The composer Comelis Verdonck (1563/4-1625) lived and worked in Antwerp at end of the sixteenth century and early seventeenth century. Although his compositions were published in famous anthologies, his life and work remained neglected. Max Seiffert and Paul Bergmans both worked on Verdonck's biography. However, the popularity of the name Verdonck and the lack of official documents made their task a difficult one. Although it had been suggested that there might have been two musicians with the same name, until now, no one has disentangled the evidence. First hand research in the Antwerp City Archive and Antwerp Cathedral Archive has brought new material to light proving that there were at least two musicians called Comelis Verdonck associated with Antwerp at the end of the sixteenth century. One of them is responsible for the music forming the subject of this study. In the course of this thesis, Comelis Verdonck will be placed within the context of musical life in Antwerp, his relations with his patrons and colleagues, and the importance of his works within the Antwerp print culture. Two case studies will highlight the aspects of genre and Verdonck's predilection for the French texted compositions. A comparative study ofVerdonck's chanson Thyrcis vouloit mourir with Italian madrigals setting Guarini's poem Tirsi morir volea and an examination of Bicinia Sive Cantiones (1590) (an anthology of two-voice works including several ofVerdonck's works) reveal the great influence of madrigal writing on the chanson genre. Verdonck's two major publications Poesies Françoises (1599) and Madrigali a Sei (1603) will each be examined in separate chapters. This study is completed by the first modem edition of all known (some incomplete) works by Verdonck.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Submitted by CARLOS EDUARDO DO NASCIMENTO null (carloseduardo.n.art@gmail.com) on 2017-02-06T22:26:19Z No. of bitstreams: 1 Dissertação - Entrega.pdf: 795537 bytes, checksum: 727981bbf9778470b920850e0a94bf72 (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-02-09T19:23:23Z (GMT) No. of bitstreams: 1 nascimento_ce_me_ia.pdf: 795537 bytes, checksum: 727981bbf9778470b920850e0a94bf72 (MD5) / Made available in DSpace on 2017-02-09T19:23:23Z (GMT). No. of bitstreams: 1 nascimento_ce_me_ia.pdf: 795537 bytes, checksum: 727981bbf9778470b920850e0a94bf72 (MD5) Previous issue date: 2016-12-19 / Este trabalho tem como objetivo, estudar, através de pesquisa bibliográfica e entrevistas com profissionais da área, a versatilidade vocal do cantor crossover ao transitar por vários estilos de canto oriundos de outras culturas e algumas diferenças básicas entre o canto erudito e popular. Essa pesquisa possui caráter descritivo de natureza qualitativa, descrevendo as características e a complexidade do canto crossover, compreendendo os processos dinâmicos vividos pelos profissionais que atuam nessa abrangente área, com o intuito de possibilitar, um entendimento das particularidades desse tipo de canto. Para a investigação do tema deste trabalho, foram feitas entrevistas com profissionais que atuam hoje no mercado como cantores e professores crossover. Como resultado, observamos que esses profissionais, conseguem desenvolver uma voz flexível e versátil através da manipulação do seu trato vocal e que a conscientização do modelo fonte/filtro constitui uma importante ferramenta para ajudar nisso. Outro achado dessa pesquisa, foi destacar algumas características bem específicas e distintas entre o canto lírico e o popular as quais o cantor multi-estilístico precisa estar atento. / The aim of this thesis is to study, through bibliographical research and interviews with professionals in the field, the vocal versatility of the crossover singer when moving through various styles of singing originated from other cultures, and several basic differences between classical and popular singing. This research has a descriptive aspect of qualitative nature, describing the characteristics and the complexity of crossover singing, understanding the dynamic processes experienced by the professionals that work in this wide field, in order to allow comprehension of the peculiarities of this type of singing. For the investigation of the thesis’ theme, interviews were conducted with professionals who currently act in the market as singers and crossover teachers. As a result, it was observed that these professionals are able to develop a flexible and versatile voice through the manipulation of their vocal tract, and that the awareness of the source/filter model is an important tool for achieving it. Another finding of this research was to highlight some very specific and distinct characteristics between classical and popular singing, which the multi-stylist singer needs to be aware.

Révolution physiologique et psychologique majeure, la voix est issue de l’association de plusieurs organes déjà existants, qui se sont combinés pour délimiter un appareil phonatoire, et permettre à l’être humain de produire, articuler, résonner et projeter des sons. A première vue, cela peut être considéré comme un acte dont les portées sont reliées à ses usages : porter la langue, le langage, communiquer sa pensée, ses émotions, parfois contre son gré. Les interconnexions de la voix avec l’image du corps, les postures vocales, respiratoires et son statut de pulsion (Lacan) sont bien connus. De plus, beaucoup des recherches se sont penchées sur les capacités d’un auditeur à percevoir l’état émotionnel du locuteur et mesurer les réactions corporelles de celui-ci (Fonagy, Scherer…).Ce travail étudie les impressions et sensations ressenties par l’être humain lorsqu’il émet une voix (cri, voix du dialogue intérieur, voix parlée, voix silencieuse…). Les perceptions conscientes et inconscientes engendrées par l’émission vocale déterminent un vaste et complexe système psycho-physiologique, collaborant avec l’appareil auditif. Mais, de plus, pour déclencher la conscience de la sensation d’émettre un son provenant du corps, plus ou moins en adéquation avec les intentions ou la volonté initiales, les stimuli, capteurs, signaux physiologiques, émotionnels et cérébraux, agissent en interdépendance avec tous les autres sens (le toucher, l’odorat, le goût, le vestibulaire, la proprioception et la vue). Sous cet angle, les étapes prélinguistiques sont appréhendées comme un apprentissage essentiel pour mémoriser et introjecter un savoir sonore universel, créer un codage personnel basé sur les ressentis toniques, moteurs, sensitifs et émotionnels, apte à intégrer le lexique phonologique de la future langue. A travers la rencontre et l’accompagnement d’adultes avec autisme ou TSA, suivis pendant six ans, et en prise à des degrés divers avec des troubles de la modulation sensorielle et du langage, ces questions et résultats sont utilisés pour éclairer les aménagements effectués par eux pour tenter de s’approprier leur voix, construire une communication et un langage particuliers, plus en adéquation avec leurs vécus internes. / The voice represents a major physiological and psychological revolution. It is the result of the combination of several existing organs that together create a phonatory apparatus that allows human beings to produce, articulate, resonate, project a sound to communicate. At first glance, the voice can be considered as an aptitude whose scope is related to the variety of ways it is used: to communicate a language, thoughts, emotions, sometimes against one’s will. There are well known interconnections between the voice and the image of the body, vocal postures, respiratory and its status of drive (Lacan). In addition, many pieces of research have explored the ability of a listener to perceive the speaker's emotional state and measure the body's reactions (Fonagy, Scherer, etc.).The following work studies the impressions and sensations felt by the human being, when it emits a voice, (cry, voice of the internal dialogue, spoken voice, silent voice...). The conscious and unconscious perceptions engendered by a vocal emission determine a vast and complex psycho-physiological system, that interacts with the auditory apparatus. Furthermore, stimuli, sensors, physiological, emotional and cerebral signals act in interdependence with all other senses (touch, smell, taste, vestibular, proprioception and sight), to bring to consciousness the sensation of emitting a sound from the body, in a way that more or less reflects the original intentions or will. From that standpoint, the pre-linguistic stages are considered to be an essential learning process to memorize and learn the universal knowledge of the sounds. It also helps create a 4 personal coding system based on the tonic, motor, sensory and emotional feelings, that integrates the phonological lexicon of the future language. These questions and results have been explored in the context of the meetings and the support of adults with autism or ASD, during a period of six years. All suffered from varying degrees of language and sensory modulation disorders. The purpose was to highlight the ways they attempt to appropriate their voice in order to create their own language andcommunication system.

No description available.

A comparison and analysis of existing texts whose focus was jazz and contemporary vocal ensemble techniques, in combination with the information gathered from interviews, as well as the author's personal teaching and professional experience as a jazz vocal artist, group singer, and jazz vocal ensemble director, served as the basis for developing strategies for a jazz and contemporary vocal ensemble sound. The major elements found to be the most critical for inclusion in sequence include: commonalities and differences, sound system and vocal production, ballad interpretation, swing interpretation, and contemporary interpretation. It is the author's intention to design an easy-to-follow guideline for the traditional choral director whose desire is to develop a jazz vocal ensemble within the choral program. The strategies presented are intended to introduce basic concepts of vocal production and style that are deemed relevant and idiomatic for the jazz and contemporary vocal ensemble. A compact disc is also included, demonstrating the written examples. A series of interviews were also conducted with Professor Larry Lapin (University of Miami), Dr. Stephen Zegree (Western Michigan University), Kerry Marsh (Sacramento State University), Janis Seigel (Manhattan Transfer), Lauren Kinhan (New York Voices), Michelle Amato (Yanni/Disney/studio singer), and Julia Dollison (Down Beat Jazz Vocal Winner).

ABSTRACT Field observation and of sound recording of Formosan macaques (Macaca cyclopis) at Mt. Longevity were conducted from Oct. 1999 to Oct. 2000. Spectrographic analyses revealed at least 25 basic patterns with 32 different vocal types from a total of 375 hrs recordings (55 hrs for scan sampling and 320 hrs for focal animal sampling). The three most frequent calls in overall vocal repertoire were coo calls (18.59%), hack (17.78%) and contact rattle (11.85%). The other calls included squeak (11.34%), noise and undulated scream (6.61%), sneeze (4.54%), greeting (3.77%), squeal (3.41%), vibrato growl (3.02%), growl (2.86%), cluck (2.54%), female copulation call (2.45%), squawk (2.14%), tonal scream (2.03%), alarm call (1.74%), threat rattle (1.66%), chuckle (0.92%), rise (0.61%), weeping (0.56%), male copulation call (0.32%), babble (0.30%), whine (0.29%), roar (0.27%), bark (0.24%) and mounting grunt (0.15%). Formosan macaques employ a complex vocal system composed of discrete signals as well as graded signals which vocal patterns connected by intermediate gradations. Discrete signal included coo call, greeting, contact rattle, mounting grunt, two copulation calls, babble, whine, weeping. Whereas the graded signals included the aggressive signals (threat rattle, growl, bark, roar, vibrato growl and alarm call), chuckle, the submissive signals (noise and undulated scream, squeal, tonal scream and squeak) and the distress signals (squawk, hack, cluck and sneeze). According to the context of emission, some of vocalizations could be divided into: (1) Affiliative contact calls: The calls, as the coo calls, greeting and contact rattles, may be summarized as affinitive contact calls for reduction and/or maintenance of close proximity between group members. (2) Aggressive calls: The growls, threat rattles and vibrato growls were uttered by dominant animals menacing sub-dominate group mates, members of other groups or other species. (3) Submissive calls: these submissive calls (including the various form of scream, squeal and squeak) with obviously structure differences. Male and female copulation calls and alarm call of M. cyclopis were clearly related to particular interactions or specific external stimulus. The acoustic structures might be influenced by specific social factors, motivation or the arousal state of the callers. The acoustic structure of submissive calls was associated with the aggression with or without physical contact. Noise and undulated scream were usually used in aggressive interactions with physical contact (68%), whereas squeal, tonal scream and two types of squeak were used without physical contact (75%). Age specific difference of vocal behavior seemed to more pronounced than asymmetries between the sexes. Infants have the highest vocal rate (1142.2 vocalizations/10 h) and relative frequency of vocalization (44.58 %) than other age/sex classes and they decreased from infants to adults. With increasing age, visual signals could not only complement vocal signals but also replace the vocal cues. The relative frequency of four vocal patterns (coo call, greeting, squeak and hack) decreased from infants to adults, whereas that of threat rattle and growl increased from infant to adults. On the other hand, there were five vocal patterns (including cluck, sneeze, whine, weeping and babble) only used by juveniles and infants. In addition, seven vocal patterns included squeak (64 %), hack (63.6 %), squawk (76%), cluck (85.7 %), sneeze (90 %), weeping (88 %) and babble (100%) mainly were used by infants. Among them, three vocal patterns (squeak, hack and squawk) were produced mostly by infant II. Only infants used babble. Roar and bark were only present in adults and sub-adults. Obvious sex differences of relative frequencies of vocal patterns occurred in adults, the vocal activity of females consistently higher compared to that of males. In six patterns (vibrato growl, chuckle contact rattle, squeal, squeak and hack), females uttered more often than male peers. Mounting grunts and male copulation calls were exclusively used by adult males whereas female copulation calls were only produced by adult/sub-adult females. Vocalizations were produced/ceased by certain sex/age class that might associate with social organization, morphological feature and circumstances experience. The vocal repertoires of Formosan macaques revealed the high similarities in the species within genus Macaca, especially to M. fuscata, M. mulatta and M. radiata. It may be due to phylogeny, habitats and social organizations.

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Includes vita. Includes bibliographical references (leaves 239-246). Also issued online.

Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009. / "A thesis in music education." Advisor: Lindsey R. Williams. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 25, 2009. Includes bibliographical references (leaves 80-86). Online version of the print edition.

Thesis (M.A.)--University of North Texas, 2003. / Includes bibliographical references (p. 86-93).