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Thèses sur le sujet « Singing Vocal music »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 1 février 2022

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1

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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Hook, Sally. « Vocal agility in the male adolescent changing voice ». Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4151.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (November 8, 2006) Vita. Includes bibliographical references.
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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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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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5

McHale, Maria. « 'A singing people' : English vocal music and nationalist debate, 1880-1920 ». Thesis, Royal Holloway, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420592.

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Wurgler, Pamela Sewell. « A perceptual study of vocal registers in the singing voices of children ». The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273516240.

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7

Hanlon, Susan Christina. « Reviewing Commercial Music Resources : a Guide for Aspiring Singers and Vocal Professionals ». Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115091/.

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Contemporary commercial music is a broad label used to describe the styles of popular music including pop, rock, rhythm and blues, jazz, hip-hop, country and heavy metal. the vocal ability required for each of these genres varies greatly but may require the use of screaming, belting, utilizing vocal fry and growling or singing with a breathy or dark tone. Singers who wish to perform in these genres may need assistance with vocal technique to assure the longevity and the quality of their singing. Due to the rise in popularity and the accessibility of contemporary commercial music (CCM), commercial pedagogical guides and self-study manuals are abundantly available for purchase. Aspiring singers are searching for appropriate training for this genre without having an awareness of how the voice works and how to maintain good vocal hygiene. Those who seek out private instruction are often frustrated when traditional classical training techniques are offered, rather than techniques utilizing CCM styles. Because CCM pedagogy is relatively new and few pedagogues in this specialized field are well known, the self-taught singer is responsible for finding a reliable study source. Many vocal instructors and choral directors are interested in familiarizing themselves with new stylistic techniques to enhance the performance of their students while maintaining vocal health. By reviewing popular vocal method books and techniques, insight may be given to assist a singer or vocal teacher in selecting resources of CCM styles.
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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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Pereira, da Cruz Benetti Lucia. « Infant vocal imitation of music ». The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492408461186887.

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10

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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11

Howard, Sandra Robinson Charles R. « The effect of selected nonmusical factors and adjudicators' ratings of high school solo vocal performance ». Diss., UMK access, 2009.

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Thesis (Ph.D.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009.
"A dissertation in music education and education." Advisor: Charles Robinson. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 25, 2009. Includes bibliographical references (leaves 110-125). Online version of the print edition.
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12

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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13

Vaughan, Leigh T. « The missing males factors which contribute to low participation of adolescent boys singing in secondary school / ». Connect to full text, 1998. http://hdl.handle.net/2123/5671.

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Thesis (M. Mus. (Mus. Ed.)) -- University of Sydney, 1998.
Title from title screen (viewed November 11, 2009) Submitted in fulfilment of the requirements for the degree of Master of Music (Music Education) to the Music Education Unit of Sydney Conservatorium of Music. Includes bibliographical references. Also available in print form.
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14

Kanuri, Mohan Kumar. « Separation of Vocal and Non-Vocal Components from Audio Clip Using Correlated Repeated Mask (CRM) ». ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2381.

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Extraction of singing voice from music is one of the ongoing research topics in the field of speech recognition and audio analysis. In particular, this topic finds many applications in the music field, such as in determining music structure, lyrics recognition, and singer recognition. Although many studies have been conducted for the separation of voice from the background, there has been less study on singing voice in particular. In this study, efforts were made to design a new methodology to improve the separation of vocal and non-vocal components in audio clips using REPET [14]. In the newly designed method, we tried to rectify the issues encountered in the REPET method, while designing an improved repeating mask which is used to extract the non-vocal component in audio. The main reason why the REPET method was preferred over previous methods for this study is its independent nature. More specifically, the majority of existing methods for the separation of singing voice from music were constructed explicitly based on one or more assumptions.
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15

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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16

Bento, R. « Effects of group singing on well-being : empirical findings and methodological considerations ». Thesis, Canterbury Christ Church University, 2013. http://create.canterbury.ac.uk/12453/.

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The work in this thesis explores the relationship between singing and well-being. In particular, I focus on investigating the potential for group singing to promote feelings of hedonic, eudaimonic and social well-being. The theoretical evidence suggests that such is possible because music activities are structured to engage mind and body in overcoming a challenge, generating feelings of achievement and pleasure in the process. However, the empirical evidence on such effects is less conclusive, reflecting the novelty of the field. I start by developing a model capable of generating hypotheses and framing the empirical work on the relationship between group singing and well-being. In this model, I integrate a conceptualization of well-being as a multidimensional concept with a conceptualization of group singing as a challenging multifaceted activity. The model suggests that well-being is promoted by group singing through the effects this activity has on its psychological, bodily and social correlates. However, the model also accounts for possible moderating effects of situational factors and individual differences. My empirical work focus first on clarifying that group singing involves the types of experiences that can generate feelings of hedonic, eudaimonic and social well-being. I then show that singing in a group relates to long-term measures of well-being, particularly social and eudaimonic. In the short-term, group singing is also consistently related to correlates of well-being. It is shown to increase positive affect, decrease negative affect, increase feelings of achievement and connection to others. Situational factors such as the social context in which the singing occurs are shown to have a moderating effect on endocrine effects of group singing. However, gender differences do not emerge. I also show that group singing can have effects over and above those of a similar, though non-musical, group activity. Overall, the evidence suggests a meaningful relationship between group singing and well-being.
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17

Dixon, Wendy. « Selection procedures relating to Australian vocal repertoire for mid-adolescent HSC performers ». Connect to full text, 2006. http://hdl.handle.net/2123/1590.

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Thesis (M. Mus. (Mus. Ed.)--University of Sydney, 2006.
Title from title screen (viewed 19 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Music (Music Education) to the Sydney Conservatorium of Music. Includes bibliographical references. Also issued in print format.
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18

Turcott, Amber. « Choral Music Education : A Survey of Research 1996-2002 ». [Tampa, Fla.] : University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000056.

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19

Cadesky, Nadine Elizabeth. « Music Therapists' Perspectives on the Assessment and Clinical Interpretation of Clients' Vocal Parameters ». Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/216567.

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Music Therapy
Ph.D.
The purpose of this study was to investigate North American professional music therapists' perceptions and use of singing voice assessment. The focus was on a general population of music therapists who may or may not specialize in the use of singing as a clinical instrument. The researcher designed an online survey to gather music therapists' perceptions about the frequency with which they use singing voice assessment with clients, the singing voice parameters they assess and the clinical interpretations they make. Participants' demographic information was gathered and analyzed according to their responses. It was expected that these therapists would vary in their training and education, singing background and clinical context. Three hundred and thirty-five North American music therapists with a music therapist-accredited (MTA) or music therapist-board-certified (MT-BC) designation participated in the study, for an overall response rate of 13.9%. Results were analyzed using frequencies, proportions indicating association with Wilson Confidence Limits, Logistic Regression Models, Firth's Estimation, Tukey-Kramer adjusted-p levels and 95% confidence limits. Results indicated that a majority of participants assessed client singing at the beginning of therapy and periodically or regularly afterwards, paying attention to singing voice parameters of breathing and breath-support, freedom versus tension, vocal range, vocal tone quality, and/or pitch control. Results also indicated that a majority of participants used one or more of these parameters as a basis for interpretations about affect, personality characteristics, internal psychological processes, developmental stage, and/or psychopathological states. There were statistically-significant associations between therapists' primary clinical population and frequency of singing voice assessment performed; therapists' primary clinical population and singing voice parameters assessed; and therapists' primary theoretical orientation and singing voice parameters assessed. Results of this study suggest that music therapists in this sample were assessing and interpreting client singing even if some of these therapists had no specialized advanced training in the clinical assessment and interpretation of singing. Furthermore, it appears that music therapists in this study were paying attention to the same kinds of vocal parameters and made the same kinds of clinical interpretations as those featured in the clinical literature. Finally, it appears that voice assessment is not associated with a particular population. Future research should explore the impact of a client and therapist's background with singing on the clinical singing voice assessment. Future research should also explore the role singing voice assessment may play in different clinical contexts and the differential meanings that may be gleaned in these different contexts. There is also evidence within to support future development and validation of a vocal assessment tool.
Temple University--Theses
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Nandamudi, Srihimaja. « Aerodynamics of Vocal Vibrato ». Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1499427478103556.

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Madden, Julia. « A REVIEW OF VOCOLOGY FOR THE SINGING VOICE ». Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/162731.

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Music Performance
M.M.
This monograph is a review of the general state of vocology as it relates to the singing voice. It provides a working resource guide for singing voice professionals. Specifically, it presents the available technology, medical applications, and educational opportunities in the field of vocology. Having a central resource such as this allows voice professionals to more easily understand the interrelated portions of their parent field (vocology) and to access and navigate the resources available to them. Furthermore, the review raises awareness of the areas requiring further development in the field and brings to light many potential opportunities for collaborations among professionals.
Temple University--Theses
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22

Furby, Victoria J. « Process and Product : The sight singing backgrounds and behaviors of first year undergraduate students ». Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211160063.

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23

Harper, Portia. « Comparative Study of the Bel Canto Teaching Styles and their Effects on Vocal Agility ». Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278170/.

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This thesis examines the historical significance of the vocal methods employed from the middle of the seventeenth century to the beginning of the nineteenth century in what became known as the bel canto era. It provides further exploration into the pedagogical procedures of the bel canto technique through a study of the premier instructors and singers from this period. The resurgence of interest in this tradition is addressed along with its impact on current vocal pedagogy. The vital role that vocal agility played as one of its most distinguishing traits is the primary factor under investigation. A discussion of the bel canto teaching styles in relation to their approach to agility is a major point of inquiry. By maintaining a link between present artists and pedagogues and the old Italian school, it helps the singer understand the historical implications of vocal agility as an integral part of healthy vocal development.
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Milo, Sarah Khatcherian. « Guide of the Voice Teacher to Vocal Health for Voice Students : Preventing, Detecting, and Addressing Symptoms ». The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399019362.

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Summers, Susan G. « Portraits of Vocal Psychotherapists : Singing as a Healing Influence for Change and Transformation ». Antioch University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1401647279.

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26

McClain, Sandra Clemmons. « The solo vocal repertoire of Mary Carlisle Howe with stylistic and interpretive analyses of selected works / ». Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11229342.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Typescript; issued also on microfilm. Sponsor: Jan Eric Douglas. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 215-217).
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27

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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Chen, Ti Wei. « Role and efficacy of verbal imagery in the teaching of singing : case study and computer vocal analysis ». HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/716.

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29

Hamilton, Richard John. « The History of the Vocal Jazz Ensemble Singing Movement in the Public Schools of the Boise Valley from Its Inception through the Academic Year 1989-1990 ». Thesis, The Florida State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10602363.

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The vocal jazz ensemble singing movement that began at Mt. Hood Community College (Gresham, Oregon) in 1967 reached the public schools of the Boise Valley, in Southwestern Idaho sometime in the early 1970’s. The first generation of vocal jazz educators in the region were Jerry Vevig , Vern Swain, Moyle Brown and Lonnie Cline. In an effort to learn the new style, these four directors participated in the burgeoning vocal jazz scene occurring in the Western region of the United States. By the mid 1970’s, vocal jazz ensemble education had become so prevalent in the Boise Valley region that the Jr. High School directors of the Boise Public School District were programming vocal jazz music and participating in many of the same vocal jazz events as their high school colleagues. These Junior High school directors included Bruce Walker, Catherine Gilck, Rich Lapp, Sue Hough, Paul Olson and Rob Newburn. The 1980’s saw the second generation of prominent vocal jazz singing ensemble directors begin their tenures in the Boise Valley when Glenn Grant, Quinn, Van Paepeghem, Linda Schmidt, Ted Totorica, and Barb Oldenburg, continued the tradition of vocal jazz style singing and event participation that their predecessors had initiated throughout the remainder of the era investigated (inception–1990). In the study, each subjects experiences and education in vocal jazz ensemble singing is documented and specific techniques they employed when working with their vocal jazz ensembles are revealed. The literature used by each vocal jazz educator from the Boise valley (1970–1990) is also exposed, collated, and presented in the document for reference and use by future choral music educators.

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Treganza, Jeffrey. « Professional training of singers and teachers of singing a comparative study of selected vocal performance and pedagogy programs in the United States of America and the Federal Republic of Germany ». Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/985669837/04.

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Ranney, Todd Edward. « Vocal Preparation For The High School Male (Preparing the High School Male Soloist for Contest/Audition - A Choral Director’s Guide) ». The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243865443.

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Araujo, André Luiz Lopes de. « Aquecimento vocal para o canto erudito : teoria e prática ». Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/11930.

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Made available in DSpace on 2016-04-27T18:11:56Z (GMT). No. of bitstreams: 1 Andre Luiz Lopes de Araujo.pdf: 1089052 bytes, checksum: e0ff9abe59c4339676f80b1a7735aa82 (MD5) Previous issue date: 2012-07-30
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
INTRODUCTION: Before any performance, singing class, or even speech therapy intervention, a series of physical and vocal workouts is done. This practice is called vocal warm-up. OBJECTIVE: The objective of this work is to analyze vocal warm-up theory and practice in classical singing, from the perspective of different voice professionals: singing teachers, singers and speech therapists. METHOD: The study comprised 165 subjects from the three professional categories aforementioned: 86 singing teachers, 15 speech therapists, and 64 singers of both genders, aged between 22 and 70 years, in Brazil and Portugal. The subjects responded to an electronic closed-ended questionnaire characterizing the sample with information on gender, age, education, length of time in the profession and addressing questions related to the substance of this work. This is a quantitative cross-sectional descriptive study. The collected data was fed in EPIDATA 3.2 and, afterwards, statistical analysis was carried out using STATA 10.0. RESULTS: The tables were compiled based on thematic axes and distributed according to the professional groups surveyed: 65.1% of singing teachers, 75% of singers, and 86.6% of speech therapists utilize physiological warm-up, however, the great majority of singing teachers (98%), singers (95.3%), and speech therapists (93.3%) use vocalises as the main vocal warm-up method. CONCLUSION: Both principles and practice of vocal warm-up are placed within the context of oral tradition. The warm-up method mostly adopted by the great majority of the subjects of this study is vocalise
INTRODUÇÃO: Antes da realização de uma performance, aula ou mesmo de uma intervenção fonoaudiológica, realiza-se uma série de exercícios físicos e vocais. A essa prática, dá-se o nome de aquecimento vocal. OBJETIVO: analisar a teoria e a prática sobre o aquecimento vocal no canto erudito, a partir da ótica de diferentes profissionais da área da voz: professores de canto, cantores e fonoaudiólogos. MÉTODO: O estudo foi realizado com 165 sujeitos das três categorias profissionais: 86 professores de canto, 15 fonoaudiólogos e 64 cantores de ambos os sexos, com idade entre 22 a 70 anos no Brasil e Portugal. Os sujeitos responderam via correio eletrônico, a um questionário fechado composto de dados de caracterização da amostra: sexo, idade, formação, tempo de profissão, e perguntas a respeito do objetivo proposto. Trata-se de uma pesquisa de caráter descritivo, de natureza quantitativa de corte transversal. Após a realização dos procedimentos, os dados coletados foram digitados no programa EPIDATA 3.2. e, posteriormente, submetidos à análises estatísticas por meio do software STATA versão 10.0. RESULTADOS: As tabelas foram organizadas por eixos temáticos e distribuídas pelos grupos de profissionais, que compuseram a amostra deste estudo: 65,1% dos professores de canto, 75% dos cantores e 86,66% dos fonoaudiólogos utilizam aquecimento fisiológico, porém a maioria absoluta dos professores de canto 98%, dos cantores 95,3% e fonoaudiólogos 93,3% utilizam o vocalises como estratégia principal para o aquecimento vocal. CONCLUSÃO: A fundamentação e a prática do aquecimento estão dentro do contexto da oralidade. As estratégias mais utilizadas para realizar o aquecimento vocal pela maioria dos sujeitos pesquisados é o vocalise
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Wiger, Pilotti Katarina. « Vägen till Bel Canto : Om min omskolning till Chiaroscuro ». Thesis, Örebro University, School of Music, Theatre and Art, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-9326.

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I am a practising classical soprano. After more than 20 years of professional singing, I re-trained my voice according to principles of the old Italian school of singing. In this essay, I examine the origins and priciples of bel canto, with special focus on appoggio and chiaroscuro, two key ingredients in the bel cantao tradition. I explore the relationship between science and the craft of singing, and what modern voice science has to say about the efficiency and health aspects of this technique, I also describe the profound effect it has had on me as an artist.

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Corvo, E. « Exploration of the effectiveness and transferability of an English model of health promotion based on participation in singing groups for older adults (Silver Song Clubs) in Italy ». Thesis, Canterbury Christ Church University, 2013. http://create.canterbury.ac.uk/12993/.

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Background There is growing interest in the idea that arts and singing have effects on health, wellbeing and quality of life in older individuals. This study assesses the effectiveness and transferability to Italy of an English model of health promotion which promotes wellbeing and quality of life in older people through participation in singing groups (Silver Song Clubs). The model developed in the South East of England has proved to be successful. A recently completed randomized controlled trial (Coulton, et al. in press) demonstrated a significant improvement in mental health with a reduction in measured anxiety and depression for older people living independently. The current study adopted the same measures. Method A mixed method approach was adopted with research divided into two parts; Part A was focused on exploring the status of older people living in Rome, their interest in music and singing today and in the past and in taking part in a singing experience. It also explored how local politicians and social workers see the status of older people. Part B was focused on setting up and evaluating singing groups and gathering information from participants on their experiences of singing. The primary outcome measure was an Italian version of the York SF-12 which provides scores for physical and mental wellbeing. The Italian version of the EQ-5D-3L questionnaire was also employed. Results Results from Part A revealed a highly fragmented Italian family, with widespread poverty and social isolation and a need for emotional support and leisure activities among older people. In Part B, three singing groups were established in different areas of Rome with weekly sessions over a period of three months. Participants completed the standardized measures of health and wellbeing at baseline (n=62), after the singing experience (n=45) and three months later (n=41). After the singing experience, older people showed a statistically significant decrease in their levels of anxiety and depression, but this was not maintained over the three month follow up period. However, a significant improvement was found from baseline to follow up in reported performance of „usual activities‟. Conclusions Silver Song Clubs provide a health promotion model which was successfully transferred from England to the different cultural setting of Italy. Singing can be widely used because it is grounded in a fundamental human ability to engage with music. The present study had a number of limitations, primarily a lack of a control group and small sample size. However it provides a good foundation for the development of further research on singing and the wellbeing of older people in Italy.
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Bowes, Patricia Louise. « An Exploratory Study of the Use of Imagery by Vocal Professionals : Applications of a Sport Psychology Framework ». [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002994.

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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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Pessotti, Antonio Carlos Silvano 1969. « Efeitos do treinamento e da prática vocal profissional sobre o canto e a fala ». [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269058.

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Orientador: Eleonora Cavalcante Albano
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-19T18:11:17Z (GMT). No. of bitstreams: 1 Pessotti_AntonioCarlosSilvano_D.pdf: 3351765 bytes, checksum: dfc6656e57053e749ba0a5598827d29e (MD5) Previous issue date: 2012
Resumo: Neste estudo observam-se os efeitos decorrentes do treinamento e da prática vocal profissional, tendo por base três hipóteses que evidenciem semelhanças e diferenças entre fala e canto: 1) a fala é diferente entre grupos, 2) o canto é semelhante entre grupos, 3) fala e canto possuem semelhanças e diferenças influenciadas por formação musical e treinamento. Foi escolhida a canção Conselhos (Carlos Gomes), cujo texto foi lido e cantado cinco vezes por três grupos, cada qual com cinco informantes: cantoras solistas (SOL), cantoras coralistas (COR) e locutoras de rádio (LOC). Os dados obtidos da partitura da canção foram analisados com procedimentos não paramétricos. Os dados acústicos das gravações de fala e canto (com e sem acompanhamento) foram analisados com procedimentos paramétricos. As análises não-paramétricas mostraram que a partitura musical mantém as restrições linguísticas, sem perda da função fonológica nem da pertinência linguística. As diferenças observadas na análise da duração de fala corroboram a primeira hipótese. Tais diferenças sugerem influência de treinamento, distinção dos grupos com prática profissional, e manutenção da hierarquia prosódica. A gradiência entre os grupos na análise da entoação da fala separa cantoras das locutoras, e indicam influência do treinamento vocal profissional. A análise das estimativas de espaço vocálico evidenciou as tônicas, usadas pelos grupos como marcadores de expressividade. A intensidade na fala ressaltou locutoras e solistas como grupos com prática vocal profissional. As solistas se destacam na fala com valores elevados dos formantes e proximidade tonal com a partitura, fato que poderia explicar a tendência das cantoras com maior prática e treinamento em ler um texto próximo ao canto. A análise da duração global no canto sem acompanhamento mostra semelhança entre as cantoras que reflete a segunda hipótese, referente à formação musical. As diferenças de duração das variáveis linguísticas no canto refletem a influência da prática e do treinamento. A análise da entoação indicou que as coralistas atrelam a afinação à pulsação rítmica, e, o acompanhamento facilita essa tarefa. A análise das estimativas de espaço vocálico no canto mostrou áreas semelhantes entre os grupos. A distinção entre eles aparece nas tônicas, menos centralizadas pelas solistas, e, ainda, com intensidade e formantes mais altos. A comparação entre dados acústicos e estimativas da partitura no canto mostrou as solistas com entoação próxima à partitura. As tônicas foram melhor investigadas na fala, no canto, e entre as modalidades. Na fala, as diferenças entre os grupos são explicadas pela formação, pois solistas e locutoras são treinadas para produzir maior abertura oral. As consequências articulatórias seriam o abaixamento de laringe e redução do espaço faríngeo. A investigação das tônicas no canto mostrou formantes elevados para as solistas, implicando em estiramento labial (ou elevação de laringe, prática não recomendada pela pedagogia do canto). A comparação entre modalidades indicou influência da proficiência musical ou do treinamento vocal, em busca de postura vocal confortável. Esses resultados na fala e no canto indicam possível transferência gestual do canto para a fala, e vice-versa, tal como ocorre na aquisição de segunda língua. Tal fenômeno resultaria de adaptação biomecânica, coerentemente com a Fonologia Gestual
Abstract: The aim of this study is to observe the effects of training and professional voice practice, the basis of three scenarios that show similarities and differences in spoken and sung productions: 1) speech is different among groups, 2) singing is similar in the two groups of singers, 3) speech and singing have similarities and differences influenced by musical education and training. Conselhos, a song by Carlos Gomes, was chosen to constitute the corpus, whose text was read and sung five times by three groups, each with five subjects: solo singers (SOL), choir singers (COR) and news broadcasters (LOC). The data obtained from the musical score were analyzed with nonparametric procedures, and the data from acoustic recordings of speech and singing (with and without accompaniment) were analyzed using parametric procedures. Non-parametric analysis showed that the musical score maintains language restrictions, without loss of phonological function or linguistic relevance. Differences observed in the analysis of spoken duration support the first hypothesis. Such differences suggest the influence of training distinctions based on professional practice and maintenance of the prosodic hierarchy. Analysis of speech intonation shows gradient performance among groups, and separates singers from broadcasters, as well as indicate the influence of professional vocal training. The analysis of vowel space estimations shows the stressed vowels as expressiveness markers used by both groups. The intensity in speech distinguishes broadcasters and soloists such as groups with professional vocal practioneers. The soloists stand out with high values in intensity and formants. The way of keeping close to the score may explain the tendency of singers with more practice and training to read a text with an intonation that reminds the melody. Analysis of overall duration in singing without accompaniment shows that the similarity between groups reflects the second hypothesis, referring to musical training. Differences in duration of the linguistic variables in singing reflect the influence of practice and training. The analysis indicated that pitch singers' intonation ties the musical score, and accompaniment makes it easy. The analysis of vowel space area estimations in singing showed similar between groups. The distinction between them appears in the tonic vowels, more centralized by the soloists, and with higher intensity and formants. The comparison between acoustic data and estimations of the musical score in singing showed the soloists with similar pitch to the score. The stressed vowels were investigated in speech, singing, and between modalities. In speech, the differences between groups are explained by their background, as soloists and broadcasters are trained to open their mouth widely. The articulatory consequences would be the larynx lowering and reduction of pharyngeal space. Research results indicate the stressed vowels in singing have higher formants for soloists, resulting in stretching (or lifting of the larynx). The results of these comparisons indicate the influence of music proficiency or vocal training seeking a comfortable vocal space. These results, observed in the speech and singing, suggest gestural transference between singing to speech, and vice-versa, as occurs in second language acquisition. This phenomenon could be the result of bio-mechanical adaptation, consistent with the Gestural Phonology
Doutorado
Linguistica
Doutor em Linguística
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Mota, Maier Regina Helena Cunha 1963. « Percepção corporal do cantor : um estudo etnográfico sobre a performance vocal ». [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284488.

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Orientador: Sara Pereira Lopes
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação investiga a corporalidade do cantor em cena. O trabalho estuda possibilidades expressivas do canto e sua relação com a pedagogia da voz. O eixo que direciona o trabalho é a constituição da pesquisadora enquanto cantora e professora de canto e a (im)possível relação dialógica entre essas duas posições. Partindo de uma retrospectiva das referencias musicais da pesquisadora, a discussão do arcabouço bibliográfico e teórico contrapõe-se à problematização empreendida no segundo capítulo quanto à performance. Desse modo, intenta-se ressaltar os efeitos do entendimento da performance sob a perspectiva conceitual de Zumthor, o que resultou na ressignificação da experiência da pesquisadora como cantora e professora. A vivência da preparação vocal de um grupo de 11 cantores indicia tais efeitos. As considerações que fecham o trabalho partem da certeza de que não há respostas prontas, porém reelaboram algumas das idéias que podem permitir uma continuidade nas investigações, apontando para a indissociabilidade entre corpo e voz
Abstract: The present dissertation investigates the singer's body on stage. The work studies expressive possibilities in singing, and their connection with vocal pedagogy. The axis which orients the work is the researcher's constitution as a singer and teacher, and the (im)possible dialogical relationship between these two. Starting from a retrospective of the researcher's musical references, the discussion of the theoretical and bibliographic structures are collated with the performance as problematized in the second chapter. Thus, this study intends to stress an understanding of performance according to Zumthor's perspective, which resulted in a re-signification of the researcher's experience as a singer and teacher. An experience with the vocal coaching of a group of 11 singers, indicate such effects. The final considerations which close the work, though implying there are no ready answers, elaborate some ideas which might allow continuity for this research, pointing to the indivisibility between body and voice
Mestrado
Artes Cenicas
Mestra em Artes
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Forsman, Viktoria. « Med sång som yrke : En kvalitativ studie om hur yrkesförberedande sångundervisning kan bedrivas med syfte att ge eleven en god förberedelse för yrkeslivet ». Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-28913.

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Denna studie syftar till att belysa undervisningsmoment utöver musikalisk och sångteknisk träning som i yrkesförberedande sångundervisning förbereder sångeleven för yrkeslivet som professionell sångare. Detta för att främja arbetstrivseln hos professionella sångare. Studien har sin teoretiska utgångspunkt i hermeneutiken och socialpsykologin och har utförts med kvalitativ intervju som metod. Fyra professionella sångare har använts som informanter. I bakgrundsavsnittet presenteras litteratur och tidigare studier kring musikerns yrkessituation, arbetstrivsel, yrkesförberedande sångutbildningar, pedagogens möjlighet till påverkan på musikstudenten och för musikern vanliga yrkesrelaterade hälsonedsättningar. Studiens resultat stödjer tidigare forskning då flera teman är överensstämmande. Denna studies resultat är dock specificerat till sångarens livsvärld till skillnad mot den tidigare forskningen som mer generellt beskriver musikerns yrkessituation. Resultatet belyser också förslag på undervisningsmoment lämpade i yrkesförberedande sångutbildning på ett sätt som inte har visats i tidigare forskning. Exempel på enligt studien yrkesförberedande uppdrag lämpliga för sångpedagogen är att skapa trygga elever i en trygg undervisningsmiljö, att skapa självgående elever och att ge eleven insyn och praktik i sångaryrket.
This study aims to highlight educational elements, as well as the musical and technical training, which, as part of a professional vocal study program, prepares the student for a professional career as a vocalist. This in turn, should help ensure a degree of satisfaction for professional vocalists. The study has its theoretical basis in hermeneutics and social psychology, and has been performed with the qualitative interview method. Four professional vocalists have served as informants. The background section presents both facts and previous studies of the voice used as an instrument, the employment situation of the professional musician, job satisfaction, vocational vocal training, the instructor’s ability to influence the music student, and also the health risks associated with professional musicians. The study’s findings support previous research as several themes are consistent. The results, as opposed to previous research that more broadly describes the musician’s professional situation, is here specifically related to the daily life of a musician. The study also highlights specific suggestions for educational elements applied to professional vocal training in a way that has not been shown in previous research. Examples of vocational objectives, which, according to the study may be suitable for the vocal instructor, are creating confidence in the student in a safe learning environment, creating self-sustaining students, and providing the student with insight and professional experience in the profession.
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Carvalho, Flavio Cardoso de. « A opera "Abul", de Alberto Nepucemo, e sua contribuição para o patrimonio musical brasileiro na primeira Republica ». [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284728.

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Orientadores: Adriana Giarola Kayama, Paulo Mugayar Kuhl
Tese (doutorado) - Universidade Estatual de Campinas, Instituto de Artes
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Resumo: Apresentamos um estudo da ópera "Abul" de Alberto Nepomuceno, analisando sua inserção no universo do nacionalismo musical brasileiro da Primeira República. Para tanto, buscamos entender o histórico da criação e montagem da obra na Argentina, Uruguai, Brasil e Itália, e a recepção da obra pela imprensa e público desses locais. Para uma avaliação da crítica relativa ao sucesso ou não da ópera, foi feita uma apreciação da obra em seus aspectos dramatúrgicos e musicais (sua estrutura composicional motívica e linha do canto). . Um CD-Rom com documentos referentes à obra e ao compositor segue anexado a este trabalho
Abstract: In this thesis we present a study of the opera "Abul", composed by the Brazilian composer Alberto Nepomuceno, analyzing its insertion in the universe of Brazilian musical nationalism during the period of the First Republic. To do so, we investigated the history of the composition and production of the work in Argentina, Uruguay, Brazil and Italy, and its reception by the press and public. To evaluate the criticism related to the successfulness or unsuccessfulness of the opera's performances, we looked into its dramaturgical and musical aspects (motivic structure and vocal line). A CD-Rom containing documents related to the opera and its composer is inc1uded.
Doutorado
Praticas Interpretativas
Doutor em Música
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Wood, Samantha (Soprano). « Distance Learning in Singing Education : An Overview of Historical and Modern Approaches and Future Trends ». Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505254/.

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This research of distance learning in singing study provides some historical framework of long-distance singing study, including research on three former distance singing courses, which exemplify the "best practices" of their time: Siegel-Myers Correspondence School of Music, the Perfect Voice Institute, and the Hermann Klein Phono-Vocal Method: Based Upon the Famous School of Manuel Garcia. I also discuss current trends in long-distance singing study, including interviews and insights from current long-distance singing teachers using cutting edge technology in their virtual studios. Lastly, I make predictions and projections, based on analyses of past "best practices," where this information may have impact upon future methods of distance singing lessons, including conceivable distance singing course components of online degree programs offered at universities.
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Marques, Marta Joana dos Santos de Andrade. « Relatório da prática de ensino supervisionada realizada na Escola Artística de Música do Conservatório Nacional : uma abordagem artístico-terapêutica da ressonância e articulação vocais através da prática de exercícios potencializadores de saúde e qualidade sonora em contexto de aula ». Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/24431.

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O presente relatório foi realizado durante e no seguimento da PES frequentada na EAMCN, com orientação da Professora Doutora Liliana Bizineche e tendo como professor cooperante o Professor Doutor José Manuel Araújo, professor de Canto da instituição. Numa primeira secção, após a contextualização histórica e estrutural da EAMCN, será feita uma descrição das metodologias de ensino e estruturação das aulas do professor cooperante, uma caracterização dos alunos e uma ponderação acerca da actuação da mestranda na PES. Numa segunda secção, serão apresentados exercícios de ressonância e articulação praticados na Terapia da Fala, adaptados à sua execução na aula de Canto. Numa terceira secção, será realizada uma investigação com base num questionário, incidindo na opinião de profissionais de voz, saúde e alunos de canto acerca da relação do Canto com a Terapia da Fala. Finalmente, reflectir-se-á acerca da frequência do presente mestrado, da PES e dos conhecimentos adquiridos durante a investigação; Abstract: Report on Supervised Teaching Practice held in Escola Artística de Música do Conservatório Nacional: An artistic-therapeutic approach to vocal resonance and articulation through the practice of health and quality of sound enhancing exercices in class context This report was written during and after the Supervised Teaching Practice (STP) held in EAMCN, with the guidance of PhD Liliana Bizineche and with the cooperating singing teacher of the institution, PhD José Manuel Araújo. In the first section and after a historical and structural contextualization of EAMCN, will be made: a description of teaching methods, a description of the singing class structure, a student characterization and a reflection about the STP. In the second section resonance and articulation exercises, done in speech therapy and adapted into exercises for singing lessons, will be presented. In the third section a survey focusing in the opinion of speech therapists, singing professionals and singing students, about the possible relation between speech therapy and singing lessons, will be carried. Finally, there will be a reflection about the Master’s degree and STP frequency and about the knowledge acquired during the research.
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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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Wilkinson, Mark Leslie. « The Singing Doctor : Reconsidering the Terminal Degree in Voice Performance ». The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587553732265375.

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Vigil, Patricia. « Hormones and the Female Voice : An Exploration of the Female Hormonal Cycle from Puberty to Menopause and How it Affects the Vocal Apparatus ». Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/347663.

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Music Performance
D.M.A.
The purpose of this paper is to examine the female hormonal cycle throughout a woman's life and its effects on the singing voice. Dealing with vocal issues brought on by hormonal fluctuations can be extremely frustrating for the professional singer, as these issues can wreak havoc on performance and practice schedules. The best weapon of defense against its unpredictability is information. Unfortunately, data on the female hormonal cycle and its effects on the voice is not covered in most standard vocal pedagogy books. Information on the subject is often relegated to a small section of a chapter, and even then usually describes only the symptoms: edema, hoarseness, and loss of high notes and power. The question as to why these symptoms happen every month and during menopause, and whether there is anything that can be done to alleviate them, remains largely unanswered. A candid discourse on the subject of hormones and the female voice has begun, but now must brought into the open. It is a subject that needs to be broached in voice studios everywhere. Can the effects of hormonal fluctuations on the voice be managed? What treatments are there for the symptoms; are they safe; are they effective? How can we further the dissemination of information on this subject? This paper will attempt to answer these questions by compiling data from the studies and research of esteemed doctors and scientists on this subject into one document, making it easy for young students and interested voice teachers to access this important information. It is my goal with this monograph to help and inform my readers. The human larynx is directly influenced by lifelong cyclical hormonal fluctuations. A woman's monthly cycle, which lasts from puberty to menopause, causes changes in hormone concentrations. These changes can affect a woman's physical and emotional states, causing bloating, and temporary abnormalities in sleep, mood, concentration levels, and energy. These effects are also seen in the vocal tract, where edema, vocal fatigue, decreased range, and lowering of the fundamental frequency can occur. The monthly symptoms of hormonal change are called premenstrual syndrome, or PMS. Similarly, the symptoms manifested in the larynx are called premenstrual vocal syndrome, or PMVS. This paper is an examination and exploration of the effects of PMS and PMVS on the singing voice. To do so, it provides a brief overview of the steroid hormones: estrogen, progestogen, and androgen. These three hormones are responsible for the development and maturation of primary and secondary sexual characteristics. It is only through studying the specific functions of each of the steroid hormones that it is made clear why some women suffer so profoundly each month from PMS and PMVS. Additionally, this paper provides information regarding the benefits and drawbacks of oral contraceptives, or OCPs. OCPs contain synthetic hormones that mimic the body's own natural hormones, and they regulate the body's levels of estrogen and progesterone, which prevents ovulation. In addition to their contraceptive use, OCPs are used to treat endometriosis, acne, and irregular periods. By preventing the body's hormonal levels from fluctuating, OCPs have proven highly effective as a treatment of PMS and PMVS. Further, the changes to the voice during pregnancy will be examined. The increased hormonal concentrations associated with pregnancy act upon the reproductive organs, muscles, bone, cerebral cortex, and mucosa, as well as the larynx. This paper also explores what happens to the voice throughout the stages of menopause, the symptoms of which can range from moderate to quite severe. Treatment options are discussed, including both hormone replacement therapy and alternative methods. Lastly, this paper shares information gathered from a survey of singers regarding their own experiences with PMS and PMVS, OCPs, pregnancy, and menopause.
Temple University--Theses
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46

Astorsdotter, Michelle. « The effect of music analysis on vocal performance : An analytical study of two Swedish songs ». Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79218.

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How much do musicians use their music theory knowledge when they perform? This project aims to connect theory and practice by exploring how analysis affects the interpretation of two songs in performance. Are some aspects of music analysis more useful than others when it comes to interpretation and performing? The theoretical method used in the analytical process is foremost inspired by the book The Complete Musician (Laitz 2012). In the research I recorded two songs that set the same poem Flickan kom ifrån sin älsklings möte, both before and after doing a deeper analysis of the songs. Afterward I compared the recordings to examine how the music analysis affect the performance. The interpretation is formed sometime during the process, but when? Do we decide how to interpret the music in the analytical process already, or does it happen while performing?
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Sousa, Nadja Barbosa de. « Projeção vocal : conhecimentos e abordagens na perspectiva de professores do canto erudito ». Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/11880.

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Made available in DSpace on 2016-04-27T18:11:49Z (GMT). No. of bitstreams: 1 Nadja Barbosa de Sousa.pdf: 846270 bytes, checksum: bfc2b1b809c33245f92f13e6f5f1a5fe (MD5) Previous issue date: 2011-02-21
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
INTRODUCTION: in erudite singing the voice has to have projection to be considered functional. It is the teacher‟s role to guide the student in using favorable techniques and strategies for vocal projection during performance, using the least possible effort. However, there are controversies concerning the teaching of vocal projection, as singing teachers have different educational backgrounds and aesthetic views. PURPOSE: To analyze the perspectives and approaches regarding vocal projection, used by erudite singing teachers in Brazil. METHODS: the subjects of this study were 72 singing teachers (51 women and 21 men), working in Brazil. The participants answered, by email, an open questionnaire, composed of sample characterization data: sex, age, work places, educational background, and time of teaching experience, as well as seven questions about vocal projection in erudite singing. For purpose of this study, the answers to the two central questions were analyzed. These questions directly concerned definitions and approaches in vocal projection, according to the subjects. The answers to each question were categorized, and then statistically analyzed. In this analysis, the categories were crossed with the following variables: sex, educational background, and time of teaching experience. RESULTS: in regards to the definition of projection, the following categories were observed: body, breathing, sound production (source and filter), sound aesthetics and audibility. The categories sound production‟ and audibility‟ were mentioned more often than the rest, and the latter was mentioned by 81% of the male teachers in this study, which is statistically significant (p=0,027). With regards to the different approaches, the observed categories were: body, breathing, perception/self-perception, image and emission forms. The categories mentioned more often were breathing‟ and emission form‟. FINAL CONSIDERATIONS: to knowledge of the participating singing teachers, vocal projection was defined, predominantly, as a combination of sound production aspects and audibility. However, the reference to audibility was highlighted, as it showed statistical significance. As far as the different approaches, breathing and sound emission were emphasized as the main strategies for work and development of vocal projection in erudite singing
INTRODUÇÃO: no canto erudito a voz tem que ter projeção para ser considerada funcional. Fica ao encargo do professor nortear o aluno quanto ao uso de técnicas e estratégias favoráveis para que a voz se projete, durante uma performance, com o mínimo de esforço possível. No entanto, existem polêmicas quanto ao modo de se ensinar a projeção vocal, isto porque as concepções e perspectivas de trabalho variam conforme a formação de professores de canto e correntes estéticas musicais. OBJETIVO: analisar conhecimentos e abordagens referentes à projeção vocal, na perspectiva de professores do canto erudito, atuantes no Brasil. MÉTODO: o estudo foi realizado com 72 professores de canto erudito (51 mulheres e 21 homens), atuantes em território nacional. Os participantes responderam, por via eletrônica, a um questionário aberto composto de dados de caracterização da amostra: sexo, idade, locais de atuação, tipo de formação e tempo de docência e de sete questões sobre projeção vocal no canto erudito. Para esta pesquisa, foram analisadas as duas questões centrais que trataram, diretamente, de definições e abordagens sobre a projeção vocal, na visão dos sujeitos. As respostas de cada questão foram classificadas em categorias e, em seguida, analisadas estatisticamente. Na análise estatística, as categorias foram cruzadas com as variáveis: sexo, tipos de formação e tempo de experiência docente. RESULTADOS: em relação ao que é projeção, os dados geraram as categorias: corpo, respiração, produção do som (fonte e filtro), estética do som e audibilidade. As categorias de produção do som e audibilidade foram mais citadas, e esta última foi referida por 81% dos professores do sexo masculino, dado que teve significância estatística (p=0,027). Com relação às abordagens, as categorias encontradas foram: corpo, respiração, percepção/propriocepção, imagem e forma de emissão. As duas mais citadas foram respiração e forma de emissão. CONSIDERAÇÕES FINAIS: segundo os conhecimentos dos professores de canto da amostra, do referido estudo, a projeção vocal foi definida, predominantemente, pela junção dos aspectos de produção do som e audibilidade. Contudo, a referência à audibilidade teve destaque pela significância estatística. No caso das abordagens, os fatores respiração e emissão do som foram enfatizados como as principais formas de se trabalhar e desenvolver a projeção vocal do cantor erudito
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Kayes, Gillyanne. « How does genre shape the vocal behaviour of female singers ? : empirical studies of professional female singing in western lyric and contemporary commercial music genres ». Thesis, UCL Institute of Education (IOE), 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.690905.

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49

Valente, Tânia Sofia Gomes. « A língua portuguesa no canto lírico : um estudo de relações entre técnica vocal e fonética articulatória ». Doctoral thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/12246.

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Esta investigação parte de um preconceito, generalizado entre a comunidade de cantores líricos, portugueses e estrangeiros, de que o português é uma língua difícil de cantar. Resolvemos tentar perceber de onde vinha este preconceito e se ele faria algum sentido em termos científicos. Tomando como ponto de partida G. R. Salvini, um prof. de canto do séc. XIX, pioneiro na preocupação com a questão do canto na Língua Portuguesa, numa época em que cantar ópera em italiano era uma prática quase instituída, olharemos para a relação entre canto e fonética portuguesa, ao longo de 4 capítulos. Cada capítulo tentará dar resposta a uma questão: 1- De onde vem o preconceito de cantar em português?2- Como funciona o aparelho fonador?3- Como funciona a língua portuguesa de um ponto de vista articulatório? 4- Como funciona o canto em língua portuguesa em termos acústicos? Por fim, utilizando a tecnologia e os conhecimentos modernos sobre fonética e técnica vocal, que se foram desenvolvendo nos séc. XX e XXI, vamos identificar alguns sons potencialmente difíceis para o canto na Língua Portuguesa, e sugerir estratégias para os ultrapassar; ### Title: The Portuguese language in lyrical singing: a case study of relationships between phonetics and vocal technique Abstract: The starting point of this research is a prejudice, widespread among the community of singers, both Portuguese and foreign, that Portuguese is a difficult language to sing. We decided to try to understand the origin of this prejudice and if it would make any sense in scientific terms. Taking as a starting point G. R. Salvini, a singing teacher from the 19th Century, who was a pioneer in the concern with the issue of singing in Portuguese, at a time when singing opera in Italian was almost an established practice, we will look at the relationship between singing and Portuguese phonetics, through four chapters. Each chapter will attempt to answer a question: 1 – From where does the prejudice of singing in Portuguese come from? 2 - How does the vocal tract work? 3 - How does the Portuguese language work from the point of view of articulation ? 4 – How does singing in Portuguese work in acoustic terms? Finally, using the technology and the modern knowledge of phonetics and vocal techniques that have been developed in the century. XX and XXI, we will identify some potentially difficult sounds for singing in Portuguese, and suggest strategies to overcome them.
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Monzon, Kimberly Dawn. « Vascularity and the Hormonal Cycle in Female Classical Singers ». The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562255094732137.

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