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The aim of this study was to investigate the content, organisation and outcomes of undergraduate vocal pedagogy modules. Goals and objectives guide outcomes which in turn will facilitate the delineation of the content or scope of the moduls. The organisation of content will involve the sequencing of study units appropriate for beginner, intermediate and advanced levels of undergraduate vocal pedagogy studies. A qualitative research method was chosen to direct the empirical investigation. Primary data collection was conducted through semi-structured interviews. Certain participants opted to reply in writing and similarly structured open-ended questionnaires were sent electronically to them. Purposive sampling was used to select South African respondents by virtue of their knowledge and expertise in the field of vocal pedagogy. A degree of snowballing also followed and valuable data was collected from participants in Canada and the USA. The investigation regarding the restructuring of vocal pedagogy modules was viewed from a multi-disciplinary and holistic perspective. Establishing the underlying principles that direct the goals, objectives, scope and sequencing of undergraduate vocal pedagogy modules guided the study. Goals direct the bringing together of relevant and mutually supportive disciplines essential to undergraduate vocal pedagogy modules. The demands of prospective careers for students dictate what knowledge and skills they need to be equipped with. Moreover, the judgement of lecturers based on institutional level descriptors as well as knowledge and experience of appropriate content designation for beginner, intermediate and advanced students further guides the formulation of goals and objectives. The rich and diverse body of vocal pedagogy literature provides the material that informs the scope of undergraduate modules. Sequencing of content for a vocal pedagogy offering is directed by the scientific base of knowledge, feedback from students, the tried and trusted traditions of established lecturers and authors, as well as the intuitive teaching talent of lecturers. Scaffolding (the gradually diminishing role of a lecturer as students gain independence) emerged as an important component of creating a balanced undergraduate pedagogy offering. Lecturers should have a reflective and deep knowledge of vocal pedagogy in order to successfully integrate it with vocal practice. This is the hallmark of a holistic approach that will effectively equip students for a career after tertiary training. From the information received from participants it can be concluded that a vital requirement for organising content is that learning and therefore also teaching should be a gradual and ongoing process. The basic building blocks of vocal pedagogy (posture, breathing, phonation, resonance and articulation) should be supplemented by auxiliary disciplines (historical background of vocal pedagogy, psychology and ethics, comparative pedagogies, and elements of performance) that support and further inform vocal pedagogy studies. / Dissertation (MMus)--University of Pretoria, 2012. / Music / unrestricted

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The study introduces the Cornelius Reid Archive and provides biographical and functional context for Reid’s teaching method, which he referred to as functional voice training. Biography, summary of Reid’s ideas on environmental control and vocal registration, together with descriptions taken from Reid’s own writings of the function and purpose of various exercises transcribed from the Archive, constitute the primary chapters. Appendices include complete transcription of ca. 170 exercises and several illustrations of Dr. Douglas Stanley’s overt teaching methods.

The purpose of this research was to explore vocal pedagogy that places development of self-knowledge at the center of the investigation. I looked at the personal growth that occurred as a result of the distinctive qualities inherent in singing lessons that included spiritual practices. The goal for unity of body, mind, and spirit in performance bears a close resemblance to the basic meditative practices of mastery through repetition, intense listening, and deep connective breathing that have been used for thousands of years in all mystical traditions. The singing studio is a place where self-discovery can be encouraged and held with respect. This exploration examined vocal pedagogy as a means to finding one’s personal voice. Little literature exists on voice and self-knowledge, and a search for relevant sources revealed that there appears to be no professional training available in the area of voice and self-knowledge, although many people appear to be developing their own strategies for this purpose. My own experience and practice as a voice teacher with a strong spiritual identity, places me as someone who may benefit from further information about voice and self-development. The study consisted of two phases. Phase one consisted of interviews with three educators who use singing lessons as a tool for development of self-knowledge. The findings of these interviews informed phase two, which was a series of ten singing lessons given to one female adult student who had requested a type of singing study that would promote self-knowledge. The lessons used both traditional vocal techniques and spiritual practices. I discovered that the use of spiritual practice combined with traditional vocal technique deepened the experience of the lessons and enhanced every aspect of my traditional vocal pedagogy. Research that involved the researcher and the process of research so intimately allowed a pedagogy to emerge that is responsive, deliberately non-linear, in which curriculum is shaped dialogically by both student and teacher in an intimate evolving relationship. / Thesis (Master, Education) -- Queen's University, 2009-06-26 18:29:47.772

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Throughout the recorded history of vocal development certain characteristics can be traced to nationalistic roots. This work explores the four major schools of singing: English, French, German and Italian and includes a brief history of the pedagogical development and ideas of these schools' development. In addition, specific techniques and their similarities and differences, between each school is explored. Through the use of students as a control group, various characteristics within the four schools are implemented in coaching. The results are noted. The major theme of this work is to outline the major schools of vocal pedagogy and to contrast and compare specific techniques found in each school. Furthermore, regarding the individual student, the positive and negative effects of teaching in a dedicated fashion to one school versus the implementation of proven methods, of various schools, even though they cross nationalistic boundaries, has been the major thrust of this investigation

The purpose of this dissertation is to provide vocal teachers and singers with a reference handbook of twenty-first century art songs for solo voice and piano accompaniment, written in English by composers from the United States. This handbook presents songs composed between the years of 2000-2015 by level of difficulty, from songs appropriate for high school students through collegiate students, and including professional singers. This handbook will familiarize teachers with over two hundred solo songs of seventeen composers, furthering the study and performance of contemporary art songs.

The singer faces some significant challenges in learning to read music, namely that their instrument has no physical domain for pitch and they must sing two languages simultaneously. When those challenges are combined with the fact that they often arrive in college with less well-developed literacy skills compared with instrumentalists, and that musical literacy instruction is often linked immediately with theoretical analysis before literacy has been established, it is not surprising that singers graduate with graduate degrees with poor musical literacy skills. Using principles of second language acquisition and reading theory, this paper seeks to present a case for the separation of theory and literacy in college curricula, and proposes that such a development will not only see the musical literacy skills of singers improve, but can be seen as the foundation for the connection of performance and theoretical streams of musical study in higher education.

Original exercises based on the work of Sanford Meisner (as well as Viola Spolin, Jeffrey Agrell and others) are presented in a hypothetical voice studio to address truthfulness, point of view, and "reality of doing" on the vocal recital stage. The exercises present a way of addressing work on the "self" before work on the "role."