Thesis (D.Mus.Arts)--University of Washington. / Bibliography: l. [62]-65.

This investigation surveys pertinent literature, from 1917 to 1982 inclusive, regarding artistic vibrato and tremolo in singing. The contents are subdivided into individual investigative reports by various vocal researchers. Due to mounting confusion within the amassed literature, the need for systematic organization and evaluation is evident. Misunderstandings within the context of the literature and misnomers within the terminology require clarification and resolution. The evaluation intends to produce a proper perspective on vibrato and tremolo, eradicating some of the confusion surrounding the terms. Artistic vibrato is recognized as a desirable component in Western vocal music. In contrast, tremolo is deemed a deviant vibrato, i.e., a vibrato which deviates from artistic norms. The study attempts to clarify the distinguishing traits of these two vocal phenomena.

Thesis (A.Mus.D.)--University of Houston, 2000. / Includes bibliographical references (leaves 102-106).

This study is based on the premise that modern day performances of late Renaissance sacred music are informed more by biases and assumptions concerning performance practice rather than on information gleaned from the primary sources. The result is homogeneity in performance practice within this body of literature which is in direct contradiction to the primary sources. Four controversial areas of performance practice, vibrato, text expression techniques, ornamentation and doubling instrumentation, are investigated in this document in the context of four motets by Luca Marenzio (1553-1599). Findings from primary sources contemporary to Marenzio's time that relate to these four performance practice areas are closely examined and reinterpreted, and suggestions are given for historically informed application of these findings to contemporary choral performance settings. This examination of primary sources indicates that each of Marenzio's motets constitutes its own "soundscape" with a unique set of attendant performance practices, which has great implications for performances of late Renaissance sacred music as a whole.

Thesis (Ed.D.)--Teachers College, Columbia University, 1999. / Includes bibliographical references (leaves 221-230).

Dissertation (PhD) Florida State University, 2006. / Advisor: John Geringer, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-9-07). Document formatted into pages; contains 138 pages. Includes biographical sketch. Includes bibliographical references.

Learning a musical instrument is a complex process that involves cognitive, physical, environmental, and motivational factors. When adolescent students first learn a musical instrument, they can demonstrate a fixed or growth mindset (or a mixture of both) when it comes to their beliefs about their skills. Research indicates that adolescents who receive mindset interventions increase academic performance and improvements in their overall mental health and well-being. Music education researchers have found that many musicians lack the mental strategies to improve competency beliefs, but there is scant research on growth mindset interventions in music classrooms. Among bowed string educators and musicians, vibrato is considered to be a skill with both mental and physical challenges. The purpose of the study was to examine the experiences of eighth grade students who receive a growth mindset intervention while learning vibrato in a heterogeneous string classroom. The participants were a sample of eighth grade students from the researcher’s classroom who were learning vibrato for the first time. All students completed a mindset inventory quiz to determine whether they have a fixed or growth mindset orientation. The entire class participated in research-based mini-lessons, class discussions, journaling in the Growth Mindset Workbook for Teens (Schleider et al., 2021), supplemental goal and reflection activities specific to vibrato skills, and video reflection to give students a different format for reflection alongside vibrato instruction. Although descriptive data was gathered from the whole class, a sample of seven participants was selected to examine students’ lived experiences in-depth. To focus on the students’ perspectives and lived experiences, data was collected and analyzed through the lens of Interpretive Phenomenological Analysis. The participants were selected using maximum variation sampling to represent a variety of perspectives: mindset scores, instrument, ethnicity, and gender. Data collection from the study included teacher observation (written journaling), student interviews, journal samples (mix of media recording and written), as well as pre- and post-intervention mindset surveys. While the participants displayed a mix of mindsets about their vibrato throughout the study, many of the students reported that mindset activities helped them improve their mindset and vibrato learning experience. The researcher found that consistent use of both mental (particularly mindset) and physical strategies supported the acquisition of the challenging skill of vibrato. The class was generally more motivated to learn vibrato, less likely to give up when it was difficult, and applied vibrato to their music on their own when compared to previous classes. The results of the study support previous research that others can have an impact on students’ mindsets, particularly family, peers, and educators. The study contributes to the limited research on growth mindset in the music classroom and provides implications for mindset training for young musicians. It also contributes to the limited body of research in string vibrato pedagogy and may provide more implications for the mental processes of learning vibrato.

No description available.

This study examines the history and development of vibrato among classical saxophonists as well as briefly summarizes the history of vibrato in general from its origins on string instruments, the voice and other wind instruments. An analysis of recordings of early saxophonists shows the approximate time period of incorporation of vibrato on the saxophone and the influences of performers and musical styles on its development. Pedagogical methods of performing vibrato on the saxophone are included as well as a discussion of saxophone vibrato styles. An exploration of vibrato as an expressive musical device is provided along with conclusions drawn concerning performance practice implications.

Precise pitch is important to musicians. We created algorithms for real-time pitch detection that generalise well over a range of single �voiced� musical instruments. A high pitch detection accuracy is achieved whilst maintaining a fast response using a special normalisation of the autocorrelation (SNAC) function and its windowed version, WSNAC. Incremental versions of these functions provide pitch values updated at every input sample. A robust octave detection is achieved through a modified cepstrum, utilising properties of human pitch perception and putting the pitch of the current frame within the context of its full note duration. The algorithms have been tested thoroughly both with synthetic waveforms and sounds from real instruments. A method for detecting note changes using only pitch is also presented. Furthermore, we describe a real-time method to determine vibrato parameters - higher level information of pitch variations, including the envelopes of vibrato speed, height, phase and centre offset. Some novel ways of visualising the pitch and vibrato information are presented. Our project �Tartini� provides music students, teachers, performers and researchers with new visual tools to help them learn their art, refine their technique and advance their fields.