This project provides International Phonetic Alphabet (IPA) transcriptions, translations and a vocal pedagogical analysis of “Six Songs of Poetry by Gellert” by Ludwig van Beethoven. There is discussion of technical concepts applicable to singing, vocal relationships between text and poetry; and background information concerning Ludwig van Beethoven, Christian Gellert, and Christian Neefe. This document addresses possible vocal challenges a baritone might encounter when studying the Gellert Lieder. This guide provides suggestions for vowel modification in the passaggio, as well as a section dedicated to appoggio, aggiustamento, and vocal registration. Finally, this research provides a concise preparation for performance manual for singers and teachers of singing to use in the vocal studio.

The standard vocal repertoire for soprano requires use of the uppermost segment of the female voice, which is typically produced using whistle register phonation. Voice teachers recognize that sopranos use whistle register phonation during performance to produce pitches in the highest segment of their range; however, the use of whistle register phonation as a training tool for female singers of all voice types is less common and the benefits of using whistle registration exercises to condition the female voice are not widely known. While several pedagogical manuals recommend vocal exercises that use whistle register phonation in the range of the second passaggio and in the highest segment of the female voice, no research has been conducted to investigate the benefits of singing in whistle register. The purpose of this study was to measure the efficacy of vocal exercises that incorporate whistle register phonation as treatment for poor intonation and pressed and/or breathy vocal quality in female singers with vocal challenges in the second passaggio of their voice. The influence of whistle register phonation on extending vocal range was also investigated. A treatment-no treatment (ABAB) research design was used. Five female vocalists attended 16 weekly sessions. During the treatment phases, participants received weekly instruction in vocal exercises using whistle register phonation and practiced these activities daily. Audio samples of two vocal exercises and a repertoire excerpt were collected weekly. Measurements taken during the treatment phases were compared to measurements taken during the no-treatment phases. Results of comparative Voice Range Profiles and a weekly Range Extension Measurement Task showed a positive relationship between practice of whistle register exercises and an increase in the upper pitch range in all subjects. Subjects gained an average of 2.4 semitones during Treatment Phase 1, when the whistle register tasks were introduced. Subjects lost an average of 1.2 semitones during the No Treatment phase, when the practice of whistle register tasks was withdrawn. Subjects gained an average of 2.2 semitones during Treatment Phase 2, when the whistle register tasks were reintroduced. The average overall gain in the upper pitch range was +4.3 semitones for mezzo-sopranos and +2 semitones for sopranos. In addition, data collected to measure the pitch range over which whistle register phonation was possible showed an average range of 14 semitones (D5 - E6); supporting the notion that whistle register phonation is possible in the range of the second passaggio and could be developed in this range by female singers of all voice types. Eight voice teachers rated each audio sample for intonation and vocal quality during register transition through the second passaggio. Mixed-model ANOVA (analysis of variance) was conducted to compare the effect of whistle register phonation exercises on quality of intonation, vocal quality, the presence and severity of breathiness, and the presence and severity of strain at each phase of the study. Significance was determined at the p<.05 level. There was a significant effect of whistle register phonation exercises on severity of Breathiness [F(3,209) = 6.66, p = 0.0003]. Mean severity ratings for Breathiness for all subjects were significantly lower during No Treatment than in Treatment Phase 1 and Treatment Phase 2, suggesting that breathiness was less severe when the subjects were not practicing whistle register exercises. Severity of strain generally decreased continually throughout all phases. Mean severity ratings for Strain were consistently lower for Treatment Phase 1, No Treatment, and Treatment Phase 2 compared to Baseline. The differences between Treatment Phase 1, No Treatment, and Treatment Phase 2 were statistically significant [F(3,209) = 3.52, p = 0.0161]. Mean Intonation ratings generally increased through Treatment Phase 1 and were significantly higher for the No Treatment phase and Treatment Phase 2 compared to Baseline [F(3,209) = 2.99, p = 0.0322]. The effect of whistle register phonation exercises on vocal quality was not significant at the p<.05 level. A Pearson Correlation Coefficient (PCC) was used to calculate the intra-judge reliability for perceptual evaluation of all vocal tasks. Statistical analysis comparing the judges' ratings for identical audio samples shows that in this study the judges were consistent in their rating of Breathiness (PCC = 0.76) and had difficulty rating Strain (0.57), Vocal Quality (0.60), and Intonation (0.65). A PCC was used to calculate the correlations between each pair of judges' rating for all vocal tasks, and Cronbach's Alpha was used as an overall measure of the inter-rater reliability. Statistical analysis comparing the judges' ratings for all audio samples shows that in this study the judges were consistent in their rating of Breathiness (α = 0.80), mediocre in rating Strain (0.62) and Vocal Quality (0.69), and not consistent in their rating of Intonation (0.53). The results of the current study suggest that whistle register exercises can be used to facilitate range extension for all female voice types. That performance of whistle register phonation exercises correlated to increased breathiness implies that the exercises tested in this study may not be an effective treatment for singers with breathy voices. Further research investigating the influence of whistle register exercises on intonation, overall vocal quality, and severity of strain is needed. Results of the intra- and inter-rater reliability tests demonstrate a need for research that explores more reliable ways to quantify perceptual evaluation of vocal quality in singers.

Based on theories of expert pedagogy, the purpose of this study was to better understand the nature of expertise in voice instruction by observing common elements across three expert voice teachers (Joseph Frank, tenor; Eric Howe, baritone; and Erie Mills, soprano) and discovering the extent voice teaching aligned with common elements of instrumental instruction (Duke & Simmons, 2006a). This qualitative study addressed the overarching question: How can expert voice teaching be characterized? More specifically, using Duke and Simmons’ study of instrumental music teaching expertise as a point of departure, I wanted to understand: To what extent does voice teaching observed in the present study align with Duke and Simmons’ 19 Common Elements of Expertise? Methods of data collection included observation-digital recording of nearly 20 hours of lessons, participant interviews, and field notes. Recorded lessons were reviewed to identify teaching behaviors-attributes that related to students’ goal achievement within “rehearsal frames” (Duke, 1999/2000; 2008). Data analysis occurred in two phases, first coding transcribed data for original elements and second for new elements. Narrative descriptions were created for new elements. Findings gave evidence that expert voice teaching was similar to 14 original elements and revealed nine new elements under three categories: working with a largely invisible and fully embodied instrument, frequent exclusive focus on technique, and drawing on extensive familiarity with texts used for singing. Conclusions advance a theoretical model of voice teaching expertise, drawing on Berliner (1986; 1988). That model has implications for the preparation of novice voice teachers and for further research on voice teaching expertise.

É comum observarmos entre os cantores a ideia de que o corpo é o instrumento de sua arte. Apesar de vivermos num momento onde entender a vida e nossas experiências por uma perspectiva sistêmica deveria ser algo já difundido, perpetua-se um modelo de entendimento do canto compartimentalizado e desconectado da vida do cantor. Tentando entender esse problema, nesta pesquisa de natureza qualitativa questionamos se os cantores líricos identificam o seu corpo como seu instrumento, ou como locus da performance. E, nesse sentido, qual é o papel das práticas motoras (práticas corporais e de atividade física) no seu desenvolvimento e na sua performance. Sabendo que essas questões são aspectos importantes das práticas de Educação Somática, propusemos interlocução entre esse tipo de prática corporal e as experiências com cantores líricos. A investigação foi organizada em três etapas: 1) Prática de Educação Somática associada a aulas de canto individuais, por um ano; 2) Prática de Educação Somática associada a aulas de canto em grupo, em dois encontros; 3) Entrevistas semiestruturadas com 3 cantoras e 2 cantores que possuem experiência com Educação Somática. Durante os encontros práticos, foi tomado nota das impressões, percepções e relatos dos estudantes num caderno de campo. O material, constituído das conversas e das experiências práticas, foi analisado por uma perspectiva somaestética, disciplina filosófica proposta por Richard Shusterman. Fica evidenciado que, para os participantes da investigação, a prática de Educação Somática permite que eles sintam e conheçam a si mesmos de maneira ampliada e fica claro como corpo e voz se tornam indissociáveis. Também há a compreensão de que o corpo que atua, o que canta e o que ensina são os mesmos. Apesar de haver uma percepção do corpo subjetivado quando relatam suas experiências, a ideia de corpo como instrumento é aceita pelos participantes dessa investigação / It is common to find among singers the idea that the body is the instrument of their art. Although we live in a time where to understand life and our experiences from a systemic perspective should be something widespread, an understanding of singing as something compartmentalized and disconnected from the singers life is perpetuated. Trying to understand this issue, in this research of qualitative nature we ask if classical singers identify their bodies as their instrument, or as locus of performance. And, in this regard, what is the role of motor practices (bodily practices and physical activity) in their development and their art. Knowing that these issues are important aspects of Somatic Education practices, we intended to make an interlocution between this type of bodily practice and the experience with classical singers. This inquiry was organized in three stages: 1) Somatic Education practices associated with individual singing lessons, through a whole year; 2) Somatic Education practices associated with group singing lessons, in two meetings; 3) Semi-structures interviews with 5 singers who are experienced in Somatic Education. Along the practice meetings, impressions, perceptions and reports were written down as fieldnotes. The data, constituted of conversations and practical experiences, was analyzed through a somaesthetic perspective, a philosophical discipline proposed by Richard Shusterman. It becomes evident that to the participants of this inquiry, the practice of Somatic Education allows them to feel and know themselves in an expanded way and it becomes clear how body and voice become inseparable. There is, also, the understanding that the acting body, the singing body and the teaching body are all the same. Although there is the comprehension of a subjectified body when they report their experience, the idea of body as an instrument is accepted by the participants of this inquiry

An assessment of the standard voice instructor or performer collection of printed music would likely reveal numerous operatic repertoire volumes in anthology format appropriated to the primary four voice categories. However, thorough investigation divulges little in comparable printed material accessible to the countertenor. This scarcity of systemized collections is especially evident in the territory of comprehensive countertenor operatic repertoire. This project fills that present void by creating a compilation of sixteen countertenor arias drawn from various styles and historical periods for suggested application in studio instruction and performance. Perhaps, a more meaningful project intent is the presentation of a beneficial graded literature continuum resource for the studio teacher who instructs a countertenor in various stages of vocal development. For this purpose, each of the 16 arias is categorized into four difficulty levels based on considerations of range, tessitura, coloratura demands, rhythm, sustained phrase length, tonality, melodic considerations/overall musical difficulty, accompaniment support, and ornamentation requirements. The project also addresses common issues of pedagogy and ornamentation for voice teacher consideration when instructing a developing countertenor.

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This monograph is a review of the general state of vocology as it relates to the singing voice. It provides a working resource guide for singing voice professionals. Specifically, it presents the available technology, medical applications, and educational opportunities in the field of vocology. Having a central resource such as this allows voice professionals to more easily understand the interrelated portions of their parent field (vocology) and to access and navigate the resources available to them. Furthermore, the review raises awareness of the areas requiring further development in the field and brings to light many potential opportunities for collaborations among professionals. / Music Performance

As it was established in its origins, the compositional form of the bolero consists of 32 measures divided into two sections of 16 measures. The melodies incorporate sequences of melodic lines that are usually 4 measures long and are easily accessible, helping students to practice musical memory and stimulating their ear-training development. The poetry in Spanish gives the student the opportunity to be trained to sing pure vowels that are essential for the unification of the registers and the development of a healthy singing technique. This dissertation discusses the teaching the Latin American bolero genre to undergraduate mezzo-sopranos, combining it with the bel canto approach, as found in four elements from the method of the famous pedagogue, Manuel Garcia (1805-1906). These four elements are the clean onset or coup de la glotte, the unification of the registers, legato, and expressive devices or bel canto idioms like timbre and tempo rubato. The guidelines used to choose the repertoire are range, tessitura, simple meter and rhythm, tonal melodic lines, and piece duration. The boleros chosen for this study are "Solamente una vez" by Agustín Lara (1897-1970), "La gloria eres tú" by José Antonio Méndez (1927-1989), "Bésame mucho" by Consuelo Velázquez (1916-2005), "Aquellos ojos verdes" by Nilo Menéndez (1902-1987), "La mentira" by Álvaro Carrillo (1921-1969), "Tú me acostumbraste" by Frank Domínguez (1927-2014), "Alma mía," and "Así" by María Grever (1885-1951).

Studiens syfte har varit att öka förståelsen för röstliga uttryck i jazzmusik, med fokus på hur samspelet mellan ord och musik verkar i skivinspelningar med utvalda sångerskor. Utifrån en hermeneutisk ansats har fem skivinspelningar med fem svenska kvinnliga jazzsångerskor, samtliga utsedda till Jazz i Sverige-artister, beskrivits och tolkats ur ett vokalpedagogiskt perspektiv. I förhållande till jazzsångtraditionen visade sig två av studiens sångerskor på olika vis utmana vokala konventioner. Studiens resultat indikerar att utbildning stärkt jazzsångerskor så att de kan agera i flera roller i ensembler, också genom vokal improvisation och som kompositörer. Det framgick att samtliga sångerskor i studien framfört engelskspråkiga texter som främst behandlat kärleksmotiv. I detaljstudier av sångerskornas interpretation av texter, både egnas och andras, framstod komplexiteten i deras vokala framställning. Resultaten visar att texter kan fylla olika funktion i musikaliskt samspel, samt pekar på att studiet av inspelade röster kan vara ett redskap i undervisningen, både för jazzsånglärare och ensemblelärare. / The aim of the study is to enhance the understanding of voice expression in jazz music, focusing on the interplay between words and music in recordings of selected singers. From a hermeneutic approach five recordings of different Swedish female jazz singers, all selected as Jazz in Sweden- artists, has been described and interpreted from a vocal pedagogical perspective. In relation to the jazz vocal tradition it turned out that two of the singers in different ways challenged the conventions of jazz singing. Study findings indicate that education strengthened female jazz singers to find different roles in their interaction with other musicians in the ensemble, also through vocal improvisation and as composers. All singers in the study expressed themselves through lyrics in English that mainly dealt with love motifs. In detailed analysis of the songs and the singers interpretations of lyrics the complexity of the singers vocal production was shown. The study shows how lyrics for the singer can fulfill different functions in the musical interplay, and also implies that studies of recorded voices can be an educational tool, for both jazz vocal teachers as well as for ensemble teachers.