Jenny Lind was an opera singer in the years 1838–49. During this time she was given the status f an icon mainly due to her image. She was almost sanctified by the press. Her “private personality” was assigned a saintly purity, and she became a stereotype symbol of femininity. This dissertation investigates what factors interacted that made this possible, and highlight the importance of Lind’s voice for her image. Jenny Lind’s voice was a high soprano, but not very powerful. By positioning herself in a singing tradition that corresponded to her voice’s advantages, she managed to develop an equilibrium, which she used well. Lind’s voice was often perceived as unusual; she had a particular voice timbre. She also had a vocal defect. Her tones from f’–a’ are described as “husky”, and sometimes hoarse. This means that her voice let through more air than her vocal cords could use. My argument is that it was the voice damage that created unique timbre that the contemporary critics perceived as particularly “feminine”. Lind’s weak and damaged voice corresponds to the nineteenth century’s female ideal: fragile and weak. Moreover, Lind needed to adept her roles to her damage voice and the consequence was that also her interpretations were perceived “feminine”. In other words, Lind exerted a gender performative voice processing. All of Jenny Lind’s roles became representatives of femininity, regardless of whether it was the role’s purpose or not. Lind adapted all her interpretations to her weak voce, it's strength being high notes, pianissimo dynamics and equilibrism, and gave all her roles a genderstereotyped voice.

There is an emerging interest in the literature base around the use of group singing in dementia care. Although studies indicate positive outcomes, limited research has been carried out from a relational perspective. Additionally, theoretical underpinnings of the reported benefits have yet to be explored. This study aims to investigate the key theoretical mechanisms underlying the experience of group singing. Interview data from seventeen couples who sing together in a group is analysed using grounded theory method. Several key aspects of group singing are presented, namely that the positive experience of the act of singing combined with effective group facilitation enables equal participation and a powerful group effect. A further benefit of new learning and creativity is explored. Implications for clinical practice and possible directions for future research are outlined.

Orientador: Profa. Dra. Martha Herr / Banca: Prof. Dr. Ângelo José Fernandes / Banca: Profa. Dra. Adriana Giarola Kayama / Banca: Prof. Dr. Luiz Ricardo Basso Ballestero / Banca: Profa. Márcia Aparecida Baldin Guimarães / Resumo: Este trabalho defende a valorização da canção brasileira como material para ensino do canto no Brasil, procurando eliminar preconceitos associados a este repertório, que é por vezes considerado inadequado por professores de canto para a abordagem da técnica vocal no canto lírico. A argumentação demonstra que a canção brasileira pode ser, para os falantes de português brasileiro, como língua materna, o veículo mais apropriado para o ensino de procedimentos técnicos vocais, seja para alunos de nível básico, intermediário ou avançado. A pesquisa fundamenta-se em bibliografia específica da área de fisiologia da voz e pedagogia vocal, bem como em textos relacionados a processos cognitivos e diferentes modelos de emissão vocal. Um conjunto de 40 canções brasileiras de diversas épocas e autores é coligido com o objetivo de demonstrar seu potencial pedagógico, sendo este organizado por critério de crescente dificuldade técnica, visando contemplar todas as faces do desenvolvimento técnico do cantor. Os textos das canções recebem traduções formais e literais para o inglês, para facilitar o acesso a estas canções por cantores falantes de outros idiomas. As partituras das canções são acrescentadas de transcrições fonéticas, que têm o intuito de demonstrar possíveis caminhos de organização poética e de pronúncia dos textos, baseados na experiência artística e pedagógica do autor. Informações complementares e indicações interpretativas acompanham cada canção / Abstract: This study aims to defend the use of Brazilian song as material for the teaching of singing in Brazil, seeking to eliminate biases associated with this repertoire which is sometimes considered inappropriated by singing teachers to teach the vocal technique. The argument shows that Brazilian song can be, for native speakers of Brazilian Portuguese, the most appropriate vehicle for the teaching of vocal technical procedures for students at basic, intermediate or advanced levells. The study is based on bibliographic research in the area of the vocal physiology and pedagogy of singing, as well as in texts related to cognitive process and different models of vocal production. A total of 40 Brazilian songs from various eras and authors is selected in order to demonstrate the pedagogical potential, organized by gradual increasing of thechnical difficulty, and aiming to address of technical development of the singer. The texts of the songs receive formal and literal translations into English, to facilitate access to these songs by singers who speak other languages. The scores of the song are include phonetic transcriptions, which demonstrate possible ways of organization and phonetic pronunciation of the texts, based on the artistic and pedagogical experience of the author. Additional information and interpretive guidelines accompany each song / Doutor

Orientador: Eduardo Augusto Ostergren / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T10:23:58Z (GMT). No. of bitstreams: 1 Cioromila_MarianaDoinaHerzberg_D.pdf: 7056269 bytes, checksum: 7f5e920472f228d94644e7d36d0f5b42 (MD5) Previous issue date: 2011 / Resumo: A técnica vocal é uma ferramenta poderosa na construção de um instrumento tão complexo como a voz! Estudar técnica vocal é um caminho que deve ser trilhado, sem que se possa evitá-lo, por todos aqueles que querem estudar canto. O trabalho ora apresentado expõe os resultados de uma pesquisa efetuada com o objetivo de facilitar o ato de inspiração de ar no canto erudito. Uma pesquisa como esta se justifica e, certamente, poderá contribuir para o segmento do canto lírico, sobretudo na área acadêmica. Em busca de uma fundamentação teórica que nos ajude a trazer conclusões para a nossa pesquisa, destacamos uma bibliografia selecionada e adequada aos nossos propósitos. Todavia esta seleção, como não podia deixar de ser, também é limitada. Contudo essa limitação é proposital, tendo em vista não constituir objetivo deste trabalho esgotar a bibliografia pertinente ao tema em questão. Destacamos também a experiência e a pesquisa pessoal desta autora, que nos trouxe ao pensamento conceitual próprio ao que está sendo oferecido pelos cantores e estudiosos do canto lírico. Para fundamentar nosso trabalho, pesquisamos alguns livros de cantores de música erudita e professores de canto, tais como: Lilli Lehmann, Lucien Manén, Franzisca Martinessen-Lohmann, Hilde Sinnek, Harald Stamm, Jon Piso, Paulo L. Moreira, e outros de profissionais da saúde ou médicos que estudaram as questões da voz, como Whitaker. Mostraremos as partes de Anatomia Humana, que confirmam a importância de cada parte do corpo e buscamos explorar ao máximo essa potencialidade desenvolvendo uma sequência de ações conscientes a serem executadas no momento da inspiração para cantar. Colocamos desenhos que vêm apoiar, visualmente, as nossas propostas. Mostramos em dois desenhos de anatomia humana, esta sequência de movimentos que defendemos. E por fim, usando como estudo de caso o papel de Adalgisa, analisaremos dois duetos da Opera Norma de Bellini, demonstrando a aplicação prática dessa sequência pré-determinada e consciente de movimentos no ato de inspiração para o canto erudito, sugerindo, em especial um modo de inspirar o ar para as frases mais longas / Abstract: A vocal technique is a powerful tool when constructing a very complex instrument such as the voice. Studying vocal techniques is a path that must be accomplished without being avoided by whoever wants to study singing. The work presented on this thesis contains a research carried out aiming to make the act of air breathing in easier in the erudite singing. A research like this justifies and, certainly, will be able to contribute to lyrical singing, especially in the academic area. Searching a theoretical foundation which helps us bringing conclusions to our research, we highlight the convenient and specified bibliography (but consciously limited), the experience and personal research that brought to our own conceptual thoughts about what is being offered by singers and students of lyrical singing. To be able to found our work, we have searched among others, books from erudite music singers and singing teachers such as: Lilli Lehmann, Lucien Manén, Franzisca Martinessen-Lohmann, Hilde Sinnek, Harald Stamm, Jon Piso, Paulo L. Moreira, or doctors who study the voice matters such as Whitaker / Doutorado / Praticas Interpretativas / Doutor em Música

Luciano Berio (1925-2003) was one of the most innovative composers of vocal music in the European avant-garde. His composition for female voice, Circles (1960), marks an important stage in his collaboration with his wife, singer Cathy Berberian (1925-1983). Berio was attracted to Berberian's exceptional talents as a performer, and their work together created new avenues of expression for the solo voice, as Berio explored the relationship between music and language. Drawing upon archival documents, this thesis is a study of the materials and methods that make Circles one of Berio's pivotal works for voice. My interpretation of these sources engages with Berio's approach to pitch and setting a poetic text, as well as with the nature of his collaborations with Berberian.

There is growing evidence to suggest that group singing in the community can have positive outcomes for physical and psychological wellbeing. To date, research has focused on adult populations. This study aimed to add to existing understanding of the impact group singing can have on children’s psychological wellbeing. A mixed method study was carried out to investigate the impact of a community group singing project on the psychological wellbeing of school children in the London area. Self-rated measures of psychological wellbeing and identity as a singer were administered to 60 children aged 7-11 at three time points. A teacher-rated measure of psychological difficulties was also administered. Finally, a sample of children discussed their experience of the project in focus groups and music teacher interviews were carried out. Quantitative data did not confirm the hypothesis that choir member’s psychological wellbeing would increase following participation in the singing project. Identity as a singer scores were higher for females than males, and correlated with scores of psychological wellbeing. Qualitative data provided evidence for a range of beneficial outcomes for children. Research limitations: The small number of participants recruited for the non-choir control group is a significant limitation of quantitative methods in this study. Originality: Although group singing appears to be a positive experience for children who participate, findings suggest the impact may be more subtle for children with high levels of psychological wellbeing.

Este trabalho centra-se na escola de canto de tenor Benito Maresca. A relevância do tema justifica-se: pela existência de um modelo tradicional e não institucional da educação canto lírico no Brasil; b) pelas leituras conflitantes sobre várias escolas nacionais existentes; c) pela falta de documentação sobre vários artistas e métodos de ensino. Devido a muitos artistas e professores da arte lírica não fazerem parte do ambiente acadêmico, há uma lacuna documental sobre o que ensinavam e seu tipo de produção musical e pedagógico. Assim, o objetivo desta pesquisa é o de discorrer sobre o canto da escola de tenor brasileiro Benito Maresca. Intuindo também avançar na literatura sobre o canto lírico no Brasil, a história oral temática foi escolhida como referencial metodológico. O trabalho apresenta: a) um trajeto pessoal do pesquisador, justificando a escolha do tema e metodologia sobre o mesmo, durante diferentes fases de formação e pesquisa musical; b) os aspectos metodológicos presentes para a realização do trabalho; c) a transcrição das entrevistas que envolveram os colaboradores desse trabalho; d, a análise dos relatos colhidos em discussão paralela com fontes de outra natureza que envolvam o tema do canto lírico; e) um ensaio biográfico sobre o tenor, em anexo; f) o livro de exercícios utilizado por Maresca, também em anexo. Esses elementos foram retirados de entrevistas de pessoas que tiveram contato com o tenor em seus últimos dez anos, durante os quais ele já havia se consolidado tanto como tenor, quanto como professor de canto lírico. Como resultado, foi possível listar uma série de elementos subjetivos, para além da técnica vocal utilizada por Maresca, como dados de personalidade, modelo de classe, e relação professor-aluno. / This paper is focused on the tenor Benito Maresca´s singing school. The relevance of the theme is justified by: a) the existence of a traditional, non-institutional model of classical singing education in Brazil; b) the conflicting interpretation about the various singing national schools; c) lack documentation about several artists and teaching methods. Due to the fact that many artists and lyrical art teachers are not inserted in academia, there is a documentary gap about what they taught and their kind of musical and pedagogical production. Thus, the aim of this research is to discourse about the school singing of Brazilian tenor Benito Maresca. Aiming to also advance in the literature on classical singing in Brazil, the thematic oral history was chosen as the methodological framework. The dissertation presents: a) a researcher´s personal statement trajectory, justifying the choice of the subject and the methodology utilized; b, the methodological aspects used; c, the transcription of the interviews with the collaborators; d) an analysis of interviews in a parallel discussion with the sources of other nature involving the theme of classical singing; e) a biographic assay about the tenor and a exercise book used by Mesca, both annexed. These elements were drawn from the interviews with people who had contact with the tenor in his last ten years, when he had already consolidated himself as a tenor and classical singing teacher. As result, it was possible to list a series of subjective elements, in addition to the aspects of vocal technique used by Maresca like the personality data, class model and the relationship between professor and student.

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.

Este trabalho centra-se na escola de canto de tenor Benito Maresca. A relevância do tema justifica-se: pela existência de um modelo tradicional e não institucional da educação canto lírico no Brasil; b) pelas leituras conflitantes sobre várias escolas nacionais existentes; c) pela falta de documentação sobre vários artistas e métodos de ensino. Devido a muitos artistas e professores da arte lírica não fazerem parte do ambiente acadêmico, há uma lacuna documental sobre o que ensinavam e seu tipo de produção musical e pedagógico. Assim, o objetivo desta pesquisa é o de discorrer sobre o canto da escola de tenor brasileiro Benito Maresca. Intuindo também avançar na literatura sobre o canto lírico no Brasil, a história oral temática foi escolhida como referencial metodológico. O trabalho apresenta: a) um trajeto pessoal do pesquisador, justificando a escolha do tema e metodologia sobre o mesmo, durante diferentes fases de formação e pesquisa musical; b) os aspectos metodológicos presentes para a realização do trabalho; c) a transcrição das entrevistas que envolveram os colaboradores desse trabalho; d, a análise dos relatos colhidos em discussão paralela com fontes de outra natureza que envolvam o tema do canto lírico; e) um ensaio biográfico sobre o tenor, em anexo; f) o livro de exercícios utilizado por Maresca, também em anexo. Esses elementos foram retirados de entrevistas de pessoas que tiveram contato com o tenor em seus últimos dez anos, durante os quais ele já havia se consolidado tanto como tenor, quanto como professor de canto lírico. Como resultado, foi possível listar uma série de elementos subjetivos, para além da técnica vocal utilizada por Maresca, como dados de personalidade, modelo de classe, e relação professor-aluno. / This paper is focused on the tenor Benito Maresca´s singing school. The relevance of the theme is justified by: a) the existence of a traditional, non-institutional model of classical singing education in Brazil; b) the conflicting interpretation about the various singing national schools; c) lack documentation about several artists and teaching methods. Due to the fact that many artists and lyrical art teachers are not inserted in academia, there is a documentary gap about what they taught and their kind of musical and pedagogical production. Thus, the aim of this research is to discourse about the school singing of Brazilian tenor Benito Maresca. Aiming to also advance in the literature on classical singing in Brazil, the thematic oral history was chosen as the methodological framework. The dissertation presents: a) a researcher´s personal statement trajectory, justifying the choice of the subject and the methodology utilized; b, the methodological aspects used; c, the transcription of the interviews with the collaborators; d) an analysis of interviews in a parallel discussion with the sources of other nature involving the theme of classical singing; e) a biographic assay about the tenor and a exercise book used by Mesca, both annexed. These elements were drawn from the interviews with people who had contact with the tenor in his last ten years, when he had already consolidated himself as a tenor and classical singing teacher. As result, it was possible to list a series of subjective elements, in addition to the aspects of vocal technique used by Maresca like the personality data, class model and the relationship between professor and student.

Syftet med föreliggande studie är att undersöka hur fortbildning på ”Complete Vocal Institute”, CVI, påverkar och bidrar till sångpedagogers undervisningssätt. Bakgrundskapitlet ger en kort beskrivning av den fortbildning på ”Complete Vocal Institute” som informanterna i studien har gått. Vidare följer en presentation av komplett sångtekniks (CVT:s) grundare Cathrine Sadolin, hur CVT växte fram samt av metodens innebörd och funktion. Därefter presenteras tidigare forskning inom ämnesområdet och närliggande områden samt studiens teoretiska utgångspunkt.   Studien utgörs av kvalitativa intervjuer med fyra sångpedagoger som fortbildat sig genom CVI:s treåriga utbildning som berättigar till undervisning i CVT. I resultatet presenteras analysen av pedagogernas berättelser kring hur fortbildningen har påverkat och bidragit till deras undervisningssätt. Det framkommer att pedagogerna har tillgodogjort sig flera pedagogiska verktyg och förhållningssätt genom fortbildningen. Bland dessa kan nämnas CVT:s sångtekniska terminologi, olika undervisningssätt samt förhållningssättet att alltid låta undervisningen utgå från elevens smak och motivation. I det avslutande diskussionskapitlet lyfts valda aspekter ur resultatet fram och diskuteras i relation till det sociokulturella perspektivet på lärande samt till tidigare forskning. Aspekter som diskuteras är bland annat pedagogernas berättelser kring verktyget att undervisa utifrån olika undervisningssätt samt det pedagogiska förhållningssättet att ge ansvaret till eleven. / The aim of the present study is to explore how training at Complete Vocal Institute, CVI, affects and contributes to singing teachers way of teaching. The background chapter gives a brief description of the training course at CVI, followed by a presentation of the founder of Complete Song Technique (CVT), Cathrine Sadolin, how the technique evolved and its described meaning and function. Previous research in related fields is presented and the chapter concludes with the socio-cultural perspective, which form the basic understanding of this study. The study consists of four interviews with four singing teachers who have participated in a three-year training course at CVI, to become certified CVT-teachers. The result presents the analysis of the teachers' stories about how this training has influenced and contributed to their teaching methods. It appears that they have gained several educational tools and approaches through CVI including the CVT's vocals technical terminology, different teaching methods and a pedagogical approach to always let the student's taste and motivation constitute the base for learning. The concluding discussion highlights selected aspects of the results, which is discussed in relation to the socio-cultural perspective on learning and previous research. Aspects discussed include the teachers' emphasis on the importance of using five described different techniques as pedagogical tools as well as the approach of giving students responsibility for their learning process.