characteristic features of contemporary pop music, the specific components of contemporary non-classical vocal techniques, and modes of presentation of musical information, which are used in the process of forming the contemporary pop vocal-performing thesaurus. We emphasize that the results of our research enable modification of the educational process in the context of contemporary pop vocal, by means of its updating and supplementing with unconventional approaches, principles and methods. Despite the fact that our study primarily concerns the problems of Ukrainian pedagogy we think that its main provisions can apply to the development of methods for teaching pop singing in any country of the world
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Rutherford, Susan. "Vocal pedagogy and Italian musical migration in London, 1664–1914." Journal of Modern Italian Studies 26, no. 1 (January 1, 2021): 11–26. http://dx.doi.org/10.1080/1354571x.2020.1855804.
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Jacoby, Peter. "Evolutionary aspects as holistic tools in vocal pedagogy and therapy." Logopedics Phoniatrics Vocology 23, no. 1 (January 1998): 9–12. http://dx.doi.org/10.1080/140154398433960.
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Trollinger, Valerie L., and Robert T. Sataloff. "It’s All about the Voice . . . for Wind Instrumentalists, Too!" Music Educators Journal 105, no. 2 (December 2018): 36–42. http://dx.doi.org/10.1177/0027432118803430.
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While many music teachers are familiar with strategies to prevent damage due to vocal abuse or misuse, they are generally not acquainted with other vocal problems that can affect their own or their students’ singing ability. Such damage can also occur when playing a wind instrument. While vocal abuse and misuse are commonly understood in music education, problems (in children and adults) associated with laryngopharyngeal reflux (LPR), continuing unresolved issues in child voice pedagogy, and issues concerning protecting the larynx in young wind instrumentalists are not as well known to music educators. This article presents some new research of importance to music educators.
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Stark, James A. "On the Role of Vocal Idioms in Singing." Canadian University Music Review, no. 15 (March 1, 2013): 70–90. http://dx.doi.org/10.7202/1014393ar.
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The identification of particular vocal techniques in singing, which combine to form distinctive vocal idioms, is important for an understanding of both "classical" and "vernacular" musical styles. The modern critical literature on song is based largely on the limited concept of a "word-tone relationship," with musico-poetic synthesis as its ideal. Performance practices are as important to song criticism as is the study of written scores. The elements of voice quality and vocal articulation, with specific reference to the physiology and acoustics of the human voice, provide the analytical tools for defining vocal idioms and their role in the value and success of a song. The description of such idioms requires a rapprochement between vocal history, pedagogy, and science. Using the bel canto paradigm as a reference point, this article discusses a variety of vocal idioms. Gluck's aria, "Che farò senza Euridice" is used to illustrate how an understanding of vocal idioms can alter our judgment of a piece which has sometimes been condemned for its poor word-tone relationship.
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Sgibnіeva, S. S. "The role of the person-centered approach in the vocal art of a dramatic actor." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 241–57. http://dx.doi.org/10.34064/khnum1-51.14.
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Background. In recent years, there has been an increasing interest in studying the processes of the development of the creative personality of the drama actor, amongst other things, the modern methods of vocal training, focused on his future activity in nowadays-scenic conditions. Therefore, there is a need to renew the traditional system of the vocal training of drama actors in accordance with the trends of contemporary theatrical art, namely, the introduction of the principles of person-centered pedagogy. Objectives, methodology. The research is an attempt to provide an overview of the principles of person-centered pedagogy in the making of the creative personality of the singing actor. The purpose of the article is to characterize the system of vocal training of the dramatic theater actor and new “technologies” of education aimed at developing the personality of a singing actor, which are based on the principle of person-centered pedagogy. On based of interdisciplinary approach the following methods are used in this paper: empirical (observation, discussion, retrospective analysis of vocal-performing and pedagogical experience of the author) and theoretical (analysis, synthesis, comparison, generalization of theoretical and research data). The results of the study. The history of the development of vocal performing, acting and pedagogy shows that for many years the attempts carried out to determine the principles of vocal education of the actor of the drama theater, implement their testing, introduce into the system of training of acting skills for improvement the process of onstage singing. The contemporary study of this problem requires a comprehensive multidisciplinary approach, extensive contacts of art historians, musicologists, theater critics, vocalists, actors, and teachers. The constant development of theatrical art dictates new methods of educating the actor’s creative personality, including approaches to his vocal training, focused on his future activities on the modern stage. In the making of scenic image, an actor-singer needs to be constantly improved in a personal and professional way. The basis of continuous work on a vocal creative product is a worked out system of reflection regarding a person himself with all psycho-physiological features, and the image, which an actor creates onstage. The basis of the author’s developed program of the complex and personal development of the singing actor is the factor of individual diagnostics. The author of the article offers a method of individual diagnosis of the creative state of the singing actor in the educational process, by which this state can be divided into three psychological and pedagogical zones: the area of the mainstream development; the area of the highest potential development; the area of the nearest self-development. For these parameters and criteria, the author has developed a scheme of a diagnostic characteristic map for each actor’s student, which contains: ● analysis of the peculiarities of the actor’s psyche; ● descriptions of his voice and external data; ● information about language and vocal defects of sound; ● information on the shortcomings of the voice of the actor and ways to overcome them; ● repertoire list of works; ● analysis of the technical part of the actor’s vocal training at the beginning of training and at the end of it; ● analysis of performances on the drama scene. Thus, the introduction of a person-centered approach makes it possible to outline the optimal trajectory of the formation of the creative personality of a singing student-actor. On an optimal path to forming a creative personality of a singing actor student, the main task of the vocal teacher is to ensure his development, taking into account his psychological and physiological abilities, as well as updating of incentives for self-development and self-realization. To solve this problem, first, it is necessary to organize a psychologically rich “counter activity” of a student, taking care of updating and forming his internal personal motivation to developing. This kind of education focuses not so much on the amount of knowledge that is acquired, but on the feelings and experiences that are associated with them, the personal interests and features of the subject of the educational process. In contemporary theatrical and vocal pedagogy, there is a vicious regularity: on the one hand, all (both teachers and students-actors) know about the existence of the above-mentioned issue, discuss it, declare it, and on the other – because of imperfection elaboration of these issues, lack of research and others difficulties, it is simply not taken into account. The author has analyzed the apparatus necessary for the study of the category of the worldview and psychological aspects of education: the structure of the personality of the actor, his socio-biological patterns, needs, motivation, etc. Conclusions. The most important mean of the vocal up-bringing of an drama theater actor as a component of his professional development is a person-centered approach to a student. This approach involves two complementary moments: the true understanding by a teacher of the individuality of a singing actor, his personality traits and features; the presence of a student’s desire for self-development within his abilities to vocal stage activity. In the process of development of the creative person of a singing drama actor, the new technologies of education arise aimed at the vocal-scenic activity in a today theatre, which are based on the principle of person-centered pedagogy. In part, the study of the processes of reflection allowed us to develop the program for complex individual development of a student-actor. Within its framework, the author proposed a diagnostic characteristic map, revealing the features of the singing student-actor’s abilities.
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Wu, H. "PEDAGOGY OF CREATIVITY IN VOCATIONAL VOCAL TRAINING: EXPERIENCE OF STAGE MASTERS." Научное мнение, no. 5 (2019): 100–105. http://dx.doi.org/10.25807/pbh.22224378.2019.5.100.105.
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González, Darleny, and Blas Payri. "A vowel-based method for vocal tract control in clarinet pedagogy." International Journal of Music Education 35, no. 3 (February 3, 2017): 435–45. http://dx.doi.org/10.1177/0255761416689840.
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Our review of scientific literature shows that the activity inside the clarinetist’s vocal tract (VT) affects pitch and timbre, while also facilitating technical exercises. Clarinetists adapt their VT intuitively and, in some cases, may compensate an inadequate VT configuration through unnecessary pressure, resulting in technical blockage, fatigue, and impeding progress. The pedagogical literature sometimes disregards the explicit use of the VT, but common trends exist, using specific vowel formations to model VT configurations. To understand the actual approach of the VT in practice, we interviewed 12 renowned clarinetists from different continents. While all interviewees consider VT configurations important, some find VT manipulation an intuitively acquired skill. Most instructors use vowels to teach VT configurations. We propose a normalized system: /a/ for chalumeau, /ɔ/ for throat register, /i/ for clarion, /ø/ for altissimo, /o/ as a base vowel, /ɔ/–/i/ for ascending leaps, /i/–/ɔ/ for descending intervals. We have applied this method to clarinet teaching at the conservatory with very encouraging results, as students easily understand the vowel system, and in relatively short time have achieved better sound quality and technical ease. Students have gained a conscious control of their VT and consequently have acquired a technique that they now use intuitively.
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Asare, Masi. "Vocal Colour in Blue." Performance Matters 6, no. 2 (March 16, 2021): 52–66. http://dx.doi.org/10.7202/1075800ar.
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This essay invokes a line of historical singing lessons that locate blues singers Bessie Smith and Ethel Waters in the lineage of Broadway belters. Contesting the idea that black women who sang the blues and performed on the musical stage in the early twentieth century possessed “untrained” voices—a pervasive narrative that retains currency in present-day voice pedagogy literature—I argue that singing is a sonic citational practice. In the act of producing vocal sound, one implicitly cites the vocal acts of the teacher from whom one has learned the song. And, I suggest, if performance is always “twice-behaved,” then the particular modes of doubleness present in voice point up this citationality, a condition of vocal sound that I name the “twice-heard.” In considering how vocal performances replicate and transmit knowledge, the “voice lesson” serves as a key site for analysis. My experiences as a voice coach and composer in New York City over two decades ground my approach of listening for the body in vocal sound. Foregrounding the perspective and embodied experience of voice practitioners of colour, I critique the myth of the “natural belter” that obscures the lessons Broadway performers have drawn from the blueswomen’s sound.
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Gorbachyova, Natal'ya V. "Kinesthetics as a factor of pedagogic effectiveness of vocal and choral education of primary school pupils." Vestnik Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics, no. 2 (2019): 189–91. http://dx.doi.org/10.34216/2073-1426-2019-25-2-189-191.
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The article is devoted to the topical problem of increasing the effectiveness of vocal and choral lessons with primary school pupils. In particular, in the conditions of general availability and speed of obtaining information, pupils are determined to receive a quick "visible" result. As an effective method for solving this problem, according to the author, the kinesthetic method is used in vocal and choral classes not as an auxiliary method, but as the main method, where vocal and choral training becomes its natural continuation. The article is devoted to a detailed analysis of the kinesthetic method, the justification of its effectiveness in vocal and choral classes. A comprehensive analysis of the application of the kinesthetic method in vocal and choral pedagogy of primary school age is carried out. The idea of the effectiveness of the kinesthetic method in this age category is substantiated, since at the initial stage of training the child goes through several stages of personal growthand development, the combination of which greatly complicates the process of obtaining basic skills.
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Potter, J. "Review of books. Bel Canto: a History of Vocal Pedagogy. J Stark." Music and Letters 82, no. 3 (August 1, 2001): 445–48. http://dx.doi.org/10.1093/ml/82.3.445.
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Noble, Charissa. "‘Extended’ vocal techniques in the institution: The Extended Vocal Techniques Ensemble at the Center for Musical Experiment at UCSD." Journal of Interdisciplinary Voice Studies 7, no. 2 (December 1, 2022): 137–62. http://dx.doi.org/10.1386/jivs_00062_1.
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In the decades following the Second World War, novel sound technologies and the proliferation of ethnomusicological field recordings ignited curiosity and experimentation among many musicians; these cultural phenomena also sparked a re-examination of conventional Euro-American musical sound sources. Classically trained instrumentalists and singers – particularly those associated with the ‘experimental tradition’ – cultivated intentionally idiosyncratic musical practices and widened their range of sonic possibility; this cultural zeitgeist included a heightened interest in so-called extended vocal techniques. In this article, I examine the research and creative output of the Extended Vocal Techniques Ensemble (EVTE) of the University of California at San Diego (UCSD). Drawing from published literature, interviews and archival sources to write this account of the EVTE’s multifaceted work, I contextualize the group’s activities within UCSD’s interdisciplinary emphasis as well as in the broader social–historical discourses of ‘extended vocal techniques’. Furthermore, I address the implications of their story within the broader politics of vocal aesthetics and pedagogy in Euro-American classical music contexts. By unearthing the EVTE’s interdisciplinary vision for vocal study, I hope to not only spark interest in this ensemble’s contributions, but also to revive (and build upon) their vision of a radically reimagined vocal artistry and study in academic music and beyond.
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Overbeck, Lois More. "Samuel Beckett's Reponses to Pedagogy." Journal of Beckett Studies 29, no. 1 (April 2020): 3–26. http://dx.doi.org/10.3366/jobs.2020.0280.
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Beckett had many pedagogies. The academic pedagogy of set texts and examinations bred and fed insecurity, fostering the need to read before feeling ready to write. The pedagogy of music began, too, as rote learning. Enjoyment of music moved quickly beyond what Beckett himself could hope to achieve as a musician, to appreciation of what the forms of music could express. Likewise, with observation of the methods and techniques of cinematography, mime, music, radio, and television, and in the ‘hot-house’ of working with other artists, music opened words to rhythm and vocal timbre. Always, the listening ear was keen. When Beckett wrote, he listened to the voices in his head. By becoming himself a director of his work, the act of transforming words into three dimensions on stage or in other media tempered his expectations with great besoin of creativity: the need to find a way. Partnerships with composers and translators helped him toward both greater flexibility and greater precision. Collaboration with the technicians working with film and television brought creative experiment to bear on light, movement, and sound. And with that exposure came a willingness to risk, a capacity to adjust the preconceived to the pleasure of new discovery. Beckett's pedagogies may suggest to teachers of his work that there are many ways to engage students, so that the discoveries in sound, movement, image, and words can be theirs, and, that learning by doing can be transformative.
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Kaushnian, Y. M. "On the Model of “National” and “International” Style (Illustrated by vocalises of S. Pavliuchenko, M. Zavalyshyna, O. and R. Voronin)." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 141–53. http://dx.doi.org/10.34064/khnum2-13.11.
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Background. Ukrainian vocal pedagogy represents almost all types of instructive vocalises, which take into account both the specifi c features of the national vocal school and the individual style of authors and originators (both composers and performers). The aspect of national stylistic extends to such a component of vocal style as pedagogy. The national-specifi c features manifest themselves, fi rst of all, in the tone of material used to teach singers. The aspect of the musical Ukrainian “linguistics” in the modern language situation is associated with a certain type and the national form of language/speech. Dialogue of languages in the form of traditions and national musical lexicon is represented in Ukrainian vocalise, even in its instructional variants. After all, vocalization, which lays in the beginning of an academic singer teaching, plays one of the leading roles in understanding the art of solo singing. Such a teaching is based on the corresponding vocal exercises and more or less completed samples that came to vocal pedagogy from the traditions of academic and folklore practice, both world and the national one. It is obvious that there is no need to draw a direct parallel between the artistic samples of the national vocal music and training in their performance based exclusively on Ukrainian vocalises. It is only about the fact that the variety of methods for the voice training and development also includes a mandatory national-specifi c component, which is developed through the national vocal school practice and is based primarily on the embodiment of folk tones in vocalization interpreted in the curriculum. Therefore, the creators of Ukrainian instructive vocalises, focusing on substantial intonation, combine it with the singing techniques arising out of Italian bel canto. At the same time, a number of methodological and methodical issues related to Ukrainian vocalises require further coverage. The question of Ukrainian vocalise in two of its varieties – instructive and artistic – has not been almost studied which is an important aspect of the relevance of the paper. Thus, the relevance of the paper is determined by the following reasons: - the signifi cant value of vocalise in the practice of vocal art; - the need to fi ll a gap in studying the genre of vocalise based on samples created by Ukrainian authors. The aim of the study is to determine the specifi city of vocalise in Ukrainian vocal art, as well as related vocal-intonational exercises in the practice of Ukrainian vocal schools. The object of research is vocalise in Ukrainian vocal art. The subject of the study is its varieties and stylistic features in the Ukrainian vocal school. The material of the study consisted of samples of various types of vocalises and related vocal-intonational exercises in Ukrainian vocal literature: collections by M. Zavalyshina, S. Pavlyuchenko, О. Voronin and R. Voronina. One can distinguish another characteristic feature common to Italian and Ukrainian vocal stylistics, which is spoken by many Ukrainian vocal pedagogues, including representatives of the Kharkov Vocal School: P. Golubev, M. Mykhailov, L. Tsurcan, N. Grebenyuk, T. Madysheva. The matter is that in their genre specifi city, vocalises always refl ect the peculiarities of vocal music with the text, where the national language imposes its imprint on melody and rhythm, as well as on harmony (Harmony of Solo Singing by B. Filts). The Ukrainian “nightingale language”, characterized by the fl uidity of the transitions from word to word, the special role of vowels being singed, emotionality in the intonational rise of words, is close in many respects to the Italian, in which the same features are presented. Therefore, the presence of these two linguistic principles, which, although presented in non-verbal forms, through vocalization, is always felt in Ukrainian vocalises, refer both to instructional and artistic samples. The multidimensional nature of the tasks facing pedagogues and students in instructive vocalises is refl ected in certain specializations on which certain collections and selections are being created. Vocalises are an international genre, in which for several centuries of its exis tence, various musical and linguistic sources and techniques of singing, coming from them, were assimilated. In the vocalises, referring to different national schools, not only “our own” musical and mental features, coming from national folklore and professional creativity, but also “strangers”, come from the sources of foreign style (far, near, own; “theywe- you”, if you recall the triads of Е. Nazaikinsky). Relevant material is needed to develop multi-ethnic stylistics in the genre of vocalise. Teachers of vocalise widely use folk songs arrangements. The practice of such arrangements forms the basis for the creation of a national musical language, and the interest of composers-arrangers in other peoples’ songs helps extend such a language base. It is known that the national vocal school style acts as a general aesthetic phenomenon and is refl ected in all spheres of vocal art. This is about the vocal style of national authors, which is closely related to the peculiarities of verbal language (“music” and “word” as a key problem of vocal tone), as well as the refl ection of such a style in performing art, where syntheses of foreign national traditions and indigenous aspects of singing related to the national culture. The national specifi c features of instructive vocalises should be considered. One should not forget that this genre is traditional in nature and dates back to classical singing schools, especially to the Italian ones.
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SEMKIN, Dmitry, and Lyubov BUSHUEVA. "Giacomo Puccini's Operatic Legacy and Its Study in the Practice of Vocalists." WISDOM 15, no. 2 (August 23, 2020): 199–209. http://dx.doi.org/10.24234/wisdom.v15i2.355.
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The purpose of this article is to analyze the Opera legacy of Giacomo Puccini from the standpoint of philosophy and practical vocal pedagogy, which, according to the authors, is necessary for the formation of vocal and performing skills of young singers of the academic direction. The authors suggest a historical overview of the main works of the composer in this genre, based on the study of their vocal characteristics, the author reveals the features of his unique Arioso-recitative style. On the basis of various research methods (among which the special place is occupied by the philosophical, aesthetic, vocal-technical and methodological analysis) concluded, that vocal performance the point of view of the works G. Puccini are useful for the development of vocalists ' singing breath, musicality, imaginative thinking, mastering of the technique of cantilena, continuous legato (as the basis of belcanto), improving the timbral colors of the voice, its dynamic nuances, developing the right senses of agogics.
The above is confirmed by the analysis of the peculiarities of the technique of performance and interpretation of one of the composer's most famous works for the tenor repertoire – Calaf's Aria "Nessun dorma" from the Opera "Turandot" (which was the main subject of this study).
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Eidsheim, Nina S. "An analytical framework and model for de-racializing vocal perception." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A99. http://dx.doi.org/10.1121/10.0010782.
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Based on 20 years of research into vocal techniques, vocal styles, pedagogy, and history with reference to opera, popular music, and music synthesis software, I have developed a framework that seeks to explain racialized perceptions of the singing voice. On one hand, my model accounts for voice as an ever-developing instrument affected by age, hormones, environment, culture, and vocal training (whether through formal voice lessons or everyday encounters’ largely tacit feedback). On the other hand, it also accounts for perception as equally dynamic and culturally dependent. It recognizes that the voice and its perception together constitute a “thick event,” and that the complexity of the vocal signal and the ways in which listeners interact with voices are so numerous and so complex that a speaker’s race cannot be defined by the signal. In other words: Voice is not singular; it is collective. Voice is not innate; it is cultural. Voice’s source is not the singer; it is the listener. By applying this analytical model to musical case studies, this paper argues that voices are racialized when they are believed to sound a person’s essence or true identity.
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Hoch, Matthew, and Mary J. Sandage. "Exercise Science Principles and the Vocal Warm-up: Implications for Singing Voice Pedagogy." Journal of Voice 32, no. 1 (January 2018): 79–84. http://dx.doi.org/10.1016/j.jvoice.2017.03.018.
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Zotova, Viktoriia. "THE DEVELOPMENT OF CREATIVE ACTIVITY OF TEENAGERS IN THE PROCESS OF VOCAL EDUCATION." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 178–82. http://dx.doi.org/10.36550/2415-7988-2021-1-195-178-182.
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Here we revealed the peculiarities of the every day approach to the vocal education of teenage students, and referred to the contemporary trends of children’s vocal education as well as its transformation in the context of the current realities. We have studied theoretical approaches revealing the issue of our research from the perspective of new scientific achievements of the international vocal pedagogy, and have highlighted the most effective ones in terms of teaching vocals to teenagers. We have analyzed the current guidelines of organizing vocal practice with the use of interactive techniques and described how they can deploy the nature of teen’s creative activity especially in the sphere of art. Teenage students have a remarkable need in showing their skills especially if they have already achieved the level of high competence and are already the students of high school. The biggest authority for the teens is the approval of peers, and the moments of success are essential for such student’s self-esteem and further professional development, particularly in this age. On the other hand, our research views the creative activity as the basic component of the established education process where the teenager is the key actor. Interactive techniques are the effective tool of organizing such process. We have appealed to the experience of such acclaimed international schools as EVT (Estill Voice Training) of the american professor Jo Estill who accumulates creative potential of the teacher and student, thus enhancing and triggering the results of the acquired knowledge. Nowadays the traditional offline forms of delivering lessons are becoming secondary and outdated in the age establishing online education, they are considered less effective, less relevant and hardly able to stand the test of time and the global social-economic crisis. But owing to the crisis the new ways of creative thinking’s development are appearing, which fosters unleashing of the creative powers of the teacher and then of the teenage students, who tend to follow the teacher as the professional authority. The core essence of our work was to study the current and contemporary tendencies for developing teenagers’ creative activity in mastering vocals, therein lies the timeliness of the issue.
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Lã, Filipa M. B., and Mauro B. Fiuza. "Real-Time Visual Feedback in Singing Pedagogy: Current Trends and Future Directions." Applied Sciences 12, no. 21 (October 25, 2022): 10781. http://dx.doi.org/10.3390/app122110781.
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Singing pedagogy has increasingly adopted guide awareness through the use of meaningful real-time visual feedback. Technology typically used to study the voice can also be applied in a singing lesson, aiming at facilitating students’ awareness of the three subsystems involved in voice production—breathing, oscillatory and resonatory—and their underlying physiological, aerodynamical and acoustical mechanisms. Given the variety of real-time visual feedback tools, this article provides a comprehensive overview of such tools and their current and future pedagogical applications in the voice studio. The rationale for using real-time visual feedback is discussed, including both the theoretical and practical applications of visualizing physiological, aerodynamical and acoustical aspects of voice production. The monitorization of breathing patterns is presented, displaying lung volume as the sum of abdominal and ribcage movements signals. In addition, estimates of subglottal pressure are visually displayed using a subglottal pressure meter to assist with the shaping of musical phrases in singing. As to what concerns vibratory patterns of the vocal folds and phonatory airflow, the use of electroglottography and inverse filters is applied to monitor the phonation types, voice breaks, pitch and intensity range of singers of different music genres. These vocal features, together with intentional voice distortions and intonation adjustments, are also displayed using spectrographs. As the voice is invisible to the eye, the use of real-time visual feedback is proposed as a key pedagogical approach in current and future singing lessons. The use of such an approach corroborates the current trend of developing evidence-based practices in voice education.
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Aguirre, Ryan. "Finding the Trans Voice: A Review of the Literature on Accommodating Transgender Singers." Update: Applications of Research in Music Education 37, no. 1 (April 24, 2018): 36–41. http://dx.doi.org/10.1177/8755123318772561.
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Conversations surrounding transgender students are beginning to appear in the nation’s schools. In recent years, experts in the fields of music education and vocal pedagogy have shared their experiences and research on transgender issues in the choral classroom and private lessons. Studies focused on transgender issues in choral music education have yielded inconsistent results. While some have shown music educators to be supportive and accommodating, others have shown a gap in educator knowledge of transgender issues. Vocal pedagogues have had the unique opportunity to work closely with transgender singers one-on-one. Their work is highly transferable to a choral classroom setting. This review of literature synthesizes the work of choral conductors and private voice instructors with the narratives of transgender singers to provide implications for educators and a direction for future research.
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Kulaha, Tetiana. "Methodical guidelines for the use of ICT in teaching contemporary vocals in children schools of art." Ukrainian Journal of Educational Studies and Information Technology 6, no. 4 (December 22, 2018): 19–36. http://dx.doi.org/10.32919/uesit.2018.04.02.
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The article states that the reform of contemporary vocal education based on the principles of civilization integration of different, sometimes quite distant from each other, musical cultures, traditions and practices on the one hand, and the necessity for free access to the world vocal-performing and vocal-pedagogical experience on the other. In this regard, information and communication technologies (ICT) are becoming one of the most effective components of the educational process in primary specialized artistic educational institutions in the context of non-classical contemporary vocal. In the article, this issue is considered from the attitude of activity and culture appropriate approaches to learning.
Based on the analysis of scientific and pedagogical sources on contemporary vocal pedagogy in the context of the use of ICT, the following methods and their respective means are separated: the methods of familiarization (3D technology, animation technology, audiovisual ICT); methods of work on vocal techniques (audio, visual and audiovisual ICT, computer, synthesizers, dictaphone, etc.); methods of work on the features of musical language and improvisation (audio, visual and audiovisual ICT, computer, video content, synthesizers, iReal-Pro, etc.); methods of preparing vocal repertoire (software for downloading, editing and storing information, notes and audio editors, etc.); methods of preparation and implementation of public performance (3D technology, animation technology, graphic and audio editors, video camera, voice recorder, dictaphone, video content, computer, mobile devices, etc.); methods of communication (computer, mobile devices, e-mail, instant messaging technology, social networks, messengers, video and audio conferencing systems, Internet, etc.), monitoring methods (video camera, dictaphone, memory cards and storage devices, etc.)
The conclusions state that the methodological findings regarding the use of ICT in teaching of contemporary vocal are fragmented and do not constitute systematic methodological knowledge, what actualizes the problem of further research on the use of ICT and protection from artificial intelligence threats in the process of formation a contemporary non-classical vocal-performing thesaurus at pupils of specialized art educational institutions and institutions of non-formal art education.