Treatise (D.M.A.) Florida State University, 2007. / Advisor: Larry Gerber, Florida State University, College of Music. Title and description from dissertation home page (viewed 10-5-2007). Document formatted into pages; contains 53 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.M.E.)--University of Wisconsin--Stevens Point. / Submitted in partial fulfillment of the requirements of the degree Master of Music Education in Studio Vocal Pedagogy. Includes bibliographical references (leaves 39-41).

No description available.

No description available.

The intent of this study is to attempt to create new scientific criteria for the evaluation of choral literature for senescent singers, The first criterion developed for selection of age-appropriate choral literature was a measurement for voice quality registration called phonetography. Phonetography is the registration of the dynamic range of a voice as a function of fundamental frequency. Manual phonetograms on twenty young adult singers and twenty senescent singers were developed to determine individual frequency-by-intensity relationships of the senescent voice. The graph that was created when all points of minimum and maximum sound pressure levels are connected, thus enclosing the subject's total phonation area, was the singer's phonetogram. Three choral adjudicators were present at the phonetogram testing to determine which pitch levels and dynamic ranges were acceptable for healthy choral singing in each subject. Gelfer acoustic-perceptual rating scales were completed by the choral adjudicators on each phonetogram test subject. Adjectives utilized most frequently by speech pathologists, singers, otolaryngologists, and untrained listeners were codified and confidence ratings were made by each of the four groups who were polled. Appropriate opposites for the selected descriptors were chosen. The Gelfer test results were consistent with phonetogram findings. Criteria for age-appropriate choral literature were proposed from phonetogram data and the Gelfer acoustic-perceptual analyses. The four pieces which were selected as age-appropriate were analyzed by tessiturometry as a final criteria of suitability for aging singers. The tessiturogram is a graphic analysis of the frequency of note occurrence within a composition. Lower tessituras and limited ranges were recommended for aging singers. Choral selections with long phrases, rapid melismatic passages, wide unprepared leaps, and sustained singing should be avoided. High, soft singing for older female singers is not suggested. Rhythmic, homophonic works are recommended for successful performance. Instrumental accompaniments are beneficial in reinforcing the older singers' intonation.

Thesis (M.A.)--San Jose State University, 1994. / Includes abstract. Includes bibliographical references (leaves 23-24).

The primary purpose of this study was to clarify the underlying principles of singers' resonance and to examine some of the pedagogical practices associated with the traditional schools of singing and contemporary voice science. The secondary purpose was to determine which principles should be retained, discarded, or altered.An examination of the voice pedagogy literature revealed recurrent references to resonance. This implied that the concept is of some importance to voice pedagogy. Singers' resonance has, however, been presented in diverse contexts indicating that (1) it has a number of denotations and connotations, (2) it is sometimes used ambiguously, or inaccurately, and (3) a further investigation of the topic might yield clarity to the field of voice pedagogy.It was determined that though there are many important voice pedagogy methodologies, classically trained professional concert and opera singers of international reputation are taught to optimize singers' resonance both in order to be heard and to produce the accepted tone. It was found that those precepts which are based upon acoustic laws should be conserved and those which are not should be abandoned, altered, or when appropriate, acknowledged as metaphorical. / School of Music

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Title from PDF t.p. (viewed Aug. 26, 2009). Directed by William Carroll; submitted to the School of Music. Includes bibliographical references (p. 58-62).

The registers of the singing voice, as commonly understood by singers, refer to the different vocal qualities induced by adjustments at the level of the larynx and of the vocal tract. This explains why register unification can be approached either one or a combination of the following procedures: (1) resonance alignment through vowel modification, (2) register alignment through intensity exercises. The wide-spread acceptance of vowel modification has made singers reluctant in exploring other avenues of register development. If registers are laryngeally derived, there should be another way of register unification, which directly addresses the coordination of the laryngeal muscles. In support of this argument, this thesis investigates the teaching practices of a group of twentieth-century American voice teachers, who rely on intensity manipulation as the primary means for enhancing the register adjustments. Intensity exercises such as the messa di voce has long been practiced in historical pedagogy, but it is not until now that voice science confirmed its significance in register coordination.

Scientific knowledge of vocal function and vocal health has increased greatly in recent decades, with new technology capable of displaying the larynx in operation, measuring muscular effort, and acoustically analysing vocal sound. This research addresses five key questions: 1/. What is the current body of voice science knowledge relevant to singing? 2/. What do singing teaching practitioners currently know about the voice? 3/. How do practitioners' understandings of voice influence their teaching of vocal techniques? 4/. How does singing teaching in Australia relate to bel canto precepts? 5/. How does singing teaching in Australia relate to voice science? Data was collected from surveys conducted to answer these questions. Analysis of survey data indicates that practitioners see themselves less as teachers than as singers who teach, and that this role perception carries values that moderate voice knowledge and approaches to teaching. The implications of this conclusion for the professional training of singing teachers in Australia are discussed and suggestions made for further research. In particular, voice scientists and singing teachers need to collaborate more actively in research. Scientific research into singing would have broader application if a model appropriate to both male and female voices were utilised and if larger and better chosen selections of experimental subjects were used. Further research is needed into how the physical skills of singing are best imparted to students / Doctor of Philosophy (PhD)