Objective: The purpose of this study was to identify the perceptions of students majoring in vocal music and theatre regarding the instruction they receive in their undergraduate curricula on voice health education. Methods: A survey was adapted from a previous study, Beeman (2016), with permission by the author. The survey was disseminated to undergraduate vocal music and theatre majors across the United States via SurveyMonkey®, an online survey tool. Results: Students perceived receiving knowledge on vocal health from their voice teachers, however they reported low levels of vocal hygiene compliance. Additionally, students recognized the connection between the singing and speaking voice, and they were unclear of the role of the speech-language pathologist in voice. Conclusion: The disconnect between vocal health knowledge and student compliance of vocal hygiene strategies, requires further investigation. Utilizing the voice care team, specifically the speech-language pathologist, to educate both the voice teachers and the students on best practices, is imperative.

Objective: The purpose of this study was to identify the perceptions of students majoring in vocal music and theatre, regarding the instruction they received in their undergraduate curriculum on vocal health education. Research questions focused on perceptions of: (a) vocal hygiene strategies, (b) the connection between the speaking and singing voice, (c) vocal rehabilitation and the professionals to contact and (d) students’ level of trust for their voice teacher. Methods: A descriptive research design with qualitative analysis was used to explore the research questions. A survey was developed by adapting questions from a similar study by Beeman (2016). Permission was granted for the adaption by the author. The survey went through two stages of review and revision by an expert panel of professionals across vocal music and theatre, followed by a pilot study of 13 undergraduate vocal music majors. The final survey contained 57 items, incorporating two forms of questions, a 6-point Likert scale and multiple choice. It was disseminated to undergraduate vocal music and theatre majors across the United States via Survey Monkey TM. Results: Students reported receiving knowledge on vocal health from their voice teachers and implementing it. However, they indicated low levels of compliance for specific vocal hygiene parameters. Additionally, students recognized the connection between the singing and speaking voice, they were unclear of the role of the speech-language pathologist in voice care, and they indicated trust in their voice teacher as it pertained to their voice and personal life. Conclusions: A new approach to promote understanding and compliance of voice care strategies needs to be implemented in the undergraduate setting. Connecting both performance majors and speech-language pathology majors in an interprofessional education collaboration may prove to be mutually beneficial to both the clinician and the performer

In this thesis, Ned Rorem's Poems of Love and the Rain is analyzed, with conclusions being drawn in the sphere of musico-textual relationships within individual songs.

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This dissertation explores bullerengue music as an oral and aural practice, tradition, and social space through which cantadoras—elderly women singers—construct and preserve knowledge, memory, and affect in the Caribbean region of Montes de Maria in northern Colombia. This study delves into bullerengue as a struggle of forms and cultural practices that cantadoras articulate through musical performance to resist marginalization and embody constructive ways of being in the world. The cantadoras realize a force and artistry directly related to their Maroon history, ontologies based on respect for life and nature, and the affective dimensions of bullerengue performance. My research goal is to assess, question, and impactfully revert the long history of discrimination and oppression in capitalist modernity—by gender, race, and age—while revealing how the hegemonic notions of music, poetry, and politics in Colombia have ostensibly excluded women, Afro-descendants, and therefore, Afro-descendant women. The importance of this dissertation lies in amplifying the cantadoras’ voices in academia through bullerengue as a vehicle for musical, social, and political possibilities to recognize the cantadoras’ ontologies that uphold life and nature over the capitalist extractivist ideology that has brought the global crises of wars. The research methodology includes music-recording production, participant observation, interviews, and archival research, reflecting on 15 years of collaboration with cantadoras. Chapter One discusses how folkloric constructions of bullerengue have been based on the silencing of cantadoras, given that researchers, as outsiders, could not grasp the influence of Afro-descendant elderly women. To revert the epistemological framework of white men producing ignorance about a tradition led by Afro-descendant women, the archival exploration unsilences women through the sound archive and oral memories of their heiresses. Chapter Two explores bullerengue song as a “technology of sound inscription”(Ochoa Gautier 2014), a women’s archive that shapes culture (Brooks 2021), and a political and epistemic expression within counter-hegemonic sites (Collins 1999; Davis 1999). I argue that song functions as a (re)sounding historical vehicle for the ancestresses and their heirs to communicate cross-generationally, overcoming the silencing of hegemonic politics and death. Chapter Three ethnographically investigates the lifelong processes of building the bullerengue-voice, drawing from cantadoral testimonies, concepts, and theories in dialogue with academic sources. Chapter Four chronicles the production of the album Ancestras, focusing it as a lens through which to study Petrona Martinez’s bullerengue-voice as an entity that united Afro-diasporic women while blurring symbolic, material, and geopolitical boundaries through song and sound reproduction technologies despite her tragic loss of material voice. I argue that her bullerengue-voice crossed such boundaries thanks to its epistemic aurality—a mutual construction relating voice and worlding—and poetics of collaboration. I also reflect on the album’s cross-cultural collaborations and how I—Petrona’s producer and friend— sought to help her amplify her voice, thought, and oral memory.

La thèse vise à clarifier la notion de la voix et sa place dans la culture occidentale. La multiplicité de la voix est ici étudiée à partir de son origine biologique, fondement de toute expressivité vocale. Cette multiplicité est distinguée du verbal et du musical, ses principales manifestations dans la civilisation humaine. Dans le Chapitre 1 nous proposons une réflexion sur les modes naturels de la vocalité non langagière dont la communication holistique des espèces proto-humaines et l’expression vocale des jeunes enfants forment les principales manifestations. Le Chapitre 2 analyse les rapports du corps avec la voix en tant que signe de l’identité personnelle et preuve de la présence corporelle. Dans le Chapitre 3 nous traitons du statut de l’oralité définie comme la dimension sociale de la voix. Nous étudions l’influence de l’écriture et la domination du visuel exercée sur la voix. Les rapports entre la voix, le langage et la musique sont observés dans le Chapitre 4: nous demandons dans quel sens la voix, en dehors des structures verbales et musicales, peut avoir une signification. Le dernier chapitre est consacré à la voix musicale : une histoire de la voix musicale non verbale dans la tradition savante occidentale est esquissée. Le chant y est défini en tant qu’un acte fondamental de l’expressivité vocale chez l’homme, et non pas comme un art susceptible de superposer des structures linguistiques et musicales. Nous proposons une réflexion sur quelques exemples de l’art vocal contemporain sélectionnés selon leur rapport aux questions théoriques traitées dans la thèse. La thèse se veut comme un outil théorique dans le cadre de la théorie de la culture. / The present thesis aims at clarifying the notion of voice and its place in Western post-literacy culture from the aspect of vocal non-verbal expression and its artistization. The specificity of voice lies in its multiplicity, no single trait of voice may be viewed as representative of human vocality in its entirety. Rooted in human biology, vocal expressivity is inherently distinct from the verbal and the musical; Chapter 1 deals with natural modes of nonverbal vocality of proto-humans and pre-verbal children. A comparison of the functions of human and animal vocalization is made. In Chapter 2 the relation of voice to body is treated. We analyse voice as the mark of personal identity and physical presence. Chapter 3 looks into the question of orality, defined as the social dimension of voice, in post-literacy Western culture and analyse how the democratization of writing, printing, and recording may have influenced the status of voice. In Chapter 4 we ask whether voice outside the framework of language and music may convey meaning and whether such voice may be considered a sign. In the final chapter a brief historical overview of non-verbal vocal music is outlined and a proposition is made to define singing as a fundamental act of human vocal expressivity, not as an art form that superposes linguistic and musical structures. A selection of examples of contemporary voice art is subjected to theoretical reflection in the light of the issues related to vocal expressivity as discussed in the thesis. The aim of the thesis is to provide a theoretical tool for future researches on human expressive vocalization and its artistization in the field of culture studies.

L‟objet de cette thèse est l‟étude de la fonction narrative et esthétique de la musique vocale dans l‟oeuvre de fiction non musicale du cinéaste espagnol Carlos Saura. Le rôle de la musique vocale dans ses films est en effet central et peu étudié. Dans une première partie nous avons analysé l‟évolution de l‟utilisation de la musique dans l‟oeuvre au cours du demi-siècle qu‟embrasse la filmographie du réalisateur aragonais. Nous avons ainsi pu mettre en évidence une forte affirmation auctoriale par le biais d‟un contrôle étroit des choix musicaux et des collaborations avec les compositeurs de musique originale. La caractérisation des morceaux à texte utilisés nous a permis de dégager un corpus de vingt-deux oeuvres vocales qui ont constitué le coeur de notre étude. Par la suite, nous avons étudié le rôle spécifique de la musique vocale à travers son influence sur l‟ordre, le temps et l‟espace du récit. L‟oeuvre vocale peut, en effet, constituer un outil de transition spatiale et temporelle, fonctionner comme une analepse ou une prolepse ou encore être considérée comme un niveau narratif en soi. Enfin, dans une troisième partie, nous avons envisagé la musique vocale sous l‟angle de la citation et du point de vue qu‟elle permet de dévoiler : celui des personnages tout d‟abord. Par la suite, en considérant la musique vocale dans sa dimension transtextuelle, nous avons étudié le point de vue externe et universalisant qu‟elle véhicule. Enfin, nous avons constaté que les morceaux vocaux peuvent également révéler l‟intention de l‟instance d‟énonciation filmique / The purpose of this thesis is the study of the aesthetic and narrative function of vocal music in the non musical work of fiction of the Spanish filmmaker Carlos Saura. The role of vocal music in his films is indeed of central importance and not largely studied. In the first part we have analyzed the evolution of the use of music in works done during the half of the century, which embraced the filmography of the Aragonese filmmaker. We have also been able to put very prominently, a strong authorial affirmation by means of a restricted control of musical choices and different collaborations with composers of original music. The characterization of songs text used, enabled us to identify a corpus of twenty-two vocal works, which constituted the core of our study. In the second part, we studied the specific role of vocal music through its influence on the order, the time and space of the narrative. Vocal works can, in effect, constitute a spatial transition and temporal tool functioning as an analepsis or a prolepsis or again being considered as a narrative level on its own. In the third part, we viewed vocal music from an angle of quotation and a viewpoint which enables to reveal: that of the characters first. Subsequently, considering vocal music in its transtextual dimension, we have studied the universalizing and external viewpoint that it vehicles. Finally, we have noticed that vocal songs can also reveal the intention of the filmic enunciator