abstract: The trained singer utilizes an awareness of her body as an instrument. When she becomes pregnant, her body changes in numerous ways to support the pregnancy. Many of these changes have great impact on her ability to sing during the pregnancy and postpartum periods. The voice may be altered positively or negatively by the release of hormones. The body undergoes many changes that affect the posture and breathing required for singing. Most notably, the abdominal muscles are greatly impacted by the pregnancy. They are stretched by the growing uterus, and this affects their function. In addition, the linea alba (the connective tissue between the halves of the rectus abdominis) is softened by hormonal increases and subject to stretching as the uterus grows, predisposing it to weakness. Since the other abdominal muscles attach to the linea alba via connective tissue, maintaining the integrity of the linea alba during pregnancy and postpartum is vital to the operational function of the abdominal muscles. Protecting the vulnerable linea alba must be deliberately undertaken in two parts. First, conscious exercise is needed to preserve the linea alba during pregnancy and to rehabilitate it after pregnancy. Targeted exercises strengthen the transverse abdominis and shorten and approximate the two halves of the rectus abdominis. Second, modifications in daily movement are necessary to protect the linea alba while performing routine activities. Cesarean sections present additional surgical concerns for singers, including abdominal incisions, use of medication, and the rare need for general anesthesia via intubation. Recovery from a cesarean can be difficult due to abdominal pain, yet steps may be taken to speed healing at the hospital and at home. This paper provides an overview of how pregnancy affects the singer, discusses the effects of pregnancy and cesarean section, and provides a plan to protect the abdominal muscles during pregnancy and rehabilitate them in the postpartum period. It combines information from the fields of physical therapy, medicine, and surgery into a guide for the singer and voice teacher. / Dissertation/Thesis / D.M.A. Music 2013

Thesis (Ph. D.)--Boston University, 1981. / Includes bibliographical references (p).

This report examines different approaches to the performance of the Odyssey. The first approach focuses on the internal evidence of the Odyssey, looking at how the Homer’s poems define the singer as a type. The second approach analyzes a selection of sources from the classical period that attests to the performance of the Odyssey. The third approach uses material evidence as a means to reconstruct the music of performance. The internal evidence provides a consistent model for performance that can be correlated with external context. This model can then be used to show how the Odyssey makes use of its own performance. These approaches demonstrate that the material of the poem provides the most compelling account of performance of the Odyssey. The Odyssey presents a consistent model of performance that describes the performer, the manner of performance, and makes use of performance in its own poetry. / text

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This bachelor thesis is about writing and producing music for the specific purpose of being used in American drama television shows. It began with an analysis of a number of different television shows and how they use popular music. Based on that analysis, I then wrote seven songs that were supposed to work in a similar scenario. I also recorded and arranged three of these songs.

Musikproducenten som fonogramproducent The Music Producer as a Record Producer   I denna undersökning har jag kombinerat rollen som musikproducent med en fonogramproducents arbete med syftet att testa på att utöka mina egna kunskaper. För att göra detta har jag tagit fram en musikprodukt i genren singer-songwriter efter en referens och underlaget för denna studie har varit böcker, artiklar, hemsidor och praktisk erfarenhet.   Med hjälp av detta underlag har jag redogört för de båda rollernas arbete samt för referensalbumet:s arbetssätt. Jag har även gjort en analys av det klingande materialet för att kartlägga mina erfarenheter och saker som jag upplever för att sedan applicera detta på mitt egna skapande. Detta arbete mynnade sedan ut i ett uppdrag som jag arbetade utefter.   Mitt skapande har baserats kring redan färdiga låtar som jag arrangerat och producerat ihop. Processen bestod av förproduktioner, inspelning mixning och pre-mastring som gjordes i enlighet med projektets uppdragsbeskrivning.   Resultatet hamnade i låtar vars sound är nära referensen, samt tankar och reflektioner kring rollkombinationen i praktiken.

In this paper I argue that Liam Murphy’s collective consequentialism—emphasizing fairness instead of maximization of value—is not an adequate response to the demandingness objections levied at consequentialism. Especially since Peter Singer’s “Famine, Affluence, and Morality,” many have objected that consequentialism is far too demanding, particularly concerning our obligations of assistance to those in extreme poverty. Murphy thinks that the problem is not that consequentialism is necessarily too demanding; it is that, in our nonideal world of partial compliance, consequentialism is too demanding on those who comply with its dictates. I hope to show that Murphy’s theory is unsatisfying. I will not defend any particular version of consequentialism over alternative consequentialist theories, nor will I defend consequentialism over alternative non-consequentialist moral theories. My aim is far narrower: To show that those who accept a broadly consequentialist account of morality have little reason to accept Murphy’s collective consequentialism.

Texte abrégé et remanié de: Diss.--Philosophische Fakultät--Universität zu Köln, 2002. / Bibliogr. p. 626-666. Index.

In "Famine, Affluence, and Morality," Peter Singer urges citizens of wealthy countries to make immense personal sacrifices in order to assist the poor overseas. Though Singer has moderated his view in recent years and now supports widespread tithing, the motivation remains the same. By contrast, Immanuel Kant contends that the first right of humanity is freedom and that the purpose of a political order is to unite people into a rightful condition. As part of this, taxes should be imposed in order to support the domestic poor - an obligation that does not extend across borders. Although their underlying assumptions are quite different, Singer and Kant’s concerns can both be addressed by a common solution: the creation of a global tax to support the poor, implemented by a global state. Such an arrangement would permit substantial coordinated flows of aid to the needy (meeting Singer’s utilitarian concerns) while also ensuring that all people of the world are in a rightful condition with each other, thereby providing the justification for global social assistance (respecting Kantian deontology.) This solution requires expanding Singer’s proposals and a revisionist reading of Kant that dismisses his arguments against the creation of a global state. (Rawls’ support for a world of distinct states that support each other can also be dismissed, as his approach does not sufficiently connect political structures with personal duty, as Singer and Kant both do.) Though the final form of the solution is largely the same, Kant’s framework is superior: while Singer cannot eliminate the danger of becoming overwhelmed by duty, Kant’s focus on individual autonomy can guard against this. / Thesis (Master, Philosophy) -- Queen's University, 2012-10-01 12:30:15.657

Thesis (M.A.)--University of Alabama at Birmingham, 2009. / Title from PDF title page (viewed Sept. 2, 2009). Degree earned with the cooperation of additional faculty from the University of Alabama. Includes bibliographical references (p. 88-91).