The purpose of this study was to investigate the uses of the falsetto voice in training the male singer. Developing the upper voice is one of the most difficult problems facing the male singers. A most controversial approach to solving this problem is the use of the falsetto. The falsetto has been a subject of mystery among singers and vocal teachers for centuries. Some authorities have ignored it; some have denounced; others have greatly extolled this vocal enigma. Many myths and misconceptions surround the subject of falsetto. Even in the present age of scientific research and knowledge, there is little understanding of the falsetto--of its value and its use. The material dealing with falsetto is very brief and inconclusive in most pedagogy books. Therefore, there seemed to be a need for a systematic collection of pedagogical ideas concerning the male falsetto. This report will attempt to present all sides of the controversy.,

Thesis (M.S.)--Duquesne University, 2007. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 40-44) and index.

Thesis (M.M.)--University of Texas at El Paso, 2008. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains xiv, 81 p. Includes bibliographical references.

The registers of the singing voice, as commonly understood by singers, refer to the different vocal qualities induced by adjustments at the level of the larynx and of the vocal tract. This explains why register unification can be approached either one or a combination of the following procedures: (1) resonance alignment through vowel modification, (2) register alignment through intensity exercises. The wide-spread acceptance of vowel modification has made singers reluctant in exploring other avenues of register development. If registers are laryngeally derived, there should be another way of register unification, which directly addresses the coordination of the laryngeal muscles. In support of this argument, this thesis investigates the teaching practices of a group of twentieth-century American voice teachers, who rely on intensity manipulation as the primary means for enhancing the register adjustments. Intensity exercises such as the messa di voce has long been practiced in historical pedagogy, but it is not until now that voice science confirmed its significance in register coordination.

Syftet med studien är att undersöka hur sångpedagoger beskriver att de arbetar med röstregister i sin undervisning, vilka olika röstbegrepp informanterna använder sig av samt hur de förklarar dessa för eleverna. Med denna studie vill jag få en bild av hur terminologin påverkar undervisningen när samma register förklaras på olika sätt. Jag har utgått från kvalitativa intervjuer för att på så sätt få en mer utförlig bild av sångpedagogers uppfattningar och handlingar. Jag har intervjuat fyra sångpedagoger i olika genrer för att se om det finns någon skillnad i val av begrepp utifrån vilken genre de arbetar inom. För att kunna tolka och försöka förstå informanterna på ett djupare sätt har jag använt mig av ett hermeneutiskt förhållningssätt. Jag har också analyserat datamaterialet utifrån ett didaktiskt perspektiv.   Resultatet visar att informanterna anser att det finns för många begrepp när det gäller röstregister och att det skulle vara bra att sortera upp dem och minska antalet på dem. Samtidigt anser informanterna att sången är viktigare än hanteringen av begreppen. Genom att förklara begrepp utifrån specifika genrer samt vara tydlig med vad ett register är skulle terminologin kunna berika undervisningen. / The purpose of this study is to investigate how vocal teachers work with vocal register in their teaching; which voice terms the informants use and how they explain these to the students. With this study I want to get a picture of how the terms affect the teaching, when the same register is explained in different ways. I have used qualitative interviews to get a more detailed picture of the vocal teachers’ opinions and actions. I have chosen four vocal teachers in different genres in order to find if there are different choices of words between the music genres they work in. To be able to interpret and understand the informants in a deeper way I have used a hermeneutic perspective. I have also analysed the data from a didactic point of view.    The results show that the informants find too many terms connected to the vocal register and that it would be good to categorise and minimize the number of them. At the same time the informants believe that the singing is more important than the use of the terms. Explaining the terms within the genre, and by making clear what a register is, should enrich the education.

Thesis (D. M. A.)--University of North Carolina at Greensboro, 2006. / Title from PDF title page screen. Advisor: Carla LeFevre ; submitted to the School of Music. Includes bibliographical references (p. 96-101).

Please read the abstract in the section 00front of this document / Dissertation (MSc (Zoology))--University of Pretoria, 2006. / Zoology and Entomology / unrestricted

The location of the available research literature and its relationship to the pedagogy of the female high voice is the subject of this thesis. The nature and pedagogy of the female high voice are described in the first four chapters. The next two chapters discuss maintenance of the voice in conventional and experimental repertoire. Chapter seven is a summary of all the pedagogy. The last chapter is a comparison of the nature and the pedagogy of the female high voice with recommended areas for further research. For instance, more information is needed to understand the acoustic factors of vibrato, singer's formant, and high energy levels in the female high voice.

Research on voice change in males has generally fallen into two categories: music education studies of changes in the singing voice and speech studies of changes in the speaking voice. These studies rarely consider differences in the dynamic ability of male singers at different stages of vocal development. The concept of tessitura, a portion of the vocal range in which the singer sounds best, is referred to in the literature on vocal music, but the means for identifying its size and location within the range have not been consistently specified. Tessitura appears to be a portion of the range which is most controllable in terms of dynamics and agility and is optimal in tonal quality. This study used the phonetograph to investigate differences in measures of intensity control between pre-pubertal, pubertal (changing) and post-pubertal voices in 48 males aged 9 to 18 years old. These intensity measures were compared to ratings of vocal effort from a panel of 4 music educators in order to determine if tessitura could be identified from acoustic and perceptual evidence of an optimum vocal area. Results of the study were: 1) post-pubertal voices demonstrated greater control of vocal intensity as revealed in lower mean minimum and comfortable intensity measures, higher overall maximum intensity measures and a larger minimum-to-maximum intensity range; 2) intensity measures for pubertal voices were similar to those observed in pre-pubertal voices, contrary to trends suggested in the literature on voice change; 3) the Greatest Dynamic Range (GDR) on the phonetograph, indicating the range in which singers had the most dynamic control, was smaller than the range in which the singers were judged to sound best; 4) tessitura originated in the lower portion of the vocal range, around the location of mean speaking fundamental frequency. Although registers were not specifically investigated, tessitura appeared to be primarily related to modal register in singers who had completed voice change.