The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice, and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen set of art song repertoire for the tenor voice. This project aids teachers and young tenors in technique and repertoire selection by identifying technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be better equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process. The body of the dissertation begins with a discussion of pedagogical areas in which the tenor's technique is most distinct from other voice parts including: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. A brief introduction of each song will include stylistic information on the piece and analysis of the song including range, tessitura, level of difficulty, and vocal demands. I will then discuss specific examples of difficult melodic passages, or phrases that are of pedagogical value and offer specific exercises that can aid the tenor in the song learning process. The information discussed in each song provides a starting point for further repertoire selection beyond this project by introducing the teacher and tenor to composers, collections, or cycles that logically supplement the list of selected repertoire.

PERNA, NICHOLAS (D.M.A., Vocal Pedagogy and Performance) Effects of Nasalance on the Acoustical Properties of the (May 2008) Tenor Passaggio and Head Voice Abstract of a doctoral essay at the University of Miami. Doctoral essay supervised by Professor David Alt and Professor Rachel L. Lebon. No. of pages in text. (73) This study aims to measure the effect that nasality has on the acoustical properties of the tenor passaggio and head voice. Not to be confused with forward resonance, nasality here will be defined as nasalance, the reading of a Nasometer, or the percentage of nasal and oral airflow during phonation. A previous study by Peer Birch et. al. has shown that professional tenors used higher percentages of nasalance through their passaggio. They hypothesized that tenors used nasalance to make slight timbral adjustments as they ascended through passaggio. Other well respected authors including Richard Miller and William McIver have claimed that teaching registration issues is the most important component of training young tenors. It seemed logical to measure the acoustic effects of nasalance on the tenor passaggio and head voice. Eight professional operatic tenors participated as subjects performing numerous vocal exercises that demonstrated various registration events. These examples were recorded and analyzed using a Nasometer and Voce Vista Pro Software. Tenors did generally show an increase of nasalance during an ascending B-flat major scale on the vowels [i] and [u]. Perhaps the most revealing result was that six of seven tenors showed at least a 5-10% increase in nasalance on the note after their primary register transition on the vowel of [a]. It is suggested that this phenomenon receive further empirical scrutiny, because, if true, pedagogues could use nasalance as a tool for helping a young tenor ascend through his passaggio.

La tesi ha ad oggetto il passaggio generazionale nelle imprese di famiglia costituite in forma di società a responsabilità limitata, valutandone l’impatto sulla disciplina dell’amministrazione. Si rileva che i meccanismi tradizionali fondati esclusivamente sul trasferimento delle quote sociali non riescono a conciliare le esigenze di continuità dell’impresa e le norme di diritto successorio. Si individuano, allora, regole in grado di assicurare la stabilità dell'amministrazione anche dopo le modifiche alla compagine sociale conseguenti all’ingresso degli eredi. Lo studio si riferisce, da una parte, a regole convenzionali che garantiscono la permanenza dell’amministratore nella carica; dall’altra, a clausole con lo scopo di arginare l’interferenza dei nuovi soci sulle scelte di governance. Si dimostra, infine, la legittimità di una previsione statutaria che impone la successione automatica di un beneficiario nella carica di amministratore. / The thesis deals with the generational shift in family enterprises constituted as a limited liability company, assessing the impact on the discipline of the administration. It notes that traditional mechanisms based solely on the transfer of shares can not reconcile the needs of business continuity and the rules of inheritance law. Then, are identified rules that ensure the stability of the administration even after the changes to the shareholding structure resulting from the entrance of the heirs. The study refers, on the one hand, in the conventional rules which ensure the permanence of the administrator in charge; on the other, to clauses in order to curb the interference of new members on the choices of governance. It shows, finally, the legitimacy of a statutory provision requiring the automatic succession of a beneficiary in the position of director.

Questa tesi presenta i risultati teorici, metodologici ed empirici di una ricerca di dottorato incentrata sul tema della percezione del tempo nell’esperienza cinematografica. La prima parte fornisce un’introduzione teorica al tema. Il Capitolo 1 precisa il taglio e l’oggetto della ricerca. Il Capitolo 2 presenta i principali modelli teorici di percezione del tempo. Il Capitolo 3 si concentra sulla percezione del tempo nel contesto cinematografico. La seconda parte comprende gli esperimenti condotti nel corso della ricerca. Il Capitolo 4 illustra il primo esperimento. Attraverso misure comportamentali, questo studio ha indagato gli effetti sulla stima di durata e sulla percezione del passaggio del tempo di due variabili cinematografiche: il tipo di azione rappresentata e lo stile di montaggio. Il Capitolo 5 presenta il secondo esperimento. Tramite un metodo chiamato micro-fenomenologia, questo studio ha esplorato i processi esperienziali che fondano i compiti di stima di durata e percezione del passaggio del tempo. Il Capitolo 6 descrive il terzo esperimento. Attraverso una tecnica di neurostimolazione (tDCS), questo studio ha testato il coinvolgimento di una specifica area cerebrale (Area Supplementare Motoria) negli stessi compiti temporali. La terza parte riassume i risultati della ricerca (Capitolo 7) e discute possibili futuri sviluppi di quest’ultima (Capitolo 8). / This dissertation presents the theoretical, methodological, and empirical results of a doctoral research concerning time perception in the experience of cinema. The first part provides a theoretical introduction to the topic. Chapter 1 carves out the dissertation’s precise angle and object. Chapter 2 presents the main models of subjective time perception. Chapter 3 restricts the scope to time perception in the specific context of cinema. The second part reports about the three experiments conducted during the research. Chapter 4 introduces the first experiment. By using behavioural measures, this study addressed the effects on duration estimation and time passage perception of two cinematographic variables: the type of represented action and the style of editing. Chapter 5 presents the second experiment. By adopting a method called micro-phenomenology, this study explored the processes underlying the performance of the duration estimation and time passage perception tasks. Chapter 6 is devoted to the third experiment. By using a neurostimulation technique (tDCS), this study tested the involvement of a specific brain area (the Supplementary Motor Area) in the same timing tasks. The third part summarizes the essential findings of the research (Chapter 7) and re-opens it to some of its possible future developments (Chapter 8).