Thesis (D.M.A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 69-72).

Dissertation (PhD) Florida State University, 2006. / Advisor: Jeffery Kite-Powell, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-11-07). Document formatted into pages; contains 313 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D.A.)--Ball State University, 2009. / Title from PDF t.p. (viewed on Nov. 11, 2009). Includes bibliographical references (p. 122-128).

This treatise is a qualitative study that critically explores a current body of knowledge significant to the development of the female adolescent voice. The female adolescent voice is a field that is relatively under-researched in comparison to the male adolescent voice, although research in this regard has shown an increase in interest in the last two decades (Gackle 2011: 11). However, information related to the male adolescent voice still far outweighs the female adolescent voice. This study, through the use of six secondary objectives, identifies and highlights areas of the female adolescent voice development, where much of the current research lacks depth and insight. It therefore analyses and compares applicable literature in an attempt principally to contribute to a more structured and academic approach in this field. Insight into the auditory effects that occur during physiological mutation is further supported by investigating the functioning of the female voice registers and the respective influences of these on the different phases of vocal development of the female adolescent. The assistance and expertise of the conductor in this process, as well as in common areas such as voice classification, auditioning, voice placement, and repertoire selection are investigated to further consolidate and compare possible interventions for problems pertaining specifically to the female adolescent voice. The study concludes with a summary of the treatise and proposes suggestions for further study in this field.

No description available.

This research is an analysis of the range of skills and knowledge required to produce, effectively, results in the Art of Lyric Improvisation in the field of jazz singing. Lyric Improvisation is the art of retaining the primary lyrics of a song but, using improvisational inventiveness, changing every other aspect. The study focuses on the manipulation of melody, rhythm, time feel, style, range, articulation and improvisation in the performances of renowned jazz vocalists Sarah Vaughan and Carmen McRae. The research is based on their multiple recordings of "Sometimes I'm Happy" (Youmans/Caesar) between the years1955-1965. The method compares different elements of the individual singers' improvisations to the published notation. These elements include: syncopation of the rhythm, motific development, expanding the range of pitch, variances in timbre and articulation and spontaneous re-composition of the melody all while maintaining the original lyric. The outcomes, however, can be applied over a multitude of tunes from any American Song Book composer or jazz standard sung in historically swing styles of the past century, or with contemporary developments.

No description available.

This study documents the musical life of Zinka Milanov, a distinguished Metropolitan Opera dramatic soprano who lived from 1906 to 1989. In this writer's opinion, the Yugoslavian-born singer ranks with Maria Callas and Renata Tebaldi in accomplishments and legacy, although her acclaim has been less notable.This study reveals that Milanov had a distinguished Metropolitan Opera career, leaves a legacy of 226 recordings with unsurpassable high-register pianissimo spinning tones and elegant phrasing, was supported by a fan club and by sold-out opera houses, and maintained an active career on three continents.This writer shares a similar Eastern European heritage with Milanov and was inspired by a former voice teacher to listen to legendary Milanov recordings while learning the spinto-dramatic soprano repertory. Milanov's artistry on these recordings demonstrates a bel canto style of singing which aspiring vocal artists may well strive to emulate. For these reasons, and because no previous complete study exists about Zinka Milanov's life and career, this research is a unique chronological document of Milanov's operatic career.In 1995, this researcher was granted access to The Metropolitan Opera Archives to collect data. Information on Milanov's musical career from scrapbooks, articles, reviews, interviews, photographs, contracts, fan club newsletters, personal letters and telegrams, is presented in chapter three.This research provides summaries and discussion of each Metropolitan Opera season; it includes the number of Metropolitan Opera performances, opera titles, names of cast members and conductors, and Milanov's salary. A complete listing of recordings of Milanov's performances is provided in Appendices 1 and 2. Historic photographs of Milanov in various operatic roles are found throughout this study.Chapter four contains this writer's insights on Milanov's vocal technique. Teachers of voice may be interested in learning her method. / School of Music

In recent years, research has shed light on the nature of singer perception in the choral setting; however, only a few studies have explored the nature of singer placement and its impact on members of the ensemble, and little research has been conducted on gender-specific ensembles. Fifty participants from two male choral ensembles took part in an experiment to assess the choristers’ perceptions of and preferences for four choral formations based on individual singer placement within sections and placement of sections within the ensemble. Participants’ perceptions and preferences were assessed in response to four overall choral formations based on criteria derived from factors relating to the Self-to-Other Ratio (SOR) – a singer’s perception of his sound within his section and the chorus. The study also sought to determine whether Voice Part and Musical Experience Level are significant factors in participants’ perceptions of and preferences for four different formations featuring a combination of placements within section (Acoustic and Experience placements) and sectional formations (Block and Column Sectional formations). Participants rated their perceptual experience of the four immediately after having sung in each and then indicated preference for specific placements based on their perceptual experience. Participants’ responses were analyzed for significance through ANOVA and chi-square testing of all pertinent variables. In terms of Voice Part, tenor singers indicated preference for Block Sectional formation, while bass singers indicated preference for Column Sectional formation. It was also determined that singers’ musical experience was significant in determining their preferences for formations, with singers of higher musical experience preferring Block Sectional formation and singers of lower musical experience preferring Column Sectional formation. Singers’ preference for placement within sections was not found to be significant, possibly indicating that this type of placement does not impact singer perception in the choral setting as much as has been thought by many choral conductors and pedagogues. Continued research exploring the nature of individual singer perception in the choral setting will provide a better understanding of the nature of singers’ individual vocal production when combined in ensemble, thus enabling conductors to foster more fulfilling musical experiences in their choirs. / School of Music

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 95-96).