Thesis (M.A. (Psychology)) - Rhodes University, 2008. / For a treatise in partial fulfilment of the requirements for the degree of Master of Arts in Counselling Psychology.

Thesis (Ph. D.)--University of Iowa, 2008. / Thesis supervisor: Eileen M. Finnegan. Includes bibliographical references (leaves 130-133).

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Robert Wells; submitted to the School of Music. Title from PDF t.p. (viewed Apr. 29, 2010). Includes bibliographical references (p. 63-66).

Thesis (B.Sc)--University of Hong Kong, 2001. / "A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, May 4, 2001." Also available in print.

Treatise (D.M.A.)--University of Texas at Austin, 2005. / Supervisors: K. M. Knittel and William Lewis. Vita. Includes bibliographical references.

Treatise (D.M.A.) Florida State University, 2006. / Advisor: Stanford Olsen, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-3-07). Document formatted into pages; contains 54 pages. Includes biographical sketch. Includes bibliographical references.

abstract: ABSTRACT This document introduces singers and voice teachers to Dr. Alfred A. Tomatis's listening training method with a particular emphasis on its relevance to singers. After presenting an overview of Tomatis's work in the field of audio-psycho-phonology (circa 1947 through the 1990s) and specific ways that aspects of his theory are relevant to singers' performance skills, this project investigates the impact of listening training on singers by examining published research. The studies described in this document have investigated the impact of listening training on elements of the singer's skill set, including but not limited to measures of vocal quality such as intonation, vocal control, intensity, and sonority, as well as language pronunciation and general musicianship. Anecdotal evidence, presented by performers and their observers, is also considered. The evidence generated by research studies and anecdotal reports strongly favors Tomatis-based listening training as a valid way to improve singers' performance abilities. / Dissertation/Thesis / D.M.A. Music 2012

Vocal efficiency is a measure of the efficiency of the energy conversion process from aerodynamic power to acoustic power. Few studies have been conducted to measure vocal efficiency in trained singers to determine whether "vocal athletes" are more efficient than non-singers. Data were collected from 20 trained singers (10 male and 10 female) and 20 non-singers (10 male and 10 female) to determine if there were any significant differences between the two groups. During the recording, each participant produced a series of syllables at combinations of three different levels of pitch and loudness. The acoustic and aerodynamic data were analyzed to reveal any statistically significant differences in vocal efficiency between singers and non-singers. The singers were significantly more efficient than non-singers in only two of the nine conditions. Singers had significantly higher subglottic pressure and resistance values. More differences were found between men and women, in that males produced greater flow, but females consistently produced higher sound pressure level values. Acoustic analyses were also performed and this revealed that singers had significantly greater fundamental frequency variability during speech, as reflected in a higher semitone standard deviation for a reading passage. It was also found that males had higher maximum phonation times and a greater long-term average spectrum standard deviation. Vocal beauty ratings were significantly higher for singers than non-singers.

The purpose of this study is to give some insight into the soprano role in Hgndel's operas in comparison to the other roles. From a total of forty operas written, thirty-eight have been published and will be considered in this thesis. There is a complete analysis of each soprano role, but only a few outstanding arias are discussed in detail. The study of the soprano role is preceded by a chapter on Handel's career, styles,and his operas today.

This dissertation shows how gay, trans and queer performers in Brazil, Portugal, and Angola, working in traditionally misogynistic, homo- and transphobic popular music genres, have successfully claimed and refigured those genres and repertoires through iterations of transgender voices and bodies. I show how Pabllo Vittar, Fado Bicha and Titica refigure normative gendered conventions of sex and song through trans formations of popular music genres. I locate them within a genealogy of queer Luso-Afro-Brazilian popular music practices and performances that deploy trans formations of voice, body, and repertoire. I trace a genealogy of transgender voice in Brazilian popular music to Ney Matogrosso’s 1975 debut release, through which I reveal a cacophony of queer, indigenous and Afro-Brazilian intersections; and in Portuguese popular music to António Variações 1982 debut, through whom I trace a fado genealogy of Afro-diasporic cultural practices, gender transgression and sexual deviance. Finally, I locate Titica’s music in practices of the black queer diaspora as a refiguring of Angolan postcolonial aesthetics. Together, these artists and their music offer a queer Luso-Afro-Brazilian diaspora in spectacular popular music formations that transit beside and beyond the Portuguese-speaking world, unbound by it, and refiguring hegemonic Luso-Afro-Brazilian discourses of gender, sexuality, race and nation.