Academic literature on the topic 'Voice training'

The aim of this paper is to examine the Estill Voice Training System to explain how it may be used in tandem with widely accepted voice and speech methodologies such as those developed by Kristin Linklater, Patsy Rodenburg and Dudley Knight/Phil Thompson in order produce versatile performers able to meet the vocal gauntlet flung at the feet of the contemporary actor. Students must be able to effectively function as voice-over talent, sing musical theatre, rattle off classical text with aplomb and work in film, all with superior vocal health. Synthesizing proven techniques with the skills presented in the inter-disciplinary Estill Voice Training System, I hope to develop a new, anatomically specific, voice and speech training progression to efficiently assist the student actor discover the physical and emotional vocal ranges demanded of the contemporary actor.

Varying the delivery rate of audio-based text within web-based training increases the effectiveness of the learning process and improves retention when compared with a fixed audio-based text delivery rate. To answer this question, two groups of 20 participants and one group of 10 participants were tested using the Web-based Anatomy & Physiology course modules developed by Medsn, Inc. The control group received the static speed of 128 words per minute while the experimental group received the initial speed of 128 words per minute with the option to change the speed of the audio-based text. An additional experimental group received the initial speed of 148 words per minute also having the option to vary the speed of the audio-based text. A three way single variable Analysis of Variance (ANOVA) was utilized to examine speed of voice presentation differences. The results were significant, F (2, 47) = 4.67, p=0.014, &ccedil;2 = 0.166. The mean for the control group was (M = 7.2, SD = 1.69) with the experimental groups at, (M = 8.4, SD = 1.31) and with extra groups at (M = 8.6, SD = 1.26).<br>M.S.<br>Other<br>Engineering and Computer Science<br>Modeling and Simulation

A significant part of an actor’s craft is creating and presenting characters with substantial credibility in order to stimulate a belief in the character from the point of view of an audience member (McGaw 1975; McGaw et al. 2011). To do this the actor relies on and utilizes his body, voice, imagination, experiences and so forth, for the creation of such characters (Zarrilli 1995; Benedetti 1998:5; Zarrilli 2002). This makes body and voice training within any actor training program pivotal. As an entry-level voice teacher in the tertiary situation I was confronted with a complex profile of the group of students to be taught. This profile influences or even determines the outcomes of the teaching opportunity. Gender differences were one of the most eminent markers of this complexity. For this project I decided to research the male voice as it possibly requires specific approaches to assist with the attainment of vocal ability. This study is concerned with the unique precepts of the male student actor in order to gain greater understanding of both the male physiological and anatomical construct, as well as the socio-cultural concept of ‘maleness’ as it refers to voice. Voice, in a cultural and societal paradigm, is subject to and as such influenced or shaped by social identity (Karpf 2006: 121). The actor’s socio-cultural paradigm potentially limits the vocal function and expression of the male voice in performance. This study draws on prior research when documenting unique and substantial structural differences typical of the male voice. It asks the question: What are the attributes that feed into the male student actor’s voice that have to be taken into account by the theatre voice teacher when viewed through anatomical, physiological and socio-cultural lenses? In order to answer the investigative question chapter two of this study consults scholarly materials concerning the various anatomical and physiological attributes of voice production (that is, its functional aspects) with specific reference to the male voice. It is argued that this can be seen as a description of voice production as object. Chapter three concerns itself with the impact of various socio-cultural influences on the voice with specific reference to the male voice. In this sense, the potentially subjective and image-defining concerns of the male voice that might impinge on vocal explorations are considered. Chapter four provides example explorations that may be used in a theatre voice class to indicate how the knowledge gained in chapters two and three will influence the facilitation of these explorations. It argues that it is an in-depth knowledge of voice, where voice materialises simultaneously both as object and as subject, that prepares the entry-level voice teacher to facilitate the development of the male student actor’s voice in a holistic manner. This dissertation concludes that, within the theatre voice training class, it is imperative that the voice teacher acknowledges and respects the sex-gender conflation of the male student actor and encourages him to explore and build a ‘voice’ that is capable of optimal expression in lieu its functional capabilities.<br>Dissertation (MA)--University of Pretoria, 2014.<br>tm2015<br>Drama<br>MA<br>Unrestricted

This study is concerned with exploring issues relating to voice, power and trust for trainees within a Secure Training Centre, whilst those trainees participated in an evening activities programme in 2009. Classes were led by myself twice a week and attended by groups of up to eight trainees, plus their secure care officers. The trainees were vulnerable adolescent males who had either committed crimes or were remanded in custody. As part of these classes, the trainees had the opportunity to share their perspectives on a variety of topics. This occurred through both traditional research methods and a variety of innovative techniques, such as the use of wireless keyboards to facilitate a text based dialogue across a range of topic headings. Over a period of time, trust was built and insights explored. In my research I have made use of a hybrid approach, borrowing insights from Critical Ethnography and Practitioner Research. By doing so, I have attempted to show that through a critical approach to power and ideology, the provision of opportunities for young people to express their insights can lead to various positive outcomes. By combining critical ideas with those typically associated with Practitioner Research, it has been possible to reflect on my own practice to improve outcomes for young people. This thesis is an exciting exploration of how young people, held within secure accommodation, react to the opportunity of expressing their views. It is relevant because it explores the perspectives and empowerment of young people who have been incarcerated, an area which is recognised as being profoundly challenging.

Motor learning is widely investigated in the literature on sports and rehabilitation sciences. In recent years, researchers have begun to apply general motor learning principles to voice motor learning. This study investigated the effects of relative frequency (100% feedback versus 50% feedback versus 0% feedback) of augmented vibration feedback on the acquisition of resonant voice in a motor learning task. Thirty adults and 30 children with normal voice were randomly assigned to three groups of different relative frequencies of feedback: 100%, 50% and 0% feedback. During resonant voice training, participants were taught how to read aloud nasal nonsense consonant vowel (CV) syllables and short phrases with resonant voice. Vibration feedback using piezoelectric accelerometers placed at the nasal bridge was provided for participants. Participants in the 100% feedback group received vibration feedback after the production of every training stimulus. Participants in the 50% feedback group received vibration feedback after the production of every two training stimuli. Participants in the 0% feedback group received no vibration feedback during the training sessions. Motor learning and generalization were assessed using accelerometric vibrations detected at baseline (before training), during training, retention and transfer (one week after completing the training). With respect to the adult participants, vibration feedback presented at frequencies of 100%, 50% and even at 0% was effective in facilitating the acquisition of resonant voice. Generalization of resonant voice production to untrained short phrases was also evidenced. No significant time (time phase) by group (different relative frequency of feedback) interaction effect was shown on three groups of relative frequencies of feedback on learning or generalization in the adult group. With respect to the child participants, significant time effect was observed in most of the trained stimuli and untrained stimuli. Significant time (time phase) by group (different relative frequency of feedback) interaction effect was noted across three relative frequencies of feedback groups. The results demonstrated that the greatest increment in accelerometric vibrations occurred in the 100% feedback group, followed by 50% feedback group. The group which received 0% feedback had the least improvement on acquiring resonant voice. The present study demonstrated that there were learning differences in acquiring resonant voice between adults and children. Adults did not require as much feedback during the acquisition of resonant voice when compared to children. Children required more feedback than adults in order to facilitate their learning. The differences in learning of this voice task between adults and children may shed light on later voice motor learning studies. The provision of relative frequency of feedback may need to be adjusted when working with different age groups in both populations.<br>published_or_final_version<br>Speech and Hearing Sciences<br>Master<br>Master of Philosophy