Text in Afrikaans / In hierdie studie word Mimi Coertse se bydrae tot die uitvoering van die Afrikaanse kunslied in diepte ondersoek. Die kunslied word omskryf en die ontwikkeling van die kunslied in Westerse kunsmusiekgeskiedenis en in Suid- Afrika word ontleed. Die belangrikste komponiste word gevalle uitgelig. 'n Oorsig van Mimi Coertse se lewe en loopbaan volg hierna. 'n Volledige tabel van algemene opmerkings oor Coertse se uitvoering van die Afrikaanse kunslied deur resensente, kollegas en vriende word bespreek. Dit word gevolg deur opmerkings oor Coertse se uitvoering van spesifieke Afrikaanse kunsliedere deur resensente. Die Afrikaanse kunsliedere wat deur komponiste aan Coertse opgedra is, sowel as die lys van Afrikaanse kunsliedere wat deur Coertse opgeneem is, word geboekstaaf. Coertse se sangloopbaan as kunsliedsangeres val saam met 'n tydperk waarin Afrikaans as taal en die Afrikaanse kultuur gedy het. Sy het in Afrikaans 'n uitdrukkingsmedium gevind wat haar die naaste aan die hart gele het. / This study involves an in-depth investigation into Mimi Coertse's contribution to the execution of the Afrikaans art song. The art song is defined and its development in the history of Western music and in South Africa analysed. The principal composers are highlighted in both instances. An overview is then provided of the life and career of Mimi Coertse. A comprehensive table of general comments on Coertse's execution of the Afrikaans art song by critics, colleagues and friends is discussed. This is followed by critics' comments on Coertse's performance of specific Afrikaans art songs. The Afrikaans art songs that composers dedicated to Coertse as well as the list of Afrikaans art songs recorded by Coertse are chronicled. Coertse's career as a performer of the art song coincided with a period in which Afrikaans as a language and Afrikaans culture blossomed. She found a medium of expression in Afrikaans that was closest to her heart. / Art History, Visual Arts and Musicology / M. Mus.

Aim of the research: This essay describes what can happen between the singers in a choral voice and how the individuals differ in taking initiative and acting in leading roles. Method: I have done qualitative interview studies with conductors and singers, and also recording studies. The recording sessions have been done in following choir rehearsals in a Swedish upper secondary school, and with a simultaneous video recording to be able to also take notice on eventual visual signs between the singers. With close up headworn microphones and by multi track recordings it have been possible through an analyzing program to watch graphically exactly how each individual sings and to compare the singers with each other. The recordings and analyses have been done using Cubase5 and Variaudio with printouts of the same sequence of the music the single voices in the same choral voice. Results: My informants all speak of formal and informal leaders in the choral voice. Many of them also talk about these leaders as leading the choral voice and also with their personal voice and timbre, give color to others. It is possible to graphically view differences in attacks and intonation, and also to notice when someone is ahead and “pulling” others to follow. This leading role can be both positive and negative, a confident but not so good singer can unfortunately bring along other singers to take wrong steps in the music.

Orientador: Jorge Luiz Schroeder / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-28T00:01:50Z (GMT). No. of bitstreams: 1 Oliveira_CarolineLadeirade_M.pdf: 1526609 bytes, checksum: 988bf2105419130daa89a08b260750b1 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa tem a intenção de compartilhar algumas aproximações percebidas entre as obras do educador brasileiro Paulo Freire, do teatrólogo Augusto Boal e reflexões sobre o fazer artístico de cantoras brasileiras contemporâneas. Através de entrevistas com quatro cantoras e a experiência de trabalho da autora, alguns alinhavos são tecidos entre as reflexões das profissionais e conceitos presentes na obra freireana: Palavra, Diálogo e Inéditos Viáveis / Abstract: This research intent is to share some approaches perceived between the works of Brazilian educator Paulo Freire, the play writer Augusto Boal and reflections on the artistic work of contemporary Brazilian songstresses. Through interviews with four singers and work experience of the author, some alignment is woven between the reflections of these professionals and the concepts presented in Paulo Freire¿s work: Word, Dialogue and Unprecedent Viable / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

This qualitative dissertation identifies musical strategies that black theatre singers use when presenting and representing music that integrates western classical vocal aesthetics with stylistic genres of traditionally black forms like gospel, jazz, and blues. This study investigates the use of the voice by five black opera and musical theatre performers and the approaches that they take in the representation of music that requires integrated vocality, which integrates elements from western classical traditions with those from black popular and folk idioms. Data were collected through audio/visual analysis, interviews, and video stimulated recall, presented through narrative analysis. Three emergent themes are explored are as follows: Authenticity is rooted in the singer’s experience of cultural traditions and expression; technique is a means of personal and cultural expression and provides the opportunity for personal liberation, and; a singer positions themself at the nexus of their cultural legacy as a learner, exemplar, advocate, and transmitter of culture. The implications for educators at the tertiary level are discussed in the final chapter. Alignment of technique, personal expression, and identity infuses a singer’s sound with meaning; fostering the black singer’s use of their cultural capital helps them transform their life experiences into artistic interpretation. Representation, the use of signs that link a person to their cultural circles, is an act of re-humanization, combating dehumanization caused by systematic and societal exclusion by placing positive images at the center of their cultural legacy. In higher education, pre-professional training becomes humanizing when expression is viewed as a means of critical understanding of a student’s lived experience. Also, inspiring persons with marginalized identities requires re-centralizing power toward those who can imagine themselves transforming the entertainment industry into a more inclusive artistic space.

For applied teachers of the bel canto method of singing, classical musical theatre repertoire provides an abundant resource of material for teaching the undergraduate baritone voice. Select classic musical theatre repertoire, fitting within the parameters of suitable range, tessitura, duration, and thematic material for an undergraduate baritone, will be used to demonstrate the application of bel canto techniques such as: glottal onsets, the connection between the speaking voice and singing voice, suitable vowels in building the upper range, and teaching sostenuto and legato. This dissertation serves as a guide for teaching sound vocalism through classic musical theatre repertoire.

This thesis explores how contemporary Appalachian women’s gendered experiences influence their choices of ballad repertoire. This inquiry is pursued through a feminist analysis of interviews with six women ballad singers from Madison County, North Carolina. In evaluating the women’s choices of ballads and their commentary on the songs, this thesis draws upon narratological theories as well as concepts from Appalachian traditional music studies. This study finds that women’s repertoire preferences reveal contemporary female concerns for physical safety and political agency. The singers also extract hidden transcripts from ballad texts and use ballads to educate audiences about women’s historic oppression. However, some singers find other factors, such as a song’s tune, or its significance as a part of regional heritage, to be more significant than the narrative content of the songs. This work affirms the contemporary influences of gendered concerns in ballad singing communities.

Choral ensembles often operate as hierarchical institutions where the conductor maintains a position of control over the musical, educational, and social aspects of singing with little or no input from singers. This dissertation reconceptualizes the choral experience as a dialogical process where conventional boundaries between conductor and singers blur. This study was conducted online with a vocal ensemble of ten experienced adult avocational singers and asks how a collaborative spirit may transform the ensemble, individual singers, and the conductor. Using a critical participatory action research approach, we engaged in dialogue and group problem solving as we created collective and individual musical projects over the course of ten rehearsals. The research design emphasized collective reflection and democratic decision making. This research journey is presented through a collection of multimodal data fragments such as musical recordings, practitioner reflections and collated singer reflections, rehearsal transcriptions and narratives, photographs, and poetry. Informed by decolonizing and post-qualitative methodologies, this dissertation highlights the ethical dilemmas, rewards, and uncertainties of both collaborative research and learner-centered approaches to education. In investigating how singers might increase their influence within the ensemble setting, we discovered that singers talking back to the conductor set in motion conditions for a choral paradigm that I describe as back talk choral pedagogy. This pedagogical orientation draws on critical and relational perspectives and is characterized by four interconnected commitments: (a) relational accountability; (b) mutual recognition of knowledge; (c) cultivation of a public square; and (d) responsiveness to input. Singer back talk manifested itself in myriad ways, including the reporting of information or observations, sharing opinions and suggestions, directly contesting the conductor, storytelling, and silence. Singer back talk produced noticeable fruits—a culture of shared vulnerability and trust, unique singer contributions, role fluidity between conductor and singers, and choral communion—which positively impacted the learning environment. This inquiry suggests that by centering relational and ethical aspects of musical collaboration, back talk choral pedagogy has the potential to build flourishing, dynamic musical spaces, increase singer ownership, and challenge conductors to expand their teaching practice.

京都大学 / 0048 / 新制・課程博士 / 博士(人間・環境学) / 甲第21167号 / 人博第839号 / 新制||人||202(附属図書館) / 29||人博||839(吉田南総合図書館) / 京都大学大学院人間・環境学研究科共生文明学専攻 / (主査)教授 水野 眞理, 教授 髙谷 修, 准教授 桒山 智成, 教授 丸橋 良雄 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM

This master thesis investigates the pre-performance preparation of classical singers during the final hour before a performance. Through a mixed-methods approach, data was collected from personal reflections and survey data. The results suggest that the majority of the opera singers choose to engage in different activities during the final hour before a performance, with individualized ordering and prioritization of their pre-performance activities and preparations. The survey data analysis showed some similar attributes between the singers engaging in memory recall techniques, those with low levels of anxiety performance, and those who report feeling ready and prepared before a performance. No significant similarities seem to be, however, among singers that follow a set of rituals or a structured pre-performance routine and those reporting that experience stress before performances. Additionally, the study highlights the importance of having a pre-performance routine for me as performer, singer and artist, because it enhances my commitment, self-confidence and improves the  overall quality of my performances. The artistic outcome of my research consists of two parts: firstly, my established pre-performance routine, which I consistently followed prior to every performance during the study period; and secondly, the video recordings of my graduation concert and other performances completed during the study. The findings of this master thesis have implications for classical singers who wish to follow a professional career and improve the quality of their performances.

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