Dass gerade im Fach Gehörbildung negative Stimmungslagen bei Studierenden besonders kontraproduktiv für die angestrebten Bildungsziele sind, ist bekannt. Motivierend ist das Wissen, mit Hilfe fachspezifischer Gehörbildung Fähigkeiten zu erwerben, die Hilfestellungen für die spätere Berufspraxis darstellen. Das Unterrichtsprojekt Fachspezifische Gehörbildung wurde an der Hochschule für Musik und Theater München praktisch erprobt. Es basiert auf einer intensiven, interdisziplinären und zeitaufwändigen Kooperation von Kolleginnen und Kollegen der künstlerischen Fächer, der Gehörbildung und der Musiktheorie. Exemplarisch werden ausgewählte Aspekte zur fachspezifischen Gehörbildung anhand der künstlerischen und pädagogischen Hauptfachstudiengänge Violine und Klavier vorgestellt. Vor diesem Hintergrund zeigt sich auch ein dringender Bedarf an Seminaren zur Didaktik der Gehörbildung im Instrumentalunterricht für die Studienpläne von Instrumental- und Gesangspädagogik-Studiengängen (IGP) an deutschen Musikhochschulen. Seit dem Jahr 2004, als dieser Vortrag beim 4. Kongress der Gesellschaft für Musiktheorie (HfMT Köln) zu hören war, ergaben sich auf hochschulpolitischer Ebene und in informationstechnologischer Hinsicht bedeutende Veränderungen. / It is common knowledge that a negative attitude from students is particularly counterproductive for the intended educational goals, particularly in the subject ear training. Yet it is motivating for students if one presents the advantages of specific ear training skills for professional practice. The educational project Fachspezifische Gehörbildung was tested out practically at the Hochschule für Musik und Theater München. The project is based on an intensive, interdisciplinary, time-consuming cooperation between colleagues in artistic fields, ear training, and music theory. Select aspects of field-specific ear training will be presented in the context of the artistic and pedagogical majors of violin and keyboard. Against this backdrop the dire need for seminars in Didactics of Ear Training in Instrumental Instruction in the curricula of instrumental and vocal pedagogy majors in German conservatories becomes apparent. Since 2004, when this article was presented at the Gesellschaft für Musiktheorie anual meeting in Köln, significant changes have taken place at the conservatory level and regarding information technology.

Vocal duets have had a long history in the Western classical music tradition. Their use as a teaching resource can be traced back to the Renaissance, where duets were used for the development of singing, performance, and musicianship. In the late 19th and all of the 20th centuries, this pathway of vocal pedagogy has markedly declined. This study proposes a reintroduction of this methodology of teaching, asserting that it provides the collegiate vocal student with maximum opportunity for growth and development in terms of technique, musicianship, ensemble skills, and performance development. Four vocal duets ("La pesca," "Il brindisi," "Il gallop," and "La caccia") of Saverio Mercadante (1795-1870) serve as the point of discussion. These songs from Les soirées italiennes (C.1836), which are representative of the salon culture of the 19th century, are given detailed attention through a discussion of their pedagogical value. Since they are long out of print, a new performance edition is presented.

No description available.

This dissertation focuses on the contributions of Phonetics in the teaching and learning processes of languages pronunciation in Singing. For that, it investigates a teaching proposal based on this discipline of Linguistics, the Phonetics, with emphasis on articulation and representation of speech sounds - the Articulatory Phonetics and the International Phonetic Alphabet (IPA) in practice, the phonetic transcription. It is based on the literature on Phonetics and Phonology, in the Linguistics area, on the Teaching of Languages, in the Applied Linguistics, and on the Diction for Singers, in the Arts - specifically, the field of Music, singing. Based on the diagnosis made on the subject of Diction in technical and undergraduate courses of Singing in institutions in the triangle region of Minas Gerais, it reflects and suggests changes on didactic and pedagogical aspects, related to the training of singers and singing teachers. It intends to contribute with theoretical reflections, teaching materials and methodological approaches for the teaching of pronunciation of the major languages in the classical repertoire performed in Brazil. / Esta dissertação centra-se nas contribuições da Fonética no processo ensino e aprendizagem da pronúncia de línguas no Canto. Para isto, investiga uma proposta de ensino elaborada com base nesta disciplina da Linguística, a Fonética, com ênfase na articulação e representação dos sons da fala a Fonética Articulatória e o Alfabeto Fonético Internacional (AFI) em sua prática, a transcrição fonética. Fundamenta-se em literaturas sobre Fonética e Fonologia, da área de Linguística, sobre o Ensino de Línguas, da Linguística Aplicada e, sobre Dicção para Cantores, das Artes especificamente, da subárea Música, o instrumento Canto. Com base no diagnóstico da disciplina Dicção em cursos técnicos e graduação em Canto de algumas instituições na região do Triângulo Mineiro, reflete e sugere mudanças de aspectos didáticos e pedagógicos, em função da formação de cantores professores de Canto. Pretende contribuir com reflexões teóricas, material didático e abordagens para o ensino da pronúncia das principais línguas do repertório erudito praticado no Brasil. / Mestre em Artes

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-11-17T16:46:39Z No. of bitstreams: 2 Dissertação - Mábia Regina Aires M. Felipe - 2013.pdf: 5862117 bytes, checksum: 25b685e84336b9dc1bef9fe63f9652ff (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2014-11-17T18:37:40Z (GMT) No. of bitstreams: 2 Dissertação - Mábia Regina Aires M. Felipe - 2013.pdf: 5862117 bytes, checksum: 25b685e84336b9dc1bef9fe63f9652ff (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-11-17T18:37:41Z (GMT). No. of bitstreams: 2 Dissertação - Mábia Regina Aires M. Felipe - 2013.pdf: 5862117 bytes, checksum: 25b685e84336b9dc1bef9fe63f9652ff (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-04-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The focus of this research is the basics of the vocal pedagogy developed in Goiânia, Goiás, Brazil. It’s goal is to identify, select and analyze the pedagogical practices of the voice teachers. The main authors who support this work are Behlau (2001), Miller (1996; 2002), Ott & Ott (2006) and ware (1998). This is a qualitative research, based on the phenomenological method (FREIRE, 2007). Therefore, multiple forms of investigation were used to collect data such as revision of literature, interview, questionnaires and observations. The pedagogical approaches of the teachers were compared both to the singing literature and the teaching conceptions of the Italian, German and French schools, named as National Schools of Singing, and to the international principles on Singing. The observations allowed the analysis of the theory-practice relation developed in the context of the voice lessons, according to the methodologies of the national schools and the Internationalism in singing, reporting the teaching practices to bases of the learning cognitive process. Although the methodology of each teacher may be peculiar, the results show that their approaches are somehow related to the National Schools of Singing. However, the teachers demonstrate to be less engaged with any of these schools. They base their methodologies on the studies of vocal physiology and a wide variety of vocal repertoire according to the tonal ideals of International Singing, aiming a better quality of singing. / Esta pesquisa aborda os fundamentos da pedagogia vocal desenvolvida em Goiânia, Goiás, Brasil, buscando identificar, selecionar e analisar as práticas pedagógicas de professores de canto. Os principais autores que dão sustentação ao desenvolvimento da pesquisa são Miller (1996; 2002), Ott & Ott (2006) e Ware (1998). Trata-se de uma pesquisa de cunho qualitativo, usando recursos do paradigma quantitativo, baseada no método fenomenológico (FREIRE, 2007). Sendo assim, múltiplas formas de investigação foram utilizadas para a coleta dos dados, através de revisão de literatura, entrevistas, questionários e observações. As abordagens pedagógicas dos professores foram comparadas com a literatura do canto, com as concepções de ensino das escolas Italiana, Alemã, Francesa e Inglesa, denominadas Escolas Nacionais de Canto, e com os princípios internacionais no canto. Os resultados das observações permitiram a análise sobre a relação teoria-prática desenvolvida no contexto das aulas de canto, de acordo com as metodologias das Escolas Nacionais e do Internacionalismo no canto, reportando as respectivas práticas de ensino às bases cognitivas da aprendizagem. Embora a metodologia de cada professor seja peculiar, os resultados indicam que suas abordagens estão relacionadas de algum modo com as Escolas Nacionais de Canto. Porém, os professores demonstram estar menos comprometidos com qualquer uma destas escolas e embasam suas metodologias nos estudos da fisiologia vocal e numa gama variada do repertório vocal, de acordo com os ideais sonoros do Canto Internacional, tendo em vista uma maior qualidade do canto.

This research of distance learning in singing study provides some historical framework of long-distance singing study, including research on three former distance singing courses, which exemplify the "best practices" of their time: Siegel-Myers Correspondence School of Music, the Perfect Voice Institute, and the Hermann Klein Phono-Vocal Method: Based Upon the Famous School of Manuel Garcia. I also discuss current trends in long-distance singing study, including interviews and insights from current long-distance singing teachers using cutting edge technology in their virtual studios. Lastly, I make predictions and projections, based on analyses of past "best practices," where this information may have impact upon future methods of distance singing lessons, including conceivable distance singing course components of online degree programs offered at universities.

No description available.

While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.

It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.

Emil Behnke was a highly esteemed vocal pedagogue of the late nineteenth century. Perhaps rare for the time, the art and science of teaching vocal methods of speech and singing was a Behnke family business, one that Emil shared with his wife and daughter, who were both named Kate. Indeed, Emil's daughter, Kate Emil Behnke, was equally regarded and valued in the field of vocal pedagogy, carrying her father's teachings into the twentieth century. Meanwhile, the elder Kate Behnke, wife to Emil and mother to Kate Emil, was responsible for administering and building upon her husband's innovative methods of speech therapy, establishing her own reputation as a speech healer. The Behnke family published no less than fourteen books, cumulatively. Largely forgotten today, the purpose of this document is to provide a comprehensive overview of the biography and the pedagogical methods and works of the Behnke family, and to contextualize these methods within the framework of trusted vocal pedagogy, both historic and current.