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"I Sing Because I‘m Free": Developing a Systematic Vocal Pedagogy for the Modern Gospel SingerSellers, Crystal Yvonne 16 September 2009 (has links)
No description available.
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Magdalena Lébeis e o registro sistemático de um processo pedagógico: algumas análisesVasconcelos, Emerson Adriano Gomes 19 September 2012 (has links)
Magdalena Lébeis registrou sistematicamente em seis cadernos de aulas, durante um período compreendido entre 1937 e 1955, as 1006 aulas de canto que fez com Vera Janacópulos. Este trabalho traz a transcrição completa dos manuscritos do vol. 1 dos Cadernos de Aulas de Canto de Magdalena Lébeis. Propõe análises iniciais a propósito da abordagem, tanto de Lébeis, quanto de Janacópulos, de elementos técnicos e interpretativos no estudo do canto, contidos no relato sistemático, de próprio punho, de Lébeis, utilizando diferentes fontes da bibliografia sobre pedagogia vocal e especialmente os conceitos expressos por Richard Miller. Procurou-se também contextualizar o desenvolvimento da carreira de Lébeis nas questões sócio-musicais que orbitavam no cenário musical paulistano, durante os anos contemplados pelo depoimento manuscrito de Magdalena Lébeis. Optou-se pela não sistematização das análises, por se entender que seriam necessárias ferramentas de análise adequadas, cujo desenvolvimento pertenceria a outro projeto de estudo. / Magdalena Lébeis systematically recorded in six notebooks the content of 1006 singing lessons that she took with Vera Janacópulos between 1937 and 1955. This paper presents the first volume of the manuscripts Cadernos de Aulas de Canto de Magdalena Lébeis. It proposes an initial analysis of how Lébeis as well as Janacópulos approached the technical and interpretive elements in the study of singing which is thoroughly described in Lébeis\'s account. Besides her manuscripts we have also made use of a considerable literature on vocal pedagogy and especially the concepts expressed by Richard Miller. We also sought to contextualize Lébeis career development within the social and musical scene that was revolving in São Paulo back then. It has been opted for a non-systematic analysis because we understand that a different one would require appropriate and diverse arguments and that would belong to another project.
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Magdalena Lébeis e o registro sistemático de um processo pedagógico: algumas análisesEmerson Adriano Gomes Vasconcelos 19 September 2012 (has links)
Magdalena Lébeis registrou sistematicamente em seis cadernos de aulas, durante um período compreendido entre 1937 e 1955, as 1006 aulas de canto que fez com Vera Janacópulos. Este trabalho traz a transcrição completa dos manuscritos do vol. 1 dos Cadernos de Aulas de Canto de Magdalena Lébeis. Propõe análises iniciais a propósito da abordagem, tanto de Lébeis, quanto de Janacópulos, de elementos técnicos e interpretativos no estudo do canto, contidos no relato sistemático, de próprio punho, de Lébeis, utilizando diferentes fontes da bibliografia sobre pedagogia vocal e especialmente os conceitos expressos por Richard Miller. Procurou-se também contextualizar o desenvolvimento da carreira de Lébeis nas questões sócio-musicais que orbitavam no cenário musical paulistano, durante os anos contemplados pelo depoimento manuscrito de Magdalena Lébeis. Optou-se pela não sistematização das análises, por se entender que seriam necessárias ferramentas de análise adequadas, cujo desenvolvimento pertenceria a outro projeto de estudo. / Magdalena Lébeis systematically recorded in six notebooks the content of 1006 singing lessons that she took with Vera Janacópulos between 1937 and 1955. This paper presents the first volume of the manuscripts Cadernos de Aulas de Canto de Magdalena Lébeis. It proposes an initial analysis of how Lébeis as well as Janacópulos approached the technical and interpretive elements in the study of singing which is thoroughly described in Lébeis\'s account. Besides her manuscripts we have also made use of a considerable literature on vocal pedagogy and especially the concepts expressed by Richard Miller. We also sought to contextualize Lébeis career development within the social and musical scene that was revolving in São Paulo back then. It has been opted for a non-systematic analysis because we understand that a different one would require appropriate and diverse arguments and that would belong to another project.
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THE ART SONG OF EDMUNDO VILLANI-CÔRTES: A PERFORMANCE GUIDE OF SELECTED WORKSRodrigues, Irailda Eneli Barros Silva 01 January 2014 (has links)
The purpose of this study is to present a performance guide for singers on twelve selected songs in Brazilian Portuguese for voice and piano by Brazilian composer, pianist, and arranger Edmundo Villani-Côrtes (b.1930). Since 1949, Villani-Côrtes has been active in the musical scene of Brazil. He has a unique compositional style that seamlessly combines elements of both art music and popular music. Villani-Côrtes’s body of works includes over two hundred compositions for solo instrumental music, orchestral music, choral music, and art song. He has written over sixty songs in Brazilian Portuguese, including the Ciclo Cecília Meireles (1987), winner of the 1988 Prize of the Associação Paulista de Críticos de Arte (A.P.C.A.), but most of these remain unpublished.
This performance guide is the result of three years of research, study and personal communication between the author, Villani-Côrtes, and poets whose words the composer used as lyrics. It offers a comprehensive body of information relevant for both the performer and voice teacher who approach this new and untraditional repertoire. It includes a concise biography of the composer, biographical information for the poets, comments on the compositional style of Villani-Côrtes, an overview of the Brazilian Portuguese International Phonetic Alphabet (IPA)—with a chart of Brazilian Portuguese Sounds, IPA transcriptions with English word-by-word translations and poetic versions of all the lyrics, comments from the composer and the poets on each of the songs, and the technical information, pedagogical suggestions, and interpretative insights provided by the author.
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A construção da performance vocal em português brasileiro em três modelos: lírico, câmara e belting: estratégias pedagógicas / The construction of vocal performance in Brazilian Portuguese in three models: lyrical, chamber and belting: pedagogical strategiesChamun, Walter Williams Albrechet [UNESP] 28 July 2017 (has links)
Submitted by Walter Willams Albrechet Chamun (wchamun@gmail.com) on 2018-05-31T22:07:40Z
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Solicitamos que realize uma nova submissão seguindo as orientações abaixo:
- o nome do autor deve constar de forma idêntica a dos sistemas da Universidade e não como nome artístico ou fantasia, tanto no campo de autor (preenchido no formulário) como no arquivo da dissertação (capa, folha de rosto e outros elementos pré-textuais). Solicitamos esta alteração pois a dissertação é um documento oficial que ficará registrado e não pode conter dois nomes de autores diferentes.
Agradecemos a compreensão.
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“Solicitamos que realize uma nova submissão seguindo as orientações abaixo:
- o nome do autor deve constar de forma idêntica a dos sistemas da Universidade e NÃO como nome artístico ou fantasia, tanto no campo de autor (preenchido no formulário) como no arquivo da dissertação (capa, folha de rosto e outros elementos pré-textuais).
Solicitamos esta alteração pois a dissertação é um documento oficial que ficará registrado e não pode conter dois nomes de autores diferentes.
Agradecemos a compreensão.
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Dissertação NOME CORRIGIDO Walter Chamun (2).pdf: 15341156 bytes, checksum: 20bb59fe50c61984bd0998e7e739934f (MD5) / Este trabalho visa a construção de um protocolo pedagógico que ofereça estratégias para auxiliar cantores na transição entre os gêneros lírico, música de câmara brasileira e belting em português, além de apresentar um modelo de condicionamento pedagógico vocal baseado em conceitos de fisiologia da voz e de aproveitamento máximo da musculatura laríngea, emprestados da ciência da fisioterapia, uma vez que na área de voz ainda não há muitos trabalhos que norteiem quantidade e qualidade vocal relativos aos limites físicos de uso da musculatura envolvida no processo de cantar em qualquer que seja o gênero. Objetivos específicos: 1. Descrever cada gênero em seus conceitos estilísticos; 2. Construir e fundamentar o protocolo de estratégias de transição entre os gêneros; 3. Testar a aplicabilidade do protocolo com um sujeito. Com os resultados obtidos pelas avaliações de laringe e dados espectrográficos, notou-se uma melhora da performance da cantora analisada em todos os gêneros abordados, sendo verificados aumento de energia de espectro, maior regularidade de vibrato e um auto relato da cantora de mais facilidade de emissão em todos os gêneros. O trabalho possibilitou uma reflexão sobre as dificuldades dos cantores em suas práxis diárias no mercado de trabalho, trouxe novos dados para os professores referentes ao direcionamento das suas prática e construção pedagógica bem como avaliações qualitativa e quantitativa de exercícios vocais e sua aplicabilidade. / This work seeks to develop a pedagogical protocol with strategies that try to help singers transition across genres, namely lyrical, Brazilian chamber music and belting sung in Portuguese, besides offering a model for pedagogical vocal conditioning based on concepts of voice physiology and the best use of the laryngeal musculature, borrowed from the physical therapy science, since there are not enough studies within the voice field to scaffold vocal quantity and quality as to the physical limits of the muscles involved in singing whichever the genre. Specific aims: 1. stylistically describing the genres in the study; 2. designing and theoretically supporting the genre transition protocol; 3. trying out the protocol with a subject. The results from larynx analyses and spectrographic data revealed an improvement in the studied singer’s performance in all genres, with an increase in the energy of spectrum, higher vibrato evenness and the singer’s account of ease emission. The study cast a reflection on the difficulties singers find in their professional daily praxis, brought voice teachers new data regarding their practice and pedagogical decisions as well as quantitative and qualitative assessments of vocal exercises and their applicability.
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O uso de imagens mentais por cantores líricos como recurso técnico na colocação vocalCruz, Tâmara de Oliveira 29 February 2016 (has links)
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Previous issue date: 2016-02-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research aimed to investigate the role of mental imagery on teaching and vocal
placement domain in lyrical singers. Our first methodological approach consisted in
bibliographic research, through which we could observe the importance the resource of
mental imagery occupies in human activities as whole, being increasingly scientifically
approached in several areas of knowledge; we noted, likewise, the way the issue of vocal
placement has been approached in methods, treaties, books and articles since 18th century to
nowadays. Afterwards, we used another method, the field research as semi-structured
interview, which was applied to seven lyrical singers in different stages of formation and
practice, who professionally act such as singers and singing teachers. We aimed to understand
the peculiar views of each interviewed about the use of the mental imagery on their activities
as singers and teachers, focusing on vocal placement. We concluded that mental imagery are
considered an important technical and didactic resource, widely disseminated and accepted
among singers and singing teachers as regards vocal placement. We verified, likewise, that
these activities are widely supported by the literature, where we can find many studies about
the relationship between mental imagery and many aspects of classical singing. / Por meio desta pesquisa investigamos o papel das imagens mentais no ensino e domínio da
colocação vocal por parte de cantores líricos. Nossa primeira abordagem metodológica
consistiu na pesquisa bibliográfica, por meio da qual pudemos constatar a importância que o
recurso de imagens mentais ocupa nas atividades humanas como um todo, sendo cada vez
mais abordado cientificamente em várias áreas do conhecimento; constatamos, ainda, a
maneira pela qual a questão da colocação vocal foi e vem sendo tratada em métodos, tratados,
livros e artigos desde o século XVIII até nossos dias. A seguir empregamos outro método, a
pesquisa de campo na forma de entrevista semiestruturada, a qual foi aplicada a sete cantores
líricos em diferentes estágios de formação e atuação, que atuam profissionalmente tanto como
cantores quanto professores de canto. Buscamos compreender as visões particulares de cada
entrevistado acerca da utilização de imagens mentais em suas práticas como cantores e
professores, com particular foco na questão da colocação vocal. Concluímos que as imagens
mentais constituem um recurso técnico-didático de grande importância, sendo amplamente
disseminado e aceito entre cantores e professores de canto, que o utilizam cotidianamente
mesmo nos casos em que não o conhecem por este nome, aplicando-o como auxiliar na
construção não só da interpretação, mas também da construção técnica, particularmente no
que se refere à colocação vocal. Verificamos, ainda, que tal prática é amplamente amparada
pela literatura, na qual já podemos encontrar um considerável volume de escritos sobre as
relações entre imagens mentais e diversos aspectos do canto lírico.
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Spanish Diction in Latin American Art Song: Variant Lyric Pronunciations of (s), (ll), and (y)Ortiz, Camille 05 1900 (has links)
Latin American art song is a genre primarily of the first half of the twentieth-century, when popular folklore served as the voice and inspiration of many poets and musicians. The nationalist movement served as a means of expression, each Latin American country with its own identity. There is great benefit for singers to study Spanish diction at an academic level, since it is a language already familiar to most U.S.A residents. There is a significant amount of unknown repertoire that would be very useful in the singing studio because of the language's open vowels. This repertoire can also serve as a confidence-builder to young Spanish-speaking singers at the beginning of their training. I will be focusing on the (s), (ll), and (y) sounds as pronounced in the diverse regions of Latin America; in particular, why they matter when coaching singers, and the articulators involved in each. The purpose of this study is to discuss diction differences in the repertoire, expound on its benefits for voice pedagogy, all while informing about varied options for recital programming.
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An Analysis of Emma Diruf Seiler's Teaching Philosophy and Contribution to Voice PedagogySullivan, Kristen (Kristen Janell) 05 1900 (has links)
Emma Diruf Seiler (1821-1886) was a Bavarian-American voice teacher and scientist who wrote and published Altes und Neues über die Ausbildung des Gesangorganes mit besonderer Rücksicht auf die Frauenstimme (Old and New in the Art of Singing, with Special Attention to the Female Voice) in 1861 while working in Leipzig. It was translated by William Henry Furness and published in Philadelphia as The Voice in Singing in 1868. This pedagogue and her writings are largely unknown to those who study historic bel canto pedagogy. In the opening of Seiler's pamphlet, she explained her purpose for writing was "to bring into harmony things which have always been treated separately, the Science and the Art of Singing..." Aside from brief comments in a few books on vocal pedagogy, Emma Seiler is largely unknown. Neither her contribution to voice science and pedagogy, nor the impact of her integrated philosophy on teaching have been subjected to scholarly scrutiny. The purpose of this document is to explore her philosophy on teaching, her method of female vocal instruction, and her impact on voice instruction. This dissertation historicizes evidence-based pedagogy through Seiler's example.
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The Historical and Pedagogical Significance of Excerpts by André-Ernest-Modeste Grétry (1741-1813)Youngs, Jennifer (Soprano) 05 1900 (has links)
This collection of 9 vocal works, taken from the oœuvre of André-Ernest-Modeste Grétry (1741-1813), was chosen for their utility in teaching undergrad voice majors. This collection offers a group of songs that are attractive in their simplicity allowing the time in their lessons to be devoted to the instruction of French pronunciation. Grétry's attention to detail in the setting of French prosody provides undergraduate singers with a collection of songs that offer an immediate understanding as to the nuances of the French language. With funding from an I-GRO grant through the University of North Texas, research was conducted in the archives of the Bibliothèque nationale de France, and work continued in the Grétry Museum in Liège, Belgium. The primary sources found within these locations formulated valuable insights into to the life and influence of Grétry, and provided first-hand experience with research techniques within foreign libraries. This research has solidified the relationship between Grétry's compositional style and its usefulness within the undergraduate voice studio.
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Objective Measure of Two Musical Interpretations of an Excerpt from Berlioz's "La Mort d'Ophelie"Lau, Hiu Yan Crystal 18 June 2020 (has links)
No description available.
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